Movie Review Archive for August, 2012

Wilmington on Movies: Lawless

Directed and written by the team of John Hillcoat and rocker-scenarist Nick Cave (who also joined forces on the nerve-jangling 2006 Aussie western The Proposition), Lawless is also a very arty film about a rustic underworld — and it’s arty in both good and grating ways.

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Wilmington on DVDs: A Separation

  DVD PICK OF THE WEEK: NEW A SEPARATION (Jodaeiye Nader az Simin) (Four Stars) Iran: Asghar Farhadi, 2011 (Sony Pictures Home Entertainment) Movies can open up a whole world for audiences, revealing even the most remote people and places. That’s especially true of movues like A Separation, last year’s much-praised, much-awarded foreign language Oscar-winner…

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Wilmington on Movies: Samsara

One of the tasks of art is to create beauty. (I’ll call it a sacred task, since I lived most of my life with an artist and treasure her memory, and it‘s what she would have said.) Another is to reveal the truth, or to give us both, together. I wouldn’t be so pretentious as to say that Samsara achieves all or any of these. But it tries. Honor to it then, and praise to all cinema that reveals a world to us — worlds upon worlds, the wheels of death and the Wheel of Life as well.

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Wilmington on Movies: Hit and Run

Part of Hit and Run — a hell-on-wheels car-chase comedy-actioner from actor-writer-co-director Dax Shepard — is playful, funny and even sweet-tempered. And part of it is hard and raunchy and a little mean. The two parts don’t always jibe or mix well, but at least they provide a little variety and at least some entertainment — more than most shows of this kind do.

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Wilmington on Movies: Premium Rush

It’s a smart movie that sometimes goes off the track. Writer-director David Koepp has scripted some of the biggest grossing action or adventure films ever, including “Jurassic Park” and the first “Spider-Man,” and he has a definite flair for rapid-fire clichés D.D.F. (done damned fast). His own directorial efforts haven’t been as good. But “Premium Rush” is probably the best of them.

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Wilmington on Movies: Sparkle

I think we’re wrong when we say the story doesn’t matter in shows like this, because the audience just comes for the music. (People say the same kind of thing about action and horror movies, and they‘re wrong there, too.) The story does matter, always, and when we start getting more great musicals again — and I hope we will — it’ll be because all of the movie will click and not just a part of it.

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‘Compliance’ stirs emotions by putting viewers in hot seat

At a time when most mega-budget movies are forgotten 10 minutes after the final credits have rolled, it’s interesting that a no-frills indie has kept serious movie buffs talking since it was screened last January at Sundance. Based on a series of actual events, “Compliance” describes just how hideously wrong things can go when otherwise level-headed Americans think they’re doing the right thing.

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Wilmington on Movies: ParaNorman

I liked it a lot more than any of the “Paranormal Activity” movies — which I suppose isn’t saying much, because I dislike the “Paranormal Activity” series in toto. But ParaNorman activity, you know: that can be cool — as long as those undead guys don’t litter too many body parts on the sidewalks, when they‘re running away from the solid citizens.

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Wilmington on Movies: The Bourne Legacy

I miss Jason Bourne already — missed him, in fact, even before I saw “The Bourne Legacy”, fourth in the multi-million dollar grossing Bourne spy movie series, based on Robert Ludlum’s books.

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Wilmington on Movies: The Campaign

Are politicians whores? Are movie comedies whorehouses? Are whores and poets and comedians the great unacknowleged legislators of mankind — and East Canarsie? Then why don’t they all get together and count votes more often?

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Review: BEAR EATS GIRL (spoilers)

When you’re young, you want everyone to talk to you – your parents, your dog, your teddy bear, your action figures. When you’re older, you want everyone to shut up. “Family Guy” creator Seth MacFarlane brilliantly taps into this evolution with “Ted,” a movie he cowrote and directed about a sweet, lovable talking teddy bear that grows up to become a wise-cracking, bong-toking slacker.

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Wilmington on Movies: The Babymakers

I think it’s safe to say though that Jay Chandrasekhar will never win the Nobel Prize for Physics, or even for sperm preservation research, though he might well open up his own bank, if his customers have good shoes and a Farrellyesque sense of humor.

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Wilmington on Movies: Total Recall

Another Philip K. Dick movie. Another terrific opportunity wasted. It bewilders me. Why are so many of the current makers of the super-action-movies so seemingly uninterested in writing good or clever dialogue or in devising original plots or in creating interesting characters?

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Movie Review

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Rory on: Wilmington on Movies: Snow White and the Huntsman

Greg on: Review-ish: Ghostbusters (2016, non-spoiler)

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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