Push the button, Max.
This big-budget, globe-trotting comedy is almost exactly as old as I am and I’ve always held a warm place in my affections for it. It’s not quiet or subtle, but it is spirited, like a Clydesdale that thinks it’s a quarter horse.
I want to apologize to you; it seems we got off to a bad start.
Combine a completely unnecessary remake of a 1950s science-fiction classic with a starring role for Keanu Reeves and you have a recipe for nothing to get excited about. In that respect, the 2008 version of The Day the Earth Stood Still does not disappoint. It unsuccessfully tries to hide its narrative emptiness behind a noisy CGI light show and half-hearted lip service to a ripped-from-the-headlines current-events subject.
He who is without sin, let him cast the first stone.
It’s best to think of this movie as the estranged fraternal twin of Dr. Strangelove. Fail Safe is the sober, humorless one. Both films cover virtually the same territory, that of an inadvertent nuclear attack on the Soviet Union, but while Stanley Kubrick treated Armageddon as a subject worthy of absurdist gallows farce, Sidney Lumet takes it seriously for some reason. (more…)
Why worry? Each one of us is carrying an unlicensed nuclear accelerator on his back.
Ghostbusters represents such a high water mark for not only the careers of those involved, but also for comedy in general, that it’s hard to overstate the level of accomplishment on screen. It’s difficult enough to make a good movie, not just a good comedy, but to produce a comedy classic while dealing with the complications of an ambitious special effects picture has to be some kind of cinematic grand slam.
If you piss in your pants, you only stay warm for so long.
Despite the “One Degree of Marky-Mark,” this film is not quite the rip-off of The Departed that it appears to be on the surface, but it’s not different enough to make it worth almost two hours of your time. The first-rate cast gives it an illusion of substance that is slightly deceptive, but great performances do not compensate for the run-of-the-mill cop story with a weak villain.
In this game the most committed wins.
Viewed through a post-9/11 prism, Edward Zwick’s The Siege seems at times both impossibly naïve and uncomfortably prescient. Ultimately, however, this movie is more effective as postulation than it is as a narrative, smarter about its subject matter than about its story. Whatever points it scores are undermined by shallow, clichéd characters and a stock, predictable ending.
We prepared for everything. Not for this.
Okay, admit it. When you heard that Oliver Stone was going to make a movie about the events of September 11, 2001, a lot of you rolled your eyes and thought, “Oh, my God, what’s he going to do now?” Was he going to have Richard Nixon rising from the grave to plant explosives in the twin towers? How were the Grassy Knoll gunmen who killed John Kennedy involved? And how did it all tie back to the Vietnam War?
Surprise. (more…)
Someday a real rain’ll come and wash all this scum off the streets.
This story of a lonely man isolated from the millions of people around him could have been told in any city but Martin Scorcese’s movie could only have been made in New York City, and only in the city of the mid-seventies. Travis Bickle is as much a product of that time and place as he is a creation of screenwriter Paul Schrader’s imagination.
The New York City of Taxi Driver is definitely not today’s “Disney-fied” city. This is the pre-Giuliani Big Apple, the domain of pimps and drug dealers. (more…)
I wouldn’t be infringing on your coffee break if I thought it was a nickel-and-dimer.
William Friedkin’s The French Connection is a lean, uncompromising example of filmmaking without a single gram of fat on its bones. Nothing unnecessary to telling the story is on screen, allowing Friedkin to tell a fairly complex story within a surprisingly compact running time of 104 minutes. Gene Hackman’s balls-out performance as unconventional and obsessive narcotics cop Jimmy “Popeye” Doyle elevates what was already a superior film to the level of a classic.
Who do you think is going to get the worst of this, Maxie or Africa?
It took them sixteen years, but they finally made a real sequel to the original King Kong. Okay, Mighty Joe Young is not technically a sequel to the 1933 classic, but they definitely share the same DNA. Like Kong, Joe Young was produced by Merian C. Cooper and directed by Ernest B. Shoedsack from a screenplay by Ruth Rose. Stop motion animation pioneer Willis H. O’Brien is still around, supervising his young protégé, Ray Harryhausen. From the cast, Robert Armstrong is back as nightclub owner Max O’Hara, who has a lot more ideas than sense. While he’s not playing Carl Denham, it’s easy to imagine O’Hara as Denham still living under an assumed name to evade the lawsuits stemming from the problems he had with the last big ape he ran into.
