The first world championship I've experienced in my life! Thank you Phillies!
WOOOOOOOOOOOOOOO!
By Brian Mulligan at 12:15 PM 0 comments
By Brian Mulligan at 1:01 PM 0 comments
By Brian Mulligan at 2:27 PM 1 comments
By Brian Mulligan at 3:41 PM 0 comments
By Brian Mulligan at 12:59 PM 0 comments
Struggling against itself and its own genre limitations, Traitor ends up ensnared in its own contradictions. It’s a confounding film, at once seeming to want to appeal to the viewer as both fresh and familiar. Traitor adheres to the formulas and sequences of well-established genres including the prisoner sequence, spy and action movie clichés, even the revenge storyline… but implanted in a politically current plot about a potential suicide bomber and attack on U.S. soil. That should have been relevant and hot topic enough to forego the usual by-the-numbers trappings, but there’s so much retread in the script, so much that’s been done before, that it leaves little hope for star Don Cheadle (himself a refreshing choice as an action star) to save it. Cheadle does his best Bourne imitation, quite convincingly coming across as the smartest man in the room, and even wills some of these set pieces into working far and away better than they should. But the film is submarined by its own unwillingness to take untraveled paths. Every action sequence has been done before, and better. Every relationship seems like repeats. In the end, it’s just all so uniquely… conventional.
By Brian Mulligan at 8:05 PM 0 comments
A fluid continuation of the original, Hellboy II: The Golden Army sees director Guillermo Del Toro back reteaming with his hand-picked star Ron Perlman and the duo picking up where they left off in ‘04. Once again Hellboy is dealing with his lot in life and his ongoing role as savior of the human race, all the while being relegated to lurking amongst the shadows and avoiding human interaction. On top of which, Hellboy now has newfound relationship issues with his girlfriend, the fire-starter Liz. The tone, atmosphere and expert craftsmanship of Del Toro are plainly visible – even if some of these creatures tend to resemble Pan’s Labyrinth rejects – but the storyline is a bit of a letdown, leaving Hellboy toiling away at issues he already dealt with in the first. The story leaves little room for the character to grow and while the action is extremely well orchestrated, the heart of Hellboy II lies in scenes such as the one where Hellboy’s laying around with Abe, ruminating on his love life and public image with a beer in hand and a bud to open up to. For some reason there’s something memorable about a Buick-sized Devil and an amphibian man singing “Can’t Smile Without You” into a couple empty cold ones. These are the scenes that make it good to have him back, but next time let’s give him some more room to grow.
By Brian Mulligan at 3:41 PM 0 comments
By Brian Mulligan at 8:59 AM 4 comments
A pleasant, modest story that just spends too much time awkwardly stumbling around like its protagonist, Resurrecting the Champ is about a sportswriter (Josh Hartnett) who uncovers a former heavyweight fighting contender now living on the streets. Nicknamed “The Champ” and long believed dead, the writer sells Champ on the story idea as a potential return to glory for the browbeaten pugilist and a chance to again be a celebrity in the community, but is clearly more interested in parlaying the story into his own high-end magazine job and chance to climb out of his famous father’s shadow.
Samuel L. Jackson throws his Caveman’s Valentine dreads back on to play Champ and adopts an exasperated, gasping-for-air voice that echoes the hardships of his character. He’s out of touch, maybe a little bit crazy and walks around as if he’s shimmying into the ring, always up on his toes. But he’s also genuinely endearing, disarmingly funny and easily the best reason to watch Resurrecting the Champ.
Unfortunately the film is a bit sloppy, and supporting star Alan Alda nails it when he throws some of Harnett’s news copy back at him and tells him, “It lacks personality.” It could be considered an extended commentary on Hartnett’s character in the film as well. Plus, there’s pacing problems. The film revolves around moral ambiguities, mostly about father’s trying to impress their sons, and doesn’t quite know if it wants to be an uplifting feel-good story or not, and ends up choppy and lurching towards the end.
