In case you missed it, make sure you see the new film "Headhunters," now playing at the AMC Empire, Landmark Sunshine, and City Cinemas Beekman Theatre. Check out my review over at Shockya.
Monday, April 30, 2012
Movie with Abe: Headhunters
In case you missed it, make sure you see the new film "Headhunters," now playing at the AMC Empire, Landmark Sunshine, and City Cinemas Beekman Theatre. Check out my review over at Shockya.
Sunday, April 29, 2012
Movie with Abe: Elles (Capsule Review)
Elles
Directed by Malgorzata Szumowska
Released April 27, 2012
Prostitution is such a common feature of films that some joke that playing a prostitute is a surefire way to earn an Oscar (statistics don’t support that theory too heavily). As a result, the bar is set higher for films about the subject to draw out some meaningful conclusion. The new French film “Elles,” which was slapped with an NC-17 rating for its thematic content more so than any actual scene featured in the film, follows Elle journalist Anne (Juliette Binoche) as she interviews two prostitutes, one sweet and wholesome, Charlotte (Anais Demoustier), and the other, a Polish immigrant, more salacious and seductive, Alicja (Joanna Kulig). As Anne immerses herself into her article, she becomes taken with both women, drawn to the energy with which they perform on a regular basis. It’s the ultimate unglamorous performance for Binoche, who throws herself into the role completely and gives no thought to vanity. Her interviews with her subjects are spliced with flashbacks to their encounters, giving the film a very realistic and visceral feel. The film presents plenty of interesting content, but lags a bit when its finale seems out of sight. One particularly fascinating scene, in which Anne zones out during a dinner party and imagines herself surrounded by the many men Charlotte and Alicija have described to her, stands out but doesn’t lead anywhere. Hypnotic scenes such as that can be found throughout the film, but the experience as a whole isn’t quite as cohesive.
B
Directed by Malgorzata Szumowska
Released April 27, 2012
Prostitution is such a common feature of films that some joke that playing a prostitute is a surefire way to earn an Oscar (statistics don’t support that theory too heavily). As a result, the bar is set higher for films about the subject to draw out some meaningful conclusion. The new French film “Elles,” which was slapped with an NC-17 rating for its thematic content more so than any actual scene featured in the film, follows Elle journalist Anne (Juliette Binoche) as she interviews two prostitutes, one sweet and wholesome, Charlotte (Anais Demoustier), and the other, a Polish immigrant, more salacious and seductive, Alicja (Joanna Kulig). As Anne immerses herself into her article, she becomes taken with both women, drawn to the energy with which they perform on a regular basis. It’s the ultimate unglamorous performance for Binoche, who throws herself into the role completely and gives no thought to vanity. Her interviews with her subjects are spliced with flashbacks to their encounters, giving the film a very realistic and visceral feel. The film presents plenty of interesting content, but lags a bit when its finale seems out of sight. One particularly fascinating scene, in which Anne zones out during a dinner party and imagines herself surrounded by the many men Charlotte and Alicija have described to her, stands out but doesn’t lead anywhere. Hypnotic scenes such as that can be found throughout the film, but the experience as a whole isn’t quite as cohesive.
B
Saturday, April 28, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
Headhunters (highly recommended): This Norwegian film subtly morphs from comedy to thriller, and it’s extremely engaging throughout. The Scandinavian cast, which includes Nikolaj Cosetr-Waldau from “Game of Thrones,” is terrific, and the movie boasts an excellent script and superb editing. Now playing at AMC Empire, Landmark Sunshine, and City Cinemas Beekman Theatre. Read my review over at Shockya.
The Giant Mechanical Man (recommended): This Tribeca entry is an offbeat, sweet film featuring Chris Messina and Jenna Fischer, both of whom have finally found perfect film roles, as two outcasts not looking to find themselves while others try desperately to define them. They make a great pair, and the movie is creative and entertaining. Now playing at the Village East Cinema. Read my Tribeca feature from earlier this week.
Citizen Gangster (recommended): This bank robber flick presents the story of Edwin Boyd, a Canadian criminal who robbed many banks in the 1950s. Scott Speedman portrays Boyd, and he’s an endearing and engaging protagonist whose story plays out quite well in this theatrical rendering. Now playing at the IFC Center. Read my review from yesterday.
Elles (recommended): This NC-17 rated French drama starring Juliette Binoche features an Elle reporter preparing an article about two very different prostitutes. It’s most effective when it really captures the personalities and inner thoughts of its characters, and definitely has its powerful moments. Now playing at the Angelika and Clearview Chelsea. My review will be up tomorrow.
New to DVD
Return (recommended): This coming-home drama features an exceptional lead performance from Linda Cardellini and strong supporting turns from Michael Shannon and John Slattery. It may be a familiar premise, but it’s well-executed and powerful.
Now on Netflix Instant Streaming
Everything Must Go (recommended): This endearing Will Ferrell film shows the funnyman at his subtlest, playing a mildly dramatic lead who has been literally thrown out on his lawn with all of his possessions in this strong and entertaining dramedy.
The First Grader (recommended): This is a sweet, harmless story about an 84-year-old Kenyan man who goes back to school to learn how to read that’s about as engaging and heartwarming as it sounds.
The Way (mixed bag): This walking road movie starring Martin Sheen and written and directed by his son Emilio Estevez is decently entertaining but otherwise relatively aimless and in no hurry to get anywhere.
Now Playing in NYC
Headhunters (highly recommended): This Norwegian film subtly morphs from comedy to thriller, and it’s extremely engaging throughout. The Scandinavian cast, which includes Nikolaj Cosetr-Waldau from “Game of Thrones,” is terrific, and the movie boasts an excellent script and superb editing. Now playing at AMC Empire, Landmark Sunshine, and City Cinemas Beekman Theatre. Read my review over at Shockya.
The Giant Mechanical Man (recommended): This Tribeca entry is an offbeat, sweet film featuring Chris Messina and Jenna Fischer, both of whom have finally found perfect film roles, as two outcasts not looking to find themselves while others try desperately to define them. They make a great pair, and the movie is creative and entertaining. Now playing at the Village East Cinema. Read my Tribeca feature from earlier this week.
Citizen Gangster (recommended): This bank robber flick presents the story of Edwin Boyd, a Canadian criminal who robbed many banks in the 1950s. Scott Speedman portrays Boyd, and he’s an endearing and engaging protagonist whose story plays out quite well in this theatrical rendering. Now playing at the IFC Center. Read my review from yesterday.
Elles (recommended): This NC-17 rated French drama starring Juliette Binoche features an Elle reporter preparing an article about two very different prostitutes. It’s most effective when it really captures the personalities and inner thoughts of its characters, and definitely has its powerful moments. Now playing at the Angelika and Clearview Chelsea. My review will be up tomorrow.
New to DVD
Return (recommended): This coming-home drama features an exceptional lead performance from Linda Cardellini and strong supporting turns from Michael Shannon and John Slattery. It may be a familiar premise, but it’s well-executed and powerful.
Now on Netflix Instant Streaming
Everything Must Go (recommended): This endearing Will Ferrell film shows the funnyman at his subtlest, playing a mildly dramatic lead who has been literally thrown out on his lawn with all of his possessions in this strong and entertaining dramedy.
The First Grader (recommended): This is a sweet, harmless story about an 84-year-old Kenyan man who goes back to school to learn how to read that’s about as engaging and heartwarming as it sounds.
The Way (mixed bag): This walking road movie starring Martin Sheen and written and directed by his son Emilio Estevez is decently entertaining but otherwise relatively aimless and in no hurry to get anywhere.
Friday, April 27, 2012
Movie with Abe: Citizen Gangster (Capsule Review)
Citizen Gangster
Directed by Nathan Morlando
Released April 27, 2012
In both cinema and folklore, bank robbers are almost always cult heroes. In film, stories as diverse in tone as “Ocean’s Eleven,” “Bonnie and Clyde,” and “Public Enemies” have glorified thieves that steal from the rich most often to give to themselves. In the more serious of cases, the hero often dies violently, or at least suffers a lonely existence after enjoying plenty of infamy. The true story of Canadian father and veteran Edwin Boyd glamorizes its protagonist, as he watches himself being profiled before movies and finds himself treated like a rock star during the robberies as female clerks swoon over him. His first heist going smoothly despite nervousness, and, like John Dillinger twenty years before him, Boyd managed multiple escapes from prison. Scott Speedman, usually used to playing a nice guy, effectively embodies Boyd, and he is joined by Kevin Durand, William Mapother, and Brian Cox to create a strong ensemble that helps Boyd’s story come alive. “Citizen Gangster,” with its slick title and impressive main character, proves to be an engaging and memorable adventure that shines a spotlight on one particularly intriguing criminal that might not be well known to American audiences.
B+
Directed by Nathan Morlando
Released April 27, 2012
In both cinema and folklore, bank robbers are almost always cult heroes. In film, stories as diverse in tone as “Ocean’s Eleven,” “Bonnie and Clyde,” and “Public Enemies” have glorified thieves that steal from the rich most often to give to themselves. In the more serious of cases, the hero often dies violently, or at least suffers a lonely existence after enjoying plenty of infamy. The true story of Canadian father and veteran Edwin Boyd glamorizes its protagonist, as he watches himself being profiled before movies and finds himself treated like a rock star during the robberies as female clerks swoon over him. His first heist going smoothly despite nervousness, and, like John Dillinger twenty years before him, Boyd managed multiple escapes from prison. Scott Speedman, usually used to playing a nice guy, effectively embodies Boyd, and he is joined by Kevin Durand, William Mapother, and Brian Cox to create a strong ensemble that helps Boyd’s story come alive. “Citizen Gangster,” with its slick title and impressive main character, proves to be an engaging and memorable adventure that shines a spotlight on one particularly intriguing criminal that might not be well known to American audiences.
B+
Thursday, April 26, 2012
Thursday Triple Features
Welcome to a weekly feature here at Movies With Abe, Thursday Triple Features. Throughout college, I would often head to the movies for three films in a row on a Friday or Sunday, and I’m excited to recall some of my most memorable experiences. I don’t necessarily advocate that you try this at home, but I’ll explore that as well.
My seventh triple feature experience was arguably the least exciting of all, since it kept me in one place – AMC 34th St – and only offered one remotely memorable film. The other issue I encountered was that I nearly missed the start of the third film, due to the fact that I scheduled it with too narrow a window instead. I’d say don’t try this at home, but that’s exactly what you might want to do for this mediocre slate!
September 11, 2009
Movie #1: Whiteout
Time of Day: 10:10am
Runtime: 101 minutes
It turns out there’s a reason no one has made a movie about a serial killer in Antarctica. This dumb movie featuring Kate Beckinsale was entirely illogical, and it got increasingly less coherent as the snow came in and it went on. This movie was entirely unforgettable and fully lamentable.
Movie #2: Extract
Time of Day: 12:50pm
Runtime: 92 minutes
This comedy starring Jason Bateman didn’t know what it wanted to be, and an ensemble including Kristin Wiig, Mila Kunis, Ben Affleck, J.K. Simmons, and Clifton Collins Jr. couldn’t make this film funny. It’s more of a work in progress, something that served as a transition between television and the great projects that Bateman, Wiig, and Kunis have made since.
