Movie Review Archive for February, 2012

Wilmington on Movies: Act of Valor

By Mike Wilmington - Friday, February 24th, 2012

With its cast of real-life Navy Seals playing characters based on themselves, in a script partly drawn from real life, in scenes that the Seals actors helped design and choreograph, Act of Valor should really be the last word in Seals combat realism.

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Wilmington on Movies: Ghost Rider

By Mike Wilmington - Monday, February 20th, 2012

No screenings for critics here on Ghost Rider: Spirit of Vengeance — for reasons that become quickly apparent when you watch it — so I decided to fork over coin of the realm anyway and catch it at a multiplex. After all, I thought, how bad could it be? I mean really: How bad?

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Wilmington on Movies: The Secret World of Arrietty

By Mike Wilmington - Friday, February 17th, 2012

Who, I pondered, were the craftsmen who made all the wonderful furniture and clothes and hand-crafted-looking household items that graced the Clocks’ house? Did these objects come from dollhouses? Are Pod and Homily master artisans as well as brilliant borrowers? As I said, I thought about it, but not much.

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Wilmington on Movies: Safe House

By Mike Wilmington - Sunday, February 12th, 2012

I didn’t dislike it. But I didn’t like it much (except for Washington), and I kept feeling that I should like it — that there was so much fuss being taken over Safe House, and so much obvious talent involved, that I was being somehow ungrateful in remaining unmoved — or in wishing that two or three of the action or chase set-pieces (say, the soccer stadium scene) had been replaced with a few more scenes devoted to character and dialogue and human interaction.

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Wilmington on Movies. Journey 2: The Mysterious Island

By Mike Wilmington - Friday, February 10th, 2012

Along the way to the credits, The Artist Formerly Known as the Rock treats us to a performance of the Louis Armstrong favorite “What a Wonderful World,” with his own ukulele accompaniment; advises Sean on his love life, smiles constantly, and tops it off by bouncing berries off his popping pectorals, making for an unprecedented 3D experience.

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Wilmington on Movies: The Woman in Black: Happy Birthday, Charles Dickens

By Mike Wilmington - Monday, February 6th, 2012

So, at least we can go to a horror movie where we don’t have to watch more mock home movie or surveillance camera photography of monstrous stuff, or kibitz on teen/20 actors being slaughtered in another artificial holocaust for sale.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon