Posted in: The Reel World by J C on February 8th, 2013
Steven Soderbergh has had a one-of-a-kind career. And if the director is to be believed, that filmmaking career comes to a close with Side Effects. (At least theatrically speaking; his Liberace biopic, Behind the Candelabra, is scheduled to air on HBO later this year.) Soderbergh may have best exemplified the idea of making “One for Me, One for Them.” (Even if the director firmly disagrees with this notion.) The theory dictates his “One for Them” flicks usually had the word Ocean’s in the title and helped fund his micro-budgeted, “One for Me” experimental films. After all, Ocean’s Thirteen also describes the number of people who saw Bubble or The Girlfriend Experience.
In recent years, the Oscar-winning director (he picked up a statue for Traffic) has turned his detached, genre-bending eye to star-studded ensemble pieces like Contagion and Haywire. (Not to mention the stud-studded hit Magic Mike.) Side Effects fits neatly into this same mold.
Posted in: Disc Reviews by J C on February 7th, 2013
You don’t usually get too many legendary (and wildly polarizing) filmmakers coming off the biggest hit of their careers — unadjusted for inflation, of course — at age 77. Yet that’s exactly where Woody Allen found himself with To Rome with Love, his pleasant, witty, not-at-all-groundbreaking follow-up to Midnight in Paris. The writer-director originally named this film The Bop Decameron before changing it to Nero Fiddled. I’m guessing somebody (smartly) figured the suddenly buzzworthy director’s next film should have a less esoteric title; and if there was a way to incorporate a European city into the name, even better.
Luckily, the film’s more genetic moniker is actually a much better fit for this simple, engaging collection of stories set in the Eternal City. The movie is comprised of a series of parallel vignettes, but I really wish the director had found a clever way to connect these stories beyond the fact that they’re each set in contemporary Rome.
Posted in: Disc Reviews by J C on February 6th, 2013
Can a scumbag also be considered a hero? Lance Armstrong fans probably mull that question each time a new, unsavory revelation about the now-disgraced cyclist comes to light. The issue was addressed in 1992’s Hero, which starred Dustin Hoffman as a low-life who saves a group of passengers on a crashed airplane. Flight also takes to the not-so-friendly skies to examine whether it’s possible to reconcile a lifetime of destructive behavior with an extraordinary act of valor.
You wouldn’t necessarily guess that from the film’s punchy trailer, which painted Flight as a cynical gloss on the Sully Sullenberger story. (The movie’s protagonist even has a similarly folksy, alliterative name: Whip Whitaker.) Instead, Flight is an R-rated drama that presents one of the most unflinching portrayals of drug and alcohol addiction you’re likely to ever see in a mass-appeal film from a big-time director and starring one of the world’s most famous movie stars.
Posted in: No Huddle Reviews by J C on February 6th, 2013
“It’s time for Animaniacs. And we’re zany to the max. So just sit back and relax, you’ll laugh ‘til you collapse. We’re Animaniacs!”
I am a 30-year-old man, and I didn’t need any help remembering the lyrics to the Animaniacs theme song. (Yikes! That sounds like a confession I should be making at my next Man-Child Anonymous meeting.) Similar to the influential work of Tex Avery and Chuck Jones, Animaniacs served as the first exposure many children in the ‘90s had to classical music and literary masterpieces. And like Looney Tunes, the show’s greatness lies in that it doesn’t just arbitrarily nod to the classics, it gets kids excited about them.
Posted in: Disc Reviews by J C on February 3rd, 2013
“I’ve changed a lot. I’m not the same woman.”
Early on in Luis Buñuel’s surrealist gem, a mild-mannered older gentleman named Mathieu douses a beautiful, battered woman with a bucket of water as she desperately attempts to board the train he’s riding. His fellow passengers are stunned, but also understandably intrigued. What possible sequence of events could’ve led Mathieu to this cold and cartoonish gesture? It’s an irresistible hook, and Mathieu proceeds to regale the other travelers — and, by extension, the movie’s audience — with the tale of “the foulest woman who ever lived.”
Posted in: The Reel World by J C on February 1st, 2013
“This is a corpse infected with the plague. It is uncaring, unfeeling.”
When it comes to the overwhelming majority of zombie fiction, it’s all about brains. (Or rather, BRAAAINS!!!) It’s what the undead hunger for, and a well-placed headshot is usually the only way to kill them (again). And that doesn’t even cover the popular device of using the walking dead as an allegory for an increasingly mindless society. Warm Bodies stands out because it’s more concerned with an entirely different bodily organ. Based on Isaac Marion’s popular novel of the same name, the zombie romantic comedy deals directly with matters of the heart.
Posted in: Disc Reviews by J C on January 31st, 2013
No matter how much you hated Prometheus — parts of it were startlingly dumb, but people who seriously talk about it like it’s the worst film of all time need to take a deep breath — Ridley Scott has a pretty strong case to be included on any list of Top 10 Living Directors. His work has helped redefine genres (Alien, Blade Runner, Gladiator) given us indelible images (that final still from Thelma & Louise) and even provided a few smaller-scale delights (Matchstick Men is my favorite of this group). So I’m proposing we take a quick break from trashing his last movie to discuss his very first one.
The Duellists follows a pair of officers in Napoleon’s Army during the early part of the 19th century. The film opens in Strasbourg with the mercurial Lt. Feraud (Harvey Keitel) critically injuring the mayor’s nephew during a duel. An even angrier general orders the dutiful Lt. D’Hubert (Keith Carradine) to place Feraud under arrest. Feraud is an avid duelist and thinks he did nothing wrong, so he feels insulted by D’Hubert's accusation. The fact that Feraud is with a woman when D’Hubert arrives to arrest him only adds to his embarrassment. Naturally, Feraud has no choice but to challenge D’Hubert to a duel.
Posted in: Disc Reviews by J C on January 24th, 2013
I see an Oscar nominee, an Emmy nominee, an actor who has carried two successful TV shows, and the bad guy from the highest-grossing movie of all time. In other words, I see more talent than you would ordinarily expect from a straight-to-DVD drama. Then again, I also see Soulja Boy, but he’s not the problem. Instead, Officer Down squanders a few fine performances and a solid premise due to some seriously (and unnecessarily) muddled storytelling.
Det. David Callahan (Stephen Dorff) may as well have “Dirty” in front of his name, but it’s not because he tears through bureaucratic red tape in his pursuit of justice; it’s because “Cal” always looks like he desperately needs a shower. Callahan is a former crooked cop/drug addict/philanderer who changed his bad boy ways after narrowly surviving a gun shot wound during a drug bust gone wrong. Cal never knew the identity of the man who saved his life until the Good Samaritan comes forward one year later.
Posted in: Disc Reviews by J C on January 20th, 2013
If Compliance weren’t based on true events, the film’s plot would immediately be dismissed as implausible and insulting of its audience’s intelligence. (Same with Argo.) As the story of an incredibly committed prank caller and his unwitting prey progresses, there’s a pretty good chance you’ll repeatedly roll your eyes. There’s an even better chance the eye rolling will be followed by a feeling of outrage — definitely toward the caller, but maybe even toward the gullible victims — when you remember this stuff actually happened.
Sandra (Ann Dowd) is a stressed-out manager at ChickWich, a fictional fast food restaurant. During a busy Friday shift, she receives a call from a man identifying himself as “Officer Daniels” (Pat Healy), who claims one of Sandra’s employees stole money from a customer. Officer Daniels convinces Sandra to interrogate teenage cashier Becky (Dreama Walker) in the restaurant’s back room. What follows is a slow and steady stream of humiliations for Becky as Sandra instructs her employees — and eventually her fiancé, Van (Bill Camp) — to follow the officer’s increasingly bizarre instructions.
Posted in: No Huddle Reviews by J C on January 18th, 2013
TNT prides itself on “knowing drama,” but as far as I’m concerned the network’s best series was also its most woefully underappreciated. It didn’t have any cops, lawyers or doctors. It wasn’t as light or slick as some of the channel’s hits like The Closer (cops), Franklin & Bash (lawyers) and Rizzoli & Isles (a cop AND a doctor; don’t make me guess which is which). It didn’t have aliens (Falling Skies) or impossibly charismatic crooks (Leverage). Instead, Men of a Certain Age dealt with a topic that is much less fun to think about, yet happens to 100 percent of us: getting older.
I realize a show that deals honestly with aging sounds about as much fun as a colonoscopy. (Coincidentally, the Men embark on a weekend colonoscopy outing in Ep. 6/ “Let the Sunshine In.”) Men of a Certain Age simultaneously celebrates life’s small victories while chronicling its many indignities. Thankfully, the show’s excellent acting, writing and directing keep the material entertaining and genuine.
