- 42 (2013) vs. Remember the Titans (2000)
- Admission (2013) vs. About a Boy (2002)
- Oz the Great and Powerful (2012) vs. The NeverEnding Story (1984)
- Dark Skies (2013) vs. Dark Skies (1996)
- Oscar Wrap-Up 2013
- A Good Day to Die Hard (2013) vs. Indiana Jones and the Last Crusade (1989)
- Oscar Smack-a-thon!
- The Tiersky Top Ten, 2012
- Smackdown Smacks Down the 2013 Oscar Nominees
- Broken City (2013) vs. City Hall (1996)
- Men of Steel (Smackdown’s Superman Smashup)
- Les Miserables (2012) vs. The Fugitive (1993)
- baby showers on The Day The Earth Stood Still (2008) -vs- The Day The Earth Stood Still (1951)
- virility ex trial samples on Without Limits (1998) -vs- Prefontaine (1997)
- polo factory store on Wreck-it Ralph (2012) vs. Toy Story (1995)
- courtney on Brave (2012) -vs- Mulan (1998)
- Elvin Hence on POTC: On Stranger Tides (2011) -vs- POTC: The Curse of the Black Pearl (2003)
- All Natural Male Enlargement on Without Limits (1998) -vs- Prefontaine (1997)
- Edward on The Thing (2011) -vs- The Thing (1982)
- http://thoughts.blewblew.com/ on Without Limits (1998) -vs- Prefontaine (1997)
- male enhancement system on Without Limits (1998) -vs- Prefontaine (1997)
- vårdföretag on The Tiersky Top Ten, 2012
Category Archives: Drama
There are few conflicts more dramatic than the battle for racial integration, particularly during the turbulent years of the mid-twentieth century America. 42’s Jackie Robinson (Chadwick Boseman), the first player of color in Major League Baseball, is a ferociously talented athlete who struggles to overcome the rampant bigotry of the game in the post-WWII era. A quarter-century later, Remember the Titans’ ace football coach Herman Boone (Denzel Washington) faces the unenviable task of integrating two racially separated high school football squads in Virginia, the cradle of the Confederacy.
Both of these characters are resilient, heroic fighters who triumphed over the narrow-mindedness of their times. Each overcame long odds and passionate opposition to push his country in the right direction and his team to glory. And without them both, who knows, we might not have anything more fun to watch on weekends than NASCAR and golf.
Clearly, both these contenders have got an incredible will to win, but only one can be Smackdown champion. Batter up! Continue reading
Ah, the ’70s. Now that was the golden era for New York City movies, am I right? (Just nod, youngsters.) You had the likes of Martin Scorsese, Sidney Lumet and Woody Allen, all at the top of their games, cranking out classics ranging from Taxi Driver to Dog Day Afternoon to Annie Hall to Mean Streets to Serpico to Manhattan, and even to a movie named New York, New York, which actually wasn’t very good, but my point stands, which is that New York’s best cinematic days are long behind us. Woody Allen is now essentially doing a movie for every city he’s ever visited outside of New York, Scorsese basically just does whatever he feels like doing at the moment, and Lumet… is not doing much at all these days, but he has a solid excuse. Continue reading
Yes, I know, we could have put this operatic soon-to-be blockbuster, Les Miserables, up against any number of period musicals translated to movies, from The King and I to Sound of Music to Moulin Rouge. Or we could have matched it against any of the multitudinous other film adaptations of the Victor Hugo novel or even against the stage musical itself. Someone else with more academic credentials or film school training than we have can dissect those comparisons at another time. (If you can’t wait, there’s always Wikipedia.)
The thing is, as I watched and listened to the sincere musical emoting of the modern Les Miserables at a pre-release screening at the Pacific Design Center theater here in Hollywood, my mind kept trying to focus on the actual story. Namely, the convict Jean Valjean’s flight from the relentless Inspector Javert, who just won’t cut him a break, no matter how many good deeds he’s done or may still do if allowed his freedom. Continue reading
Once upon a time, long before you were born, way back in 1994, a writer-director named Quentin Tarantino made a movie called Pulp Fiction. It was a low-budget, stylish and irreverent thriller so wildly entertaining, energetic and fresh that it became an instant cult classic, was a huge critical and box office success, won Quentin an Oscar for his script (story co-written with Roger Avary), and turned him practically overnight into the biggest celebrity director since Alfred Hitchcock.
