The Reel World

I always have a problem when a comedy involves a lot of people getting killed, but there are always exceptions. Mob comedies are rarely completely satisfying, but there is one exception, and that is The Freshman with Marlon Brando and Matthew Broderick, which was completely inspired and hilarious, mostly because it defied expectations at nearly every turn. The new mob comedy, The Family, stars Robert De Niro and Michelle Pfeiffer, who have both made OK mob comedies before, Analyze This and Married to the Mob respectively. Almost any other mob comedy you can mention falls flat (including Analyze That).

Two of the interesting distinctions are the inclusion of Martin Scorsese as executive producer and Luc Besson as the writer/ director. Executive producers generally don't do much except contribute early on; there are some very obvious moments that show Scorsese's influence, but this more Besson's show.

“Personally, I prefer the ghosts to people.”

The biggest reason Insidious became a surprise smash was because of its astoundingly straightforward and effective approach to delivering scares. The 2011 film came at the height of the "found footage" craze (and counted Paranormal Activity mastermind Oren Peli as one of its producers), yet it managed to resist the gimmick. It was also released less than six months after the Saw franchise limped to its bloody conclusion, so the fact that Insidious had a grand total of one fatality made it seem downright revolutionary. Unfortunately, the sequel doesn’t seem nearly as interested in standing out from the pack.

Vin Diesel. He is a man. A character who doesn't seem real. He is an actor who seems like an artificial creation. He seems to be all brawn and Cro-Magnon heft with just a tiny spark of sensitivity and some sense of inherent intelligence. It turns out Diesel started out making small independent films like Multi-Facial and Strays which led to Hollywood calling for the films Saving Private Ryan and The Iron Giant,which then led to Pitch Black and a TV movie called The Chronicles of Riddick: Into Pitch Black with Diesel playing the Riddick character. Diesel went on to be identified with two other characters, Dominic Toretto (Fast and Furious) and Xander Cage (XXX) but soon bridled at being typecast, and then his career stalled. The sequel, The Chronicles of Riddick (not to be confused with the previously mentioned TV movie), had a much bigger budget with too many new plot lines, but, more importantly, too much pretension. But Diesel loved the Riddick character and got to buy the rights in exchange for a cameo in Fast and Furious 3: Tokyo Drift.

Riddick definitely drops the pretension of the second Riddick film, and the new film more closely resembles Pitch Black. The difference is that he winds up on a totally different planet. Now Riddick is a Furyan, so he wanted to go back home, but no such luck. He has to make do with a barren, unfamiliar and inhospitable world. He also has to self-heal a broken leg. No big deal.

What makes a bad movie? What makes a good movie? The standards are getting lost in murky waters, because many of the critics have no interest in film history and the clear record of what is great and what is garbage. That goes for many filmmakers too. Their standards are what works in the last 12 months and how to try out the latest technology. Unfortunately they often forget the tried and true basics like good writing and good acting.

Getaway is getting dumped on by the critics, but is it really fair? I don't think so.

It’s hard to believe it was way back in 2004 when Shaun of the Dead first splashed across the screen.  The film introduced those of us in the US to Edgar Wright, Simon Pegg and Nick Frost, and since then their impact on geek pop culture is well beyond a simple cultish trend.  Shaun of the Dead would be the first film in what the trio would call “The Cornetto Blood and Ice Cream Trilogy”, Hot Fuzz would be the second title, and The World’s End would be the closing chapter.  Upon first glance the films have little to do with each other with the exception of the key actors in all three films, but I feel with a closer look what the three films all have in common is simply the bond of friendship.  Where SOTD would be lifelong friends sticking together, and Hot Fuzz would delve into the start of a new friendship, The World’s End tackles the hardship of being friends and overcoming the hurt friends can inflict upon us.  So for those of you expecting to simply just get a standard alien invasion flick, what we get instead is so much more and is certainly Wright’s most mature work to date.

