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, weâ€™re all about the Mopelecore movies, and when theyâ€™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 itâ€™s Scarlett, it doesnâ€™t even have to be a mope, necessarily, it could be some shallow, womanizing, porn-addicted guido for all we care. What weâ€™re getting at here: Consider us Team ScarJo.
But back to the mopes and this weekâ€™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! Letâ€™s do this. […]
Who doesnâ€™t love Matt Damon and Christian Bale?
(Okay, probably this guy doesnâ€™t love Bale so much, and Minnie Driver still might be holding a grudge against Damonâ€¦But just go with me on thisâ€¦)
And who doesnâ€™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 doesnâ€™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 doesnâ€™t love when original mavericks of low-budget filmmaking like Steven Soderbergh and David O. Russell return to their indie roots and makeâ€¦what I just said above? […]
Itâ€™s axiomatic when discussing Superman to know that the only one who can give Superman a fair fight is himself, or a close approximation of himself. Thatâ€™s why the comics, TV and film have consistently given us Evil Superman, Clone Superman, Bizarro Superman and, of course, Other Kryptonian Supermen.
The latter, of course, is what drove the Richard Donner-directed first two Superman films in 1978 and 1980, with the climactic arrival of General Zod and his superpowered villains, all of whom with the same powers as Superman, released from the Phantom Zone. Now, along comes Man of Steel, directed by Zack Snyder, who has taken the action of those Donner Supermans (Superman: The Movie and Superman II), smashed them into a single movieâ€™s length, and filtered them through a dark prism.
Itâ€™s a fair fight then. Superman-vs.-Zod vs. Superman-vs.-Zod. By Krypton, let these games begin! […]
A seemingly wise, benevolent middle-aged figure adopts a temperamental loser as a surrogate son of sorts, resulting in a lengthy, complicated and volatile relationship. This is the main basic storyline for at least two of writer-director Paul Thomas Anderson’s six features, including his debut Hard Eight (1996) and his latest release, The Master, not to mention one of the dozen or so plot threads in his cult-classic porn epic, Boogie Nights (1997). Father-son relationships also dominate his one-day-in-the-Valley omnibus, Magnolia (1999), and his previous effort, the one-of-a-kind oil saga, There Will Be Blood (2007).
What we’re getting at here, then, is that however much he’s advanced as a filmmaker over the years, the dude’s evidently still got some daddy issues. But how much has he advanced as a filmmaker? It’s a first-vs.-last Smackdown today as we reach all the way back to the mid-90’s to find a movie brave enough to face down this highly anticipated newcomer. […]