Posted in: Disc Reviews by J C on February 14th, 2012
It really does seem like certain movies are created for the sole purpose of winning a boatload of Oscars. I don't really have a problem with this: I'd personally rather see studios and filmmakers make a shameless grab for prestige than make no attempt at all and revert to their de facto sequel/prequel/reboot mode. The problem is — despite that one clueless, rude person who insists on taking phone calls and texting during the feature presentation, and is somehow always seated directly in front of or behind you — movie-going audiences are more sophisticated than ever. More specifically, moviegoers are hipper to the way movies are sold and presented.
As a result, we usually end up resenting and rejecting these Oscar catnip offerings because who the hell is anyone to tell us what the best movies of the year are going to be before we even see them?! (Please observe a moment of silence for the Oscar prospects of Clint Eastwood's J. Edgar.)
Posted in: No Huddle Reviews by J C on February 12th, 2012
People — especially nerds like me, who have been writing about movies for years — often complain about the predictability and clichés that seem to be permanently embedded in certain types of movies. However, the not-so-dirty little secret is that we enjoy wrapping ourselves up in that comfortable blanket of familiarity more often than we'd like to admit. Horror movies and romantic comedies are certainly among the most notorious offenders, but I'd make the case that sports movies belong at the top of the list.
Consider Moneyball: some consider the Oscar-nominated drama a traditional "sports movie" by only the loosest definition, but even that film was beholden to certain recognizable beats. For example, there needed to be a "Big Game" toward the end of the movie, even though we're talking about a team that lost in the first round of the playoffs and their dramatic victory was winning their 20th regular season game in row. (Not exactly the highest dramatic stakes.)
Posted in: Disc Reviews by J C on February 7th, 2012
Recent Academy Award nominee Jessica Chastain famously appeared in a whopping six movies released in 2011. These include two Best Picture nominees (The Help, The Tree of Life), and two other movies that briefly generated a small measure of Oscar buzz (Take Shelter for Michael Shannon's performance, and Coriolanus for Vanessa Redgrave's work). Unfortunately, when people try to recount Chastain's outstanding breakout year, Texas Killing Fields is destined to become the sixth movie no one can remember. Heck, it's not even her best 2011 movie co-starring Sam Worthington. (That would be The Debt.)
Inspired by true events, the film derives its name from an area just outside Texas City where more than 60 dead bodies have been found since 1971. Worthington (Avatar) and Jeffrey Dean Morgan (Watchmen) co-star, respectively, as Texas City homicide detectives Mike Souder and Brian Heigh. Though Souder and Heigh have their hands full trying to solve the Texas City murder of a young girl, Heigh allows himself to be pulled into a case involving another missing girl whose abandoned car was found in the killing fields, despite the fact that it's out of his jurisdiction. Chastain co-stars as a detective from the neighboring county (and Souder's ex-wife) while the gifted Chloe Grace Moretz (Kick-Ass, Hugo) plays a troubled Texas City girl who Heigh protects.
Posted in: Disc Reviews by J C on February 6th, 2012
“I was dumb enough to think I'd be joining some elite police officers here. I don't know who these people are.”
Those words come from Kathryn Bolkovac (Oscar winner Rachel Weisz), a Nebraska cop who accepts a high-paying gig as a United Nations peacekeeper. The film, inspired by true events in 1999 post-war Bosnia, follows Bolkovac as she discovers a human trafficking/sexual slavery ring with an insidious connection to International Police Task Force personnel, including some from the United States.
Posted in: Disc Reviews by J C on February 2nd, 2012
Ryan Gosling's 2011 made the rest of us look like a bunch of slackers. When he wasn't breaking up fights on the streets of New York City or inspiring countless memes last year, he was starring in three incredibly varied and well-received movies. The curiously punctuated Crazy, Stupid, Love. is the most commercial of those releases and also features Gosling at his movie star/leading man best. Steve Carell stars as Cal Weaver, a middle-aged man who is blindsided after his wife, Emily (go-to-adulteress-of-the-moment Julianne Moore, of The Kids Are All Right and Chloe), reveals she had an affair with a co-worker (Kevin Bacon) and asks for a divorce. While drowning his sorrows at a stylish local bar, Cal catches the eye of ladies’ man Jacob (Gosling), who decides to take clueless Cal under his wing and help him navigate the singles scene.
For a while, directors Glenn Ficarra and John Requa along with screenwriter Dan Fogelman, seem content to make Crazy, Stupid, Love. into a less-slapsticky, slightly sharper version of Hitch. Carell and Gosling, an unlikely and terrific comedy duo, make those scenes come alive, and they are the best bits in the movie. Carell balances his sad-sack character with enough charm and humor to make you believe women would find him attractive, while Gosling admirably and completely commits to playing a smooth-talking operator with the same fervor he brought to playing a drug-addicted teacher (Half Nelson) or a fiercely anti-Semitic Jew (The Believer).
