Nice to know that Big Ben can still have the ladies come crawling to him.
Neil (Ben Affleck) travels to France and meets with a woman named Marina (Olga Kurylenko). They instantly connect, fall in love, and plan what their future may just look like, if they decide to take the next step. They actually do decide to take said next step and finds out that it’s a bit harder than they thought, so therefore, Marina moves back to France. This leaves Neil all alone, until he meets up with an old sweetheart of his (Rahcel McAdams) and relives the young lust he once had. However, Marina’s not gone like Neil suspects. Oh, and Javier Bardem is a priest that’s begging to lose his faith, slowly but surely. Can’t forget about that charming Spaniard.
Even though I wouldn’t consider myself a total and complete devotee to the Church of Malick, I still stand by the fact that I am a fan of his movies, and consider them (as most people), some of the most beautiful pieces of art I have ever seen in my life. Granted, I don’t go to museums all that often, but with a career that spans over 30 years and only consists of six movies; the guy’s made a name for himself and a name I get very hyped-up for, whenever I see in print. Because let’s think about it: a newly-released Terrence Malick movie isn’t just a regular, everyday movie-going experience that you can catch at your own leisure, it’s a freakin’ event! This rarely ever happens and it’s time to just let it all soak in, and enjoy until he decides to take another twenty-year break. Don’t you dare, Terry. Don’t you even.
No matter what may be going on here with the story (and trust me, I’ll get on top of that in a jiffy), the visuals are always as gorgeous and jaw-dropping as you can get. I love how Malick starts the film off with the beauty and aura of France, and then ends it all in the rusty and fucked-up place that is known as, Oklahoma. Malick is still able to draw natural beauty from these landscapes and give Oklahoma some key opportunities for post cards, but the way that he is able to convey the emotion of a dying land that seems to be dissolving beneath everybody’s feet, and combine that with the story itself really took me for a surprise. It may sound crazy because I know Malick can do stuff like this and totally slap me silly, but he really found a way to make this flick always worth watching, no matter what other type of junk was going on here. So, needless to say, this is a movie that deserves to be seen on the big-screen if not at the movies, then just a big-screen in your house. Either way, see it with a large-lens, volume-up, and the lights dimmed-down. Let the Malick-spell come over ya.
Now, despite all of my oogling and boogling about the beauty of this film, this is one of the key instances where Malick goes on a little too far with his view. I’ve always noticed when Malick has gotten a bit too into his own shit in recent time, but it’s never gotten to me so bad because of everything else that’s been able to distract me. However, there isn’t all that much to distract me other than beautiful visuals, and to be honest: that damn aspect can only go so far! Eventually, my simple-mind is going to need a compelling story, with interesting characters, and smart messages about the world we live in or something along those lines. I can tell that Malick knows what a simple-mind wants and at least tries to make some of that magic happen, but doesn’t go deep enough. Let me explain….
The problem with this movie is that the story doesn’t do much to bring us in. Yes, it’s an easy story about two people who fall in love, decide that they want to be together, but then realize that there’s more at stake than just love: there’s life! But an easy story don’t mean jack shit, unless you have a way of making us connect to the story and the characters that inhabit. That’s the biggest problem Malick runs into here. Seeing as this is Malick’s movie, and everybody plays by his rules and his ways, everybody in the movie seems to sort of be second-nature to what the man can show just by using a camera. Once again, all fine and all considering the visuals are as naturally-beautiful as they come, but they only go so far.
The characters don’t get enough attention payed to them, but even when they do; they don’t seem to really use it well. That’s no insult against the talented-actors either, that’s just a problem with the script. The movie paints these characters as walking caricatures of what it should be like for people to be in love, to be sad, to feel conflicted, to feel angry, and so on and so forth. It doesn’t really seem to get any deeper than that, and even though there are a couple of key scenes that may change your opinion on what I just said; they don’t do much for the final-product.
The subplot with Javier Bardem as the Spanish priest that’s losing his faith is the one instance where you might change your mind for the sole reason that it has no reason to be here. I mean yes, Bardem is great in it and definitely makes all of his screen-time worth it, mostly because it’s all dedicated to him just walking around, looking sad, and chatting around with random peeps (most of which seem to be non-actors), but he serves no purpose to the story. Everything here is about the love and the feelings that go with it, and then he shows up to start babbling on about God and keeping your faith and whatnot, and it seems random. That, and also just another excuse for Malick to throw in another one of his “God references” that he loves to use so very, very much.
After awhile, all of the same stuff that we have seen done one hundred times before in Malick’s other flicks, and also within the first ten minutes of this movie, becomes an annoyance. It’s still beautiful to gaze at, but the story goes into places that don’t seem reasonable or even worth the watch. We see a bunch of people just mope-around, look as if they are sad about something, or in heavy-thought, a little bit too much. Instead of emotion so damn much, I just wish that one of these characters would actually stand and speak-up for once. But instead, they just all stood there, touching their faces and arms, as the sun rose behind them. That right there, is a scene that’s repeated many, many times throughout this movie so if that’s not your type of thing: good luck. For me, it wasn’t total hatred, but it didn’t make me happy either. I’m just a simple dude, man!
The fact that most of this movie is all in narration, means that it takes away from the actors on-screen. Well, all of them except for one gal. That’s right, Olga Kurylenko is surprisingly the best out of this whole cast. Her character, Marina, is annoying as she’s always craving and needing attention, whenever she’s not prancing and dancing around like five year old, but her performance is exceptional. Kurylenko really captures that fully-free spirit that this character needed to have to work and rather than making her just one, Manic Pixie Dream cliche after another, she keeps it going and gives us depth, heart, and emotion to her. Kurylenko has never really done much to surprise the hell out of me in the past (not much of a track-record to begin with), but she really showed me some promise here and let’s hope that it continues to go on and on, until Malick decides to cast her again.
The other two in this cast, Ben Affleck and Rachel McAdams, really are just here for window-dressing. For the latter, that doesn’t matter since her character and subplot seems so superfluous it’s almost hilarious. But, as for the former, that’s a bit ridiculous considering that the movie is supposed to revolve around him and whatever the hell he does with his weenie. Affleck has about five or six lines where he actually gets to sit-up and speak for himself, but it’s not enough considering we don’t give a shit for the guy and we never find out why the hell him and Marina are having such a problem being together. Of course Marina wants to venture out into the world, but what the hell is bugging him so much? It’s rarely ever explained and by the end of it; I just didn’t really see the use in them being together, so much so that I just wished a plot-twist would come around the corner and Bardem and Kurylenko would be boning out of nowhere. Hey, Malick has never been one for conventionality so I wouldn’t throw that idea totally out the window.
Consensus: Terrence Malick always has a knack for capturing the natural and inner beauty of this land that we call Earth, which is surely evident in To the Wonder the whole run-time, but can only do so much to satisfy one’s needs when a weak story, irrational characters, and random transitions between characters and character’s stories, begin to plague what could have been a very emotional and compelling experience, courtesy of the master of filming grass.
6 / 10 = Rental!!
I think big brother Ben may be a whole lot nicer now.
Sheriff Deputy Lou Ford (Casey Affleck) has a bunch of problems. Woman problems. Law enforcement problems. An ever-growing pile of murder victims in his West Texas jurisdiction. However, he gets so caught-up with one of his victims, that it throws him a curve to the point of where he’s getting closer and closer to being found out. It’s only a matter of time until he loses total control.
Serial killer movies are hard to do. Sometimes, they can be lovable right from the start (American Psycho). While other times, they can totally miss their mark and be something you’d much rather not waste your time in watching (Mr. Brooks). This falls somewhere in between.
This is a film directed by Michael Winterbottom, a guy who seems all over the place when it comes to his films with comedic picks like 24 Hour Party People, to soft-core porno flicks like 9 Songs, and then to dark drama’s like A Might Heart. Basically, this guy has no real genre and that’s pretty neat. He doesn’t have any real sense of distinctive style or look, but he brings a lot of zealous-energy to everything he chooses, it’s almost too hard to talk bad about anything that he does. But that’s also why I liked this movie because he brings something atmospheric and moody to it all. He definitely has the perfect feel for the dark, hot American West because he shows it in such a noir style that really pulls you in from the start. There is a story to be told here, but this is more all about one dark, sinister trip into the mind of a psycho where everything starts off bad, goes to worse, gets better, and then just gets even more worse than before. Great job from Winterbottom, as he definitely makes up for the movie’s big faults.
Those big faults I’m talking about, lie within the story here. The story actually starts off pretty strong because you feel like you know where it’s going to go and build-up from there, but the problem is that the story isn’t as interesting as you may have mapped it out in your head. Some parts are cool and interesting once we see inside the mind of our closet killer, but whenever that doesn’t happen, the film focuses on how Lou tries to hide away from all of the accusations that are being thrown at him and curiosities he can smell off of everybody he’s around. This isn’t nearly as interesting as the stuff that goes on inside of his head and instead of being thrilling and unpredictable, the actual mystery tale is just there to provide a story for our lead.
Now, to my real problem with this film. In case you haven’t already heard about this flick: this flick is really, really fucked up. Without getting into any spoiler area, two disturbing acts of violence happen to two main characters here and the one thing that really got me here was that the camera never once pans away from it. In today’s world of movie violence, most stuff doesn’t phase me or even get to me because 9 times out of 10; it’s usually just shock value, done for the sake of shock value. That’s never worked on me and probably never will but the violence here feels real and needed to enhance the story, as if it almost pertains to the story and the way this guy feels and thinks. However, I think that’s my biggest problem with this flick.
I can’t really say that I hold anything against this film for showing me some violence that was disturbing, but I can say that it definitely made me think differently about it all because those were the only things left in my mind about this film. It’s some hard stuff to swallow, and as good as the rest of the film may be, I couldn’t help but keep on bringing my mind back to those violent scenes. It’s not like it doesn’t fix well with everything else, it just stuck in my mind more than all else happening. Still, have to give Winterbottom the benefit of the doubt for not panning away once during these scenes and making us actually see the brutality of these grim scenes. On the other hand, I think it also got to me after awhile and may have been more memorable than the actual flick itself. Good for some movies; not good for this.
