- 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)
- ryan mercer writer on Men of Steel (Smackdown’s Superman Smashup)
- diane on The Walking Dead (AMC) -vs- Falling Skies (TNT)
- last Kings clothing | on Tinker Tailor Soldier Spy (2011) -vs- The Spy Who Came in From the Cold (1965)
- Sometimes it is really difficult to find a fun craft for kids of all ages. It can be particularly tough when you have a wide range of ages. Finding a project that is interesting for older kids that have more coordination and ability and yet simple enough on Abraham Lincoln: Vampire Hunter (2012) -vs- Time After Time (1979)
- instant loans online on Battleship (2012)
- instant payday loans on Hugo (2011) -vs- Pinocchio (1940)
- instant loans on Smackdown Smacks Down the 2013 Oscar Nominees
- instant loan on X-Men: First Class (2011) -vs- X-Men (2000)
- Florida Aurora on Mamma Mia! (2008) -vs- Hairspray (2007)
- courtney on Brave (2012) -vs- Mulan (1998)
Category Archives: War
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
Because the Beatles both led their times and and lived with the creative and political expectations of them as well, the energy drain from Beatlemania had been significant. By the time these two films were made in the late 1960s, the cracks were already showing — definitely in society but even, now, in the Beatles who were, more than ever, four guys named John, Paul, George and Ringo.
The Beatles had had a mixed film run. Certainly A Hard Day’s Night (1964) and Help! (1965) were commercial and artistic successes for United Artists (see Smackdown here). But following them up with the barely conceived Magical Mystery Tour (1967) and an arm’s length involvement with Yellow Submarine (1968) hardly signaled that the Beatles had gone Hollywood.
All the Beatles toyed with Hollywood as solo artists both behind-the-scenes and in front-of-the-camera. The first to show individual interest, though, were John Lennon in How I Won the War (1967) and Ringo Starr in The Magic Christian (1969). They each acted in an establishment-tweaking, sarcasm-bubbling and sometimes cringe-inducing films that are certainly cultural artifacts.
Want to know which one of those films works so much better than the other? As Paul McCartney wrote in a song he gave Badfinger that went in his buddy Ringo’s film, keep reading and “Come and Get It.” Continue reading
Our contest is strictly confined to the animal kingdom in this edition of Movie Smackdown. The creatures competing in the bout are Joey, the title character of the Steven Spielberg-directed War Horse, and the small dog/cat gang on a wilderness trek in Homeward Bound: The Incredible Journey. Despite the vastly different settings of the two (the trenches and no-man’s-land of World War I in the former and the California wilderness in Homeward), the two are both family friendly, featuring epic journeys aimed at reuniting beasts and masters. Hard work indeed, but the hardest is ahead—competing against each other in this Smackdown. Continue reading
Here we are, deep into the holiday movie cycle, and Angelina Jolie has delivered a package no one expected to find under the tree. This is no animated confection about a swashbuckling kitty or some madcap variation on the fat man in red. Oh, no. Continue reading
Years ago, I reported and field-produced stories during a month-long trip into Saudi Arabia, Syria and Egypt. Well-armed authority ruled each country; I met guards with machine guns as I stepped from the plane in Riyadh, and private armies patrolled Damascus and other parts of Syria. Egypt was an active military state. This uniformed muscle enforced the appearance of order at the cost of personal freedom. This is the atmospheric real estate where the essential drama of Incendies plays out.
It now steps into the ring against a proven winner, The Year of Living Dangerously from 1982. This film combines a love story with armed revolution in Indonesia. It pushed Mel Gibson’s star even higher, and won Linda Hunt a well-deserved Oscar. Peter Weir directed and shares screenwriting credits with David Williamson and Christopher Koch in adapting Koch’s novel.
Here’s a Smackdown where lives collide with life-threatening situations. Which film survives the firepower to deliver the stronger human story? Duck and cover! Continue reading
An intensely visual director, Jeunet’s imagery remains consistently fresh and breathtakingly original, his fabulous fabulist’s palette uniquely his. Jeunet films have the urgency and half-remembered quality of dreams as they unfold. These tales exist in a rarefied and occasionally twee universe, timeless and with a winsome sense of fun and tricked-out grown-up child’s play even when the underlying subject matter gets serious. The subject at hand is war, and let’s just state the obvious up front – Jeunet’s against it.
It was Ford in a landslide. Nope, not Ford as in Gerald who lost to Jimmy Carter, but Ford as in Harrison who walked away with our Movie Smackdown presidential poll, taking 26.4% of the votes in a ten-man race.
Ford played President James Marshall in the 1997 film, “Air Force One.” Marshall has just gone to Moscow where he’s told the entire world he will not negotiate with terrorists. Then, on the flight home, Russian neo-nationalists hijack Air Force One forcing an ugly decision on Marshall: give in to terrorist demands or sacrifice not only the country’s dignity, but the lives of his wife and daughter. Well, there is one thing in his favor. He’s a military guy, a winner of the Medal of Honor, and he’s going to fight back.
Apparently we liked this version of the Marshall Plan a lot because when given ten of the top performances by an actor as a president to choose from, our Movie Smackdown voters gave a clear and convincing mandate to Harrison Ford. Here’s our results:
It’s not a good time for the American occupation of Iraq. The news from “over there” is that the followers of Moktada al-Sadr, the radical cleric who led the Shia insurgency against the American occupation, have emerged as Iraq’s equivalent of the 1994 Republican Party. Meanwhile, back in the United States, Americans voted about Iraq, too, refusing to give “Green Zone” any mandate whatsoever. And, keep in mind that the other Iraq film that just won the Best Picture Oscar, “The Hurt Locker,” basically was one of the worst-peforming winners in that category ever. Maybe it’s just the hot button political sensitivities, war-weariness, or that it is simply “too soon.” Other critics can decide that, however, because here at the Smack, we simply want to know which film about the Iraq War gets it most right, box-office be damned!
“The Best Years Of Our Lives” stands tall as the ultimate and still unsurpassed drama about WWII’s returning soldiers, made in 1946 by William Wyler from a pitch-perfect script by Robert Sherwood. Director Lasse Hallström enters the love-and-war fray with his effort “Dear John” based on a novel by the very popular (if slightly gooey) Nicholas Sparks. The war in question is a lot more confusing than WWII, and the story is a whole lot soapier/dopier, but the eternal questions remain the same. What does war do to soldiers and their families and the women they love?
High-profile directors like Tarantino and Spielberg dearly love taking a shot at putting their own brand on a World War II movie, no doubt because of the lure of working with badass villains and ass-kicking good guys.
Both of these films re-defined the genre as it existed when they were released and were considered Oscar-worthy enough to get Best Picture nominations (although both fell short).
Here at the Smack, they’ve each won a first round against a lesser contender: Saving Private Ryan knocked out the intense but difficult The Thin Red Line in our review, and Inglourious Basterds did the same against Spike Lee’s mediocre Miracle at St. Ana. Both of the winners in this Championship Round come with their passionate defenders. You can express yourself in our reader poll embedded in our post. Meantime, here’s how I call the fight… Continue reading