The Reel World

The first question you have to ask: “Was Stanley Kubrick a genius?" There are those who assert his IQ was ridiculously high (200+). Kubrick himself replied that he was below average. I tend to agree with the former rather than Kubrick himself. Kubrick is a monumental legend in film history. I personally think he is the single greatest director of all time, but I say that with a little reservation. There are hundreds of directors who I admire and think are deserving of high praise, but Kubrick's incredible mystique is what raises him above the rest.

It’s easy to forget how important it was for 2008’s Iron Man to be great. After all, the film was only asked to A.) properly introduce a B-list comic hero to the movie-going masses and B.) successfully kick off what turned out to be Phase One of Marvel’s March Toward Global Domination Cinematic Universe. “Good” would’ve been a letdown; Iron Man needed to be great. Fortunately, it delivered in spades; its critical and commercial success paved the way for an unprecedented run of films that culminated with The Avengers last summer. With a release date for the Avengers sequel already on the horizon, Tony Stark and Co. have once again been asked to set the tone.

"Poor John Doe, what a way to go."

You might be asking yourself the obvious question here. I know that I was. Who is Arthur Newman? Arthur Newman is Colin Firth. The busy actor has been the king of the hit-or-miss movie. He's scored some wonderful roles in films like The King's Speech. But much of his career has been as a chameleon actor in niche independent festival films. Arthur Newman certainly fits in that later category. In fact, the film has been making its way through the European circuit for the better part of the past year.

"Somebody somewhere knows something. And somebody's going to talk."

At the age of 76 many might consider The Company You Keep as a kind of swansong for Hollywood's original pretty boy, Robert Redford. It has all of the earmarks of a grand finale. Redford plays the star role and directs the film as well. It plays out like a message film with the grace of not overplaying its hand. And so, while the film brings up the activists morality of Vietnam-era America, it never becomes preachy or too obvious. In almost every sense of the word this is about as picture-perfect a goodbye as Redford might have asked for.

People have used a lot of different words to describe Michael Bay and his films: “loud”, “blockbusters”, “mindless”, “soulless”, “Hitler” and, of course, “awesome.” One of the words you don’t normally associate with Bay’s undeniably successful output is “clever.” I daresay Pain & Gain is the most interesting movie the action auteur has ever made; the film is both seriously silly and surprisingly smart in how it presents its stupid characters.

Ever wonder what would happen if you took all the best or most memorable parts in a sci-fi film and cut them all together?  What you get is the hodgepodge mess that is Oblivion, which unless I’m mistaken or blinked a bit too long and missed it, doesn’t have an original bone in its already weak story.  Though they say if you’re going to steal, then steal from the best; the problem is that when you play it off as your own, please be able to give us a refreshing twist on a classic scene, not just make it cool.  Sure people will say the same about Tarantino, but he owns up to it and puts a spin on it that is undeniably his own.

 "If you ride like lightning you're gonna crash like thunder".

The best film that you may not get an opportunity to see this year is The Place Beyond The Pines. The film has already scored great buzz at a few film festivals and is about to see a very limited theatrical release. It's one of those films that absolutely deserves better, but somehow as you watch it you realize that this limited environment is a perfect match for the movie.

The power is in the mind, or at least it is in Trance, the latest psychological thriller from Academy Award winning director Danny Boyle. From the original trailer I saw of this film, I had the wrong impression of this film completely; I was intrigued by the film, but I just expected it to be another heist film. Now, for the record, I love heist films; I love the watching the thieves plan the heist, I love watching them execute the theft, and I even love the eventual double-cross that everyone always sees coming. To call Trance simply a heist film is to severely undersell its value.

“You give me a uniform, you give me a number on my back — and I’ll give you the guts.”

More than any sport, baseball is all about numbers. Unfortunately, some of those numbers — like 73 (home runs in a single season) and 500 (career homers) — mean a little less in light of the steroid era. Others, like 56 (Joe DiMaggio’s legendary hitting streak), seem destined to live on forever. The most significant number on that shortlist might be 42, worn by Jackie Robinson when he broke Major League Baseball’s color line on April 15, 1947. 42 — the film, not the number — is significant for a somewhat surprising reason.

 "Lucky Bastard was a pornographic website that invited fans to have sex with porn stars. The following footage is believed to be the last video shot for the site."

You know exactly what that kind of an intro means. You should. The found footage genre has been around even long before it was turned into a modern trend by The Blair Witch Project. Since that time the genre has appeared in both large and small budget films. The shaky footage usually covers a variety of sins by the filmmakers. Rarely does the genre have anything clever or new to dispense. That's not exactly true with Lucky Bastards.