The Reel World

“Some of this actually happened.”

 It’s the quote that opens a film that I don’t just consider the most enjoyable experience on the big screen this year, but one of the best films to be released in years.  It’s a comedy, it’s a love story, it’s all a giant con wrapped in the world of the mid 70’s that David O. Russell captures with flare and detail and often at times feels as though it could be a sister film to Goodfellas.  By no means is this a gangster film (although the mob is present), but this is a film about characters who are all trying to do the right thing only the method by which they go about accomplishing the task is morally questionable.
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You already know Mary Poppins is one of the most beloved movie musicals of all time. But did you know it also holds the record for most Oscar nominations (13) and wins (5) for a movie released by Walt Disney Studios? Audiences…critics…everybody loves Mary Poppins, right? Well, unless you follow movie history pretty closely, you may not know the film had a famous, formidable critic in P.L. Travers, the author of the “Mary Poppins” book series.
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“There are dark spirits, old and full of hate…The world is in great danger.”

A trilogy is a hard animal to pull off. Even when you have a popular franchise, it is extremely difficult. All of the pieces have to work just right or you could have a disaster on your hands. It is even harder when you’ve already beaten the odds once and delivered a trilogy that is both loved and a huge box office success. You run into an almost insurmountable mountain of expectations. Your pieces must somehow fit together so that they can be viewed as one whole product.
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Director Scott Cooper made his directorial debut with the much critically acclaimed film Crazy Heart.  It was an impressive first film that managed to get Jeff Bridges an academy award.  With Out of the Furnace, Cooper again has a film on his hands that may gain some award recognition due to the many great performances sprinkled throughout the film.  But aside from the great performances, how does the actual film hold up?  It’s something I’ve been pondering for a bit.  The film wastes no time showing us its dark side right from the start.  Harlan DeGroat (Woody Harrelson) is out on a date and heaving outside his car at a drive-in theater. 
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This is a film that was sitting on a few shelves for quite some time. It was first a novel by Chuck Logan back in 2006. Sylvester Stallone liked the idea and put together a screenplay. It was intended as a vehicle for him, but that’s where the whole sitting on a shelf thing comes into play. The movie never really got off the ground, and before long Sly was a little too long in the tooth to do the role. It’s not like he was a spring chicken when he wrote the thing, which could account for, you know, that sitting on a shelf business. The screenplay has finally gotten off the shelf and into our movie screens. After careful consideration, I’m looking for that shelf again.
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The most peculiar thing about The Hunger Games — both in the books and the blockbuster movie adaptations — is that the Games themselves are easily the least interesting part. The first film’s staggering box office success predictably led to a much bigger budget for the rabidly-anticipated sequel. (Catching Fire cost a reported $140 million, which is nearly double the original’s $78 million budget.) The extra money is on display in almost every engrossing frame, including the action-packed arena scenes filmed in Hawaii. But the real reason Catching Fire is an improvement over its predecessor is because the story’s satirical, political, rebellious spirit has been placed front and center.
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What would you do if you found out that you fathered 533 kids? Better yet, how would you handle that news on top of the news that the children you fathered are petitioning the courts to have your identity revealed? Well, that is the dilemma that Vince Vaughn is faced with in his new comedy Delivery Man. As you can figure out from the funny premise, this is a comedy, but it is not just hapless jokes without any real substance; Delivery Man actually has another side to it, a side that tugs on the heartstrings a bit.
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In 1986, AIDS was all over the headlines. Now AIDS is forgotten and ignored by most, but the pandemic remains a world wide disaster. It’s not like syphilis is all over the news either, but AIDS is both an insidious killer and one with a stigma all its own. Aside from the stigma is the world wide spread of HIV (the precursor to AIDS) which had reached 34 million people by 2010. Across the world, the majority of new infections are male to female. Modern pornography is exponentially more available than it has ever been and does nothing to promote safe sex, and condom use is still something that has strong opponents in society.
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” There is nothing more relaxing than knowing that the world is crazier than you are.”