Movie #3: 9
Time of Day: 2:40pm
Runtime: 79 minutes
This ended up being my favorite animated film of the year, telling a rather sophisticated and grown-up story with such terrific voices as Elijah Wood, Christopher Plummer, Martin Landau, John C. Reilly, and Jennifer Connelly. This layered and powerful drama utilized animation in an extremely compelling way.
The review: I don’t remember either of the first two films fondly, but the third one stuck with me through the rest of the year, even after several high-profile animated features.
The grades: F, B-, B+
A good lineup? Not particularly. Quality aside, the films had nothing to do with each other, and transitioning from one to the next wasn’t particularly fluid. Skip the first two and see the third. Coming up next: my first triple feature of press screenings!
My seventh triple feature experience was arguably the least exciting of all, since it kept me in one place – AMC 34th St – and only offered one remotely memorable film. The other issue I encountered was that I nearly missed the start of the third film, due to the fact that I scheduled it with too narrow a window instead. I’d say don’t try this at home, but that’s exactly what you might want to do for this mediocre slate!
Time of Day: 10:10am
Runtime: 101 minutes
It turns out there’s a reason no one has made a movie about a serial killer in Antarctica. This dumb movie featuring Kate Beckinsale was entirely illogical, and it got increasingly less coherent as the snow came in and it went on. This movie was entirely unforgettable and fully lamentable.
Movie #2: Extract
Time of Day: 12:50pm
Runtime: 92 minutes
This comedy starring Jason Bateman didn’t know what it wanted to be, and an ensemble including Kristin Wiig, Mila Kunis, Ben Affleck, J.K. Simmons, and Clifton Collins Jr. couldn’t make this film funny. It’s more of a work in progress, something that served as a transition between television and the great projects that Bateman, Wiig, and Kunis have made since.
Movie #3: 9
Time of Day: 2:40pm
Runtime: 79 minutes
This ended up being my favorite animated film of the year, telling a rather sophisticated and grown-up story with such terrific voices as Elijah Wood, Christopher Plummer, Martin Landau, John C. Reilly, and Jennifer Connelly. This layered and powerful drama utilized animation in an extremely compelling way.
The review: I don’t remember either of the first two films fondly, but the third one stuck with me through the rest of the year, even after several high-profile animated features.
The grades: F, B-, B+
A good lineup? Not particularly. Quality aside, the films had nothing to do with each other, and transitioning from one to the next wasn’t particularly fluid. Skip the first two and see the third. Coming up next: my first triple feature of press screenings!
Wednesday, April 25, 2012
Talking Tribeca: The Giant Mechanical Man
I’ve had the pleasure this year of screening some selections from this year’s Tribeca Film Festival, which takes place April 18th-29th.
The Giant Mechanical Man
Directed by Lee Kirk
Festival Screenings
This comedic drama is a delight for a number of reasons, the most significant of which is finding strong roles for two fantastic actors. Jenna Fischer has always been fun on “The Office,” and she needs better film parts than “Walk Hard,” “Solitary Man,” and “A Little Help.” Portraying disgruntled temp Janice is a perfect fit, and the same can be said for Chris Messina, from “Damages,” “Six Feet Under” and “Vicky Cristina Barcelona,” among other projects, who is superb as Tim, a creative artist who spends his days dressed up as a giant silver mechanical man, determined to make those lost in life feel better about the world being a crazy place. Both Janice and Ted are dissatisfied with being told how they’re supposed to live and act, and watching them find each other and their own version of happiness is quite enjoyable. Malin Akerman, Rich Sommer, Topher Grace, Lucy Punch, and Bob Odenkirk make up an amusing ensemble, and this film is rich and full of great dramatic and comedic moments. It’s a wonderful and original outlook on the world that gradually gets happier as it goes on, and a sterling usage of actors to tell a captivating and enjoyable story.
See it or skip it? Definitely see it – it’s great! Don’t worry if you missed it at the festival, since it’s being released at the Village East Cinema this Friday.
The Giant Mechanical Man
Directed by Lee Kirk
Festival Screenings
This comedic drama is a delight for a number of reasons, the most significant of which is finding strong roles for two fantastic actors. Jenna Fischer has always been fun on “The Office,” and she needs better film parts than “Walk Hard,” “Solitary Man,” and “A Little Help.” Portraying disgruntled temp Janice is a perfect fit, and the same can be said for Chris Messina, from “Damages,” “Six Feet Under” and “Vicky Cristina Barcelona,” among other projects, who is superb as Tim, a creative artist who spends his days dressed up as a giant silver mechanical man, determined to make those lost in life feel better about the world being a crazy place. Both Janice and Ted are dissatisfied with being told how they’re supposed to live and act, and watching them find each other and their own version of happiness is quite enjoyable. Malin Akerman, Rich Sommer, Topher Grace, Lucy Punch, and Bob Odenkirk make up an amusing ensemble, and this film is rich and full of great dramatic and comedic moments. It’s a wonderful and original outlook on the world that gradually gets happier as it goes on, and a sterling usage of actors to tell a captivating and enjoyable story.
See it or skip it? Definitely see it – it’s great! Don’t worry if you missed it at the festival, since it’s being released at the Village East Cinema this Friday.
Tuesday, April 24, 2012
Tuesday’s Top Trailer: Cosmopolis
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Cosmopolis – Opening TBD
This futuristic drama from the Cannes Film Festival looks absolutely hypnotic, and entirely mysterious. The trailer boils down to Robert Pattison sitting in the back of a limo trying to sell people the future, and, having not read the source material, that’s about all I know. This film looks like something that would more likely come out of the mind of Lars Von Trier or David Lynch, but David Cronenberg has his appeal too, having crafted riveting films such as “Eastern Promises” and “A History of Violence” in the past, as well as more untraditional fare like “Spider.” The tagline “Destroy the past, make the future” is fantastic, and though I imagine its themes won’t be explicitly explained, I’m incredibly eager to learn what it all means. The cast is among the most diverse I’ve seen, with Pattison potentially making the leap to serious actor after headlining the “Twilight” film series, and a magnificent but strange combination of actors working with him. Juliette Binoche, who has a tightly-wound role in this upcoming week’s new release “Elles,” looks like she’s letting loose in a marvelous way, and she’s joined by the always excellent Samantha Morton, the usually more comedic Jay Baruchel, strong supporting player Kevin Durand from “Lost,” and French actor Mathieu Amalric. The most compelling argument to see this film, aside from this furiously intriguing trailer, is the fact that the wide range of actors listed above was interested in this film. It’s sure to be a weird, possibly wonderful film.
Cosmopolis – Opening TBD
This futuristic drama from the Cannes Film Festival looks absolutely hypnotic, and entirely mysterious. The trailer boils down to Robert Pattison sitting in the back of a limo trying to sell people the future, and, having not read the source material, that’s about all I know. This film looks like something that would more likely come out of the mind of Lars Von Trier or David Lynch, but David Cronenberg has his appeal too, having crafted riveting films such as “Eastern Promises” and “A History of Violence” in the past, as well as more untraditional fare like “Spider.” The tagline “Destroy the past, make the future” is fantastic, and though I imagine its themes won’t be explicitly explained, I’m incredibly eager to learn what it all means. The cast is among the most diverse I’ve seen, with Pattison potentially making the leap to serious actor after headlining the “Twilight” film series, and a magnificent but strange combination of actors working with him. Juliette Binoche, who has a tightly-wound role in this upcoming week’s new release “Elles,” looks like she’s letting loose in a marvelous way, and she’s joined by the always excellent Samantha Morton, the usually more comedic Jay Baruchel, strong supporting player Kevin Durand from “Lost,” and French actor Mathieu Amalric. The most compelling argument to see this film, aside from this furiously intriguing trailer, is the fact that the wide range of actors listed above was interested in this film. It’s sure to be a weird, possibly wonderful film.
Monday, April 23, 2012
Talking Tribeca: Take This Waltz
I’ve had the pleasure this year of screening some selections from this year’s Tribeca Film Festival, which takes place April 18th-29th.
Take This Waltz
Directed by Sarah Polley
Festival Screenings
This drama is the latest film to feature Michelle Williams in what has now become her default role, a relatively quiet, mildly antisocial, unhappy young woman yearning for something in her relatively dull life to satisfy her. A chance vacation encounter with her neighbor, who spends his days jogging people around in a human-drawn carriage, transforms her life completely, and forces her to look inward as she deals with other problems. While Williams’ part is completely expected, two casting choices in the film are quite intriguing. Seth Rogen plays her husband, who, in the course of writing a book about how to cook chicken, cooks chicken every evening, and Sarah Silverman plays her sister-in-law, a recovering alcoholic. The roles played by these two well-known comedians are hardly their usual fare, and though some of their material becomes comic of its own right, this represents a potential turning point for both actors, who deliver effective dramatic performances opposite Williams. The film starts off rather directionless and doesn’t come around to any better focus, and takes a slow approach to a story that could have well been truncated. The characters, however, are layered and well-crafted, and the film is at its best when it lets them show their depth.
See it or skip it? Either way – if it sounds intriguing and you like Williams, make time for it.
Take This Waltz
Directed by Sarah Polley
Festival Screenings
This drama is the latest film to feature Michelle Williams in what has now become her default role, a relatively quiet, mildly antisocial, unhappy young woman yearning for something in her relatively dull life to satisfy her. A chance vacation encounter with her neighbor, who spends his days jogging people around in a human-drawn carriage, transforms her life completely, and forces her to look inward as she deals with other problems. While Williams’ part is completely expected, two casting choices in the film are quite intriguing. Seth Rogen plays her husband, who, in the course of writing a book about how to cook chicken, cooks chicken every evening, and Sarah Silverman plays her sister-in-law, a recovering alcoholic. The roles played by these two well-known comedians are hardly their usual fare, and though some of their material becomes comic of its own right, this represents a potential turning point for both actors, who deliver effective dramatic performances opposite Williams. The film starts off rather directionless and doesn’t come around to any better focus, and takes a slow approach to a story that could have well been truncated. The characters, however, are layered and well-crafted, and the film is at its best when it lets them show their depth.
See it or skip it? Either way – if it sounds intriguing and you like Williams, make time for it.
Sunday, April 22, 2012
Talking Tribeca: Caroline and Jackie
I’ve had the pleasure this year of screening some selections from this year’s Tribeca Film Festival, which takes place April 18th-29th.
Caroline and Jackie
Directed by Adam Christian Clark
Festival Screenings
Any movie with names and nothing else in the title asserts a meaning or importance of said characters. In this case, Caroline and Jackie are sisters who have an extraordinarily complicated relationship. The seductive Caroline (Marguerite Moreau) arrives in town to celebrate her birthday with her sister Jackie (Bitsie Tulloch), and the evening quickly turns sour when Caroline and Jackie’s boyfriend begin an intervention for Jackie’s alleged eating disorder. Events take continually unexpected turns as a distraught Jackie wanders off, and her friends begin to look for her. The film has a marvelously dreamlike film, yet all of its action feels incredibly real. As usual, Moreau, from “Life as We Know It,” “Mad Men,” and “Douchebag,” has an incredibly alluring, mesmerizing part, and she handles it magnificently. Yet the breakout star of the film, currently seen on “Grimm,” along with the actor who here plays her boyfriend, is Tulloch, who crafts Jackie as a methodical, buttoned-up person yearning to be freer and more relaxed. A capable ensemble works with a well-constructed script, and the film, in all its stages, remains consistently intriguing and immensely watchable.