Things kick off as Gary (Pegg) recounts the epic pub crawl he and four of his closest friends attempted.  The crawl is epic and dubbed The Golden Mile, 12 pubs in one night.  The narration helps introduce us to his former mates and all the near disasters they encountered that night.  Gary seems to be trapped in the events of this night; he wholeheartedly believes that life couldn’t get any better than that night.  We soon discover this was no simple narration but Gary retelling the events at a support group meeting.  It’s 20 years later and the only thing that seems to have changed about Gary is his hairline.  The only regret Gary seems to have about that night is that he and his friends never completed the mile, and now he is suddenly overcome with the urge to complete this wrong from his past.

Meeting your significant other’s family for the first time can be a terrifying experience. Then again, being introduced to your son/daughter/brother/sister’s new boyfriend or girlfriend can be equally dicey for the family, since we’re talking about a total stranger being thrown into the mix. The best thing about You’re Next is how it takes this sort of recognizable family drama and gleefully twists it into a brutally violent — and brutally funny — horror film.

The unfortunate family at the center of this genre mash-up is the Davisons, who have convened for the first time in a long time to celebrate Aubrey (Barbara Crampton) and Paul’s (Rob Moran) 35-year anniversary. Their four grown children — Crispian (AJ Bowen), Drake (Joe Swanberg), Aimee (Amy Seimetz) and Felix (Nicholas Tucci) — along with their respective significant others — Erin (Sharni Vinson), Kelly (Margaret Laney), Tariq (Ti West) and Zee (Wendy Glenn) — all gather at the family’s remote, picturesque home in the middle of the woods.

It's nice to see two Spielberg veterans in the same movie. It's been a long time since American Graffiti when Harrison Ford and Richard Dreyfuss last appeared together. It's been a long time since Hooper in Jaws and Roy Neary in Close Encounters of the Third Kind, but Dreyfuss and Ford don't appear together in this movie either. It's like they are in two different movies. Paranoia is a corporate espionage thriller with two CEO's played by Harrison Ford and Gary Oldman, who have strong ties and stronger hates. There is lots to like about the movie, but many, many missed opportunities too.

The story is fairly tangled and revolves around a young genius (Liam Hemsworth, the brother of Chris who plays Thor in some other movies) who suffers from immaturity and bad judgment. Richard Dreyfuss is his lovable loser of a father who needs his medical insurance. But he loses his medical insurance because he's not important enough to his big boss Oldman, who fires him. It turns out that was a bit of a ruse. It's actually much more convoluted and confusing than that, but that's the essence of it. Oldman's rivalry with his former mentor and now fierce competitor played by Ford is all-consuming, so much logic is lost in his zeal. Oldman uses threat of death and promises of riches to entice Hemsworth to infiltrate Ford's inner circle.

"There's no room for punks in suits. Just real heroes who can really kick ass."

You've heard me say many times in these pages that expectations kill. It's a rule I've found to be pretty solid when it comes to sequels. Like all good rules, there are exceptions. When it comes to Kick-Ass 2 it's the lack of expectations that will kill your enjoyment of the film. If you don't understand going in what to expect, you will more than likely hate this movie. If you already have a good idea what is going on here, be prepared to have a rip-roarin' time of your life.

“We don’t stop innovating.”

In Jobs, the iconic entrepreneur/inventor says these words during one of his many — and I mean MANY — inspirational speeches. It’s meant to be a “capture the imagination” moment for both his assembled techie troops and for those of us in the audience. Unfortunately, these sorts of platitudes come early and way too often in this biopic. More importantly, the film never really bothers to back them up.

Walking out of District 9 I knew I had just watched something special; it was more than a simple sci-fi film, it was a technical achievement that would make writer/director Neill Blomkamp a guy to look out for.  It’s been four years since District 9’s release and Blomkamp steps up to the plate with an even more ambitious project with Elysium.  For those who have seen the trailers, I’m sure like myself you were chomping at the bit as the visuals gave us hope for a film that would not only equal what District 9 did but surpass it in quality and scope.

In the late 21^st century the world becomes overrun with sickness.  The world’s wealthiest and influential come together to create a safe haven from disease.  Elysium is the end result.  A place nestled in space where everything is near perfect, a society without sickness and where citizens can simply lie in a machine and be healed by it no matter how serious the injury or sickness.  It’s these very machines that those back on Earth will do whatever it takes and risk (near) certain death to place their loved ones inside to be healed.