Actually, he second most memorable aspect of this flick would probably have to go to Casey Affleck and his amazing performance as Lou Ford. It’s obvious, right from the start, that Lou has some pretty fucked up ideas in his head but somehow, Affleck is able to make that sexy and interesting through it all. Affleck doesn’t really look like the kind of dude you could put in the role of a closeted maniac, but I think that’s why he works so well here because he’s able to be subtle about his emotions and feelings throughout the movie, but also totally show how vicious he can be when he has to turn on the “crazy meter”. Affleck has never been that actor that people have been feeling the total and complete need to see in movies, but here, he demands your undivided attention and devotion, even when his character is just sitting there, thinking of who to hack-up next. Lou Ford is a great character to watch and makes the film a whole lot better, mainly because of Affleck’s kick-ass performance. He surely has come a long way since being “Big Ben’s little bro”.
Also, I was surprised to see Jessica Alba and Kate Hudson in some pretty down-and-dirty roles that I usually wouldn’t see myself watching them in. But what was even more of a surprise was how good they actually were. They both play Ford’s main ladies and each show a different side to his love, and both work very well. Been awhile since the last time I’ve seen them actually do something worth recommending so I have to give them some love and kudos right here and now. Oh, and there’s a pretty gnarly Bill Pullman cameo here as well. Can’t ever forget about that dude.
Consensus: With a dark and grimly style to make everything moodier and strong performances from the cast, mainly a terrifying Affleck, The Killer Inside Me feels like it has all the right ingredients for a dark and sinister trip in the head of a maniac, but it’s over-shadowed by two appalling scenes of violence and the story doesn’t really grab you, unless its focusing on Affleck’s character.
6.5 / 10 = Rental!!
Rich people can be sad too.
Bobby Walker (Ben Affleck), Phil Woodward (Chris Cooper) and Gene McClary (Tommy Lee Jones) are living the American dream: great job, beautiful family, shiny Porsche in the garage. When corporate downsizing leaves them jobless, the three men are forced to re-define their lives as men, husbands, and fathers.
As everybody in the world knows, October 2008 was the time where we all found ourselves in an economic-crisis and yes, even though it is a bit hypocritical from a 19-year-old, who at the time, was 15 and lived with his parents, had no job, had no responsibilities and no bills to pay other than my money for lunch, I can still say that it was a sucky time for everybody and in a way, still is. Everybody was affected by it, not just the common-man, but everybody!
I start off with this middle-minded rant mainly because this is one of the biggest problems with this movie that we have here: who it focuses on. Having a story about a regular, average-Joe who loses his job out of nowhere and finds himself really struggling isn’t a story that hasn’t been done before, but would have probably been more engrossing than watching a bunch of millionaires go from everything, to nothing in a matter of a couple of weeks. Of course, the fact of the matter is that this did happen in real-life and it wasn’t just a certain group of people that were affected by the corporate downsizing, and that’s why this movie feels like it should hit harder, mainly because it’s so timeless and easy to connect with, but it just isn’t.
Watching all of these guys be pissed-off by the fact that they don’t have the money to pay for their golf clubs or their Porsches really just seemed stupid and something I didn’t really care about. It gets even worse when some of these guys still feel like they can’t tell their wives, or the people around them that they lost their job. Yeah, I get that losing your job is sort of like losing an ounce of your pride, but there comes a point where you got to nut-up, shut-up, and get moving on with your life in order to make that moolah fall from the skies. Sitting around, pissing and moaning about it, and not even telling your wife why you don’t have the money for the mortgage, isn’t going to solve shite.
But to back away from a topic and theme I guess I don’t know much about since I’m not necessarily the hardest working-man out there in the world, let me go back to something I do know a lick about: movies. The whole idea of watching these rich people be sad by the fact that they can’t spend 500 dollars on dinners any longer, definitely didn’t work for me but I was able to get past it and at least try my hardest to look at the brighter-things in this movie, which didn’t seem to come to me right away. The problem I think I had with this movie stems from what and how writer/director John Wells tries to tell his story. He tries to show us that maybe, just maybe by going back to an old-school America is the only way we’re going to live and survive in this world, but he he shows us in the most obvious and predictable way that’s enough to make the people on the employment-line just scoff at.
Don’t get me wrong, it’s obvious that this economic crisis was a very, very depressing time for all men and women of America, but Wells shows how sad and depressing it is in the most conventional ways possible. For instance, Chris Cooper’s character is probably the best example of what I mean because when his character gets fired, he doesn’t just go home, act as if nothing happened whatsoever and go out there and try to make another living with his life, no, he sits at the bar all-day, gets hammered, throws rocks at the old, corporate-building he used to work-at, and tries to act like he still works there by slugging-around the same briefcase. Same example can sort of go for Tommy Lee Jones who finds himself banging-around with the same chick that fired him, and choosing her over his dearly, old-wife, mainly because he’s just depressed. I get it, they’re sad and when you’re sad, you do dumb stuff. Get on with it!
The only light and shiny material actually in this flick, is actually the performances from the characters that try their hardest to make everything work and in a way, succeed in doing-so. “In a way”, however. Ben Affleck has the main-spotlight here as Bobby and definitely seems fit for the job of a guy who loses it all, tries to avoid it by acting like nothing has happened, only to get slapped in the face with reality and realize that he has to do a whole bunch of crap he didn’t want to do when he was rich. His character isn’t all sympathetic to begin-with, considering that he continues to blow-off the idea of saving money and not robbing the bank, but Affleck works through it and does what he can with this role. His wife, played by the always magnificent Rosemarie DeWitt, is always supportive, but at the same time, also never seems to notice how much of a dick he’s being and as hard as she can be on him for not accepting reality, she seems very lenient in terms of actually telling him what’s up in the world. I get it, they’re husband and wife and they forgive each other over everything, but she doesn’t seem all that strong and loving at all, so why the hell should be that way when the guy’s acting like a dick? Ehh, I don’t get it.
Tommy Lee Jones is doing his usual, crotchety old-man shtick that never seems to run dry, even if his character even seems to get tired of it about half-way through and begins to get all soft and weak in the knees. Tommy Lee is a great actor so this weakly-written role doesn’t do as much harm to him as it does to others, but it’s still obvious that there should be more meat for us to chew-on with this character and his emotions. Chris Cooper has the most sympathetic character out of the bunch, but like I mentioned before, seems a bit too obvious in terms of where his story goes and why. Like Jones, Cooper is a great actor so it’s not that glaring, but still, he should be given more material that’s suited for his great, acting-self.
Maria Bello is always good with what she does and is fine here as the chick that goes around firing people, and instead, more or less comes-off like a person doing her job, rather than a monster out to get people’s hearts, souls, and above all, their bank accounts. Kevin Cotsner also shows up as the blue-collared, American worker that makes a living off of hanging up dry wall every day of the week and it’s definitely a fun performance that Costner has a blast playing, even though that New England-accent seems to be way too heavy, especially in the seems with Affleck. How the hell do you have a movie that takes place in the state of Massachusetts that stars Ben Affleck, and not have him doing a Bawhstan accent? Seriously, the guy’s made for it and if you don’t believe me, watch The Town and Good Will Hunting, aka, two movies that will probably inspire you more than this.
Consensus: The premise and themes are as timeless as they may come, but when it comes to delivering on those important ideas and thoughts, the Company Men doesn’t seem to succeed with a bunch of great actors, working in thinly-scripted roles that seem to be placed-in the right category of “Conventional”.
The Ultimate Battle: Salesman vs. Farmers. Let’s get’s it on!
Matt Damon plays a salesman for a major natural gas company (so stow the “propane and propane accessories” quote) who descends upon a small town to tap into it’s natural resources, but finds himself having a bunch of problems with the locals, especially by a grassroots campaign led by another man (John Krasinski).
The topic of “fracking” is an act that has been brewing-around for quite some time and even though there have been some documentaries that talk about it, here and there, it was only a matter of time until Hollywood got their filthy, dirty paws on it and made a motion-picture, cinema-trip out of it. However, I don’t know how “Hollywood” Gus Van Sant is now, but hey, he made Good Will Hunting and that counts, right?
In case you aren’t familiar with the term, “fracking”, don’t worry, the film will let you know, every, single 5-minutes, too. It obviously seems like an action that makes people happy and filled their wallets/bank accounts, filled to the brim with moolah, but also, destroys the environment around us and makes those pot-smoking, peace-loving hippies all uppity, uppity. However, knowing this before-hand won’t do you any good and to be honest, neither will this flick because all of it just really seems to hit you over-the-head until you can’t take no more. Matt Damon is obviously a very political guy that likes to have his thoughts and opinions heard for the whole world, but maybe his script that he co-wrote with John Krasinski and Dave Eggers was a bit too much for him, or anybody else to really muster.
Instead of making this movie just one, big “message movie” that likes to talk a lot about what it’s declaring, Damon and his co-writers try their hardest to make us feel like there’s another story here worth watching and feeling something-for, even though we are all being preached-at from the highest choir. That highest choir, just so happens to be A-list actors and producers that may know a thing or two about how to make a good flick, but don’t know a thing or two about how to make one that can coincide with the point/message you’re trying to get across. It becomes over-bearing and by the third time that Damon’s character states, “I’m not a bad guy”, you start to think otherwise because who would really go on and on this long about a topic and a solution that could have been figured-out in a 5-slide Power Point production.
However, a 5-slide Power Point production is probably how long, in-fact, maybe even less, this flick could have been predicted in. Right from the beginning, we know how it’s going to start, how it’s going to coast-on through it’s story, and sadly, how it’s all going to end and what revelations are going to be made by that time. Yeah, there are some nice twists and turns that Damon and co. throws at us for good-measure, and mainly in hope to keep our eyes awake and our minds attentive to what’s going on, on-screen, but doesn’t do much good other than seem obvious. The message is obvious and so is the plot and that’s why I’m so surprised that Damon even co-wrote an intelligent script like Good Will Hunting because all of that fun, all of that flair, and all of that emotional-truth that was stuck underneath that whole flick, is barely even seen here at all. In my honest to god’s opinion, it’s all because Big Ben wasn’t around, and instead, is off doing his own thang and making a name for himself. Take notes, Matt. Start directing movies and see how current and cool you can stay.
I will say one-thing about Matt Damon here with this movie, that even though his script may not work to the best of his, or the film’s ability in keeping us interested the whole-way through, Damon’s performance definitely does and the guy once again shows why he is the most dependable actor, working today. Damon’s character, Steve Butler, may have an obvious-route he’s going to drive-on about half-way through, but Damon still keeps you on-edge, wondering when it may actually happen and whether or not we are going to be able to believe it or not. In a way, we do believe it, and that’s mainly thanks to Damon’s top-notch skills as an actor, while in other ways, we don’t just because it’s so conventional, but you can’t go wrong with Damon and the guy knows how to write some great lines, even if the only great lines are for himself, and him only. That damn Matt Damon! He’s always so stingy!
Playing his enemy, of sorts, is John Krasinski as an ecologist that challenges all of Butler’s way of living and making a business. Krasinski rarely ever plays dark roles like these and it’s great to see him really work with that aspect of his acting, while also making sure to keep his comedic-abilities in-tact, as well. I wish that Krasinski was given more than to just fuck around with Damon, in a way that makes it seem like he stole his girlfriend after Junior Prom, but with what he’s given (that he practically gave himself, if you think about it) and what he’s able to do, Krasinski does a very nice-job at it, and I really hope the guy continues to take darker, more-dramatic roles like these because even though that face may always be smiling and shiny, there’s still some darkness that’s waiting to just latch-out from underneath.
Frances McDormand plays Damon’s cohort that seems to be non-other than McDormand doing what she does best: the cool, older gal that still knows what it’s like to be hip, with it, and always one-step ahead of the dudes around her, no matter what it is she may be dealing with. Maybe that was a bit too much of a lengthy-synopsis of what type of characters she usually plays, but it’s the truth most of the time, and it’s the truth here and it’s still fine and dandy with me, because the girl is good with the act. She doesn’t seem to have much more going for her other than the fact that she may just be the brains behind the whole operation when it comes to what it is that they do for a living and how they make their business, but McDormand makes the most of it and in a way, would have liked to see a whole movie dedicated to her, where she was going around and dealing with this personal and professional-crisis, rather than seeing dudes like Matt Damon go through with it. Boo the men! Yay the ladies! That’s how I look at it here.
McDormand isn’t the only gal that gets to show the boys a thing or two when it comes to acting, nope, that honor also goes to Rosemarie DeWitt as the wild child of this small, rural town in Pennsylvania, who also just so happens to be the hottest, single-teacher in the whole world. Not just PA, the whole damn world! DeWitt has been on my “crush list” as of late, and she’s great here, especially in her scenes with Damon who just goes to prove the fact that the dude can make any great chemistry, with anything, as long as it has tits and a vagina. Seriously, they are great together and if it wasn’t for the whole fracking-issue popping-up every 5-minutes, I would have probably enjoyed their scenes together a whole lot more.
The rest of the cast is pretty fine, even if it is a shame to see how little they are used here. Hal Hollbrook is great as the knowing, elder farmer of this small-town that knows what fracking’s all about, why it’s not good, and why he doesn’t like it. Rather than making Hollbrook the annoying and obvious voice-of-reason throughout this whole movie and have us dreading his presence, Hollbrook actually comes-off as a sweet and tender, old-man that has come to terms with the way the world used to be and what it is eventually, going to turn-out to be. It’s sort of sad since how this hits so close to reality and what better person to deliver this reality-check than non-other than Mr. Hollbrook himself. Seriously, when the hell is this guy getting that Oscar!?! Lucas Black and Scoot McNairy show-up here as well, as the resident rednecks of the small town and as good as they may be, are still a bit over-the-top in the way that they are type-casted as a bunch of dumb idiots that work on a farm and don’t give a crap about anything else other than the big olde bucks. I’m sure that some of this is true, but it doesn’t need to be seen to try and get a point across even more. Come on Matt! Come on John! You should know better! You get your caviar and champagne from natural food stores!
Consensus: The topic of discussion in Promised Land is definitely an important one and what Damon, Krasinski, and Eggers get-across about it is an important-one, but it constantly hammers you over-the-head with it, that you begin to lose a care for what they say and an even bigger loss of care over the predictable story, and what direction it goes in.
Kevin Bacon can still dance. Don’t be fooled.
Slick and cool kid from Boston, Ren McCormack (Kenny Wormald) moves to a small town where rock ‘n’ roll and dancing have been banned, and his rebellious spirit shakes up the populace. However, Rev. Shaw Moore (Dennis Quaid) won’t stand for it and he lets Ren know about it, every step of the way.
For all of you loyal readers and followers of DTMMR, you all may be a bit shocked to find out that I have never seen the original, Kevin Bacon headliner in it’s entirety. I’ve seen bits and pieces of it, including the awesome dancing-sequences that had me inspired for a day or so, but nothing more than just that really. However, apparently director Craig Brewer has seen it all, and loved it so much that it was the one movie to inspire him to make movies. That’s right: not Casablanca, not Citizen Kane, not even The Godfather, Footloose is the one movie that made this man inspired to make such flicks like Hustle & Flow, Black Snake Moan, and now, this remake of his old-school passion. It’s weird, I know, but hey, if you’re going to have a guy do a remake of a classic, have a guy that loves the hell out of the movie in the first-place do it. Then maybe, most remakes won’t suck nowadays.
The idea of featuring a town that actually “bans public dancing” seems a bit too 1984 the dog days of the 21st Century, but somehow Brewer has it make sense and seem a bit believable. This is a small, earnest town that all know each other, know whats going on, and have an idea of what’s best for the whole community. They aren’t some sort of small-commune that’s sheltered-off from the rest of the world because of their hard-earned beliefs of God, faith, and religion, even if those themes do hit-hard in where this story is coming from. Still, the idea of keeping the original premise in this updated remake isn’t as goofy, as well as a couple of other ideas as well, mainly because Brewer knows what does and does not work in today’s day and age.
Brewer, like his last two flicks before this, definitely knows how to work in a great deal of Southern-grit to his stories, no matter how wholesome or sweet they may be. For instance, the opening title-sequence where we see everybody’s shoes moving around, is a trick that was pulled-off in the original but updated in a more standard, gritty way that would be expected by kids of today’s generation, due to there being a crap-load of dirty, kegs, and beer being thrown-around as if somebody was throwing an old-school banger in the middle of the corn-fields. Oh, those were the golden days. Anywho, that’s not the only aspect of this flick that Brewer updates with his gritty look-and-feel, there’s a couple of other cool instances where we see how the world around us has changed to where these kids could easily want to rebel by dancing and sticking-up for themselves, but in the end, Footloose is about one thing and one thing only: cuttin’ loose and gettin’ foot loose.
No matter how much it may seem like Brewer is putting his own, personal stamp on this story, he still never forgets to remind us that this is a dancing-movie at it’s heart and core, and that’s all that mattered to me. Nowadays, dancing movies are usually recognized by two words: Step Up. But thankfully, Brewer shoves a little bit of his fist in the way of those movies and give us a great deal of fun and entertainment to watch, as all of these kids just shake their asses off like no other. The stunts, moves, and choreography are off-the-charts and as goofy as it may be to see a bunch of 18-year-old kids, dancing like Michael Jackson on crack at their high-school prom, you still can get past it and have a great-old time no matter what.
Also, to make matters even better, the soundtrack is awesome and definitely worth a listen. They start-off things so perfectly by keeping the old-school, Kenny Loggins track in the movie, and then start to dive-away from that and giving us a rawer, southern-bound edge to music, filled with the eclectic likes of David Banner, Quiet Riot, Zac Brown Band, and most surprising of all, and probably used the best: The White Stripes. Yeah, his days of giving Terrence Howard some key rap-tracks haven’t gone away in the slightest-bit, but Brewer still shows that he’s got a knack for putting in some cool-tracks, into scenes that you would not expect to gel so well with. Basically, when you put the combination of awesome music and awesome dancing together, you are bound to get some fun and entertainment, and if you do not for one second tap your toes to at least one second of this movie, you have no soul and need to get this soundtrack, ASAP.
As fun as this movie may be, there are a lot of goofy moments in this flick that seem so damn earnest and self-important with itself, that it’s just really hard to swing-by (see what I did there?). There are so many instances in this movie where I just had to roll my eyes by how silly things were, such as when Ariel, or lead-gal, feels the need to play chicken in front of train to show how much of a lost soul she truly is. That’s stupid, as well as all of the scenes with her deuchebag boyfriend named Chuck, who comes into disrupt things between Ren and Ariel’s hormones, and does exactly that, but yet, it’s annoying as hell. Whenever the guy shows-up, he’s just hammy, obvious, and way too violent for his own-good, almost to the point of where I felt like the guy made the story a bit too dark by some standards. Anytime he shows up, and this movie tries to get all serious and dramatic with me, I rolled my eyes, scoffed at it all, and pretty much didn’t care. But as soon as the dancing started-up and the music began to blast, then I just forgot about it all and had a fun-time. Isn’t that what dancing’s all about?
Casting this movie must have been a total bitch for Brewer, considering the guy has to fill in the shoes for so many iconic stars like Bacon, John Lithgow, Chris Penn, and even Sarah Jessica Parker, among many others, but he does a nice-job in picking just the right names, for the right people, no matter how well-known or unknown they are. Kenny Wormald is a nice-fit for the rebellious and cool kid known as Ren McCormack and handles a lot of the dramatic-stuff, just about as good as his amazing dancing. His infamous infamous “freak out” dance scene seems a bit like parody at-first, but it just goes to show you just how talented this kid is at shaking his rump, and hey, I gotta give him credit for that because lord knows I’d never be able to achieve that. I just hope that Matt Damon or Ben Affleck didn’t catch a glimpse of this movie, or else they’d have a thing or two to teach Wormald about doing an official, Bawhstan accent.
