Showing posts with label Samuel L Jackson. Show all posts
Showing posts with label Samuel L Jackson. Show all posts

Monday, June 28, 2010

"When Captain America throws his mighty shield..."

"...all those who chose to oppose his shield must yield ♪ ♫"

He lost his headwings

Today Captain America: The First Avenger is supposed to start Principal Photography. Or that's what they were saying a month ago, June 28th. Just thought you'd like to know.

I'm still confused about the Marvel movie universe logic wherein Johnny Storm, "The Human Torch" is also Steve Rogers, "Captain America". Perhaps Chris Evans is like Sybil, Eve or (The United States of) Tara and he has multiple (heroic) personalities within? Maybe he should star in The Crowded Room next? That movie feels like it's never going to get made. Development hell for, what, 8-10 years now?

But... superheroes. Remember when they used to have to pad the superhero costumes so the actors looked cartoonishly fit/muscular? Now they just cast people like Evans and Ryan Reynolds. No special effects required.

On the less bulky front, over the weekend the finalist list for the new Spider-Man was talked up. Exactly how many times are we going to hear that there's a final -- this time they mean it! -- finalist list before someone is cast? This is, what, the third time? On that list we encounter the same Chris Evans multiple personality problem.

A type emerges...

I am apparently the only person alive still bothered by an actor starring in multiple similar franchises. They're considering Chekov/Kyle Reese, Percy Jackson and Kick Ass to play the webslinger here. When I go to the movie theater to see Spider-Man I don't wanna be thinking about Star Trek, Terminator or Kick-Ass. I wanna be thinking about Spider-Man! Why is this a difficult concept? It'd be like if Sarah Michelle Gellar was asked to star in a werewolf hunting role. No, no, no. She kills vampires, see? I'm fully willing to enjoy her as another character besides Buffy but not another powerful woman in some supernatural setting, you know?

This is why, as previously stated, I can't stand seeing Samuel L Jackson anymore despite once enjoying him. He's starred in so many actual or would be f/x action franchises now (10+ by my last count) that he takes me right out of whatever movie I'm watching, even non-franchise movies. He's a factory worker and all genre movies coming down the conveyor belt must be fitted with some Jules Winnfield before they are shipped out to the public. It makes everything generic/interchangeable.

So I'm rooting for Jamie Bell or Andrew Garfield as the new Spidey because they don't have much baggage and they only really make me think of Jamie Bell and Andrew Garfield and those aren't unpleasant reference points at all. Though if they wanna hand us Michael Angarano (who we were just watching) or Ehrenreich I suppose that'd be okay, too.

Monday, November 2, 2009

Mother and Child No Longer Up For Adoption

Sony Pictures Classics announced today that they've picked up the TIFF hit Mother and Child starring Annette Bening, Naomi Watts, Samuel L Jackson and Kerry Washington. The Rodrigo García adoption drama prompted more than one pundit to declare that The Bening would most definitely be back in the Best Actress Oscar race. But the press release makes no promises about when SPC would be showing off their new bundle to the public.

<--- Her Hotness Kerry Washington and Shady Naomi Watts work it out in San Sebastian, promoting Mother and Child

Sadly we'll have to assume it's not for another year (sigh... All these movies completed and placed on shelves). After all, SPC is already octomom of the Oscars for 2009. So very fertile they are. Eldest children include: An Education, Moon and Coco Before Chanel. But there's a whole litter about to drop (and now I promise I'll quit with this pregnant metaphor): The White Ribbon, The Imaginarium of Doctor Parnassus, Broken Embraces and The Last Station.

A few readers have noticed the absence of "The Bening" from the blog this year. I have no idea why she hasn't piped in or what's going on with her. Maybe her stage work has been keeping her busy but she hasn't been on the red carpet as much as usual and she wasn't on the festival ride with Mother and Child either. Kerry, Naomi and Samuel did starpower duty in San Sebastian and Toronto but there's nothing quite like having Hollywood royalty at big premieres. Mr. Beatty and The Bening were missed. At least by obsessives like me.

In fact, one of the most recent non-set photos I could find of Annette on Zimbio was 12 whole months ago for a stage reading of All About Eve. But, old photo or no, I LOVE it.


Intentionally or not, she's totally replaying her bitchtastic Being Julia climax, blocking co-star Keri Russell's limelight with a swirl of her extra fabric. Hee. I love The Bening so muchly but every once in awhile I need these reminders. Can't wait to see her back in action... whenever that may be.
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Thursday, May 7, 2009

Christian Bale Losing Resolution. Too Many Copies!