Jackson makes it worth checking out, but it’s no return to glory for “The Champ”.
By Brian Mulligan at 2:21 PM 0 comments
Who else wants to see it and what are your "must see's" of the month?
Other Notables:
Vicky Cristina Barcelona, Hamlet 2, Traitor, Babylon A.D., Swing Vote
By Brian Mulligan at 7:24 AM 0 comments
By Brian Mulligan at 7:13 AM 0 comments
Sorry I was unable to post something about this before I left, but with the last minute wedding details and preparation, I just didn't have time. Anyways, just wanted to let everyone know that I'm currently on my honeymoon and I'll be back sometime late next week. So my Dark Knight thoughts and other posts will have to be held off until then.
In the meantime, keep the forums going. I look forward to reading everything when I return.
By Brian Mulligan at 7:48 PM 1 comments
How do we feel about THIS lovely lady:
Being cast in the same film opposite THIS lovely man:
The film is Nine directed by Rob Marshall and co-written by Frederico Fellini. Thoughts, impressions, predictions? Oh and while we're at it how 'bout we take a gander at some of the other cast members, shall we?
By Rebecca at 10:45 AM 3 comments
By Brian Mulligan at 6:58 PM 2 comments
By Brian Mulligan at 7:57 AM 0 comments
By Brian Mulligan at 7:17 AM 3 comments
Hard Candy is Hostel for the self-righteous filmgoer. A heinous, wish fulfillment fantasy about what director David Slade and screenwriter Brian Nelson would like to do to pedophiles, the film amounts to nothing more than a justification for getting satisfaction out of torture porn. But instead of sympathizing with the people on the receiving end, hoping for their escape… Hard Candy asks us instead, “Why watch a film like this unless you can root for the torturer?” Enter Ellen Page as our fourteen-year-old heroine Hayley, in her now-patented snarky fashion (this is really nothing more than her Juno performance crossed with a sociopath). She suspects Jeff (Patrick Wilson), a thirty-something photographer of being a predator of little girls her age… so in between some smarmy quips, she drugs him, ties him up and begins her search for the damning evidence by ransacking his home. It’s an interesting role-reversal decision to see the preyed upon get the better of the predator, the only problem being Hayley is entirely insane. And we as the viewer are expected to cheer her on while she gets all sorts of sickening pleasure out of her vile acts, even without Hayley having a shred of evidence to show us (don’t worry, she’ll obviously find some later to justify the blood thirst). Thankfully, Nelson has also provided Page with enough trite, longwinded speeches to spit out all the while about how harmful pedophilia is… apparently just so we don’t lose sight of who the real bad guy is here. It’s a hideous spectacle of the filmmakers’ ids, a terrible moral lesson on taking an eye for an eye and purports the appalling message that victims of sexual predators should take revenge into their own hands. All this is not to say that a pedophile does not deserve what he gets, but who appointed Page judge, jury and executioner? It’s not her responsibility, nor entitlement to do so. It’s simply a means to an end for Slade and Nelson, using Page as their surrogate to show us what they themselves would like to do…
By Brian Mulligan at 12:03 PM 10 comments
By Brian Mulligan at 8:05 PM 0 comments
By Brian Mulligan at 7:43 AM 13 comments
By Brian Mulligan at 3:09 PM 4 comments
By Brian Mulligan at 10:58 PM 4 comments
The brainchild of Vince Vaughn (we actually get to hear Vaughn propose the idea over the opening credits), the Wild West Comedy Show: 30 Days & 30 Nights – Hollywood to the Heartland is a mash up, more documentary than stand-up, more behind the stage than on it, more improvised than not and, just slightly, more good than bad. Pitched as a sketch show hosted by Vaughn himself, the film opens to an amusing skit between Vince and, naturally, Jon Favreau about Swingers. But from that point on the skits start misfiring pretty badly, which filmmaker Ari Sandel seems to realize as he pushes the four comedians (Sebastian Maniscalco, Bret Ernst, John Caparulo and Ahmed Ahmed) to the forefront of the story. The whole thing is curiously devoid of legitimate “westerner’s” and the jokes are sometimes uneven, but regardless, it’s when the film takes the time to reflect on the comedian’s individual situations (Maniscalco waiting tables, Ernst on how his set had just bombed) that the best moments shine through. Unfortunately those moments are rare and I started to get the peculiar feeling that a lot of the juicier moments were cut out to make this more of a “puff piece” than it should have been. After all, the film is mostly an excuse to hangout for Vaughn and a group of his friends. But it’s strange that after 30 days, Vaughn, who’s surprisingly getting the least number of laughs and the least attention, is ready to call it quits… while the comedians want the show to go on.