See it or skip it? See it. It’s not the happiest of films, but it’s extremely interesting.
Caroline and Jackie
Directed by Adam Christian Clark
Festival Screenings
Any movie with names and nothing else in the title asserts a meaning or importance of said characters. In this case, Caroline and Jackie are sisters who have an extraordinarily complicated relationship. The seductive Caroline (Marguerite Moreau) arrives in town to celebrate her birthday with her sister Jackie (Bitsie Tulloch), and the evening quickly turns sour when Caroline and Jackie’s boyfriend begin an intervention for Jackie’s alleged eating disorder. Events take continually unexpected turns as a distraught Jackie wanders off, and her friends begin to look for her. The film has a marvelously dreamlike film, yet all of its action feels incredibly real. As usual, Moreau, from “Life as We Know It,” “Mad Men,” and “Douchebag,” has an incredibly alluring, mesmerizing part, and she handles it magnificently. Yet the breakout star of the film, currently seen on “Grimm,” along with the actor who here plays her boyfriend, is Tulloch, who crafts Jackie as a methodical, buttoned-up person yearning to be freer and more relaxed. A capable ensemble works with a well-constructed script, and the film, in all its stages, remains consistently intriguing and immensely watchable.
See it or skip it? See it. It’s not the happiest of films, but it’s extremely interesting.
Saturday, April 21, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
Goodbye First Love (recommended): This French romance from director Mia Hansen-Love (“The Father of My Children”) features a strong central performance from Lola Créton, and a realistic and thought-provoking commentary on love and relationships. It may not be the best relationship film ever made, but it’s certainly a worthwhile one. Now playing at the IFC Center and Lincoln Plaza. Read my review, which went up on Shockya earlier this week.
New to DVD
Shame (recommended): This intense drama features an excellent performance from Michael Fassbender as a sex addict and an equally superb turn by Carey Mulligan as his singer sister. The characters are immensely rich, the cinematography magnificent, and the music terrific. Its NC-17 rating has more to do with its mature subject matter than its content.
Now on Netflix Instant Streaming
Donnie Darko (highly recommended): This classic 2001 film is nearly impossible to describe, featuring a teenager who interacts with an imaginary man in a bunny suit. Put simply, it’s a complete unique and creative vision of the universe that’s entirely peculiar and absolutely fascinating.
La Cage Aux Folles (recommended): This 1978 French film, remade in 1996 in the United States as “The Birdcage,” was nominated for three Oscars, and deservedly so. It’s a wacky, spirited comedy that’s plenty funny and entertaining, with great performances all around.
Now Playing in NYC
Goodbye First Love (recommended): This French romance from director Mia Hansen-Love (“The Father of My Children”) features a strong central performance from Lola Créton, and a realistic and thought-provoking commentary on love and relationships. It may not be the best relationship film ever made, but it’s certainly a worthwhile one. Now playing at the IFC Center and Lincoln Plaza. Read my review, which went up on Shockya earlier this week.
New to DVD
Shame (recommended): This intense drama features an excellent performance from Michael Fassbender as a sex addict and an equally superb turn by Carey Mulligan as his singer sister. The characters are immensely rich, the cinematography magnificent, and the music terrific. Its NC-17 rating has more to do with its mature subject matter than its content.
Now on Netflix Instant Streaming
Donnie Darko (highly recommended): This classic 2001 film is nearly impossible to describe, featuring a teenager who interacts with an imaginary man in a bunny suit. Put simply, it’s a complete unique and creative vision of the universe that’s entirely peculiar and absolutely fascinating.
La Cage Aux Folles (recommended): This 1978 French film, remade in 1996 in the United States as “The Birdcage,” was nominated for three Oscars, and deservedly so. It’s a wacky, spirited comedy that’s plenty funny and entertaining, with great performances all around.
Friday, April 20, 2012
Thursday, April 19, 2012
Talking Tribeca: All In
I’ve had the pleasure this year of screening some selections from this year’s Tribeca Film Festival, which takes place April 18th-29th.
All In
Directed by Daniel Burman
Festival Screenings
Not to be confused with the recently-released documentary “All In: The Poker Movie,” this Argentinean film features poker addict and successful businessman Uriel (Jorge Drexler) as he navigates running into his old girlfriend, the one that got away, Gloria (Valeria Bertuccelli). The film follows both members of the couple almost equally, showcasing Uriel’s debate about getting a vasectomy and his life with his children, and Gloria’s failing relationship with another man and the perception that her friends and family have of her. Most astonishing about the film is that this is Drexler’s first acting job – the songwriter won an Oscar for the song from “The Motorcycle Diaries – and he handles being on screen with absolute grace. He’s completely charming and energetic, and if not for Bertuccelli’s equally spectacular performance, Drexler would carry the film. Two fantastic leads are gifted with a terrific script from Daniel Burman and Sergio Dubcovsky, which features witty dialogue and an interesting story, which includes musician rabbis and mysterious poker champions. It’s hard to accurately convey a picture of “All In,” but whatever it is, it’s great.
See it or skip it? Yes, as long as subtitles don’t scare you away. It’s definitely worth seeing, and it’s hard not to enjoy.
All InDirected by Daniel Burman
Festival Screenings
Not to be confused with the recently-released documentary “All In: The Poker Movie,” this Argentinean film features poker addict and successful businessman Uriel (Jorge Drexler) as he navigates running into his old girlfriend, the one that got away, Gloria (Valeria Bertuccelli). The film follows both members of the couple almost equally, showcasing Uriel’s debate about getting a vasectomy and his life with his children, and Gloria’s failing relationship with another man and the perception that her friends and family have of her. Most astonishing about the film is that this is Drexler’s first acting job – the songwriter won an Oscar for the song from “The Motorcycle Diaries – and he handles being on screen with absolute grace. He’s completely charming and energetic, and if not for Bertuccelli’s equally spectacular performance, Drexler would carry the film. Two fantastic leads are gifted with a terrific script from Daniel Burman and Sergio Dubcovsky, which features witty dialogue and an interesting story, which includes musician rabbis and mysterious poker champions. It’s hard to accurately convey a picture of “All In,” but whatever it is, it’s great.
See it or skip it? Yes, as long as subtitles don’t scare you away. It’s definitely worth seeing, and it’s hard not to enjoy.
Wednesday, April 18, 2012
Talking Tribeca: Your Sister’s Sister
I’ve had the pleasure this year of screening some selections from this year's Tribeca Film Festival, which takes place April 18th-29th.
Your Sister’s Sister
Directed by Lynn Shelton
Festival Screenings
This entertaining dramedy follows depressed Jack (Mark Duplass) as he travels out to a remote cabin owned by his best friend Iris (Emily Blunt), only to find her lesbian vegan half-sister Hannah (Rosemarie DeWitt) already staying there. Nonstop conversations ensue, as Jack and Hannah begin to get to know each other, and Iris grapples with her preexisting relationship with both of them. Duplass is fantastic, DeWitt is just as good as she was in “Rachel Getting Married,” and Iris is charming as well. This tight-knit small ensemble is completely terrific, and the film is disarmingly genuine and real, which makes the humorous and occasionally dramatic events all the more poignant. There’s never a dull moment to be found; rather, even the most mundane developments seem gripping because this film is so watchable and engaging.
See it or skip it? Highly recommended – don’t miss it! If you do, however, have no fear – it arrives in theatres on June 15th!
Your Sister’s SisterDirected by Lynn Shelton
Festival Screenings
This entertaining dramedy follows depressed Jack (Mark Duplass) as he travels out to a remote cabin owned by his best friend Iris (Emily Blunt), only to find her lesbian vegan half-sister Hannah (Rosemarie DeWitt) already staying there. Nonstop conversations ensue, as Jack and Hannah begin to get to know each other, and Iris grapples with her preexisting relationship with both of them. Duplass is fantastic, DeWitt is just as good as she was in “Rachel Getting Married,” and Iris is charming as well. This tight-knit small ensemble is completely terrific, and the film is disarmingly genuine and real, which makes the humorous and occasionally dramatic events all the more poignant. There’s never a dull moment to be found; rather, even the most mundane developments seem gripping because this film is so watchable and engaging.
See it or skip it? Highly recommended – don’t miss it! If you do, however, have no fear – it arrives in theatres on June 15th!
Tuesday, April 17, 2012
Tuesday’s Top Trailer: Looper
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Looper – Opening September 28, 2012
There’s always a danger with films involving time trailer that they’ll make no sense, but there’s also the potential for them to be impossibly cool. This film definitely takes the angle of being an intensely violent, anger-driven blockbuster, and that’s not necessarily a bad thing. The notion of a contract killer executing criminals from the future is extremely interesting, and that the executioner’s future self would be sent back to be killed doubly so. Whenever a meticulous criminal of some sort breaks his routine, awesomeness is sure to follow. I like the idea that Joseph Gordon-Levitt, who has proven himself increasingly competent in movies of all genres, grows up to become Bruce Willis, and I’m sure seeing the two of them share the screen together will be terrific, even if Willis is considerably gruffer and less concerned with serious acting. Emily Blunt being involved signals that she continues to be interested in a variety of different roles, and I’m sure she’ll have fun here. As long as this film doesn’t lose its sense of logic entirely, it should do just fine, and while it won’t be a must-see by any means, I could definitely enjoy this sure-to-be-action-packed thrill ride.
Looper – Opening September 28, 2012
There’s always a danger with films involving time trailer that they’ll make no sense, but there’s also the potential for them to be impossibly cool. This film definitely takes the angle of being an intensely violent, anger-driven blockbuster, and that’s not necessarily a bad thing. The notion of a contract killer executing criminals from the future is extremely interesting, and that the executioner’s future self would be sent back to be killed doubly so. Whenever a meticulous criminal of some sort breaks his routine, awesomeness is sure to follow. I like the idea that Joseph Gordon-Levitt, who has proven himself increasingly competent in movies of all genres, grows up to become Bruce Willis, and I’m sure seeing the two of them share the screen together will be terrific, even if Willis is considerably gruffer and less concerned with serious acting. Emily Blunt being involved signals that she continues to be interested in a variety of different roles, and I’m sure she’ll have fun here. As long as this film doesn’t lose its sense of logic entirely, it should do just fine, and while it won’t be a must-see by any means, I could definitely enjoy this sure-to-be-action-packed thrill ride.
Monday, April 16, 2012
Monday Sequel Spotlight: Mission Impossible II
Welcome to a new weekly feature here at Movies With Abe. In this series, I’ll be taking a look at some famous (and infamous) sequels to see how they compare to the original. I'll do my best to alternate between the greats and the best forgotten. Leave your thoughts or a suggestion for a spotlight in the comments!
Mission Impossible II
Directed by John Woo
Released May 24, 2000
Over a decade before “Ghost Protocol,” a sequel was made to the remake of the 1960s television series, which was released in 1996. That first film may have included its share of improbabilities, but the second took it much, much further. The most memorable element of “Mission Impossible II” is the face mask that nearly every character seems to wear, an asset repeated in successive films but emphasized incredibly in a way that just didn’t seem authentic anymore in this second installment. The film was all about action, featuring Tom Cruise with long hair, a seductive Thandie Newton by his side, and Dougray Scott, once in line to play Wolverine in “X-Men,” which was released the same year, as the villain. The plot wasn’t nearly as strong as the first (or third) film, and though it was indisputably an exciting film, it wasn’t as all-around competent as the others in the series. It definitely looked good, though, and Ethan Hunt is a pretty damn cool spy, no matter how you spin it.
