The third film in a series always carries with it that extra bit of pressure. Ever since George Lucas’ original Star Wars saga, the idea of a movie trilogy has been put on a pedestal even though third installments are rarely any good and/or don’t actually signal the end of the series. While there is still some doubt surrounding whether or not Iron Man 3 will mark the last solo effort for this incarnation of the Marvel hero, Shane Black’s first foray into comic book movies is not only one of the best third installments of any film franchise but also the best in the Iron Man series.
In Hatfields & McCoys we are given an authentic, gritty look at the thirty-year feud between the two legendary families. While Kevin Costner is the stand-out, the rest of the cast’s performances grow on you and, by the middle of the first episode, have you fully immersed into the 1880’s West Virginia/Kentucky border. Since it was written for TV, the usual cliff-hangers tend to give the show an ebb and flow feel—almost like hiking to the top of a mountain but turning back because you ran out of time. Yet, the series’ shortcomings do not detract from the fantastic story, beautiful landscapes, the character development or, in short, the look and feel of Virginia/Kentucky at the end of the 19th Century. Continue reading
Having missed Goon in theatre, I obviously was in no rush to watch (what I assumed to be) a tw0-hour dick joke that takes place in a hockey rink. Just recalling memories of Seann “Double N” Scott from American Pie and Dude, Where’s My Car? already had me in a semi-depression. Surprisingly, I got much what I expected: a two-hour dick joke on ice. Yet, it’s a very funny, well crafted, and incredibly satisfying dick joke. Michael Dowse, from Fubar fame, utilizes Scott in a way that doesn’t clash with the film’s wonderful writing and strong performances by downplaying his frat-boy persona. Thus, Scott’s restraint allows the film’s production values to shine, bringing Hollywood-esque, big-market visuals and ‘citment to the small-ish screen while showcasing the potential of the hockey sub-genre to our pals south of the border. Continue reading
To be perfectly honest, these lists are kind of arbitrary. Actually, they are most definitely arbitrary and yet, people always get butt-hurt over other people’s choices or rules. I like to do them because they are just a good bit of fun and it’s also nice to take a few moments to reflect on films I found very special each year. Since this is my top ten of 2011, we’ll be playing by my rules. They are simple. Any film released theatrically (or on VOD) in 2011 is fair game. Pretty standard and straightforward yeah?
There are most definitely many great films I missed that may have made this list as well as many more that easily could have taken a spot from one of the ten below – 50/50, Take Shelter, Young Adult, MI:4 Ghotocol, Warrior, Kung Fu Panda 2, The Adventures of Tintin, Captain America, Senna and Rango. However, I can’t see everything and not every great film can make the final ten. I don’t know about you but I think this year offered a pretty solid slate of flicker shows. And on that note, here are the films I’m calling the top ten of 2011…
Let’s be honest here, Montiel’s New York centered police-drama has two draws: (1) Ray Liotta and (2) Al Pacino. The mere mention of their names in relation to police-drama causes we, the people, to long for a simple glimpse of Liotta’s understated Gary Figgis in Copland and just a little of the magic that Pacino brought to Heat‘s Vincent Hanna. Personally, and I pray others still think like me, each time I hear Liotta linked to a new project I yearn to see Henry Hill strut across the street and beat a man short of death with the butt end of a pistol; similarly, I so want to see Pacino channel Sonny from Dog Day Afternoon, “Attica, Attica!” Although I knew going into Son of No One that my prayers wouldn’t be answered, I guess I’m still a dreamer (or incredibly stubborn), thus I walk away from a very average film still disappointed. In truth, it’s my own fault. Continue reading
First of all I must clear the air: I’m a Clint Eastwood fan. No. I’m sorry. I worship the ground the man walks on. No, no, again, sorry. Hmm? Okay. I’ve seen Changeling twice. I know, I know. Crazy right? Well, with that out of the way, I can get to my main question after having the pleasure of seeing J. Edgar: What up with all the negative criticism Inter-Web? “Eastwood’s portrayal of Hoover is too sentimental.” “The make-up ruins the movie.” “The time shifts are too frequent and cause me to lose interest.” “My seat at the theater was too hard.” Bah-Humbug to the works of ya! Is it a masterpiece alongside Letters From Iwo Jima? No. Is it a great film with a few nagging issues? I believe so. So, without further ado, let’s get into ‘er. Continue reading
Despite the critical reception, it’s not all bad when it comes to 2011’s The Thing; yet, it so happens to be one of the most heartbreaking disappointments of the year. Am I a walkin’, talkin’ contradiction? Perhaps. However, it’s for all the technical and narrative elements that The Thing does right that my heart breaks and not for its shortcomings.
For every handful of reviews I’ve skimmed, the word “minimalist” is predominately displayed. Minimalist dialogue, visuals, narrative, etc. I’m afraid that I’ll need a definition for “minimalist” (straight from the Oxford English Dictionary no less) before I assign such a label to Meek’s maximal beauty. The narrative is simple, granted: “Settlers traveling through the Oregon desert in 1845 find themselves stranded in harsh conditions” (IMDB) and, honestly, that’s about the gist of it. Yet, it’s a historical event. There was a Stephen Meek; he lead emigrants through Oregon by way of a trail that would be named after him; and he was not the most well-liked, trusted, or friendly of folk. Disregarding the whole history of Meek’s trail, the film begins in ’45 when emerging settlers already came to suspect Meek’s abilities, or lack thereof. The trail is rough, water is near non-existent, fear of Natives run high, and the piety of the settlers clashes against Meek’s survivalist strategies. Continue reading
There’s an ever common phrase in cultural discourse that goes something like ‘such-and-such is a work of art that defies description.’ Or classification. Or definition. Or any number of vague excuses that tell you more about the critic’s lack of understanding (or engagement) with the material than it does about the actual piece of work. That being said, Kill List is a film that defies description. It is not only extremely difficult to pin down or label but it also it nearly impossible to go into any detail as to not spoil the, uh, fun. Therefore, I don’t fault others for relying on the safety of cliche crutches and/or ambiguous classifications. Let’s just start with this, you should definitely go see it but only if you’ve got a few days after to think about it [by think, read: obsess].
When I first heard that Sam Peckinpah’s Straw Dogs was getting a makeover, I believe there were spasms of expletive fury (as I now feel of the upcoming The Wild Bunch remake at the hands of… Tony Scott?). Yet, after a weekend of contemplating whether to see the film – and then deciding to – I’m surprised how faithful Rod Lurie’s version is to the original. Overall, the slow-burn to chaotic violence found in the original is ever present in the remake, yet too much violence is used to replace the uncomfortable topic of sexuality. On a side note, it’s also a fascinating study of the modern theater audience as well. Continue reading