By Brian Mulligan at 3:58 PM 1 comments
By Brian Mulligan at 12:35 PM 2 comments
In just two films, director Thomas McCarthy has shown himself to be an adept, minimalist storyteller. Observant and, even better, patient, McCarthy lets his stories unfold in a naturalistic manner that allows the actors room to find the story without feeling the need to force big moments.
When McCarthy approached the regular character actor Richard Jenkins about staring in his next film, The Visitor, Jenkins said something that amounted to “Sure, but the producers won’t fund it with me in the lead.” McCarthy simply told him not to worry about that and cast him anyway.
He knows his characters, his story and he casts the actors that will best fill his story’s needs (it seems that his own acting experience has gone a long way towards helping him trust his actors). What was the much-loved (especially by me) The Station Agent but a clinic on the power of a silent scene, brilliantly assaulted by Bobby Cannavale’s overly garrulous Joe?
In fact, The Visitor, another character study film based on a reclusive outsider brought back to the world by an enormously affable new companion, shares a lot of similarities with McCarthy’s only other directorial work. These films are chock full of moments that would be excised from other, lesser films. They’re full of silent, retrospective moments, humor and real relationships and conversations. In fact, the only drawback I can think of to The Visitor is it’s sometimes too much like real life and its conversations tend to reflect that by not always being the most attractive of dialogue.
But how invigorating is it to see a director dedicated to making grown up stories and to finding new talent (Haaz Sleiman as Tarek is as great a find as Cannavale and Dinklage were). By keeping his budgets modest, McCarthy has somehow managed to work inside the studio system and meanwhile keep his stories and characters intact. That’s why he can turn a profit, even with the relatively unknown Richard Jenkins in the starring role.
The sad-eyed Jenkins is exceptionally good as Walter Vale, a college professor whose wife recently passed and who starts the film heartbreakingly trying to learn her life’s passion, the piano, only to be told he’s not naturally gifted at it and probably too old to learn.
Recently, he’s decreased the number of classes he teaches, in order to focus on writing his latest book but ends up spending most of his time at home, alone with a glass of wine and his wife’s CD to listen to. It’s only when he’s forced to present a paper he “co-authored” with a colleague at a conference in New York that he’s reluctantly thrust out of his self-imposed routine (that his colleague is about to give birth doesn’t dissuade him from still trying to pass off the task to her).
It’s in New York, much like when Finn from The Station Agent moves to Newfoundland, that Walter is forced to confront the outside world… it just happens from inside his own long-discarded apartment, where he finds both Tarek and Zainab, illegal immigrants to the states, have been living for the past three months. After some initial confusion and apologies (the couple thought they were renting the place from its rightful landlord), the same humanistic elements that touched Finn persuade Walter into letting them stay “until they find another place.”
The immigration story ultimately has more on its mind and more of a message then the beautifully low-maintenance Station Agent, which doesn’t necessarily make it a better (or worse) film. It’s just a different angle that McCarthy has decided to take on similar material. He puts a face on a relevant political subject and because that face is Tarek’s, a character so imbued with an affirmation and love for life, it makes it next-to-impossible to ignore. After all, McCarthy’s characters are only looking for a sense of belonging, to each other and even to this country. They do, as does McCarthy with that camera.
By Brian Mulligan at 7:42 AM 1 comments