As good as Wormald may be as Ren, the one who really impressed the hell out of me was Julianna Hough as Ariel, the preacher’s daughter. Her character is the most obvious and predictable out of everybody here, but the gal’s still very, very talented when it comes to dancing and being sexy, but she’s also very good in the dramatic scenes as well that makes a lot of her pain and anguish seem real and reasonable. Sadly, I don’t think the girl’s going to get many dramatically-acting offers any time soon, but it’s always good to know that there’s more to her than just a pretty face, a nice body, and a couple of sweet-ass dance moves.
Playing her old daddy O, is non-other than Dennis Quaid who is terrific as the preacher of the little town of Bomont, that not only wants what’s best for his little town, but for his daughter as well. Quaid is good in this role because as much as he may seem like a bit of a stiff that doesn’t budge on anything that concerns going against the sacred book of God, you can start to see a change in him by the end that’s as believable or moving as anything the guy’s done in the past couple of years. Seriously Dennis, you need to get back-out there, man, and show the world what they’re missing-out on. Everybody else is in this movie is interesting, entertaining, and likable, but the only one that really seemed to struggle is Andie MacDowell as Shaw’s wifey. To most of you, this may come as to no surprise whatsoever, but it’s a bit of a surprise to me considering that this chick has been acting for over 30 years by this point, and still has yet to churn-out a good performance. What the fuck, Andie?!?!?
Consensus: Some moments seem obvious, tacky, self-important, and earnest, but in all honesty, it doesn’t matter all that much since Footloose is a fun and entertaining movie that shows some nice/believable character-development, as well as a love and passion for the original source material, courtesy of Craig Brewer.
See, Star Wars really did save people’s lives.
The movie is on the true story of a secret 1979 CIA mission during the Iran Hostage crisis in which six diplomats are rescued through a bizarre extraction plan involving a fake Hollywood film crew scouting locations for a sci-fi film named “Argo.” Ben Affleck stars as Tony Mendez, the real-life CIA exfiltration expert who came up with the idea in the first-place and has to find the strength and courage to go through with it.
Believe it or not, that silly-ass plot synopsis up there is a real-life account on a secret CIA mission that took place during 1979 to 1980 and may have you think, “just how the hell did the government trust Hollywood with saving the lives of six people?” Well, the truth is that Hollywood is good for many things, and not only is saving the lives of six people one of them, but reviving Mr. Ben Affleck’s career as well.
As director, Ben Affleck is basically three-for-three (Gone Baby Gone and The Town are his two other flicks), but this one is slightly different from those other ones as he is actually stepping out of his friendly-streets of Bawhstan, and upping his game by focusing on something bigger, and a lot larger-scale than from what we usually expect from this guy. The look and feel of this movie just put me right into a late 70′s/early 80′s vibe that not only set me in the right-mood, but never rang a single false-note to me whatsoever, even with all of the goofy mustaches, cars, and hair-do’s running around all-over-the-place.
But what really came as a total shock to me is how Affleck was not only make me feel like I was exactly right there with him in America during this time-period, but also made me feel like in the chaotic shit-hole of Iran during this time as well, and damn, was it freakin’ scary. Right from the start, we are put in this area of Iran that is just full of chaos and on the verge of collapsing, and Affleck shows this perfectly by splicing together his footage, with actual-footage taken at this time to create a realistic, if even scarier view-point of the setting where our main-story takes place in. It’s not only great in it’s realistic/very detailed look, but also how we are able to draw the similarities between the Middle East and the West’s relationship with one another, to then, and how almost nothing has changed whatsoever in the thirty-plus years since this whole “Argo” mission went down.
However, it’s not all about making a point and showing off the politics with Affleck, it’s more about the whole mission itself and that’s where most of the fun of this movie came from. The first hour or so where we are left following Affleck as he tries his damn near hardest to make this fake-movie every bit of legit as he can, is the most entertaining aspect of this whole movie, not just because it takes a lighter, and slightly, more humorous approach than the rest of the film, but because it shows you just how hard it is to actually get something made in Hollywood, regardless of whether it’s the next masterpiece or not. But, all of the hootin’ and holler soon starts to go away once the real plot of this movie kicks in, and that’s where I really started to feel the tension go up my spine and get the goosebumps working. This is where Affleck shines the most, by showing how capable he is of making you sweat your ass off, with every single, tense second that goes by. It’s worked in his other two films, and it sure as hell works here but not as perfectly.
The reason why the whole suspension of this film doesn’t work as well as Affleck’s last, two movies, is because we already know the story going on and if you haven’t already known, chances are, you’re going to be able to tell how it ends. Then again, that’s sort of the basis for all movies out there but when you have a movie that puts the whole aspect of itself, on the fact that you have to feel all tense and worked-up to really enjoy the whole movie, then you kind of have to wonder just when this movie’s time is up. I don’t know want to say that it got to that point for me, but there was a very heart-breaking point where I realized that, “okay, I already know what’s going to happen, so why the hell is Affleck wasting my time with all of these slow scenes and epic score bits?” But, I don’t want to give anything else away and trust me, if you don’t know the story going in, be ready, cause you may already know it from start-to-finish about half-way through. I did, and I think that’s where this film sort of failed in captivating me as much as I would have liked it to.
Then, it seems to get worse for Affleck as the guy doesn’t really stand-out as much with his performance as Tony Mendez. The problem with Mendez isn’t Affleck’s acting, in-fact, the guy’s pretty good when it comes to him showing his near-perfect comedic timing, as well as showing us a character that’s easy to root for, even when the odds are stacked up in his defense, more of the problem is that this character just doesn’t have much going for him that’s interesting or worth really standing behind in the first-place. Yeah, the guy singlehandedly comes up with this plan and is brave enough to go out there and finish it off himself, but he doesn’t really have much of anything else going for the guy. This is fairly evident when the film tries to shoe-horn the whole angle with him and how he misses his son and wife, even though they touch on it for about 6 minutes throughout the whole film, and then at the end, is supposed to have some big, emotional impact on us as we walk out the door. No, no, mister Ben. Not falling for it this time.
Then again, you have to give Affleck more credit because this even and plain performance, almost allows him to take a side-step to the left for the rest of his ensemble to show off and do their own thang unlike anybody else. Bryan Cranston shows up in his 100,000th movie role this whole year as Tony’s boss, and nails all of the snappy dialogue they give him, and his angry soul. I was hearing a lot of Oscar buzz surrounding Cranston and his role here and as good as the guy may be, I don’t really see it all that much since he’s not really stretching his skills as an actor by just yelling and looking mad all of the time. Still, it’s an act that I have yet to be tired of. Alan Arkin is also another guy that’s been getting a lot of buzz for his role here as big-shot, Hollywood producer, Lester Siegel. This buzz is deserved but I don’t really see Arkin getting a nomination, mainly because the guy doesn’t do anything else other than yell, scream, holler, and rant like the old man we all know and hopefully, love him for. Then, there’s John Goodman as real-life make-up artist John Chambers, who also seems to be having a lot of fun with his role and steals a lot of the scenes he’s in. However, the rest of the supporting cast is just filled, and filled, and filled to the brim with actors/actresses that you have most likely seen in about 1,000 other movies and when you see their faces pop-up here, you’re going to be going right up next to your buddies ear and say, “Hey, isn’t that the guy from that so-and-so movie?” Trust me, I did that plenty of times with my sister and I probably missed a hundred more because my mind would still be in heavy thought and not focused on who’s familiar face was going to show up next.
Consensus: Though it’s not as tense or electrifying as Affleck’s last two directorial efforts, Argo still works as a smart, funny, and entertaining thriller that covers a mission that not many people ever knew about, but was also a very important one by how it showed certain sides of the U.S. government working hand-in-hand with Hollywood in a slightly surreal, yet smart way.
Hey, that’s one way to stop obesity in our country. Make butter sculptures!
A young orphan named Destiny (Yara Shahidi) who, after being adopted by a Midwestern family (Rob Corddry and Alicia Silverstone), discovers she has an uncanny talent for butter-carving. She eventually finds herself up against the ambitious wife of the retired reigning champion named Laura (Jennifer Garner) in a town’s annual butter-sculpting contest.
Director Jim Field Smith surprised the hell out of me two years back when he showed-up with what was yet, another typical rom-com in the name of She’s Out of My League. What surprised me about this flick was not just how it was actually funny, it had some nice insight to relationships and the way dudes and girls are looked at when they’re both together. It surprised the hell out of me, even if the formula didn’t. However, Smith is right back to formula this time around and this time, it’s not so commendable.
The problem with Smith’s direction here is that he never seems to get as dirty or nasty as he wants to get. The satire is so freakin’ obvious it’s not even funny (seriously, it isn’t). Basically, by showing us this butter-sculpting competition, Smith is poking fun at corporate America and how they look at the world in their own eyes. Is it a smart idea? Of course. Is it executed well at all? Nope, not at all and I think the main problem with that is because Smith plays it a bit too safe with a story that could go anywhere (and sometimes does), but ends up going along the lame-o types and formulas we have come to expect from movies of this same nature.
Playing it safe is what bothered me about this film, but the other element that seemed to annoy me was how the story never followed a pattern. For instance, it’s comedy would seem to come out of nowhere and be that raunchy, dirty-type of comedy that pleases Apatow fans only, but then suddenly changes itself into a sappy, corny story about a young girl who’s trying to make sense of the world. At some points, it’s edgy, and at others, it’s plain and soft to the point of where you almost feel like they want to give you a hug. This comes in the way of all of these stories that never really seem to have any meaning, other than to just be there and make use of their big-names on the posters. Olivia Wilde’s character, as amazing as she may be here, still did not need to even be in the movie except for about the first 5 minutes were with her, so every other time she shows up, it seems like over-kill and Smith’s only way to get comedy out of a tired-plot.
