Posted in: No Huddle Reviews by J C on March 16th, 2012
Carnage is the (un)true story of two couples who've agreed to meet in a Brooklyn apartment — drink together and have their lives filmed (by Roman Polanski) — to find out what happens when people stop being polite and start getting real. If you had told me that one day I would be relating a Roman Polanski film to the opening credits of MTV's The Real World, I would've told you...yeah, that sounds like something I would do.
Based on God of Carnage by French playwright Yasmina Reza (who also co-wrote the screenplay with Polanski), the film follows Penelope and Michael Longstreet (Jodie Foster and John C. Reilly), who have invited Nancy and Alan Cowan (Kate Winslet and Christoph Waltz) into their home after their sons are involved in a physical altercation. As the two pairs of parents try to agree on a proper course of action, the initially cordial meeting becomes less about their respective sons, and more about their own prejudices, character flaws and childish behavior.
Posted in: Disc Reviews by J C on March 13th, 2012
I don't think I'm breaking any news when I say that director Paul W.S. Anderson's latest action spectacle, an update of Alexandre Dumas' classic The Three Musketeers, is junk. So far, the director has specialized in taking established properties — including the Resident Evil and Mortal Kombat videogames, as well as the Alien and Predator franchises — and re-working them to fit his own shallow, highly-stylized, quick-cutting sensibilities. The result is basically the cinematic equivalent of junk food: people know those Resident Evil movies are bad, but they just can't stop consuming them.
That's why I was mildly shocked when this latest adaptation turned out to be surprisingly and sneakily faithful...well, except for the part where Da Vinci's Flying War Machine becomes a significant plot point. (This was a guy, after all, who didn't include a single character from the Resident Evil game in the first movie!)
Posted in: Disc Reviews by J C on March 12th, 2012
"What must it be like to be the most famous woman on Earth?"
In My Week with Marilyn, one character relays this very question — apparently asked recently by Queen Elizabeth II — to Marilyn Monroe herself. The main problem with this movie is that it is less interested in exploring that query with a great amount of depth, and more interested in answering the considerably less provocative question, "What is it like to hang out with someone super famous?" (That's what Entourage was for.)
Posted in: No Huddle Reviews by J C on March 12th, 2012
I like to think I know more than a little bit about sports. I wake up to Mike and Mike in the Morning, drive to work while listening to The Dan Patrick Show and rush home to catch Pardon the Interruption. I've played organized football, baseball, basketball and soccer throughout my life, and I always make the playoffs in my fantasy football leagues. (Let's skip the part where I've never actually won.) Unfortunately, I have somewhat of a blind spot for sports that are more popular outside the United States. As a result, I know very little about Formula One racing and I knew absolutely nothing about Brazilian F1 champion Ayrton Senna until I watched the engrossing and spectacularly thrilling documentary about his life.
Senna eschews many of the conventions of documentary filmmaking, most notably the use of talking head interviews. (We do get sporadic voice-overs from key players, including Senna himself.) Instead, director Asif Kapadia tells Senna's story entirely through an awe-inspiring collection of archival footage that chronicles both his professional triumphs and failures, as well as his personal life and the massive impact he had on his home country. There are even some relatively private, truly gripping moments involving the dynamics of a racing team and the behind-the-scenes politics of Formula One, a topic that I guarantee I wouldn't have found even mildly interesting in almost any other context.
Posted in: No Huddle Reviews by J C on March 5th, 2012
Isn't it odd how movies with similar story lines tend to get released around the same time? For example, no one has gotten the urge to release another major motion picture with a volcano as its main antagonist since the Dante's Peak/Volcano Battle of 1997. (Though that might have more to do with the fact that, my slight soft spot for Dante's Peak notwithstanding, both those movies are terrible.) We've been treated to the Great Deep Impact/Armageddon Debate, dueling Truman Capote biopics and the upcoming Snow White Smackdown of 2012. In that same spirit, I'd like to unofficially — and belatedly — declare 2011 as the Year of Has Anyone Seen My Keys?
I'm assuming you've, at least, heard of Best Picture nominees Hugo — where the young protagonist needs a heart-shaped key to finish a project he and his late father started — and Extremely Loud and Incredibly Close, which pulls somewhat of a reverse-Hugo by giving its young protagonist a key, courtesy of his own late father, but no lock. I'm also assuming, unless you have kids, you probably haven't heard of Jeremy Fink and the Meaning of Life.
Posted in: Disc Reviews by J C on March 2nd, 2012
"As a boy, I came to understand that two things marked my family: distinctive names and extreme stubbornness."
