Classic Smackdown alert! L.A. vs. New York! East Coast vs. West Coast! Cars vs. Subways! Dark romantic hit ’10s musical vs. Dark romantic flop ’70s musical! Studly leading man De Niro vs. studly leading man Gosling! Winsome Stone vs. irrepressible Minnelli. […]
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. […]
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?
Lost at sea.
Lost in space.
Adrift alone in a vast ocean, the helpless victim of a freak accident.
Adrift alone in the cosmos… same dealio.
Man vs. Nature.
Woman vs. Nature.
One of the top movie stars of the ’70s, holding the screen all by himself for an entire film.
One of the top movie stars of the last 20 years, holding the screen all by her… well, okay, she’s got help, so we’ll stop there, but the point is, these two thematically similar movies of survival are facing off at your local cineplex as we speak. One is a studio blockbuster on its way to being among the year’s biggest hits, the other is a modest indie seeking sleeper success, and both seem destined for Oscar attention and rivalry, but in the meantime, let’s sit back and watch Gravity and All is Lost duke it out, keeping in mind that here at Smackdown, movie titles are not necessarily spoilers. […]
One’s about a free man who becomes a slave, the other’s about a slave who becomes a free man!
One’s a searing historical drama, the other’s an intense but goofy action-comedy!
One’s a bona fide Oscar magnet, the other’s already won two Oscars!
One’s written and directed by black men, the other’s written and directed by a white man who’s spent his career trying to be a black man!
One is Steve McQueen’s 12 Years a Slave, the other is Quentin Tarantino’s Django Unchained! […]
What does Paul Greengrass have against public transportation anyway? In both United 93 and his new film, Captain Phillips, Greengrass puts the fear of God into anyone about to take a flight or sail on a cargo ship. And that’s not to mention the vehicles that come under assault in his Jason Bourne movies.
Greengrass got his start in horror and then documentaries, and those early skills are in ample evidence here. In the celluloid world of Paul Greengrass, clench your fists and swallow hard, because good guy or bad, the characters are very human, and you’re about to go through hell with them. As they make preparations for the day ahead, maybe planning a trip, going to work or saying a prayer, the scenes build on one another, and the ordinary grows more and more ominous. […]