Aspiring record company exec Aaron Green (Jonah Hill) has the brilliant idea of rejuvenating the career of fading British rock star Aldous Snow (Russell Brand) with a comeback concert at the world-renowned Greek Theater in Los Angeles. Dispatched by his boss (Sean Combs) to transport the notoriously dissolute Snow from London to L.A., Aaron has just 72 hours to get the out-of-control rocker across the Atlantic.
Here we go again, another popular Judd Apatow production that I didn't find the least bit funny. Brand's character is annoying as hell and I was checking my watch after the first fifteen minutesnever a good sign. I did find Combs' role amusing, but maybe I'm getting too old to appreciate this brand of comedy.
By their very nature, biopics are a mixed bag. On the one hand, they tell the story of a person in the limelight with achievements viewers are familiar with, while on the other, they explore sides of the person that have typically escaped the public eye. Striking the right balance between the two is the key. Get on Up takes a look at the life of James Brown, the Godfather of Soul, a man whose musical legacy can be heard and felt in almost every bit of popular music today. The film jumps liberally between different periods of Brown’s life in anecdotal form, covering his childhood, his meteoric rise to stardom, the fall, the comeback, and everything in between. While it feels a bit disjointed at times, the film nonetheless manages to draw a portrait of Brown and what drove him to become one of the most recognizable names in music.
<IMG SRC="/images/archivesart/getsmart.jpg" WIDTH=200 BORDER=0 ALIGN=RIGHT>When the headquarters of CONTROL are attacked and the identities of its agents compromised, the Chief (Alan Arkin) has no choice but to promote his best analyst, Maxwell Smart (Steve Carell), who has always wanted to work in the field. Partnered with veteran Agent 99 (Anne Hathaway), he must rely on a few spy-tech gadgets and his enthusiasm for his promotion to defeat the evil crime syndicate, KAOS, if he wants to save the day and—better yet—get the girl.
History comes alive with intense and spirited battles during the bloodiest three days on American soil that were the beginning of the end of the South's battle to secede from the Union. Ronald F. Maxwell takes viewers into the strategy sessions of both forces and shows the minor skirmishes that lead General Lee (Martin Sheen) to order a full-scale frontal assault and how the battle impacted the outcome of the war.
My biggest complaint with this film has always been its length, so I'm not exactly thrilled with the additional 17 minutes in the director's cut. Frankly, Maxwell would have been better served by cutting the run time down at least an hour. It's nearly impossible to get through the entire 271 minutes in one sitting, but having watched it over two nights, I have to admit the history lesson was an enlightening experience.
A professional assassin who lives by the ancient code of the samurai finds himself targeted by his Mafia bosses. Ghost Dog, a rare venture into genre films for Jim Jarmusch, allows the writer-director to frequently quote, reference, and build upon many classics in his own quirkily deadpan, deceptively honest way. Dog's unglamorous community of gangsters is reminiscent of John Cassavetes' hoods and lowlifes in The Killing of a Chinese Bookie, but—this being Jarmusch—an understated absurdist wit frequently underlies the drama.
When American radio announcer Herbert Morrison stood watching the Hindenburg disaster unfold before his eyes, he tearfully exclaimed, “Oh, the humanity!” I coincidentally had the exact same thought while watching Ghost in the Shell again for the first time in 20 years—but for a much different reason. I saw this film when it first came out, and I remember having a difficult time identifying with it. I finally figured out why: There’s no humanity in it.
<IMG SRC="/images/archivesart/ghosttown.jpg" WIDTH=200 BORDER=0 ALIGN=RIGHT>Bertram Pincas (Ricky Gervais), a socially- challenged New York City dentist, emerges from a routine colonoscopy with the uncanny ability to see and speak to the dead. When word of his ability gets out in the spirit community of his ability, he becomes the go-to- guy for every ghost with unfinished bisinessbusiness. One such ghost is Frank Herlihy (Greg Kinnear), who is determined to stop a relationship involving his widow, Gwen (Tea Leoni), and so he seeks Bertram’'s help in the matter.
Yes, it’s been 30 years since the original Ghostbusters, the first movie to strike upon that irresistible balance of big laughs and big scares. The story is built around the ridiculously fun idea of professional trackers/capturers of wayward spirits, brought to life by the undeniable comedic talents of Bill Murray, Dan Aykroyd, and Harold Ramis. The Oscar-nominated special effects also helped Ghostbusters become the biggest box-office hit in a year full of blockbusters. Although young Mr. Murray’s effusive wiseassery dates the movie somewhat (much like the remarkable amount of smoking on display), watching it anew reminds us of his consummate ability to find often subtle ways to make every moment his own—and so many of his lines worth quoting.
Forget all the hyperbole about an all-female cast and man-hating: Is this Ghostbusters reboot any good simply based on merit? Yes and no. The movie retreads familiar ground and tries too hard to emulate its predecessor but has fantastic special effects. Melissa McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones are a group of paranormal hunters. McCarthy and Wiig play longtime pals once estranged from each other, reunited when Wiig is fired from her position at Columbia University due to McCarthy’s publishing of a book they wrote years earlier expounding on the existence of ghosts.
<IMG SRC="/images/archivesart/ghostbusters.jpg" WIDTH=200 BORDER=0 ALIGN=RIGHT>When ghosts and demons run amuck in New York City, it's up to a team of ex-college professors turned ghost exterminators to capture the unwanted apparitions. The team of Peter Venkman (Bill Murray), Ray Stantz (Dan Aykroyd), and Egon Spengler (Harold Ramis) must save the beautiful Dana Barrett (Sigourney Weaver) and her nerdy neighbor Louis (Rick Moranis) when they inadvertently open the gates of hell.
Two dice roll into close-up. Thus, down-and-out dockside gambler Johnny Farrell is introduced, along with the theme of characters that make their own luck by cheating with chance, love, and big business. Whereas Johnny just plays his way into a job at an exotic Buenos Aires casino through his cardsharp skills, snappy spiel, and fast fisticuffs, his boss, Ballin, has greater ambitions in creating an international monopoly and is willing to use intimidation, illegal business practices, and murder to attain his goal. Johnny becomes as faithful and obedient to his mentor as Ballin’s phallic walking stick, until Ballin breaks their agreement of no women around, returning from a business trip with a wife—Gilda. Especially as she’s the woman who’d ripped Johnny’s heart out.
Quentin Tarantino's Jackie Brown and Pulp Fiction are both out this week in brand-new Blu-ray releases, approved by the director, and we've gotten some copies to give away, courtesy of Lionsgate/Miramax.
More Ben-Hur than Spartacus, director Ridley Scott's Gladiator is painted with broad strokes of sentimentality, gory violence, and New Age spirituality.
Recounting the fierce allegiances and combat of the early Civil War, Gods and Generals recreates the two years prior to the historic battle of Gettysburg and delves into the lives of Stonewall Jackson (Stephen Lang), Joshua Chamberlain (Jeff Daniels), and Robert E. Lee (Robert Duvall).
I love history (especially American history), so I really wanted to like this film. Unfortunately, the script is all over the place and the pacing is downright awful. It doesn't help that it's been expanded with an additional hour of footage and clocks in at 280 minutes in order to lengthen certain scenes and adds a subplot of John Wilkes Booth (Chris Conner). On the plus side, the battle scenes are well done and Duvall's depiction of Lee is marvelous.