That’s not to say that this film isn’t entertaining, because it really is and with the laughs that work, they really do work. The first 45 minutes or so work because it gets us ready and prepped-up for the whole butter competition, shows us the goofy characters, and gives them enough characterization to make us feel like we’re in for a big and wild surprise. Sadly, that only stays with us for about 20 minutes or so, but for those 20 minutes, I was laughing and had a good time.
The main reason why I laughed a good amount of times was mainly because of the cast and what they’re able to do with some caricatures. One of the biggest surprises of this whole cast was Rob Corddry who really dials it down here as Destiny’s adoptive father. What I liked so much about Corddry here is that there is a nice feeling of warmth and support in his character, that comes through in every frame. Corddry is usually that one guy in raunchy comedies that seems way too over-the-top to even be considered entertaining or funny, but here, he shows that it sort of just comes naturally to him and it makes me wonder what else this guy can do with his career. Maybe he can pull-off a drama in the near-future, or maybe he’s just going to stick to R-rated comedies that barely get him noticed as anything else but that crazy, loud bald guy that seems like he’s high all of the time. Maybe that is the case, but hey, I’m not judging.
The one star in this film that did not work-out as well as Corddry did for me, was Jennifer Garner as Laura. Here’s my thing with Garner, the girl is good when it’s her in drama, but when she tries to step her foot into comedy, she falls flat on her face and never seems to get up. That is exactly the same case we have here with her character, Laura, as she’s just another one of those self-righteous bitches, that nobody likes, nobody wants to see, and 9 times out of 10, doesn’t even laugh at because she’s so freakin’ evil. Laura isn’t as evil as the film may want you think, since the only real bad thing her character even does is lie, but Garner tries so damn hard to push her character to those bitch-levels, that it seems forced and never like Garner really has what it takes to make an entertaining bitch. She’s insufferable to watch and I think that Hollywood just needs to stop throwing this girl’s comedic-skills (or lack thereof) down our throats and just realize one, simple damn thing: Jennifer Garner, aka Mrs. Ben Affleck, is not funny! Never has been, and never will be so stop giving her big comedic roles where we need to laugh at her to enjoy ourselves. It just doesn’t work.
Consensus: Butter has some delightful moments and features a fine cast, except for Jennifer Garner who is annoying to watch and listen to, but never goes down to those deep deaths of hell that they call satire and decides to play it safe with it’ story and what it is essentially poking jokes at.
“He may be blind, but he can still see evil.” Maybe one, of the 100 cheesy blind references this film makes.
Attorney Matt Murdock (Ben Affleck) is blind, but his other four senses function with superhuman sharpness. By day, Murdock represents the downtrodden. At night, he is DareDevil, a masked vigilante stalking the dark streets of the city, a relentless avenger of justice.
Ever since ‘Spider-Man’ came out in 2002, it seemed like the superhero genre had taken off with almost every superhero known to man either getting a film, or in discussions for a film. However, I don’t really think that choosing a blind dude as your next big block-buster was the best idea.
Writer/director Mark Steven Johnson did a pretty good job here with keeping to the whole dark and gritty atmosphere. Right from the beginning, you know that everything is going to be pretty glum and depressing, which is always different to get with a superhero flick and it’s nice to actually see him stay close to that mood rather than trying to lighten it up all that much. The action scenes he has here are also a lot of fun and bring a great deal of eclectic energy to the film when it probably needed it the most. Yes, the are a little confusing to watch with way too many fast-cuts, but they still were fun to watch and really what kept me watching in the end.
The problem with this flick is that when its not sticking to its mood and the action itself, the film starts to get a little goofy and not in a good way. The film does take itself seriously so when you have these people that are moving, jumping, and swaying around a place like they were trained acrobats, it starts to seem a little unbelievable and cartoonish in a way. I mean I get that superheros are obviously a lot more trained when it comes to moving around than the average human but there’s only so much that I can believe and actually take seriously. Still, this is just one of the problems with the script.
Another problem with this script was that it obviously just seems a little too cheesy and poorly-written for my taste. I wasn’t going into this film really expecting a Shakespearean-like experience when it came to these characters speaking but I still would have definitely like to hear a lot less blind references and more focus on the actual plot itself. The lines, as well as the moments themselves, can get pretty cheesy after awhile but where it really bothered me was the romance between Elektra and Daredevil. They obviously have this fire between them that just strikes up sex, but the story never really allowed them to take that route with all of these melodramatic sequences where he would be able to finally see her through the rain. Lame.
This is what also lead into one of my main problems with this flick and that was it’s rating. The film is obviously a lot darker and grittier than a lot of other superhero flicks I have seen as of late but it still had to go for that PG-13 rating to interest all audiences, which is where I think the film itself messed up on. The violence definitely could have been a lot more dirtier and violent and the sexual tension between Daredevil and Elektra should have been so hot, that it would even have me poppin’ a b. I know that there is a version of this film out there that’s unrated, but I just think the film should have been R-rated from the start and at least take a shot at being a more grownup kind of superhero flick.
Ben Affleck bulked up very well for this role as Daredevil and he’s actually pretty good. He seems like a pretty simple, nice, and everyday dude that just so happens to be blind and still have the ability to knock the hell out of mafia members in a bar. Affleck did this character a lot better than I expected and it’s a shame that he may never do this character again because with a better script, he could have done wonders really. Jennifer Garner is ok as Elektra because she does what she can with this role, and the chemistry between her and Affleck was good (so good, that they now are married), it’s just that she gets some pretty crappy writing by the end of the flick and she’s not really the best actress to cover it all up anyway.
Michael Clarke Duncan is menacing and scary as Kingpin and he just feels like one of those villains that’s so mentally and physically powerful, that no matter what happens to him, he always comes out on top. Colin Farrell is also fine as Bullseye because he’s also a victim of some pretty bad writing as well even though he’s definitely an actor that is able to cover it up a lot better than Garner. Sorry Ben, please don’t kick my ass.
Consensus: Daredevil has a dark and gritty tone to go along with it and action scenes that contain plenty of energy, but the script is written too poorly to be any different from any of the other superhero flicks, except the fact that the superhero himself is a blind dude. I also think that this is one of the very rare, superhero stories that could have at least benefited from an R-rating.
Donald Trump better watch his men extra close now.
When a group of workers at a ritzy Manhattan condo realize their boss has swindled them out of their pensions, they vow to reap their own justice. With the cooperation of the building manager, the group devises an ingenious plot to recover the funds.
When I first heard of this film and saw the trailer, I thought it was going to be good because it had the return of Brett Ratner and Eddie Murphy. But then I thought about it, and I realized it was the return to form of Brett Ratner and Eddie Murphy I was talking about but this is certainly nothing like the pieces of shit they have turned out recently.
This is basically the concept of the “Ocean’s” films but with a sloppier cast of characters and a high-rise building in Manhattan but it’s not all that much different. The film is very funny and had me laughing a lot but there are also other times when the film gets a little bit serious about getting back at the ones who have made your lives miserable. In some sense the film feels a bit uneven because of this but regardless I still had a fun time laughing my ass off as what all these characters were saying.
The film doesn’t seem like it would be original or new in any kind of way, but it actually is a bit original which provided a lot of enjoyment for me. I love heists, and I love comedies when they are done right so when they put these two together for this film, everything just felt right. I liked how they had all of these buffoons who had no idea really how to rob or steal anything, so basically the whole film just shows you exactly how real people would act if they were put into these types of situations that go from bad to worse to sometimes perfectly executed. It’s a whole lot of fun to see this and it was definitely more original than another “heist/plan gone wrong” film ‘Horrible Bosses‘.
I think the real fault of this film is that it did so well in keeping me laughing as well on the edge of my seat the whole time, that the film sort of starts to fall away from the comedy and be more about the heist itself. It may seem weird that I had a problem with this because I was still enjoying myself, but I still thought that they could have done a little laugh here and there, but instead just totally focused on the action and heist at hand. However, I was very surprised by how well Ratner did with the action and kept the film moving at a fun pace that never really stops to just sit and get emotional.
Eddie Murphy is not the best part of the film as Sly, but he is one of the better parts because he is just so funny here and almost makes you forget about all of the dumb-ass family films he’s done in the past decade. I was glad to see Murphy go back to his old-school roots and finally be that snappy-ass, crazy, and always funny black dude that you don’t wanna mess with because he’s always too smart and too cool. Murphy made me laugh every time he was on screen and I thought this was a perfect choice as Sly and hopefully he continues to do cool stuff like this.
The reason he may not be the best is because I don’t think the film used him as much as I was expecting. In the first act, he shows up only a couple times, then he totally takes over the second act with every line he says, but then by the end of the film, his character’s resolution is just sort of just left there and almost like he was forgotten about, considering he was probably the most memorable out of the whole cast. This was a shame but I still will say that Murphy owns this role and every chance he gets with it.
The rest of the cast is hilarious and all of them do well. Ben Stiller is good as the usual average Joe, named Josh; Michael Peña fills a lot of comedy when Murphy isn’t around, and he does it well like I expected; Matthew Broderick is maybe the 2nd funniest by how random the things that his character says, and how almost everything he says has nothing to do with the heist really; and Casey Affleck is surprisingly very funny as well as Charlie, but I still can’t get over Ben. Alan Alda is the man in this role as Arthur Shaw, and he’s almost too likable to actually hate him. However, Alda is so good at playing villainous roles that he can make the worst son-of-a-bitch seem just a tad bit charming. The girls in this film are also good with Téa Leoni playing the FBI agent, who has a hilarious drunk scene with Stiller; and Gabourey Sidibe is also funny with her Jamaican accent that seems fake, but still had me laughing just because her character is so damn funny.