The movie was so unconventional in so many ways — unusual length (two hours and forty minutes), non-chronological/episodic/multi-plot structure, long stretches of idle chit-chat, hairpin plot turns, extreme violence sprinkled with laughs, eccentric soundtrack selections — and Tarantino was so amply lauded and rewarded for it that he began to believe he could do no wrong, that he could be either as daring or as lazy as he felt on any given day, and we would continue to bow at his feet. The films that followed over the next two decades were… well, it depends who you ask. There are those who still worshipped at his altar, but many others didn’t quite take to much of it, grew tired of waiting for the old Tarantino to return, and viewed each new release with ever-decreasing expectations. Continue reading
Thankfully, Tom Cruise has never gone the Evil Twin route, facing off against himself in a movie. But that doesn’t mean he can’t do it in a Smackdown.
Here we pit two of the actor’s star turns against each other: He’s the would-be savior in the just-released Jack Reacher, while he plays a nasty contract killer in Collateral. Both are hard-edged, violent dramas featuring brooding anti-heroes. And if Collateral faced a challenge by casting America’s favorite boyish grin as a cold-blooded assassin, Jack Reacher ups the stakes by coming out a week after Sandy Hook and featuring the aftermath of a broad-daylight massacre whose victims include a nanny accompanying a small child. This one’s a reacher all right. Continue reading
Not quite satisfied with making history as the first female Oscar winner for Best Director with The Hurt Locker (2008), Kathryn Bigelow, working again with screenwriter Mark Boal, is back with Zero Dark Thirty, another topical and suspenseful Middle East adventure that’s already a serious contender for this year’s top Oscars. The new film expands far beyond the modest scope of its predecessor, taking on one of the biggest stories of recent years, the decade-long, multi-country search for 9/11 mastermind Osama bin Laden and how it eventually found closure, a mere 19 months ago (maybe you heard about that part). Continue reading
The players in our two battling movies this review are gun-toting rogues, so we’ll have to let them shoot it out across the room while we duck under the tables. Armed and lethal in the challenger’s corner is Killing Them Softly, a dark, moody crime drama featuring Brad Pitt as a hit man tasked with eliminating the crew that robbed an illicit card game. That film points its barrel at the breezily violent cult hit, True Romance, with Christian Slater as a comic book store clerk whose involvement with a hooker leads him to murder and a high-risk drug deal.
Both films rely on humanizing their criminals with generous amounts of tangential dialogue, and both also lean heavily on music and artsy cinematography to set a pop, breezy tone in counterpoint to some pretty brutal action by their principals. Continue reading
The Smackdown “Two damaged, anti-social people find each other and fall in love” is not exactly an under-utilized premise for movies. The genre is actually pretty extensive, so much so that it would not be entirely inappropriate to wonder how … Continue reading
Life, as they say, is a journey, and that’s never so clear as when watching a life story unfold in the hands of a masterful film director. In Life of Pi, the voyage is both literal and symbolic, as the title character is forced to traverse the high seas under Grimms’ fairy tale-like circumstances that must be seen to be — well, if not believed, then at least experienced at a deep level. At the same time, the young, Indian lead character, a devoted spiritual seeker, undergoes an intense inner journey as well.
Slumdog Millionaire, the multi-Academy Award winning 2008 film, similarly explores a young, Indian’s life journey as he navigates the Dickensian streets of Mumbai, constantly relying on his wiles to survive, while also seeking love and, ultimately, fabulous wealth and the respect he deserves. Continue reading
If movies are like summer flings, movie franchises are more like long-term romances. We invest a lot of time and emotion in them; we feel really good while we’re involved; and after they’re all over, we wonder if we’ll ever experience anything else quite the same. I was thirteen years old when the first Harry Potter film was released in 2001 (the same age as Harry was). When the final film was premiering in theaters, I was 22. Essentially, Harry and I grew up together.
Similarly, Twilight hit theaters during my first year at college, and now, five years later, the final installment has arrived. Bella, the clumsy human turned empowered vampire, has graduated from high school and is forced to make some pretty adult, albeit bizarre, decisions. This feeling that we grow and mature and change alongside the characters is something we can’t ever get from just one film. We’ve formed meaningful attachments to these characters, and so, for the fans, it’s imperative that the endings be everything we hope for and more. Continue reading