When Disney Studios bought the Marvel line, what they were buying was really a printing press that printed freshly-minted money. That doesn’t mean it was automatic, however. It was done right. Starting with the first two Iron Man films, the franchise that would lead to Joss Whedon’s superior Avengers film was one of creating a universe. God made the universe in seven days. It took Marvel five movies. What we end up with is not just a fine collection of treats for the geeks and fanboys.
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“For me, it was always going to be about love.”

The best time travel stories don’t endure because people really like thinking about wormholes and paradoxes. No, it’s the idea of reliving the past or getting a peek at what’s next — before realizing we’re better off just living each day to the fullest — that captures our imagination. That’s why a filmmaker like Richard Curtis, best known for writing and directing romantic comedies like Love Actually, as well as his Four Weddings and a Funeral and Notting Hill screenplays, can take on a fantastical concept like time travel so naturally.
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Douglas, Freeman, Kline, and De Niro: four legendary actors band together in a single film and it’s a comedy no less; it’s not the first time that this has been heard of; however, not sure that it has ever been done with such style. It’s good to see four actors who you would normally see doing serious movies goof off and have a little fun, and by the looks of it, they had plenty of fun doing it. The Flatbush Four, Billy (Michael Douglas), Patty (Robert De Niro), Archie (Morgan Freeman), and Sammy (Kevin Kline) are four friends from Brooklyn who grew up together.
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“In the moment when I truly understand my enemy — understand him well enough to defeat him —then in that very moment, I also love him.”

It’s no accident that both soldiers and football players are fashioned to look indistinguishable from one another on their respective battlegrounds. We create a personal detachment between ourselves and our adversaries because we believe that will make it easier to annihilate them. That’s one of the many provocative ideas in Ender’s Game, the consistently dazzling and occasionally rushed adaptation of Orson Scott Card’s beloved science fiction book.
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“You won’t see it coming”.

Ridley Scott has undergone a bit of a change in his last couple of films. He has become more contemplative and philosophical. It’s certainly understandable. In the middle of filming The Counsellor, his brother and producing partner Tony Scott took his own life by jumping from a bridge. Obviously production on this film was halted for a time. Credit the director for pulling it together and getting the film back on track and finally released. Still, as you watch the film, you can’t help but wonder if it wasn’t heavily influenced by his own personal tragedy.
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“They’re gonna laugh at you. They’re all gonna laugh at you.”

The idea of remaking/reimagining/refurbishing a horror classic may have been laughable at one point, but now it’s just business as usual. Then again, I happen to think this is an especially good time to revisit 1976’s Carrie. With all the attention bullying has gotten in the media these last few years, the supernatural story of a high school outsider pushed to her violent breaking point seems particularly timely. I just wish the new movie had more going for it beyond decent timing and a pair of impressive leading ladies.
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Journalism today is in disarray. I say that not because there aren’t many, many passionate journalists who want to do the best job possible. I say it because there are just many, many, many more bloggers who don’t know how live up to those standards or why it’s even important. The internet changes everything in the music industry, the movie industry, and the media industry. That doesn’t necessarily mean it’s a bad thing. It just means that it’s chaotic, and it often seems like no one is in control.
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“A successful breakout depends on three things: Layout, Routine, and Outside Help.”

You know, there was a time when the public could only dream of an Arnold Schwarzenegger and Sylvester Stallone team-up. Now thanks to a little film called The Expendables, when it comes to the realm of action star team-ups, anything is possible. Case in point: Escape Plan. When this film was first announced, I figure it would be devoid of any real substance and just another attempt to capitalize on the success of  Expendables (the first one; the second is not that great) but the film surprisingly holds up on its own without having to cling to anything else.
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Gone With The Wind is the most popular film of all time still to this day if you talk about adjusted dollars. The Birth of a Nation was the most popular film of all time for a considerable time prior to that. Both films could be said to have a benign view of slavery and white supremacy, although it would be easy to use much stronger language than that. In most circles, both films have been considerably discredited due to this myopic view. Both films almost completely ignore or disregard the incredible cruelty of using human beings as a commodity for commerce.
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“Try not to be distracted by the cleavage and the hairspray.”