Mission Impossible II
Directed by John Woo
Released May 24, 2000
Over a decade before “Ghost Protocol,” a sequel was made to the remake of the 1960s television series, which was released in 1996. That first film may have included its share of improbabilities, but the second took it much, much further. The most memorable element of “Mission Impossible II” is the face mask that nearly every character seems to wear, an asset repeated in successive films but emphasized incredibly in a way that just didn’t seem authentic anymore in this second installment. The film was all about action, featuring Tom Cruise with long hair, a seductive Thandie Newton by his side, and Dougray Scott, once in line to play Wolverine in “X-Men,” which was released the same year, as the villain. The plot wasn’t nearly as strong as the first (or third) film, and though it was indisputably an exciting film, it wasn’t as all-around competent as the others in the series. It definitely looked good, though, and Ethan Hunt is a pretty damn cool spy, no matter how you spin it.
Sunday, April 15, 2012
Sunday Similar Standards: Jesse Eisenberg
Welcome to a new semi-regular weekly feature here at Movies with Abe. On those weeks where reviews are sparse, I’ll be taking a look at an actor or actress whose body of work boasts many roles that may not be as diverse as those taken on by other actors or actresses. This is hardly a judgment on their abilities; rather an analysis of the kind of parts they play so well.
Jesse Eisenberg
This nerdy-looking New York native has been acting for exactly a decade now, and since his first appearance, he’s played a likeable young guy caught up in a situation far more complicated that he is prepared for, and despite some potential corruption along the way, he usually comes out the other side a good person. He got an Oscar nomination in 2010, and future attention is sure to follow.
Roger Dodger (2002): He was a nervous sixteen-year-old coming to see his uncle for advice on how to have sex, and his choice of mentor may have been suspect.
The Emperor’s Club (2002): He was a casual, overconfident student whose excitement got the best of him in a race towards a prize with his classmates.
The Squid and the Whale (2005): He was the awkward older son of two divorcing parents with plenty of his own insecurity issues.
Adventureland (2009): He was lacking motivation and drive as an amusement park employee unprepared for the wild world he was about to discover.
Zombieland (2009): He was a surprisingly put-together and competent survivor of a zombie apocalypse, whose social skills could still have used some work.
Solitary Man (2009): He was a student who once again chose a questionable mentor, Michael Douglas’ Ben, and is subject to considerable corruption.
Holy Rollers (2010): Though he was garbed in Hassidic clothing, he was still just as an awkward guy in over his head as he entered the drug smuggling market.
The Social Network (2010): His most recognized performance found him playing Mark Zuckerberg, the brilliant but socially awkward inventor of Facebook.
30 Minutes or Less (2011): His awkward act was just what was called for as he played a pizza delivery man outfitted with a bomb in this foul-mouthed comedy.
Anything different?
Not as of yet.
What’s next?
A supporting role likely in the same vein in Woody Allen’s forthcoming comedy “To Rome with Love,” due this summer. The thriller “Now You See Me,” coming out next January, may give him something new to do.
The verdict?
He’s just what the doctor ordered in all of the situations, and he’s found something that really works for him while still creating compelling characters whose dialogue and emotions feel completely real.
This nerdy-looking New York native has been acting for exactly a decade now, and since his first appearance, he’s played a likeable young guy caught up in a situation far more complicated that he is prepared for, and despite some potential corruption along the way, he usually comes out the other side a good person. He got an Oscar nomination in 2010, and future attention is sure to follow.
Roger Dodger (2002): He was a nervous sixteen-year-old coming to see his uncle for advice on how to have sex, and his choice of mentor may have been suspect.
The Emperor’s Club (2002): He was a casual, overconfident student whose excitement got the best of him in a race towards a prize with his classmates.
The Squid and the Whale (2005): He was the awkward older son of two divorcing parents with plenty of his own insecurity issues.
Adventureland (2009): He was lacking motivation and drive as an amusement park employee unprepared for the wild world he was about to discover.
Zombieland (2009): He was a surprisingly put-together and competent survivor of a zombie apocalypse, whose social skills could still have used some work.
Solitary Man (2009): He was a student who once again chose a questionable mentor, Michael Douglas’ Ben, and is subject to considerable corruption.
Holy Rollers (2010): Though he was garbed in Hassidic clothing, he was still just as an awkward guy in over his head as he entered the drug smuggling market.
The Social Network (2010): His most recognized performance found him playing Mark Zuckerberg, the brilliant but socially awkward inventor of Facebook.
30 Minutes or Less (2011): His awkward act was just what was called for as he played a pizza delivery man outfitted with a bomb in this foul-mouthed comedy.
Anything different?
Not as of yet.
What’s next?
A supporting role likely in the same vein in Woody Allen’s forthcoming comedy “To Rome with Love,” due this summer. The thriller “Now You See Me,” coming out next January, may give him something new to do.
The verdict?
He’s just what the doctor ordered in all of the situations, and he’s found something that really works for him while still creating compelling characters whose dialogue and emotions feel completely real.
Saturday, April 14, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
I haven’t seen anything that’s just been released this week, though I might catch Lockout on DVD. I’ll skip both The Cabin in the Woods and The Three Stooges. I can recommend We Have a Pope, which was released last week and I had the opportunity to review yesterday.
New to DVD
The Iron Lady (recommended): This film got all the buzz for its Oscar-winning qualities, the incredible lead performance by Meryl Streep and the makeup that helped age Margaret Thatcher from young lady to senior citizen. The film, however, is quite good too, chronicling an energetic and eventful life with style and appropriate respect.
New on Netflix Instant Streaming:
Melancholia (recommended): This end-of-the-world drama comes from the mind of Lars von Trier, which means it’s understandably unusual. In many of its moments, however, it’s entirely gripping and fascinating, and certainly worth a viewing if its subject matter isn’t too unsettling.
The Conspirator (mixed bag): This film about the controversial trial of one of Abraham Lincoln’s accused assassins wasn’t nearly as hard-hitting as it wanted to be, mostly because it just isn’t interesting or well-done enough to merit attention. It’s decently worthwhile though, and slightly affecting.
Now Playing in NYC
I haven’t seen anything that’s just been released this week, though I might catch Lockout on DVD. I’ll skip both The Cabin in the Woods and The Three Stooges. I can recommend We Have a Pope, which was released last week and I had the opportunity to review yesterday.
New to DVDThe Iron Lady (recommended): This film got all the buzz for its Oscar-winning qualities, the incredible lead performance by Meryl Streep and the makeup that helped age Margaret Thatcher from young lady to senior citizen. The film, however, is quite good too, chronicling an energetic and eventful life with style and appropriate respect.
New on Netflix Instant Streaming:Melancholia (recommended): This end-of-the-world drama comes from the mind of Lars von Trier, which means it’s understandably unusual. In many of its moments, however, it’s entirely gripping and fascinating, and certainly worth a viewing if its subject matter isn’t too unsettling.
The Conspirator (mixed bag): This film about the controversial trial of one of Abraham Lincoln’s accused assassins wasn’t nearly as hard-hitting as it wanted to be, mostly because it just isn’t interesting or well-done enough to merit attention. It’s decently worthwhile though, and slightly affecting.
Friday, April 13, 2012
Movie with Abe: We Have a Pope
We Have a Pope
Directed by Nanni Moretti
Released April 6, 2012
The old tradition of saying “The King is dead! The King is dead! Long live the King!” has always conjured up a strange image, the notion of mourning one leader but moving on immediately to celebrating the newly-elected ruler. It’s a bizarre yet necessary custom, as places and institutions cannot be without a head figure for long, lest they fall apart. In “We Have a Pope,” the leader of the Catholic world has died, and the papal conclave must come together to choose a new leader to represent the Church and to give comfort and spiritual solace to all the faithful.
“We Have a Pope” is an energetic film that begins with a somber ceremony and the proceeding of all the cardinals into the conclave, to be shut off from society until they determine who the next Pope will be. Names emerge as they are called out during each of the voting rounds, and after a few unsuccessful votes, a definitive victor emerges. The look of joy – and relief – on the faces of all of the cardinals as they realize they now have someone new to look to is palpable, and it’s a dramatic process full of emotion and passion.
Since this cannot be a simple story, the newly-elected pope (Michel Piccoli) becomes incredibly overwhelmed by his newfound duties and panics, prompting the announcement of his identity to be postponed. A therapist (the film’s director Nanni Moretti) is brought in to help draw out the issues behind the pope’s feelings, and subsequently sequestered so that he cannot reveal anything about the pope’s antics to the public. When the pope is taken to an outside psychiatrist, he makes a run for it and disappears, prompting the therapist to take matters into his own hands and create a massive cardinal volleyball tournament while the pope explores what he’s been missing in the world.
“We Have a Pope” is a deeply endearing, highly entertaining film with a charming protagonist in way over his head. Moretti casts himself in a crucial role, providing humor and a much-needed sense of logic, distracting all of the cardinals and permitting them the rare opportunity to let loose. The film is gorgeously photographed and the costumes are carefully prepared. Ultimately, however, it’s about the captivating, pleasant story of the one of the most important men in the world wrestling with doubt, unsure of whether he has what it takes to fulfill what has been asked of him.
B+
Thursday, April 12, 2012
Thursday Triple Features
Welcome to a new weekly feature here at Movies With Abe, Thursday Triple Features. Throughout college, I would often head to the movies for three films in a row on a Friday or Sunday, and I’m excited to recall some of my most memorable experiences. I don’t necessarily advocate that you try this at home, but I’ll explore that as well.
My sixth triple feature extravaganza, like the fourth, was actually a quadruple feature and was inarguably my most exciting cinematic outing ever (though I do hope to top it one day). After a summer at home in Holliston, Massachusetts, I needed to catch up on the films I had missed that summer and the past few weeks. I decided to replicate my plans from the year earlier, to see four movies back-to-back, but changed it up by visiting four theatres, walking nearly five miles over the course of the day. Watch all four Minutes with Abe here.
August 27, 2009
Movie #1: District 9
Theatre: AMC 34th St
Time of Day: 10:15am
Runtime: 112 minutes
This mid-August release got plenty of good buzz, and for spectacular reason. It’s an exceptionally captivating, layered vision of segregated aliens in Johannesburg is excellently done, and leaves much to think about after it’s over. An intense film to start the day with, but a wholly worthwhile one.
Movie #2: Inglourious Basterds
Theatre: AMC Empire 25
Time of Day: 12:45pm
Runtime: 153 minutes
I had no idea how fantastic this Quentin Tarantino film was going to be. It works so incredibly well on so many levels, and features an astonishing performance from Christoph Waltz as the quadrilingual Jew Hunter. The film is so complex that the title characters barely even feature into half the film’s plot because so much is going on. This quickly became my favorite film of the year.
Movie #3: In the Loop
Theatre: Clearview Chelsea
Time of Day: 4:00pm
Runtime: 106 minutes
This spirited comedy about an easily flustered, idiotic British Secretary of State was blisteringly funny, featuring rich, ridiculous characters, and spotlighting the foul-mouthed Simon Foster, who managed to turn every situation into a shouting and swearing match. It was the least serious film of the day thus far, but a smart film that rightfully earned an Oscar nomination for Best Adapted Screenplay.
