If we’ve learned anything over the years from movies about journalists, reporters and TV newspeople, it’s that theirs is a world of ethical and psychological pitfalls. One day, you’re an upstanding citizen doing your job, investigating and helping keep the public apprised of current events, and then, suddenly you’re Kirk Douglas in Ace in the Hole (1951), deliberately manipulating your story to create and prolong the media circus surrounding it. Or you’re Philip Seymour Hoffman in Capote (2005), befriending a convicted murderer but privately rooting for his execution. Or you’re Johnny Depp in Fear and Loathing in Las Vegas (1998), ingesting so many intoxicants that you miss the story entirely. Or you’re Hayden Christensen in Shattered Glass (2003) and just flat out making shit up. […]
It wasn’t so long ago that Ben Affleck was among the easiest punchlines in Hollywood: A wooden, one-note actor with horrendous taste in projects, a consistent provider of gossip fodder, and the co-winner of a screenwriting Oscar that few believed he actually deserved. But then, in 2007, he made the second-wisest move of his career (just behind ditching J-Lo and settling down with J-Garn): He turned his focus to further developing his behind-the-camera talents, choosing Gone Baby Gone, a twisty, noirish mystery based on a novel about a specious kidnapping, for his directorial debut (and opting to leave the acting chores in the film to his younger, squirrelly brother, Casey). […]
What will be the water cooler topic of the coming years? If you work in my office, then Fantasy Football is, as always, the obvious answer. (Seriously, people, if it’s such a great sport, why do you need to gin it up with fantasies? But I digress.) In terms of episodic TV, the pickings are growing steadily slimmer, with Breaking Bad a brilliant but fading memory, Mad Men with but a half-season remaining, and Game of Thrones already starting to show its age, with many disappointed by this past season and (quite justifiably) concerned about the coming Hodor-less one. […]
Maybe it’s just me, but I wrestled a bit as a kid and saw more than enough of my coach without ever moving in with him. I’ll tell you right now, if that’s what cost me a shot at having my life blown up on the big screen for the world to enjoy, I’m okay with it, especially after seeing how messed up the protagonists in these two indie projects turn out. […]
Critics and audiences seem to agree in large numbers that the greatest continuing one-hour series ever to air on American television is either the recently departed masterwork Breaking Bad or the groundbreaking show that aired in the previous decade, The Sopranos. Both are gruelingly suspenseful and violent neo-noir crime stories interwoven with searing family drama, intense action and bizarre black comedy. Between them they’ve garnered numerous Emmy awards for their incredible casts, directors and writers. […]
You fell in love with her in The Descendants (2011), and then you blinked, and suddenly Shailene Woodley was everywhere.
Just in the past nine months alone, she’s been in two horribly titled romances made from best-selling young-adult novels, both adapted, in fact, by the same writing team, best known for previous Smackdown challenger (500) Days of Summer starring Joseph Gordon-Levitt, who was also the star of 50/50, which shares a theme with…
Well, I’m getting ahead of myself. So let’s get on with this week’s bout, as we pit last fall’s The Spectacular Now against current release The Fault in Our Stars. Because if Movie Smackdown didn’t do it, who Woodley?
We here at Smackdown have a soft spot in our hearts for movies about lonely, alienated mopes. This may or may not have something to do with some of us here in Smackland being lonely, alienated mopes, but in any case, we’re all about the Mopelecore movies, and when they’re about how the mopes learn to get out of their mopey shells and embrace the wonders of the world around them, even more so. And when they are brought out of their shells by the likes of Scarlett Johansson? Catnip. Heck, when it’s Scarlett, it doesn’t even have to be a mope, necessarily, it could be some shallow, womanizing, porn-addicted guido for all we care. What we’re getting at here: Consider us Team ScarJo.
But back to the mopes and this week’s Smackdown, in which two Mope-Meets-Jo tales will try to out-sulk each other, and as a special ultra-Smackdown bonus, the writer-directors of each are ex-spouses. Exes fighting each other! Little thing we like to call Ex-Box. (Eh? Eh?)
Anyway… Mopes to your corners! Let’s do this. […]
Who doesn’t love Matt Damon and Christian Bale?
(Okay, probably this guy doesn’t love Bale so much, and Minnie Driver still might be holding a grudge against Damon…But just go with me on this…)
And who doesn’t love when big stars like Matt Damon and Christian Bale ugly themselves up with bad hairpieces and weight gains and cheesy facial hair for a scruffy little indie role?
And who doesn’t love period offbeat indie comedies based on true stories in which the aforementioned uglied-up big stars like Matt Damon and Christian Bale play real-life dudes who started working undercover with the Feds to catch criminals, only to turn out to be unreliable and devious and driven by their own agendas?
And who doesn’t love when original mavericks of low-budget filmmaking like Steven Soderbergh and David O. Russell return to their indie roots and make…what I just said above? […]
As the anniversary of the release of Philadelphia approaches, let’s take a moment to consider just what the apparent requirements were for a major studio to be bold enough to make a movie about homosexuality and AIDS back in 1993:
Both leads had to be played by huge stars, and the villain played by one of our most beloved character actors. The director had to have come off an enormous smash that had just swept the Oscars. The opening theme song had to be supplied by the ultimate blue-collar, all-American pop star. The protagonist could be gay, but only if counter-balanced by the other lead being a raging homophobe, and the protagonist and his lover (played by an international star himself) could not only never be seen in bed together, but could never be seen sharing more than a chaste slow-dance.
So admittedly, as envelope-pushing on this topic goes, Philadelphia may not be viewed on the level of, say, Brokeback Mountain (2005), but it’s entirely fair to say that Philadelphia made Brokeback Mountain possible, as well as the current release, Dallas Buyers Club. So what better way for the newborn to pay tribute to its spiritual grandfather than to throw them into the ring for a face-off?