It all started out as a mock trailer written by Robert Rodriquez for the 2007 farce Grindhouse. The project combined such talents as Rodriquez, Quentin Tarantino, Eli Roth, Rob Zombie and Edgar Wright. They were all fans of the 1970’s exploitation grindhouse films. You can certainly see the influences in the movies these filmmakers have made on their own. Machete was equally a farce and only intended to give you that drive-in trailer feeling during Grindhouse. Along the way the segment staring Danny Trejo became something more.
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I remember the day I was watching CNN and they broadcast the news of Captain Richard Phillips being rescued after being held captive by Somali pirates back in 2009.  The story of a captain facing gun-toting pirates and being held captive on a lifeboat for four days is a story rich with material that begs to be made into a film.  Now four years later, this heroic story comes to the big screen (in IMAX for those lucky enough to have an IMAX nearby) helmed by director Paul Greengrass (United 93) and starring Tom Hanks in what I believe is the performance of his career.
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“Let me tell you a story.”

Remember the tagline in Alien? “In space no one can hear you scream”. Gravity begins, appropriately enough, with complete silence. We’re treated to a rather spectacular view of the Earth from orbit. Eventually chatter begins to intrude upon our revelry. We soon meet the crew of a space shuttle mission to do repair work on the Hubble telescope. We quickly learn that this is the final mission for retiring astronaut Matt Kowalski, played by George Clooney, although I certainly consider it a bad sign when he’s told to enjoy his last walk.
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“This is your job. You want a safer job, go work at the post office. You want a clear conscience, go start a charity. But if you want your own island and your boss says you gotta go out there and take a beating, you go out there, take it and come back to work and say, ‘do you need me to do it again?'”

This may just be me, but any job that requires me to happily take a beating simply isn’t for me, and no matter how much money is on the line. A movie about a bright kid from a broken family, down on his luck getting taken in by a charismatic wheeling-dealing/sociopathic businessman, and before long finding himself in over his head, sound familiar?
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“There are only a few things I really care about in life: My body, my pad, my ride, my family, my church, my boys, my girls, and my porn.”

I have to say, I didn’t see that last one coming the first time I saw the trailer. Another thing I didn’t see coming when I first heard about the film, that it was the feature film directorial debut for actor Joseph Gordon-Levitt. Quite the illustrious career Gordon-Levitt has had; I knew he had been around the block as far as acting goes, but I had no idea of his list of accomplishments until after I consulted IMDB; the man has over sixty acting credits to his name and has been part of some of the biggest and innovative films in recent years.
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After first seeing the trailer for Rush the first thing that came to mind is how the film looked like nothing director Ron Howard (Apollo 13, Backdraft, Parenthood) had done before.  Set in the world of Formula 1 racing where everything was about speed, style and sex, this seems like a world far removed from the wheelhouse we expect from Ron Howard.  But upon watching the film, beyond the tremendous visuals on the track we are given a story that is more than just a simple rivalry, but a story about the drive to succeed at any cost whether it be by skill or obsession and envy; what matters to these men is to be number one.
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I honestly expected to be bummed watching Enough Said. The film marks the penultimate screen appearance by Sopranos icon James Gandolfini following his untimely death from a heart attack in June. So while I always looked forward to watching Gandolfini, there was an undercurrent of sadness in knowing this was one of the last new performances we’d ever be getting from the immensely talented actor. Thankfully, Gandolfini’s work here is as lively and funny as the rest of this romantic comedy, so you’re more likely to walk away with a smile on your face than a tear in your eye.
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“You made me feel so safe. You told us that you could protect us from anything.”

Prisoners poses a lot of provocative questions. Chief among them is, “Who ultimately bears the responsibility of protecting one’s family?” Is it enough to leave these matters completely in the hands of dedicated, but hopelessly overwhelmed law enforcement officials? And, in a life or death situation, would you ever take the law into your own hands to save someone you love? My favorite thing about Prisoners, one of the best movies I’ve seen this year, is that the film respects its audience enough to withhold any easy answers.
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