Movie #4: Julie & Julia
Theatre: AMC Loews Village 7
Time of Day: 6:30pm
Runtime: 123 minutes
My last film of the day was the lightest and most appetizing, featuring charming performances from Amy Adams and Meryl Streep as a budding chef and her idol, Julia Child. It may not have been too serious, but both actresses made it immensely enjoyable and entertaining. Unsurprisingly, Streep netted an Oscar nomination for her performance
The review: Such excellent choices, ranging in theme and style. I couldn’t have picked a more satisfying bunch.
The grades: B+, A, B+, B+
A good lineup? Absolutely. My walks in between helped me to clear my head and get into a fresh mood, but each film was so good about establishing itself that it proved unnecessary. Going from dark and violent to light and comedic was nice as well. Do try this at home!
Coming up next: a less exciting slate of films at AMC 34th St several weeks later!
My sixth triple feature extravaganza, like the fourth, was actually a quadruple feature and was inarguably my most exciting cinematic outing ever (though I do hope to top it one day). After a summer at home in Holliston, Massachusetts, I needed to catch up on the films I had missed that summer and the past few weeks. I decided to replicate my plans from the year earlier, to see four movies back-to-back, but changed it up by visiting four theatres, walking nearly five miles over the course of the day. Watch all four Minutes with Abe here.
Movie #1: District 9
Theatre: AMC 34th St
Time of Day: 10:15am
Runtime: 112 minutes
This mid-August release got plenty of good buzz, and for spectacular reason. It’s an exceptionally captivating, layered vision of segregated aliens in Johannesburg is excellently done, and leaves much to think about after it’s over. An intense film to start the day with, but a wholly worthwhile one.
Movie #2: Inglourious Basterds
Theatre: AMC Empire 25
Time of Day: 12:45pm
Runtime: 153 minutes
I had no idea how fantastic this Quentin Tarantino film was going to be. It works so incredibly well on so many levels, and features an astonishing performance from Christoph Waltz as the quadrilingual Jew Hunter. The film is so complex that the title characters barely even feature into half the film’s plot because so much is going on. This quickly became my favorite film of the year.
Movie #3: In the Loop
Theatre: Clearview Chelsea
Time of Day: 4:00pm
Runtime: 106 minutes
This spirited comedy about an easily flustered, idiotic British Secretary of State was blisteringly funny, featuring rich, ridiculous characters, and spotlighting the foul-mouthed Simon Foster, who managed to turn every situation into a shouting and swearing match. It was the least serious film of the day thus far, but a smart film that rightfully earned an Oscar nomination for Best Adapted Screenplay.
Movie #4: Julie & Julia
Theatre: AMC Loews Village 7
Time of Day: 6:30pm
Runtime: 123 minutes
My last film of the day was the lightest and most appetizing, featuring charming performances from Amy Adams and Meryl Streep as a budding chef and her idol, Julia Child. It may not have been too serious, but both actresses made it immensely enjoyable and entertaining. Unsurprisingly, Streep netted an Oscar nomination for her performance
The review: Such excellent choices, ranging in theme and style. I couldn’t have picked a more satisfying bunch.
The grades: B+, A, B+, B+
A good lineup? Absolutely. My walks in between helped me to clear my head and get into a fresh mood, but each film was so good about establishing itself that it proved unnecessary. Going from dark and violent to light and comedic was nice as well. Do try this at home!
Coming up next: a less exciting slate of films at AMC 34th St several weeks later!
Wednesday, April 11, 2012
Wednesday Oscar Retrospective: First Five Forgotten in 2005
Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The First Five Forgotten is the sixth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed, not to be confused with my first series, the Forgotten Five, which looked at the five films that came closest to getting nominated for Best Picture and ended up getting shut out entirely.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
First Five Forgotten in 2005
Eric Bana (Munich): The lead role in Steven Spielberg’s epic drama was his first major American part that could have netted him awards attention, but the film faltered in its path to its eventual Best Picture nomination, resulting in a complete awards season shut-out for the Australian actor. His roles since have been diverse and eclectic – “Star Trek,” “Funny People,” “The Time Traveler’s Wife,” and “Hanna” – but they won’t net him an Oscar nod.
Jeff Daniels (The Squid and the Whale): The lead in this Noah Baumbach dramedy wasn’t Daniels’ only brush with Oscar, but it was his most recent. The film managed a screenplay nod, but even his costar, regular Oscar nominee Laura Linney, couldn’t get recognized past a Golden Globe nod. At this point, he’s probably past his prime, and this unusual role would have been his best shot.
Scarlett Johansson (Match Point): Woody Allen films tend to get at least two Oscar nominations: Best Original Screenplay and Best Supporting Actress. Unfortunately, “Match Point” didn’t catch on with Oscar voters, and Johansson’s fourth Golden Globe nod in three years didn’t lead to Oscar. Johansson is making high-profile films these days, though Oscar isn’t exactly on her radar, with “The Avengers” next out of the gate.
Alexander Siddig (Syriana): This Sudanese “Star Trek: The Next Generation” star was shortlisted by many as a potential nominee for Best Supporting Actor for his role as a forward-thinking Arab prince, but ultimately he got lost as an unknown name among a large cast which singled out only George Clooney, who ended up winning. Siddig isn’t likely to contend again, though he’s sure to get good independent dramatic parts.
Ziyi Zhang (Memoirs of a Geisha): This Chinese actress broke out in the Oscar-winning “Crouching Tiger, Hidden Dragon” and scored the lead in this gorgeous epic from Rob Marshall, fresh off Best Picture winner “Chicago.” She got nominated for a Golden Globe and a SAG, but lost out to a native English speaker, Keira Knightley, in the end. She’s not likely to get an English role quite as baity as this one again, though she’s likely to have a bright future ahead of her.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
Eric Bana (Munich): The lead role in Steven Spielberg’s epic drama was his first major American part that could have netted him awards attention, but the film faltered in its path to its eventual Best Picture nomination, resulting in a complete awards season shut-out for the Australian actor. His roles since have been diverse and eclectic – “Star Trek,” “Funny People,” “The Time Traveler’s Wife,” and “Hanna” – but they won’t net him an Oscar nod.
Jeff Daniels (The Squid and the Whale): The lead in this Noah Baumbach dramedy wasn’t Daniels’ only brush with Oscar, but it was his most recent. The film managed a screenplay nod, but even his costar, regular Oscar nominee Laura Linney, couldn’t get recognized past a Golden Globe nod. At this point, he’s probably past his prime, and this unusual role would have been his best shot.
Scarlett Johansson (Match Point): Woody Allen films tend to get at least two Oscar nominations: Best Original Screenplay and Best Supporting Actress. Unfortunately, “Match Point” didn’t catch on with Oscar voters, and Johansson’s fourth Golden Globe nod in three years didn’t lead to Oscar. Johansson is making high-profile films these days, though Oscar isn’t exactly on her radar, with “The Avengers” next out of the gate.
Alexander Siddig (Syriana): This Sudanese “Star Trek: The Next Generation” star was shortlisted by many as a potential nominee for Best Supporting Actor for his role as a forward-thinking Arab prince, but ultimately he got lost as an unknown name among a large cast which singled out only George Clooney, who ended up winning. Siddig isn’t likely to contend again, though he’s sure to get good independent dramatic parts.
Ziyi Zhang (Memoirs of a Geisha): This Chinese actress broke out in the Oscar-winning “Crouching Tiger, Hidden Dragon” and scored the lead in this gorgeous epic from Rob Marshall, fresh off Best Picture winner “Chicago.” She got nominated for a Golden Globe and a SAG, but lost out to a native English speaker, Keira Knightley, in the end. She’s not likely to get an English role quite as baity as this one again, though she’s likely to have a bright future ahead of her.
Tuesday, April 10, 2012
Tuesday’s Top Trailer: To Rome with Love
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
To Rome with Love – Opening June 22, 2012
This preview for Woody Allen’s latest film came out last week. In many ways, it looks like a typical Allen film, transplanted to Rome after recent trips to Paris, London, and Barcelona, but there’s not nearly as much about infidelity as has been included in other trailers for Allen films. I’m sure there’s a whole lot in there, however, and I imagine much of the romance in the film will be multigenerational. Allen hasn’t starred in one of his films in six years, “Scoop” being his last appearance, and he looks and sounds the same now, though he’s clearly much older and tends to speak a little bit slower. Penelope Cruz returns after her Oscar-winning turn in “Vicky Cristina Barcelona” to play another crazy lady, and she’s joined by a host of newbies to the Allen repertoire. The cast is diverse, including Alec Baldwin, Jesse Eisenberg, Ellen Page, and Greta Gerwig. Roberto Benigni’s accidental celebrity seems particularly entertaining, and I’m glad to see him in a role that should be befitting his talents. This trailer looks whimsical and fun, not necessarily taking itself too seriously, and there’s great music as well to accompany the scenes in the trailer. I didn’t love “Midnight in Paris,” so I’d be thrilled to see a great Allen film that defies his traditional conventions and emphasizes his other strengths.
To Rome with Love – Opening June 22, 2012
This preview for Woody Allen’s latest film came out last week. In many ways, it looks like a typical Allen film, transplanted to Rome after recent trips to Paris, London, and Barcelona, but there’s not nearly as much about infidelity as has been included in other trailers for Allen films. I’m sure there’s a whole lot in there, however, and I imagine much of the romance in the film will be multigenerational. Allen hasn’t starred in one of his films in six years, “Scoop” being his last appearance, and he looks and sounds the same now, though he’s clearly much older and tends to speak a little bit slower. Penelope Cruz returns after her Oscar-winning turn in “Vicky Cristina Barcelona” to play another crazy lady, and she’s joined by a host of newbies to the Allen repertoire. The cast is diverse, including Alec Baldwin, Jesse Eisenberg, Ellen Page, and Greta Gerwig. Roberto Benigni’s accidental celebrity seems particularly entertaining, and I’m glad to see him in a role that should be befitting his talents. This trailer looks whimsical and fun, not necessarily taking itself too seriously, and there’s great music as well to accompany the scenes in the trailer. I didn’t love “Midnight in Paris,” so I’d be thrilled to see a great Allen film that defies his traditional conventions and emphasizes his other strengths.
Monday, April 9, 2012
Monday Sequel Spotlight: The Bourne Supremacy
Welcome to a new weekly feature here at Movies With Abe. In this series, I’ll be taking a look at some famous (and infamous) sequels to see how they compare to the original. I'll do my best to alternate between the greats and the best forgotten. Leave your thoughts or a suggestion for a spotlight in the comments!
The Bourne Supremacy
Directed by Paul Greengrass
Released July 23, 2004
It’s appropriate to praise this film now since the fourth film in the series, with a new Jason Bourne, is being released this August. This is one franchise where the earlier developments are clearly the strongest yet the third inexplicably nets all the praise and awards love. This sequel turned up the heat after the already competent firs film by bringing in a new director, Paul Greengrass, and shaking things up right at the very beginning with an unexpected development. Adding Joan Allen and Karl Urban to the ensemble also amped it up considerably, but this film is much more about the action. The car sequences in this film are legendary, and John Powell’s score is terrific. It’s rare that such a strong action film also has a decent, coherent story, and this film managed to pull that off. This was actually one of the first films I saw at a press screening, back when I was interning eight years ago with film critic Bob Tremblay of the MetroWest Daily News in Boston. It was easily the best film I saw that summer, and a great example of how a sequel can be an improvement on a great original. The third film didn't impress me nearly as much, and that's mainly because it was a less effective carbon copy of the second.
