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 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. […]
Magic. Now there’s a subject that, over the years, hasn’t gotten a great deal of cinematic attention. Reason being, one surmises, that magic acts need the immediacy of live (or at least taped live) performance to preserve their thrill… and if we’re being honest here, most of them don’t have that much thrill to preserve in the first place. So wouldn’t you know it, after humming along for so many years all but magic-free, in 2006, Hollywood not only coughs up two magic-themed movies within weeks of each other but two turn-of-the-century Europe magic-themed movies. (Now that’s a Smackdown!) […]
What’s better than an adventure movie featuring a rugged, two-fisted hero? An adventure movie featuring a father and son team of rugged, two-fisted heroes, of course. Today’s competitors are a pair of sequels, each of which brings either a progenitor or an offspring into the proceedings. In Indiana Jones and the Last Crusade – the third Indy movie and last one before that set of films’ loooong hiatus and better-forgotten, 2008 finale – everybody’s favorite archeologist is joined by his grumpy dad Dr. Henry Jones Sr., played by Sean Connery (you did know that Indy’s real name is Henry, right?).
It’s a Russian family reunion in A Good Day to Die Hard, with the apparently immortal John McClane (Bruce Willis, if you’ve been living in a cave until now) journeying to Moscow to connect with son Jack (Jai Courtney), a visit which immediately triggers nearly two hours of Die Hardish firefights, chases and explosions. […]
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. […]
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. […]
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). […]
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. […]
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. […]