Movie Review Archive for January, 2013

Wilmington on Movies: Parker

By Mike Wilmington - Saturday, January 26th, 2013

Have you seen the great film neo-noir Point Blank, with Lee Marvin as a vengeful killer named Walker? That’s Parker. Have you seen—and there’s no reason you should—Mel Gibson in Payback, as a bad-mouthed, vengeful hard guy named Porter? That’s Parker too. (Stark, or Westlake, didn’t like his character’s name being over-used.)

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Wilmington on DVDs: For a Good Time, Call….

By Mike Wilmington - Friday, January 25th, 2013

  FOR A GOOD TIME, CALL… (Two Disc Combo Pack: Blu-ray/DVD/Digital Copy/UV (One and a Half Stars)  U.S.: Jamie Travis, 2012 (Universal) For a Good Time, Call…was no good time for me. It’s a romantic comedy about two Manhattan roommates who collaborate on a phone sex service, and discover the joys of talking dirty for fun…

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Wilmington on Movies: Gangster Squad

By Mike Wilmington - Friday, January 11th, 2013

The story is simple — which is probably exactly what the police-vs.-Mickey Cohen wars were not. But even though everything in the movie is painfully predictable, everything is also painfully unmemorable.

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Wilmington on Movies: Promised Land

By Mike Wilmington - Saturday, January 5th, 2013

Matt Damon, who’s become a kind of classic American leftist movie star—a Hank Fonda of the new millennium—has gotten trashed by some right-wingers (and some moderates and left-wingers as well) for his new film Promised Land. But I think it’s pretty good—a Capraesque tale about a big natural gas corporation trying to get drilling rights to the gas deposits in a Pennsylvania farming town that’s fallen on hard times. Damon, who’s one of our best actors and doesn’t always get the credit he deserves (because, these days, he gets slammed for his politics), plays a smalltown Iowa guy who thinks he understands and relates to these smalltown Heartland people, and has a Messianic sense about his job.

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Wilmington on Movies: Jack Reacher

By Mike Wilmington - Tuesday, January 1st, 2013

In any case, violence begets box-office, or so Hollywood often seems to believe—and Jack Reacher is an almost ridiculously violent movie, so ridiculous that if writer-director Christopher McQuarrie had dreamed up better jokes, and more of them, he might have had one hell of a comedy.

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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