The Bourne Supremacy
Directed by Paul Greengrass
Released July 23, 2004
It’s appropriate to praise this film now since the fourth film in the series, with a new Jason Bourne, is being released this August. This is one franchise where the earlier developments are clearly the strongest yet the third inexplicably nets all the praise and awards love. This sequel turned up the heat after the already competent firs film by bringing in a new director, Paul Greengrass, and shaking things up right at the very beginning with an unexpected development. Adding Joan Allen and Karl Urban to the ensemble also amped it up considerably, but this film is much more about the action. The car sequences in this film are legendary, and John Powell’s score is terrific. It’s rare that such a strong action film also has a decent, coherent story, and this film managed to pull that off. This was actually one of the first films I saw at a press screening, back when I was interning eight years ago with film critic Bob Tremblay of the MetroWest Daily News in Boston. It was easily the best film I saw that summer, and a great example of how a sequel can be an improvement on a great original. The third film didn't impress me nearly as much, and that's mainly because it was a less effective carbon copy of the second.
Sunday, April 8, 2012
Movie with Abe: The Assault (Capsule Review)
The Assault
Directed by Julien Leclercq
Released April 6, 2012
Bringing a true story to life on screen is always a challenging task. Honoring those involved, especially in a serious circumstance, is a delicate manner to be handled with care. As stated in the opening titles of the 1996 film “Fargo,” which, as it turns out, was not actually based on a true story after all, “At the request of the survivors, the names have been changed. Out of respect for the dead, the rest has been told exactly as it occurred.” This matter is much more serious when the events did in fact transpire, and innocent people were killed. “The Assault” depicts the 1994 hijacking of an Air France plane departing from Algeria. The film is very much like “United 93,” which follows events aboard one of the planes overtaken on September 11th, 2001, in that its happenings are shown without much cinematic commentary, telling a story rather than turning into a movie experience. It’s an appropriate tactic in both cases, and, though it may not be the most gripping film of its sort, “The Assault” is a strong retelling of a dramatic sequence of events, showing the various sides and the sequence of things. It should be taken for what it is: a straightforward representation rather than a cinematic commentary, and at that it seems extremely competent.
B
Directed by Julien Leclercq
Released April 6, 2012
Bringing a true story to life on screen is always a challenging task. Honoring those involved, especially in a serious circumstance, is a delicate manner to be handled with care. As stated in the opening titles of the 1996 film “Fargo,” which, as it turns out, was not actually based on a true story after all, “At the request of the survivors, the names have been changed. Out of respect for the dead, the rest has been told exactly as it occurred.” This matter is much more serious when the events did in fact transpire, and innocent people were killed. “The Assault” depicts the 1994 hijacking of an Air France plane departing from Algeria. The film is very much like “United 93,” which follows events aboard one of the planes overtaken on September 11th, 2001, in that its happenings are shown without much cinematic commentary, telling a story rather than turning into a movie experience. It’s an appropriate tactic in both cases, and, though it may not be the most gripping film of its sort, “The Assault” is a strong retelling of a dramatic sequence of events, showing the various sides and the sequence of things. It should be taken for what it is: a straightforward representation rather than a cinematic commentary, and at that it seems extremely competent.
B
Saturday, April 7, 2012
Saturday Night Movie Recommendations with Abe
Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.
Now Playing in NYC
Damsels in Distress (recommended): This witty Whit Stillman comedy is a curious and individualistic take on love, life, and depression, featuring a strong female cast led by Greta Gerwig in her first big lead role. It’s odd at times, but overall engaging and endearing. Now playing at Landmark Sunshine and Lincoln Plaza. Read my review from yesterday.
The Assault (recommended): This dramatization of the 1994 hijacking of an Air France flight is, like “United 93,” a literal story-to-screen adaptation that doesn’t feature much filmic creativity, which is fine and makes for a powerful and relatively captivating experience. Now playing at Village East Cinemas. My capsule review will be up tomorrow.
New to DVD
War Horse (recommended): This Steven Spielberg-directed adaptation of the acclaimed play isn’t initially interesting but does manage to become more appealing as new characters are introduced and its equestrian protagonist is revealed to be increasingly brave. The visuals are its strongest element.
Now on Netflix Instant Streaming
Arthur (highly recommended): I didn’t see the new film with Russell Brand, but who needs a remake when you have this charming and terrific original starring Dudley Moore and Oscar winner John Gielgud and the classic theme by Christopher Cross.
Bonnie and Clyde (highly recommended): This 1967 Best Picture nominee is the ultimate crime movie, featuring exceptional performances by Warren Beatty, Faye Dunaway, and crew. It may be historically significant, but it still stands up as a stellar cinematic achievement.
Burma VJ (recommended): This Oscar-nominated 2009 documentary is a stark, disturbing, eye-opening portrait of political oppression in Myanmar, showcasing the heroic and brave efforts of a few journalists determined to get the truth out to the world.
Chariots of Fire (recommended): This 1981 Best Picture winner gets a lot of flak for being over-the-top and corny, especially with its token score, but it’s actually a decently inspiring and entertaining film that deserves a second – or first – look.
Miral (anti-recommended): This film from director Julian Schnabel (“The Diving Bell and the Butterfly”) caused a stir for its political content and its highly publicized premiere at the UN. Related criticisms are valid, but this film is plagued by plenty of other problems, including a dull story and poor characters.
Puncture (mixed bag): This dramatization of a drug-addicted lawyer who tries to get safety needles into hospitals around the world has a definitive aim which it doesn’t quite achieve. It’s occasionally stirring and affecting, but more often than not, far less interesting and invigorating than it wants to be.
Rango (mixed bag): I can’t comprehend why people liked this film, and how it managed to win the Oscar for Best Animated Feature. It’s a western parody that isn’t quite right for either kids or adults, and therefore it’s entirely ineffective and simply peculiar rather than at all fulfilling.
Rebirth (recommended): This documentary chronicles the lives of five different people who lost family members on September 11th, 2001, and it serves as a generally effective and powerful reminder of how fateful and important specific dates can be.
Submarine (highly recommended): This delightful, whimsical film is a terrific comedy about an outcast telling his own story via voiceover. It has tremendously well-developed and rich characters, and a superb cast led by Craig Roberts and Yasmin Paige. The film looks great, and it’s highly enjoyable to boot.
Tell No One (highly recommended): This exceptional 2008 French film is an action-packed thriller that takes the everyman-in-peril trope to new heights, as it follows a doctor on the run after discovering that his wife may still be alive and plenty of people are trying to kill him. A film not to be missed!
A Very Long Engagement (highly recommended): This lovely French film was Jean-Pierre Jeunet’s follow-up to “Amelie,” once again starring Audrey Tautou is this abundantly romantic and gorgeous film, featuring exceptional cinematography, art direction, and music.
We Don’t Live Here Anymore (recommended): This relationship drama was released around the same time as Mike Nicols’ “Closer,” and as a result, it didn’t get much attention. It’s the stronger of the two, however, featuring powerful and intense performances from Laura Dern, Peter Krause, Mark Ruffalo, and Naomi Watts as couples tangled up together in a web of lies and cheating.
Now Playing in NYCDamsels in Distress (recommended): This witty Whit Stillman comedy is a curious and individualistic take on love, life, and depression, featuring a strong female cast led by Greta Gerwig in her first big lead role. It’s odd at times, but overall engaging and endearing. Now playing at Landmark Sunshine and Lincoln Plaza. Read my review from yesterday.
The Assault (recommended): This dramatization of the 1994 hijacking of an Air France flight is, like “United 93,” a literal story-to-screen adaptation that doesn’t feature much filmic creativity, which is fine and makes for a powerful and relatively captivating experience. Now playing at Village East Cinemas. My capsule review will be up tomorrow.
New to DVDWar Horse (recommended): This Steven Spielberg-directed adaptation of the acclaimed play isn’t initially interesting but does manage to become more appealing as new characters are introduced and its equestrian protagonist is revealed to be increasingly brave. The visuals are its strongest element.
Now on Netflix Instant StreamingArthur (highly recommended): I didn’t see the new film with Russell Brand, but who needs a remake when you have this charming and terrific original starring Dudley Moore and Oscar winner John Gielgud and the classic theme by Christopher Cross.
Bonnie and Clyde (highly recommended): This 1967 Best Picture nominee is the ultimate crime movie, featuring exceptional performances by Warren Beatty, Faye Dunaway, and crew. It may be historically significant, but it still stands up as a stellar cinematic achievement.
Burma VJ (recommended): This Oscar-nominated 2009 documentary is a stark, disturbing, eye-opening portrait of political oppression in Myanmar, showcasing the heroic and brave efforts of a few journalists determined to get the truth out to the world.
Chariots of Fire (recommended): This 1981 Best Picture winner gets a lot of flak for being over-the-top and corny, especially with its token score, but it’s actually a decently inspiring and entertaining film that deserves a second – or first – look.
Miral (anti-recommended): This film from director Julian Schnabel (“The Diving Bell and the Butterfly”) caused a stir for its political content and its highly publicized premiere at the UN. Related criticisms are valid, but this film is plagued by plenty of other problems, including a dull story and poor characters.
Puncture (mixed bag): This dramatization of a drug-addicted lawyer who tries to get safety needles into hospitals around the world has a definitive aim which it doesn’t quite achieve. It’s occasionally stirring and affecting, but more often than not, far less interesting and invigorating than it wants to be.
Rango (mixed bag): I can’t comprehend why people liked this film, and how it managed to win the Oscar for Best Animated Feature. It’s a western parody that isn’t quite right for either kids or adults, and therefore it’s entirely ineffective and simply peculiar rather than at all fulfilling.
Rebirth (recommended): This documentary chronicles the lives of five different people who lost family members on September 11th, 2001, and it serves as a generally effective and powerful reminder of how fateful and important specific dates can be.
Submarine (highly recommended): This delightful, whimsical film is a terrific comedy about an outcast telling his own story via voiceover. It has tremendously well-developed and rich characters, and a superb cast led by Craig Roberts and Yasmin Paige. The film looks great, and it’s highly enjoyable to boot.
Tell No One (highly recommended): This exceptional 2008 French film is an action-packed thriller that takes the everyman-in-peril trope to new heights, as it follows a doctor on the run after discovering that his wife may still be alive and plenty of people are trying to kill him. A film not to be missed!
A Very Long Engagement (highly recommended): This lovely French film was Jean-Pierre Jeunet’s follow-up to “Amelie,” once again starring Audrey Tautou is this abundantly romantic and gorgeous film, featuring exceptional cinematography, art direction, and music.
We Don’t Live Here Anymore (recommended): This relationship drama was released around the same time as Mike Nicols’ “Closer,” and as a result, it didn’t get much attention. It’s the stronger of the two, however, featuring powerful and intense performances from Laura Dern, Peter Krause, Mark Ruffalo, and Naomi Watts as couples tangled up together in a web of lies and cheating.
Friday, April 6, 2012
Movie with Abe: Damsels in Distress
Damsels in Distress
Directed by Whit Stillman
Released April 6, 2012
The damsels in distress
Some films are defined entirely by their tone. Whit Stillman’s “Damsels in Distress” begins with whimsical titles that outline the cast, the damsels and their distress, otherwise known as the men in their lives. This is Stillman’s first film in fourteen years, and only his fourth feature film ever produced, and his voice, by all accounts of those involved in the film, is what defines and drives this particular project. An expertly assembled and eclectic cast speaks his dialogue and brings to life his odd, often hard-hitting and more than occasionally off-kilter take on love, romance, and depression.