In fact, it was Thurgood Marshall's "extreme stubbornness" in the face of racial inequality that led to his name becoming synonymous with the civil rights movement and to his 1967 appointment as the United States Supreme Court's first African-American justice. Marshall's remarkable life story is told in Thurgood, a sensational one-man show starring Laurence Fishburne that previously aired on HBO and was filmed before a live audience at the Kennedy Center's Eisenhower Theater in Washington, D.C.
Posted in: Disc Reviews by J C on February 27th, 2012
Carlos Santana is too cool for words. When I say that, I refer to both his widely-acknowledged status as a "Guitar God" and to the fact that he doesn't utter a single word until the 21-minute mark of his latest concert film, Santana — Live at Montreux 2011. Santana may not be chatty, but he and the rest of his eponymous band do a valiant job of holding your attention throughout most of this 167-minute concert in Montreux (which is in Switzerland, and I'm only a little ashamed to admit I had no idea where Montreux was located before I watched this disc).
The music starts almost immediately after you press play — following a short and sweet on-stage introduction by festival creator Claude Nobs — and what follows is a no-frills performance with minimal between-song banter that will nevertheless delight fans of salsa, jazz and rock and roll, genres that Santana has been masterfully fusing for decades. Santana performs his most popular hits — including "Black Magic Woman", "Oye Como Va", "Smooth" and "Maria, Maria" — a few personal favorites of mine (like the playful "Foo Foo") and more than a handful of instrumental numbers that seamlessly blend into one another. There were a couple of instances where I didn't even realize a new song had started until I checked the handy track list on the pop-up menu. (That 23-track song list also allows you to skip ahead to your favorite tunes.)
Posted in: Disc Reviews by J C on February 24th, 2012
After watching The Son of No One, I'm afraid I have some good news and (significantly more) bad news. The good news is that I get to say the following sentence for the first time in at least ten years: Al Pacino was probably the best thing in this movie. The bad news is Pacino has only a relatively tiny role in this dramatically stagnant crime drama that ends up squandering a talented cast, a vividly-realized setting and some interesting ideas.
Channing Tatum stars as Jonathan White, a young cop who has been transferred to the 118th Precinct in Queens where his late father was a cop and located in the same district where White grew up. The precinct's captain (Ray Liotta) is troubled by some anonymous letters published in a small local newspaper by a persistent reporter (a miscast Juliette Binoche). The letters claim the police covered up two murders 16 years ago in the same neglected housing project where White grew up.
Posted in: Disc Reviews by J C on February 21st, 2012
I completely understand if you bailed out on Weeds a long time ago. The fact is the current show bears little resemblance to the subversive, suburban sitcom that became one of Showtime's first comedy smashes. That's partly because the tone of the show took a dark turn into Mexican cartels and human trafficking after the end of season 3. Even worse, the once-fresh characters had become, at best, reliably annoying — think Kevin Nealon's Doug Wilson — or, at worst, completely unlikable (like Mary Louise Parker's Nancy Botwin, the leader in the clubhouse for the title of TV's Worst Mom.)
But here's why I'm actually ok with the way Weeds has played out (besides my immense crush on Mary Louise Parker): what else were creator Jenji Kohan and her team supposed to do? If season 7 rolled around, and Nancy was still dealing pot in Agrestic, the show would get crushed for never evolving. In fact, given Nancy's relentless ambition and reckless behavior, I think the show has progressed in a semi-realistic way. Well, except for the part where she always gets out of impossible jams.
Posted in: Disc Reviews by J C on February 16th, 2012
Despite their pop culture ubiquity these days, zombies are getting somewhat of a raw deal. To be clear, I'm talking about the old-school, George Romero-style creatures that slowly lumbered toward their victims and whose only ambition in life was to snack on human flesh. Nowadays, a lot of filmmakers seem to be more interested in making zombie movies that don't technically have "zombies" in them ("infected" is a popular alternative term) and who are almost fast enough to earn a spot on their country's track and field squad for this summer's Olympic games. Even The Walking Dead — fresh off setting a new ratings record for basic cable viewership earlier this week — has conspicuously avoided having any of its characters refer to the living dead as "zombies" over its two seasons. (Instead, they're "walkers" or, most recently, "lame-brains.")
The Dead strives to be a return to Romero-esque horror. Billing itself as “the first zombie road movie set against the spectacular scenery of Africa,” the film follows American Air Force Engineer Brian Murphy (Rob Freeman), who survives a plane crash in war-torn, zombie-infested West Africa only to find himself in a brutal, unforgiving landscape that is completely barren...except for the undead shuffling in his direction. Murphy eventually crosses path with Sgt. Daniel Dembele (Prince David Osei, a poor man's Djimon Hounsou), whose village has been ravaged by the reanimated dead and who is determined to find his missing son.
