Due to an early screening of The Losers, LS2FG writers James Goux and B.S. Hadland have brought back the Film Duel to share both of their opinions on the film. You’ll find James’ review below Benn’s. More after the jump.
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In this era of redone, re-envisioned and rebooted superhero films, it is expected that our superheroes be portrayed in a more realistic, edgy manner than that of their Golden Age-era counterparts. But there hasn’t been a film that, both, pays homage to caped crusaders and displays gleeful irreverence to the genre. At least, not like Kick-Ass.
Whatever happened to the children of John Hughes, with their angst, their questions and their seemingly never-ending youth? They grew up to find their answers only lead to more infuriating question, and growing up is never easy, no matter how old you are.
Cameron Crowe’s Singles is one of the first films to chronicle the burgeoning “Generation X”, a culture of grunge music, environmentalism, flannel, tattered jeans and relationship woes. Singles focuses on two couples as they experience the trials and tribulations of being in relationships. Neither relationship is what one would call typical, which provides a considerable (and sometimes unnecessary) amount of drama. Steve and Linda (Campbell Scott and Kyra Sedgwick) are both instantly drawn towards one another, but their relationship is shaky at best, mostly due to Linda’s experience with dishonest men. Janet and Cliff (Bridget Fonda and Matt Dillon) are the more entertaining, albeit lopsided couple, with Janet madly in love with Cliff, who’d prefer to keep it casual. Continue reading
Many know by now that I love a good con film. Additionally, traditionally I’ve been someone who enjoys something with a healthy dose of comedy, rather than a deeply depressing genre. So when I view a film like Paper Moon, a comedy/drama about a confidence man and a girl who may or may not be his daughter, it’s generally not hard to predict how I will feel about it ahead of time. I’m not very familiar with the films of Peter Bogdanovich, who directed this film, nor the work of Ryan O’Neal, who stars in it. Nor had I seen anything with Tatum O’Neal, who I assume is generally categorized as a child star because of films like this one, which was her debut (or perhaps it’s the nepotism — working with her father in this film certainly must have helped). But I am of course a fan of the genre, and the presence of Madeline Kahn didn’t hurt either.
Biopics have a fairly standard structure; whether it’s about an aging musician or a troubled athlete, the presentation is often the same, and as of late, has become a boring. Bronson begins with a fistfight between a naked convict and a group of prison guards. If that doesn’t grab you by the balls, I don’t know what does.
It’s not often on Lock, Stock, and Two Film Geeks that we discuss the biggest movies of the week, but I’m going to do it this week. I wish it was because I felt really passionately about it, that it was some work of art worth presenting to the masses. Unfortunately, this is not the case with Alice in Wonderland. I’m reviewing the new live action Tim Burton interpretation of this children’s story mostly because, well, I saw the film. Actually, this is the most I’ve ever wanted to have a notepad and pen with me in the theater, I had quite a few thoughts, and hopefully most of them will make it to the page. As I mentioned in Taking Stock, our weekly column about the films coming out this weekend, I wasn’t too hyped up about this movie, citing being tired of the “Tim Burton redoes a children’s movie in his style” thing. And I was about right, I got major Charlie and the Chocolate Factory vibes, amongst many other films that I’ll try and list throughout the review. Overall there’s things to like here, but even despite my relatively low expectations, I was still disappointed with this film. Continue reading
Un Prophete, France/s entry to the Academy’s Best Foreign Film category, has been compared to The Godfather, a comparison that many will think presumptuous, undeserved or euro-centric. Though the film’s protagonist is no Michael Corleone, the rise of the film’s titular character is just as majestic and engaging as his Seventies, American counterpart.
Malik El Djebena (Tahar Rahim) is a nineteen-year-old Beur (formal term for an Arab immigrant in France) living on the streets of France when he is arrested and given a six-year sentence. He has no family, no friends in or outside of prison and is illiterate. Needless to say, he has all the odds stacked against him.
Let’s just be clear from the start. It’s not often these days that a film causes me to constantly think to myself, This is so awesome. But sitting in a darkened theater, watching Shutter Island, the latest from Martin Scorsese and Leonardo Di Caprio, that is exactly what I was thinking. Martin Scorsese is a master of the medium, so this is certainly no surprise, but seldom has his work been this much fun. Not only does this film pay homage to the greats of the thriller genre while fleshing itself as a full-fledged entry itself, but it’s also an example of some of the finest filmmaking execution I’ve seen in some time.
As always, I’ll stay brief with my synopsis. Di Caprio plays Teddy Daniels, a federal marshal who, alongside his partner Chuck (Mark Ruffalo) goes to an island to investigate the disappearance of a patient from a highly secure mental institution for the criminally insane. And let the eerie events ensue. Continue reading
Works of great cinematic art are a funny thing. Often, they are the result of a brilliant script, fantastic direction and solid performances by able actors. Sometimes, however, greatness can be achieved entirely by accident, or in spite of itself. Such is the curious case of The Room.
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As someone who tries to keep up on important filmmakers, both within my wheelhouse and outside it, I’d read quite a bit about Pedro Almodóvar. Unfortunately, since my viewing of Tie Me Up! Tie Me Down! in college was cancelled, I’ve never actually had the pleasure of seeing one of his films. That changed this week, when I finally got the chance to sit down and watch Volver on beautiful blu-ray. This is a film that’s been sitting in my queue for ages, so the big question is: was it worth the wait? And should I have pushed it up sooner?
Volver, for those unaware, and I’m sure there are many, is the Spanish film from 2006 that got Penélope Cruz her first Oscar nomination. It’s one of those films that to explain the plot too heavily can hurt some of the surprise, so I’ll try and be brief. Volver is first and foremost a story about multiple generations of family, particularly woman, and how they relate to each other and deal with their problems. The central characters are Penelope Cruz’s Raimunda, her teenage daughter Paula, and her sister Sole. There’s a slight supernatural/mysterious element thrown into the mix as well because after the death of Raimunda and Sole’s aunt, their dead mother begins “appearing” to Sole. Continue reading