Star Greta Gerwig and director Whit Stillman discuss the film
To tell the story of four girls that run a suicide prevention center, whose three-pronged sign is often missing its middle word, on a college campus, Stillman was fortunate to work with a diverse and talented cast. Greta Gerwig, who previously appeared in “Greenberg” and “House of the Devil,” discussed the strangeness of being first on the call sheet while filming her role as Violet, the film’s central presence, emphasizing her every syllable and sentiment as she analyzes every occurrence in her life and her unique perspective on it. It’s a sign that Gerwig is capable of carrying a film and creating a character that, as she describes, she can connect to through dialogue rather than through relating to her.
Stars Carrie MacLemore and Megalyn Echikunwoke discuss the film
Gerwig is ably supported by three fantastic young ladies. Analeigh Tipton, who broke out in “Crazy Stupid Love” and recurred on the final season of “Hung,” proves that she will have a bright future with her performance as Lily, the exceptionally aware new addition to the group. Megalyn Echikunwoke, recently seen on “House of Lies,” is terrific as the sarcastic Rose, who places importance on fragrance above all else, something the actress herself believes is crucial. Newcomer Carrie MacLemore is a wondrous find, charming even as she spews unintelligible thoughts about life and love.
Stars Analeigh Tipton and Adam Brody discuss the film
The men, though hardly as central, are entertaining as well, including Adam Brody, Ryan Metcalf, and especially Billy Magnussen as thick-headed lug Thor. Stillman’s screenplay offers up an intriguing perspective on happiness and sadness, and as spoken by his actors, it presents a peculiarly endearing story. Discussing the film, Brody praises the film’s light touch and its avoidance of a heavy-handed, bleak treatment of depression. Stillman dubs his characters “comical utopians,” tip-top girls at a not-so-tip-top school striving to create a utopia based on what they know and what they imagine. That makes for one wild, unconventional ride, that’s more often amusing and enjoyable than not.
B
Directed by Whit Stillman
Released April 6, 2012
Some films are defined entirely by their tone. Whit Stillman’s “Damsels in Distress” begins with whimsical titles that outline the cast, the damsels and their distress, otherwise known as the men in their lives. This is Stillman’s first film in fourteen years, and only his fourth feature film ever produced, and his voice, by all accounts of those involved in the film, is what defines and drives this particular project. An expertly assembled and eclectic cast speaks his dialogue and brings to life his odd, often hard-hitting and more than occasionally off-kilter take on love, romance, and depression.
To tell the story of four girls that run a suicide prevention center, whose three-pronged sign is often missing its middle word, on a college campus, Stillman was fortunate to work with a diverse and talented cast. Greta Gerwig, who previously appeared in “Greenberg” and “House of the Devil,” discussed the strangeness of being first on the call sheet while filming her role as Violet, the film’s central presence, emphasizing her every syllable and sentiment as she analyzes every occurrence in her life and her unique perspective on it. It’s a sign that Gerwig is capable of carrying a film and creating a character that, as she describes, she can connect to through dialogue rather than through relating to her.
Gerwig is ably supported by three fantastic young ladies. Analeigh Tipton, who broke out in “Crazy Stupid Love” and recurred on the final season of “Hung,” proves that she will have a bright future with her performance as Lily, the exceptionally aware new addition to the group. Megalyn Echikunwoke, recently seen on “House of Lies,” is terrific as the sarcastic Rose, who places importance on fragrance above all else, something the actress herself believes is crucial. Newcomer Carrie MacLemore is a wondrous find, charming even as she spews unintelligible thoughts about life and love.
The men, though hardly as central, are entertaining as well, including Adam Brody, Ryan Metcalf, and especially Billy Magnussen as thick-headed lug Thor. Stillman’s screenplay offers up an intriguing perspective on happiness and sadness, and as spoken by his actors, it presents a peculiarly endearing story. Discussing the film, Brody praises the film’s light touch and its avoidance of a heavy-handed, bleak treatment of depression. Stillman dubs his characters “comical utopians,” tip-top girls at a not-so-tip-top school striving to create a utopia based on what they know and what they imagine. That makes for one wild, unconventional ride, that’s more often amusing and enjoyable than not.
B
Thursday, April 5, 2012
Thursday Triple Features
Welcome to a new weekly feature here at Movies With Abe, Thursday Triple Features. Throughout college, I would often head to the movies for three films in a row on a Friday or Sunday, and I’m excited to recall some of my most memorable experiences. I don’t necessarily advocate that you try this at home, but I’ll explore that as well.
My fifth triple feature extravaganza, like the fourth, kept me in one place for the day, at AMC’s 34th St theatre at 8th Avenue on Halloween day. I was catching up on two films from earlier that month, and seeing Clint Eastwood’s buzz-worthy new film as well. This was the first instance in which all of the films clocked in at over two hours, making this one jam-packed, movie-filled day.
October 31, 2008
Movie #1: Body of Lies
Time of Day: 10:50am
Runtime: 128 minutes
I was pleasantly surprised after the disappointment of Ridley Scott’s previous film, “American Gangster,” to find this action thriller extremely exciting and enthralling. Scott’s third consecutive collaboration with Russell Crowe brought in Leonardo DiCaprio for an adventurous, treacherous trip to the Middle East, where Mark Strong shone in a superb supporting role. I can’t say that I remember much about it now, but it was a blast to see in theatres.
Movie #2: W
Time of Day: 1:15pm
Runtime: 129 minutes
Parodying a sitting president is an awkward thing to do, and this film didn’t know what to do with that, creating a surprisingly uninteresting and comment-free dramatization of George W. Bush’s life. Josh Brolin sure managed to look puzzled as the perpetually perplexed president, and audiences, including myself, weren’t wowed by Oliver Stone’s less than enchanting perspective.
Movie #3: Changeling
Time of Day: 3:30pm
Runtime: 141 minutes
This period tragedy was exquisitely filmed and presented, starring Angelina Jolie in an Oscar-nominated performance as a grieving mother convinced that the child returned to her following his disappearance was not the same one she lost. This is one Clint Eastwood film that isn’t overlong or self-indulgent, and instead is captivating and thoroughly interesting, and particularly well-decorated.
The review: The first was better than expected, the second disappointing, and the third was terrific.
The grades: B, C, A-
A good lineup? Totally. The first film was energizing, the second not so terrible, and the third an absolutely stellar way to end the day. This diverse selection of films with big-name stars was an eclectic and varied assortment worthy of being unconventionally grouped together.
Coming next week: my most thrilling quadruple feature ever!
My fifth triple feature extravaganza, like the fourth, kept me in one place for the day, at AMC’s 34th St theatre at 8th Avenue on Halloween day. I was catching up on two films from earlier that month, and seeing Clint Eastwood’s buzz-worthy new film as well. This was the first instance in which all of the films clocked in at over two hours, making this one jam-packed, movie-filled day.
Movie #1: Body of Lies
Time of Day: 10:50am
Runtime: 128 minutes
I was pleasantly surprised after the disappointment of Ridley Scott’s previous film, “American Gangster,” to find this action thriller extremely exciting and enthralling. Scott’s third consecutive collaboration with Russell Crowe brought in Leonardo DiCaprio for an adventurous, treacherous trip to the Middle East, where Mark Strong shone in a superb supporting role. I can’t say that I remember much about it now, but it was a blast to see in theatres.
Movie #2: W
Time of Day: 1:15pm
Runtime: 129 minutes
Parodying a sitting president is an awkward thing to do, and this film didn’t know what to do with that, creating a surprisingly uninteresting and comment-free dramatization of George W. Bush’s life. Josh Brolin sure managed to look puzzled as the perpetually perplexed president, and audiences, including myself, weren’t wowed by Oliver Stone’s less than enchanting perspective.
Movie #3: Changeling
Time of Day: 3:30pm
Runtime: 141 minutes
This period tragedy was exquisitely filmed and presented, starring Angelina Jolie in an Oscar-nominated performance as a grieving mother convinced that the child returned to her following his disappearance was not the same one she lost. This is one Clint Eastwood film that isn’t overlong or self-indulgent, and instead is captivating and thoroughly interesting, and particularly well-decorated.
The review: The first was better than expected, the second disappointing, and the third was terrific.
The grades: B, C, A-
A good lineup? Totally. The first film was energizing, the second not so terrible, and the third an absolutely stellar way to end the day. This diverse selection of films with big-name stars was an eclectic and varied assortment worthy of being unconventionally grouped together.
Coming next week: my most thrilling quadruple feature ever!
Wednesday, April 4, 2012
Wednesday Oscar Retrospective: First Five Forgotten in 2006
Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The First Five Forgotten is the sixth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed, not to be confused with my first series, the Forgotten Five, which looked at the five films that came closest to getting nominated for Best Picture and ended up getting shut out entirely.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
First Five Forgotten in 2006
Ben Affleck (Hollywoodland): After winning an Oscar with Matt Damon for writing the screenplay for “Good Will Hunting” in 1997, Affleck nearly got recognized for his acting almost a decade later for playing tragic hero George Reeves, the TV portrayer of Superman. Affleck got a Golden Globe nod, but the film didn’t catch on with other audiences. Affleck came close to Oscar again in 2010 with “The Town,” and he may or may not get another shot in the future, though he doesn’t seem to be going for Oscar roles.
Sacha Baron Cohen (Borat): This wild entertainer managed to win a Golden Globe and earn an Oscar nomination for Best Adapted Screenplay for his bigoted Kazakhstani reporter. I predicted Cohen to get an Oscar nod, but ultimately, it seems other actors were taken more seriously. Cohen is taking on meaty roles these days, but I don’t think Oscar is in his future, though another Golden Globe certainly could be.
Aaron Eckhart (Thank You For Smoking): This Golden Globe nominee and former ensemble player turned in a ferociously fantastic performance as an advocate for cigarettes, embodying and carrying his film. The film got forgotten by Oscar voters and couldn’t even manage a screenplay nomination, sadly. Eckhart probably came close again two years later for “The Dark Knight,” and eventually he’ll have another shot if he manages to land a part that’s high-profile enough to get him the attention he needs.
Catherine O’Hara (For Your Consideration): The irony of O’Hara being snubbed is almost too perfect. After playing a woman destroyed by an Oscar snub in this offbeat comedy, O’Hara was a longshot to begin with, considering the film didn’t earn too many nominations. O’Hara doesn’t aim for mainstream parts, so I think critics’ awards are in her future.
Michael Sheen (The Queen): It’s always strange when an actor earns almost universal praise in a film that only gets recognized for one of its stars. 2006 was Helen Mirren’s year, yet Sheen’s Tony Blair didn’t get further than a BAFTA nomination. Sheen earned an Emmy nod for playing the same role in a TV movie, and he continues to do solid work in a variety of projects, so he might just get another chance to prove himself and earn an Oscar nomination one day.
As Oscar season goes into hibernation for more than half the year, it’s a time to take a look back at past races. This time, I’ll be spotlighting the five performers that came closest to earning their first Oscar nominations and then ended up getting snubbed, in alphabetical order. If you feel I’ve left anyone off, please say so in the comments!
Ben Affleck (Hollywoodland): After winning an Oscar with Matt Damon for writing the screenplay for “Good Will Hunting” in 1997, Affleck nearly got recognized for his acting almost a decade later for playing tragic hero George Reeves, the TV portrayer of Superman. Affleck got a Golden Globe nod, but the film didn’t catch on with other audiences. Affleck came close to Oscar again in 2010 with “The Town,” and he may or may not get another shot in the future, though he doesn’t seem to be going for Oscar roles.
Sacha Baron Cohen (Borat): This wild entertainer managed to win a Golden Globe and earn an Oscar nomination for Best Adapted Screenplay for his bigoted Kazakhstani reporter. I predicted Cohen to get an Oscar nod, but ultimately, it seems other actors were taken more seriously. Cohen is taking on meaty roles these days, but I don’t think Oscar is in his future, though another Golden Globe certainly could be.
Aaron Eckhart (Thank You For Smoking): This Golden Globe nominee and former ensemble player turned in a ferociously fantastic performance as an advocate for cigarettes, embodying and carrying his film. The film got forgotten by Oscar voters and couldn’t even manage a screenplay nomination, sadly. Eckhart probably came close again two years later for “The Dark Knight,” and eventually he’ll have another shot if he manages to land a part that’s high-profile enough to get him the attention he needs.
Catherine O’Hara (For Your Consideration): The irony of O’Hara being snubbed is almost too perfect. After playing a woman destroyed by an Oscar snub in this offbeat comedy, O’Hara was a longshot to begin with, considering the film didn’t earn too many nominations. O’Hara doesn’t aim for mainstream parts, so I think critics’ awards are in her future.
Michael Sheen (The Queen): It’s always strange when an actor earns almost universal praise in a film that only gets recognized for one of its stars. 2006 was Helen Mirren’s year, yet Sheen’s Tony Blair didn’t get further than a BAFTA nomination. Sheen earned an Emmy nod for playing the same role in a TV movie, and he continues to do solid work in a variety of projects, so he might just get another chance to prove himself and earn an Oscar nomination one day.
Tuesday, April 3, 2012
Tuesday’s Top Trailer: Total Recall
Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.
Total Recall – Opening August 3, 2012
Remakes seem to be all the rage these days, which, while it might diminish creativity, at least allows for the opportunity for a slick and extremely technically capable update. I can’t say I have fond memories – or explicit ones, for that matter – of the 1990 original directed by Paul Verhoeven and starring Arnold Schwarzenegger and Sharon Stone. Therefore, I’m happy to consider this as its own film, which is a very futuristic action-packed thriller about memory less and an unknown universe. Colin Farrell started out with action, and though he’s done some comedy and drama recently, it’s fun to see him back in the spotlight, running for his life. The vision of the future presented in this film is reminiscent of “Minority Report,” which also featured Farrell, and the plot is somewhat similar too, in the general sense of an innocent man running for his life while being told by everyone around him that he is in fact guilty. Kate Beckinsale is sure to be a productive asset in the film, and I’m unsure of whether Jessica Biel’s contributions will be as worthwhile. In the trend of contemporary sci-fi films, this appears to be much more about all-out action than story, so I’m hopeful that this will be coherent and compelling in addition to invigorating. It’s just the right kind of movie for late summer. Perhaps someone with a better memory of the original film can offer insight into whether this looks like an appropriate and dutiful update.
Total Recall – Opening August 3, 2012
Remakes seem to be all the rage these days, which, while it might diminish creativity, at least allows for the opportunity for a slick and extremely technically capable update. I can’t say I have fond memories – or explicit ones, for that matter – of the 1990 original directed by Paul Verhoeven and starring Arnold Schwarzenegger and Sharon Stone. Therefore, I’m happy to consider this as its own film, which is a very futuristic action-packed thriller about memory less and an unknown universe. Colin Farrell started out with action, and though he’s done some comedy and drama recently, it’s fun to see him back in the spotlight, running for his life. The vision of the future presented in this film is reminiscent of “Minority Report,” which also featured Farrell, and the plot is somewhat similar too, in the general sense of an innocent man running for his life while being told by everyone around him that he is in fact guilty. Kate Beckinsale is sure to be a productive asset in the film, and I’m unsure of whether Jessica Biel’s contributions will be as worthwhile. In the trend of contemporary sci-fi films, this appears to be much more about all-out action than story, so I’m hopeful that this will be coherent and compelling in addition to invigorating. It’s just the right kind of movie for late summer. Perhaps someone with a better memory of the original film can offer insight into whether this looks like an appropriate and dutiful update.
Monday, April 2, 2012
Monday Sequel Spotlight: Pirates of the Caribbean: Dead Man’s Chest
Welcome to a new weekly feature here at Movies With Abe. In this series, I’ll be taking a look at some famous (and infamous) sequels to see how they compare to the original. I'll do my best to alternate between the greats and the best forgotten. Leave your thoughts or a suggestion for a spotlight in the comments!
Pirates of the Caribbean: Dead Man’s Chest
Directed by Gore Verbinski
Released July 7, 2006
Here we have a film follow-up that preserved almost all of the original’s stars and was helmed by the same director. Yet somehow something went wrong, and the first film’s cleverness was entirely lost for the duration of the second film, and its two sequels, which capitalized on Johnny Depp’s Captain Jack Sparrow being an enormous buffoon. Any shred of intelligence was gone, and Bill Nighy’s tentacled Davy Jones couldn’t save the film either. I graded the F a D+ when it first was released, and I’m sad to say that the successive sequels, which need not earn their own posts, were even worse. What happened was that it was hard to follow up on the notion of this curse that allowed the pirates to be undead yet appear alive except for when standing in the moonlight, and each attempt was more irritating and unfortunate than the one before it, thanks also to a desperate need for mass appeal. The fourth film is the egregious sequel offender, mainly due to the fact that the trilogy was concluded, and after going to world’s end, a fourth entry – without series costars Keira Knightley and Orland o Bloom – was inexplicably necessitated. This is one example of a franchise that would have been much better off as a standalone film – and a cool ride in Disney World.
Pirates of the Caribbean: Dead Man’s Chest
Directed by Gore Verbinski
Released July 7, 2006
Here we have a film follow-up that preserved almost all of the original’s stars and was helmed by the same director. Yet somehow something went wrong, and the first film’s cleverness was entirely lost for the duration of the second film, and its two sequels, which capitalized on Johnny Depp’s Captain Jack Sparrow being an enormous buffoon. Any shred of intelligence was gone, and Bill Nighy’s tentacled Davy Jones couldn’t save the film either. I graded the F a D+ when it first was released, and I’m sad to say that the successive sequels, which need not earn their own posts, were even worse. What happened was that it was hard to follow up on the notion of this curse that allowed the pirates to be undead yet appear alive except for when standing in the moonlight, and each attempt was more irritating and unfortunate than the one before it, thanks also to a desperate need for mass appeal. The fourth film is the egregious sequel offender, mainly due to the fact that the trilogy was concluded, and after going to world’s end, a fourth entry – without series costars Keira Knightley and Orland o Bloom – was inexplicably necessitated. This is one example of a franchise that would have been much better off as a standalone film – and a cool ride in Disney World.
Sunday, April 1, 2012
Movie with Abe: Mirror Mirror
Mirror Mirror
Directed by Tarsem Singh
Released March 30, 2012
There’s just something about Snow White that people seem to love at the moment. ABC’s “Once Upon a Time,” which features fairy tale characters in their natural world and ignorant of their pasts and roles in a new modern-day society, showcases Snow White as a prominent character. The forthcoming film “Snow White and the Huntsman,” to be released in June, also features the title character, played by Kristen Stewart, in a tale that looks to be considerably darker. This amusing and often entertaining rendition is a peculiarly and occasionally clever update on a classic story that has been told many times.
Perhaps most notable about “Mirror Mirror” is that the story isn’t told from Snow White’s perspective, but instead from that of the Queen, played by Julia Roberts, who’s clearly having a blast being evil and talking down to all those around her. Incorporated into her character is a frightening alter ago, accessible via an alternate world within the mirror itself, who uses dark magic to bring about the Queen’s will, at an unknown expense about which the Queen seems utterly unconcerned. The Queen’s narration of the story is littered with modern observations and momentary lapses in accent, which is just the kind of behavior that defines this film.
As the fairy tale dictates, Snow White must inevitably encounter the seven dwarves. In this version, the dwarves are tweaked in a truly intriguing fashion. They stand on stilts and wear masks to appear like giants to rob those that wander through their woods, and they’re hardly polite or exceedingly sincere. That leads to the structuring of this particular tale, which is relatively short and simplistic, and emphasizes humor over anything else. Lily Collins, in what marks only her fourth feature film role, doesn’t try to be charming and whimsical like many fairy tale heroines, and instead serves mainly as a supporting character spotlighted only in her flirtatious interactions with the prince, played by Armie Hammer from “The Social Network,” who has found himself a general role in which he could be typecast in the future. Nathan Lane plays just the kind of character that one would think would be played by Nathan Lane, the Queen’s loyal and much-abused servant. Ultimately, the film is Roberts’, as she effortlessly owns each scene and has a great time doing it. The production values aren’t terribly convincing or mesmerizing, and neither is the writing, but there’s not much harm in offering a fresh if less than invigorating and consistent take on a tale as old as time.
B-
Directed by Tarsem Singh
Released March 30, 2012
There’s just something about Snow White that people seem to love at the moment. ABC’s “Once Upon a Time,” which features fairy tale characters in their natural world and ignorant of their pasts and roles in a new modern-day society, showcases Snow White as a prominent character. The forthcoming film “Snow White and the Huntsman,” to be released in June, also features the title character, played by Kristen Stewart, in a tale that looks to be considerably darker. This amusing and often entertaining rendition is a peculiarly and occasionally clever update on a classic story that has been told many times.
Perhaps most notable about “Mirror Mirror” is that the story isn’t told from Snow White’s perspective, but instead from that of the Queen, played by Julia Roberts, who’s clearly having a blast being evil and talking down to all those around her. Incorporated into her character is a frightening alter ago, accessible via an alternate world within the mirror itself, who uses dark magic to bring about the Queen’s will, at an unknown expense about which the Queen seems utterly unconcerned. The Queen’s narration of the story is littered with modern observations and momentary lapses in accent, which is just the kind of behavior that defines this film.
As the fairy tale dictates, Snow White must inevitably encounter the seven dwarves. In this version, the dwarves are tweaked in a truly intriguing fashion. They stand on stilts and wear masks to appear like giants to rob those that wander through their woods, and they’re hardly polite or exceedingly sincere. That leads to the structuring of this particular tale, which is relatively short and simplistic, and emphasizes humor over anything else. Lily Collins, in what marks only her fourth feature film role, doesn’t try to be charming and whimsical like many fairy tale heroines, and instead serves mainly as a supporting character spotlighted only in her flirtatious interactions with the prince, played by Armie Hammer from “The Social Network,” who has found himself a general role in which he could be typecast in the future. Nathan Lane plays just the kind of character that one would think would be played by Nathan Lane, the Queen’s loyal and much-abused servant. Ultimately, the film is Roberts’, as she effortlessly owns each scene and has a great time doing it. The production values aren’t terribly convincing or mesmerizing, and neither is the writing, but there’s not much harm in offering a fresh if less than invigorating and consistent take on a tale as old as time.
B-