Consensus: Tower Heist may seem a bit uneven, but it still has a very fun feel to it with goofy comedy, fun performances from the whole entire cast, especially Eddie Murphy, and a story that actually entertains with some very funny moments.
Shows that the dudes who clean the toilets in my school, aren’t as dumb as they seem.
Will Hunting (Matt Damon) spends his days as a janitor at MIT, but the aimless young man is also a mathematical genius. So when his talents are discovered, a therapist (Robin Williams) helps Will confront the demons that have been holding him back.
Good Will Hunting is directed by Gus Van Sant and right away you can tell that there’s going to be a little quiet, and subtle indie-feel to this film, but since it’s not written by him, it doesn’t go in that direction it goes plenty of other places you wouldn’t expect.
Ben Affleck and Matt Damon both wrote this screenplay, which actually won an Oscar, and it was their first script ever written! I like the script because there is a lot of great one-liners and quirks here that will have you laugh with this story and enough truth about life here as well that will open your eyes to a lot of what is being said here. My problem with this script and the film as well, is that it does get overly sentimental at times and gets too carried away with it’s dialogue.
It’s hard to describe but there are times here that a lot of the things that are said here, just feel like long speeches that just seem overlong and not needed. This is about over two hours and for that time limit I was entertained but I have to say that there were many times where some of this could have gotten knocked down, because there were just too many speeches that didn’t need to be used, mainly because they didn’t feel like it was actual conversation between these characters, it was more of just verbal diarrhea. But for a rookie job at writing a screenplay, these two kiddies do a great job of creating a story that keeps you glued in.
Many times with plenty of Van Sant’s films, I feel like his direction and style can sort of get in the way of his story, but here it’s different. He just lets the story tell itself off for once and provides beautiful images of Boston during the “falling leaf” season. Let’s not also forget to mention Elliot’s Smith’s amazing score/soundtrack that adds perfectly to the overall feel and nature of this film. If you’ve never heard of him before, watch this film and you’ll see why he’s a great musician.
The characters in this film are fleshed out so well here and the performances add a lot to that reason too. Matt Damon is perfect as Will, the troubled working class man who needs to address his creative genius and with almost every scene shows why he is the real reason why Will is so likable. Damon has that cocky and smart attitude that makes Will seem so witty but he also has that emotional depth within his acting that makes him so damn vulnerable as a character. Robin Williams won an Oscar for his performance as Sean and shows why he should just stick with dramatic roles. The scenes he has with Damon are just about perfect and fully add up to the whole drama effect that this film gives off. Ben Affleck is good as Wil’s best buddy, Chuckie, and Stellan Skarsgard ain’t that bad either as Will’s math professor at MIT, Lambeau. Minnie Driver is good here as Will’s main squeeze, Skylar, and although her accent isn’t that good, she’s still equally as likable as the rest of the dudes here.
Consensus: Some toning down was needed here and there, but Good Will Hunting is still an emotional and at times witty tale of being the best to your ability, anchored by great performances from the cast, as well as a great first-time script job from Damon and Affleck.
If this was the true story of the Bible, I would love to go to Church every Sunday.
Fallen angels (Matt Damon and Ben Affleck), a gnarly demon (Jason Lee) and a half-baked apostle (Chris Rock) walk among America’s cynics and innocents and duke it out for humankind’s fate. A modern-day battle against evil takes place in suburban New Jersey, after an abortion clinic worker (Linda Fiorentino) gets a higher calling from two clueless prophets (Jason Mewes and Kevin Smith).
Writer and director Kevin Smith is one of my favorites and always seems to have something to talk about, except for maybe Cop Out. This one isn’t as amazing as people say, but it’s pretty balsy altogether.
Smith took on a lot of risks here talking about God, religion, apostles, Catholics, abortion, as well as plenty others and he does a relatively good job at talking about all of these themes in a funny way, without insulting anybody which I was not expecting. In a comical and thought provoking way, Kevin Smith was trying to present the idea that most of the masses are sheep when it comes to religion…that they are going through the motions and consider themselves religious because they do what they are supposed to do: go to church, confession, tithe, etc.
The film is still very funny because you still have a lot of the juvenile humor Smith is known for, and the satire of cosmic errors work well also, but this just didn’t keep me laughing like his other pictures have. I had a lot of chuckles here and there, but with his other films, I was laughing my ass off right away and even if the plot was a little bit weak, the comedy was still there to keep me entertained. The plot here is a very smartly thought-out one but it soon starts to drag on and it becomes less and less fresh and more of just a reason to have a lot of conversations about faith. Also, the ending is pretty weak because then it starts to get very strange and actually serious which kind of struck me as odd considering you have Jay & Silent Bob there the whole time. I don’t know it just seems to me that it could have been a lot funnier than what I was given.
The huge ensemble cast is what really brought the laughs out though. I loved watching Matt Damon and Ben Affleck play off of each-other the whole time as Bartleby and Loki. Linda Florentino is OK here as Bethany, but I don’t think really did well with her lines and kind of looks like she’s sleeping through the whole film. I don’t know what it was about her, but her performance just annoyed me. Salma Hayek is funny and sexy as Serendipity; Jason Lee does a good job as the evil Azrael; Alan Rickman is the one guy who brought out the most laughs as Metatron, the voice of God; and Chris Rock was a riot as Rufus, the 13th Apostle. Also, let’s not forget Jay & Silent Bob who are always hilarious with everything they do. Lastly, George Carlin as Cardinal Ignatius Glick is a classic bit of casting.
Consensus: Dogma has it’s fair share of laughs and provocative themes about faith and religion, which Kevin Smith takes on so boldly, but isn’t as funny or nearly as entertaining as his other pictures, just clever in it’s own little way.
Maybe if I start boning chicks too, my writing will somehow get better.
Young Shakespeare (Joseph Fiennes) is forced to stage his latest comedy, “Romeo and Ethel, the Pirate’s Daughter,” before it’s even written. When a lovely noblewoman (Gwyneth Paltrow) auditions for a role, they fall into forbidden love — and his play finds a new life (and title). As their relationship progresses, Shakespeare’s comedy soon transforms into tragedy.
Many people will always bash on this film because they don’t think it was quite deserving of the seven Oscars it got, including Best Picture because it beat out one of my favorites, Saving Private Ryan. But at the same time, I can kind of see why now.
My favorite element of this film is the combination of the witty script, and inspired direction. The script has many little jokes inside the core of it, and it may be hard at first to catch the real wit within this script, but once you get the hang of the jokes, they will have you howling. There are many references to some of other Shakespeare’s work, but also some other ironic jokes that will have almost anybody laughing. This is basically a reworking of a period of history, and in ways you have to suspend all disbelief and just go along with this film, and I promise you if you can, you will not be disappointed.
Director John Madden does a great job of keeping this film at a very quick, and fast pace to have us get a feel for this rowdy environment that this film takes place in. Madden makes this film look perfect with it’s vibrant sets of color, decorations, and costumes and I felt like I was there with all this happening. Beneath all this comedy though, there is a beautiful love story that shows the importance of art, and poetry. Being a writer myself, I know what it’s like to have inspiration in my life and for my art, and I must say that this film did touch on that well here and gave us a reason to believe that this love really was something special. However, Madden still finds fun with this screenplay and does not hold back from getting a little goofy, which just makes this even more fun.
My only gripe with this film is that even though I liked the humor and romantic elements to this film, I felt like when they were combined together in this film, it kind of gave this film an uneven pace. There are moments of this film where it’s going all-over-the-place, and kicking jokes out of the wazoo, but then they get to the romance parts, which are sweet, but they kind of take down all this energy. I don’t know what it was, maybe it was something with me, but either way I just wish the film kept up that quick pace and didn’t slow down when it started to get all kissy face.
I think the main reason this film worked so well was because of its truly amazing ensemble of a cast. Gwyneth Paltrow plays Viola De Lesseps, in an Oscar-winning role, and she deserved it because she really is amazing here. She plays Viola with such strength, and presence that you feel her love and heart through every scene she has and I must say it makes her character so much more interesting than anybody would have expected. Joseph Fiennes fits perfectly as the poster boy for William Shakespeare, as he has both the charm, and the looks to back up his act and make Shakespeare a very likable guy in this film. I still do think he should have at least gotten a nomination for his work in this film too. Geoffrey Rush plays Philip Henslowe and does a good job at always bringing that nutty side to every one of his characters. Judi Dench is only in this film for about nine minutes but somehow won the Oscar for Best Supporting Actress, and this caused quite an uproar. Dench is perfect as Queen Elizabeth here, and brings out that total bitch-mode we all know and love her for, and does a great job with the limited time she’s given on-screen. The rest of the cast is good as well with the likes such as Colin Firth, Tom Wilkinson, Simon Callow, and hell even Ben Affleck does a good job too.
Consensus: The pacing may be a bit off, but Shakespeare in Love is an amazing romantic comedy, that has hilarious and sweet screenplay, that provides great attention to detail, as well as perfect performances from the cast, that just allow you to be entertained and have a great time while watching no matter how much or how little you know of Shakespeare.
It’s weird when somebody says they have retired from the film industry, so they go out, and star in a film.
In 2008, Oscar nominee Joaquin Phoenix walked away from acting to pursue a rap career, an inexplicably bizarre detour captured in stunning detail in this documentary directed by Phoenix’s brother-in-law, Casey Affleck.
This is a movie I really need to think about. But not in the way that I was expecting. I was one of those people who talked about the Joaquin Phoenix interview on Letterman a year back, wondering if he was for real, or if we were all on a big prank? Well stop reading if you want to remain in mystery.
It’s all a fake everybody.
And the problem I had with this film was that it’s dumb-ass Director, Casey Affleck (no Ben that’s for sure), had to just tell everybody right away as soon as this was supposed to come out that this was all a hoax. I don’t know why, he couldn’t have waited till the DVD release, because when you have a film like this, you want it to be so unique, that everyone will be talking about it whether or not it’s fake, but when you tell people that it’s not real, you take away all the mystery, and isn’t that what going to see a movie is all about. So this ruined my watching experience in a way, because everything I saw, no matter how entertaining, and different, I just never got fully caught up in it, cause I knew it was all just a big joke, that never took me by storm as I wish it had.
However, there are some nice little touches this film did. I liked seeing how Phoenix made a lot of his scenes with other people, very strange, awkward, and just plain old weird, but I was fascinated watching. I also liked how Affleck captured the media storm that was focused on Phoenix the whole time, as he was being this huge nut ball.
For some viewers, heads will be turned away from the screen at time, cause there are countless penis shots, sexual encounters, and out of nowhere, crapping on people’s faces. That’s right I’m talking about a film about Joaquin Phoenix, not a Jackass movie. It also brings up plenty of questions of celebrity, reality TV, and the media, but none of them are ever answered, and it just leaves us unsatisfied.
If you honestly want to see this film, watch it for nothing more, than to see Joaquin Phoenix act his ass off. Watching him on screen, the whole time, seeing him interacting with all these celebrities, and sometimes real people, was so surreal, and being a Phoenix fan myself, it was cool to watch him. You see him as this crazy dude, that acts out in public, but then you see him confessing the way he acts, and why he does the way he does, and it’s all very good, but not too emotional, since I basically knew it was all a hoax. But as a rapper, he’s good at getting high, but when it comes to the actual skill, and flow with rapping, he doesn’t quite have “it”, but he’s not terrible, and at least tries. There’s also some nice little spots by P. Diddy, Antony Langdon of Spacehog fame, Ben Stiller, and a surprisingly touching scene with Edward James Olmos. I miss that dude!
Consensus: It is really a hard piece to watch and enjoy, considering you know it’s a fake going in, but Joaquin Phoenix is good enough here, and it was nice to watch some parts of this film play out the way they did, but it just didn’t answer all the questions I would have hoped it did.
I guess we can’t be making fun of big Ben anymore.
Career bank robber Doug (Ben Affleck) and his volatile partner, Jim (Jeremy Renner), hit a roadblock when Doug falls for bank manager Claire (Rebecca Hall), whom he kidnapped during their last heist. Worse, an FBI agent (Jon Hamm) is now trailing the thieves around their Charlestown, Mass., territory.
Ben Affleck has always been a guy in film, that stars in some pretty good movies, and then stars in some completely shit movies. But now that he has started directing, writing, and starring in his own material, it raises a lot of questions as to whether, he can actually do it all, and do it all well.
This is Ben’s second time behind the camera, and he shows that the first time, Gone Baby Gone, was no fluke. He is very good at creating suspense, and directing the hell out of action sequences. The heist scenes are some of the best I have seen in awhile, cause he keeps the camera on all the action that’s going on in this one particular event, and doesn’t go all over the place, like what most action directors in today’s world do.
This film is also a romance story, and it actually works considering it’s stuck with this heavy-action genre. Ben knows how to balance out the film with real emotional, and overall touching scenes, but knows how to put the energy one when it comes to his action scenes, and well, it doesn’t feel forced, and works well with the story at hand. The screenplay works well here too because it brings out a lot strong central themes, in the midst of all the havoc. These people are trapped in their own, little world of crime, violence, and hopelessness.
My one complaint about this film is that it is kind of formulaic, because it’s a lot of a bigger budget, and you can already tell what’s going to happen. Don’t get me wrong, there were plenty of moments where I was on the edge of my seat, much thanks to Ben, but then there were also other parts, where I knew what was going to happen, mainly because I have seen plenty of heist films, and usually they are always the same thing.
I liked how the characters were all so realistic, and basically three-dimensional, so you actually did care for these people. Ben Affleck comes together as an actor with this film, as he gives off a lot of emotional scenes, because his character is stuck between his friends, and his girlfriend, which creates a lot of stress for his character, and you can tell by his performance. Jeremy Renner is perfectly cast here as the bad-ass, gun-slinging, punk. But he plays it so well here, he doesn’t over-act it, and when he’s on screen, you just feel uneasy, because you never know what he’s going to do next. I hope by awards time, I see him again on that ballot. Rebecca Hall is a very sweet character, that we do like when we first meet here, and through plenty of poignant scenes with her and Affleck, we care for her, and their relationship. Jon Hamm does well here, playing the main cop, that does whatever he can to catch these guys, and I don’t know if Affleck meant for us to dislike him or not, but I sort of did, but that’s not really a bad thing, it made his character more watchable. Blake Lively is also in this playing a trashy, disgusting looking whore, and does a pretty good job at it too, and I actually may start to take her more seriously as an actress now. Chris Cooper is only in one scene, but he does such a good job, and it reminds me as to why he did win that Oscar so long ago. Pete Postlethwaite has good scenes here, showing his character in a lot more menacing way than I was actually expecting. Very good ensemble, that all know how to act out their own respective characters.
Consensus: Directed with plenty of suspense, and thrills, to keep you on the edge of your seat, and excited, as well as provide a great character story, that has even better actors attached.
Who would actually win in an actual fight to the death???
Ben Affleck and Samuel L. Jackson star in this drama about an egocentric attorney and a recovering alcoholic salesman whose lives dangerously collide when their cars crash on a New York expressway. After the accident, corrupt lawyer Gavin Banek (Affleck) discovers he’s left behind an important file with the other driver, Doyle Gibson (Jackson). But soon anger erupts, and a vengeful game of one-upmanship threatens to ruin them both.
This is a movie that has a point, and it’s point is about ethics. Both men are on two different sides of the food chain, but they still have so much in common despite this. Their both legitimately good people, with obvious flaws, but when their put together to fight, because of one silly incident, there is no limitations to what they can, and will do to each other.
The writing is top-notched because it shows the constant morality with real life. There are several moments where these men do stuff, when they could have acted better, but instead, they go for the most vicious thing, and the effect is always negative. That’s how life is, one bad thing you do to another, will always turn out to be bad for you as well. There is no happy-happy with this film, it’s just two guys trying to find some light in all the darkness, even though their may not be any at all.
I thought the film was directed well, but in a way it had way too much of a big budget. The camera is always flying around all over the place, and for me, I thought it deserved, in order to be even more tense, defiantly a lot calmer. Also, when it comes to their being a better ending, this film could have had it, with all of the other powerful stuff going on, I could have been given something a little bit more challenging, then what I did get in the end.
At the inner core of this film is really its performances. Ben Affleck gives one of his best dramatic performances, playing the kind of deauchy character were so used to seeing him as, but this time it works to his advantage, because we actually can sympathize with him when we need to. Samuel L. Jackson, is even better, playing this tragic character, that in every scene we can feel the anger, and rage within him, and when he snaps, oh we do know he means business. There are other notable supporters in this film such as Richard Jenkins, Sydney Pollack, William Hurt, and Toni Collette. But surprisingly the best of the supporters that has a very emotional and touching scene is Amanda Peet, who comes from out of nowhere and provides us with a true, and utterly brutal scene about love. Always still think her best is Saving Silverman.
Consensus: Changing Lanes has way too big a budget for its material, but its used well, with perfect performances from the cast, and a brutal, yet true screenplay, about the morality we face in life every day.
If only my girlfriend was a lesbian. Then things would be very interesting.
After comic book artist Holden (Ben Affleck) falls in love with the perfect woman, Alyssa (Joey Lauren Adams), he discovers she is a lesbian in this comedy from writer-director Kevin Smith. With no help from his friend, Banky (Jason Lee), Holden tries to make a relationship with Alyssa work. Although Holden knows Alyssa cares deeply about him, her homosexual past may conspire to come between them and ruin everything.
Look at every film that Smith has written/directed, and compare it to this. You’ve got Clerks, Mallrats, Zack and Miri, Clerks II, Dogma, Jay and Silent Bob Strikes Back, and Cop Out. There are all crazy, stupid, and raunchy comedies, this is the farthest thing from.
Kevin Smith has always been perfect with showing how real people actually speak, especially when it comes to talking about dirty shit, but with this he explores more into the world of sex, love, and desire. Yes, there is that occasional raunchy bit, but Smith never gets too wild with it to the point of where we lose main focus of where we’re at. We see and hear the sexual politics that go into both sides of the sexual desire, and gender, and both sides are equally understandable. The insight is huge, and it all seems to realistic to be from a movie by slacker Kevin Smith.
The film shows us how we look at sex from one gender to another, and can either see it as something wrong, or something that has to do with love. We are always quick to judge somebody or something for what they love, or do, and never to get down to the core of what love really is. This point struck a huge core with me, and it moved me as the film went along. Smith doesn’t just badge the other sex and stay with the guy’s point of view, he gets sensitive with his points and never seems like he’s ranting or telling us how we should treat others, he’s just simply showing us the world we live in where sexual criticism is around every corner. There is also some big points on friendship brought up, and how far it gets to a point of where it actually may become something more. Smith never lets loose of the brutal reality that we face when we are in love, where we start to alienate others, and we focus on the big mistakes our lover has made in their past. We sometimes never see a person for what they are in front of our faces, but what they did in the past, and as sad as it may be, I know I have defiantly done that in the past.
However, despite all this raw and emotional stuff about love, there still is a lot of comedy, and humor that will have you chuckle. Theres crude dialogue, blunt descriptions of sex, and obviously an overkill of Star Wars and Comic book references, but it all pertains to the story, and shows how all these people live, and makes the subject material go more deeper and more accessible.
The whole cast, that was fairly un-known at the time, does a great job here. Ben Affleck in the main lead, as Holden, is kind of a deuchy character to begin with, but after awhile you get to see him as somebody more. There is one scene that really does show off his great emotional strive he can go into as an actor, where he is telling his love for Alyssa, and it seems so true and genuine. Joey Lauren Adams is perfect with the bisexual Alyssa. Her high-pitched voice may get annoying with some characters, but with her it adds on a lot more to her likability as female lead. She’s funny, raw, and overall very confused, just like any other woman in her shoes would be. The chemistry her and Affleck have feels genuine, and as the friendship builds up, you can feel the love between these two also build up. Jason Lee is also great as Affleck’s best friend, who is funny, but also jealous in a way of Affleck and his love for Alyssa.
I just wish there was so much more I could tell you how much I loved about this film. It will take you by surprise by how loving, touching, insightful, funny, and moving it really is. There is so much to see here, but don’t take my word for it, get out right now and go and see it.
Sorry guys no consensus, this is just too great for that.
Make note not to watch this when looking for relationship advice, read the book instead.
Jennifer Aniston, Drew Barrymore and Scarlett Johansson lead an all-star ensemble cast of characters dealing with the pitfalls of love and human interaction in this big-screen adaptation of Greg Behrendt’s best-selling book. Set in Baltimore, director Ken Kwapis’s film moves swiftly between a host of storylines brought to life by a stellar lineup of actors that also includes Jennifer Connelly, Ben Affleck, Ginnifer Goodwin and Justin Long.
The film is based off a advice book on relationships, which get this, was written by a dude, Greg Behrendt. I never have read the book, and really have no inspiration to read it anyway, since I’am just so P.I.M.P. But after watching this, never will I read it.
I had a huge problem with this film cause I could just tell by the trailer, that every single romantic dramedy cliche was going to be used. At points, the film did grab me with a couple of good points about relationships, and dating, but they were just all taken down by the obvious, “these two live happily ever after ending.” Even though some, do end up with no one, but i can’t give too much away.
This film just proves that bigger, is not always better (non-sexually). The cast is filled with a lot of great attractive stars, however none of them feel real. Just watching half of these people interact with one another just felt like they were phoning in every second just to get the huge paycheck, that will have an even better payback, cause the box-office would be so high. Only a couple of exceptions of the acting would be Jennifer Aniston who gives one great emotional scene, and Jennifer Connelly, who once again, is breaking mirrors. The best here is Ginnifer Goodwin, who is very funny, and quirky, but not without being very true to the type of character that it looks like the script wants her to be.
There are funny moments too, its just not that their funny enough. There is a really dry spot in the middle, although it does hold your attention for about 1/3 of the movie, even though it drops it later.
Consensus: He’s Just Not That into You, could have been an important film about relationships, instead is dry, cliched beyond belief, and has some charming performances, but most seem wooden.
I wish crap like this was going down in my mall, or I’d be there everyday of my life.
Young, suburban every men Brodie (Jason Lee) and T.S. (Jeremy London) lose their girlfriends on the same day, so they take to the mall in search of solace in writer-director Kevin Smith’s (Clerks) comical look at love and loss between the escalators. Ben Affleck co-stars as a smarmy clothing store manager, while rabble-rousing regulars Jay (Jason Mewes) and Silent Bob (Smith) are the icing on the cake in this offbeat treat.
This film was one of those cult followed films that I saw as a kid, understood a little bit of it, and laughed, without knowing what I was laughing about. We don that a lot as kids? But watching it now I laughed a little bit more, but not too much.
Obviously the first thing to credit in this film is the writing from writer-director Kevin Smith, who is also playing Silent Bob. He uses that inventiveness when it comes to quotable and witty dialogue, that came right from Clerks. I mean “critics” hated this film because it goes over-the-edge at times, when it actually does, but there are still a lot of little funny jokes about the media such as comic books, and surprisingly true tales about love and what we do when its gone. The writing here is definably not as quotable than Clerks, but certainly is something to laugh about once the thought of the movie comes to mind.
Also, another thing the film has going for it, which Clerks did so well, was that you were there in this shopping mall, and it is a really kick-ass time. You feel like your with these guys as they roam around the mall, looking and talking about random shit, or Jay & Silent Bob trying to get their masterful trick of destroying the TV show set to finally work, and as they run away from the cops. Your glad your with them on this ride, and for some reason, you just wish that you were there with them in real life, instead of watching this happen through a screen. :’(
The one thing I will say negatively about this film is that what “critics” complained about the film is true, the bigger the budget, the worser the movie. I think that Smith was given lots of money to do this film since he was so successful with Clerks, and he just did all the shenanigans that he always wanted to do in his movies, and I just felt was obvious, and too stupid, even for this movie. I also felt that at times, the film does for some reason get randomly dirty, and why? Hell, I don’t even know, but that’s just Smith’s trademark, even though it may be off-putting sometimes.
The cast here is exceptional. Jason Lee as Brodie gives a very funny and iconic performance, because his character is hilarious, and Lee just has that comedic timing that works so well in a film like this. Jeremy London as T.S. is also the man, showing even though he’s serious throughout the whole movie, he’s still a cool cat too. But the random little side performances are even better too: Ben Affleck is funny in his deauchy kind of way, Shannen Doherty is a funny bitch what else is new, and of course Jay and Silent Bob steal the show. Oh and must I not forget the funny Stan Lee cameo, that guy has so much humor its not even funny! (yeah that was bad, I’ll stop there)
Consensus: Though its not Smiths best, and surely doesn’t measure up to Clerks, Smith’s sophomore debut Mallrats is still a funny, if too edgy comedy, with insightful nuggets about love and comics, and good performances from the cast.
God, I wish I partied in the 70s.
Director Richard Linklater takes an autobiographical look at some Texas teens (including Ben Affleck and Matthew McConaughey) on their last day of school in 1976, centering on student Randall Floyd (Jason London), who moves easily among stoners, jocks and geeks. Floyd is a star athlete, but he also likes smoking weed, which presents a conundrum when his football coach demands he sign a “no drugs” pledge.
The film is basically set around a bunch of high school kids, on the last day of school, just partying, smoking weed, and getting drunk. All sounds stupid, but somehow its not at all.
Linklater is probably one of the best writers in the business we have today. He makes all these different types of characters, seem more than the image their given. This movie feels exactly like high school, and just by the way these kids talk. You sense the realism within the characters when they talk about anything from drugs, women, cars, etc. You see how everybody interacts with each other and who’s cool with who. Not only does he capture the essence of the spirit within these kids but also the sense of boredom in their small town.
The film captures so much spirit and life its hard not to be jealous. You feel the world that these kids live in, and you actually want to be there. They have so much fun so little time, but in real life they still have problems. That is what brought out the humanity in this film and when it actually becomes realistic by how sad these kids are running their lives. You felt like you were with these kids the whole time this partying was going down, and you kind of wish you were with them. The rocking soundtrack consisting of wonderful 70s rock classics just make this film even better and add such a fun taste to the film, as if it wasn’t already.
I felt like the hazing idea of seniors beating on freshmen was a little too over-played to the point of where it was just boring. I mean I could only believe in this story of seniors doing this for so long until it became a bore for me, and then I actually wondered: are these guys bored too?
The whole cast is so great, and so young that you can just spot up-and-coming stars with these performances. Jason London brings a lot of humanity to his character, also with Adam Goldberg the nerd that has heart. But the two best and probably funniest in this film for me was definably the two great stoner characters. Rory Cochrane as Ron Slater is very funny, and I can see where James Franco got his character from Pineapple Express from now. But honestly he is no match for the greatest of all-time, get ready for it, Matthew McConaughey. That’s right people McConaughey is simply the funniest part in this film, with so many great lines, you just want to jump in the screen and just stand right next to him and taste the coolness. He is such a great character that Linklater creates, that I have to give him as one of my favorite of all-time, yeah I just went there. There are also funny little young performances from Milla Jovovich, Cole Hauser, Joey Lauren Adams, Parker Posey, and of course a funny young performance from Ben Affleck.
Consensus: Dazed and Confused is a 24-hour period tale that is filled with such rich dialogue, a great rockin soundtrack, and wonderful characters and performances that you don’t want this party to stop.
I actually like Shakespeare now because of this film.
What if a penniless William Shakespeare (Joseph Fiennes) fell in love with a noblewoman (Oscar-winner Gwyneth Paltrow) while struggling to write a comedy with the unlikely title “Romeo and Ethel the Sea Pirate’s Daughter?” Might the emotional turmoil inspire him to recraft the play into a tragedy with a more familiar-sounding name?
I mostly heard of this film before, because at the 1998 Oscars it beat out one of my favorite movies of all-time, Saving Private Ryan, for a the Best Picture Oscar. I was ready to see this film and tear it apart because I thought it was bogus that this ended up winning. But now that I’ve seen this I don’t know who deserved to win.
This is a wonderful film in all ways possible. Director John Madden really does create this vibrant fun new world filled with love literature, and most of all Shakespeare. Most of the characters and the events that happen are mostly fictional, but Madden does such a great job at showing how it all comes together at the end, and you have a great blend of mixing fiction with reality.
The most props of this film have to go to the screenplay. Throughout the whole film, I was so taken away by the wit of all these jokes and I liked how the olde english language was there but still made for the “modern” ear to understand. Though there is a lot of seriousness I felt there was also a lot of wonderful comedy that really did brighten up the tone and make this film a lot more enjoyable.
The most beautiful thing about this film really does come from the romance between Viola and Shakespeare which is really what the film is centered on. It feels and looks real, as you can see what really happens to a person when they fall in love and where the inspiration of it lies within Shakespeare’s work.
Gwyneth Paltrow turns in a magnificent Oscar-winning performance as Viola, as she shows a lot of depth of what seemed like a one-note character, and really does stay on top with the rest of these characters on screen. The whole cast does a great job but I feel like the one that really does the best job and doesn’t get any credit for it is Joseph Fiennes. If there is anyone in the world I wanted to meet it was Shakespeare, and Fiennes plays this person we already know and allow him to have more excitement and boldness added to his character, so that we cheer and love him even more.
The only problem I had with this film was very minor and that it didn’t feature much of the play itself and focused more on the romance. I wanted to know more of what happened behind the scenes of one of the most famous plays of all-time, and I didn’t get that much of it.
Consensus: One of the most delightfully charming romantic comedies of all time. With a clever script, wonderful acting, and perfect direction, Shakespeare In Love hits the spot on every level.