When I announced I was seeing Terminator Salvation yesterday, I got a note from Rob, a longtime reader, which said
Let us know if the cinematography comes across as especially intrusive to the thespian process.
Heh. I am happy to report that unless Christian Bale's eyes are particularly sensitive to bleached colors and shadowy sets, Shane Hurlbut's lensing didn't intrude on his thespian process at all. But Bale intruded on Bale's thespian process.


I liked Salvation a lot more than this next statement will imply (here's the video review) but... John Connor was a dud. [editor's note: Isn't he always?] Christian Bale bored me silly. He used to be a thrilling and unpredictable actor. Now I feel like I'm seeing the same performance over and over again. It's like he's lipsynching to his own Arias of Intensity.

Since Bale has given at least one undisputably genius performance ("Patrick Bateman", American Psycho) I'd like to cut him some slack and blame Hollywood and movie audiences. Why is it that we need the same thing over and over again? Why do we need orphaned crime-fighting Batman to also be orphaned robot-fighting John Connor? Why do we need 4th and 11th versions of stories we've already heard? Why do we need a reboot of the Star Trek story which we've been hearing for over 40 years? For Christ's sake, why do we need a 8th season of American Idol? It's the same show every year.

Will we ever love something new?

I was thinking about this whilst perusing the internet yesterday and reading numerous gripe posts about X-Men Origins: Wolverine followed (in the same posts!) by anticipation of X-Men Origins: Deadpool or whatever they might call it. It's like we're goldfish or we're collectively stuck in a OCD moment, repeating the same cycle over and over again.


Instead of locking and unlocking our doors, we're swallowing hype whole, choking on it and then opening wide again "Give it to me!" It's basically Hollywood's ideal cattle herding loop. Even if we don't like a movie, we'll still go to its sequel.

But I'm spiralling off topic. In the case of Bale, I'm more concerned currently with Hollywood's (and by extension our) lack of imagination about who should play whom in franchises. I'm sitting there watching Anton Yelchin, who plays Kyle Reese as a teenager, and thinking 'Chekov from Starfleet impregnated Sarah Connor to stop Skynet?!?'

Shouldn't I be thinking "ooh, the young Kyle Reese!"?


Why did Chris Pine, suddenly get talked up for Green Lantern just as soon as people starting noticing he might not bomb as Captain Kirk? Should Captain Kirk really remind us of Green Lantern and vice versa? And then there's the problem of Samuel L Jackson. I've complained about this before but the Nick Fury casting really upset me last summer. It seems, scanning credits, like Marvel wants Nick Fury to be the connective tissue for all of their superhero movies. That would be a fun idea if it were a lesser or unknown actor but now all of these Marvel superhero movies will not only remind us of each other but of the following franchises or intended franchises (some didn't pan out): The Spirit, Star Wars, Shaft, Jumper, Afro Samurai, xXx, The Incredibles, S.W.A.T, Jurassic Park and even The Exorcist. I don't begrudge any strong actor a successful career but I really think there out to be a cap on how many big franchises one actor is allowed to appear in. Seeing the same faces over and over again (Jackson's) or hearing the same affected voice over and over again (Bale's) just makes all these movies seem more generic and copied and alike than they already are.

The internet was abuzz yesterday with the rumor that Bradley Cooper might play Hal Jordan / Green Lantern (the IMDB lists Chris Pine in the role but that's still only a rumor). I've mocked it up for you to the right. I forgot the mask but that's all Bradley there. Actors don't need padded muscle suits anymore. They have personal trainers and dieticians.

I like Cooper but I haven't even begun to ponder whether or not he'd be a good Hal Jordan. Still, better him than Chris Pine. That way I won't have to get used to Captain Kirk belonging to both Federation Starfleet and the Green Lantern Corps. Does Starfleet even allow dual citizenship?

Have you read the Terminator Retro Special?
PART ONE: Tech•Noir (The Terminator)
PART TWO: Model Citizen (Judgment Day)
PART THREE: Terminator Salvation Discussion (passed on rewatching Rise of the Machines after all)

Tuesday, January 27, 2009

Breakfast With... Vincent and Jules

A quiet morning at the Hawthorne Grill. Typical diner food served.

Pulp Fiction
Vincent chows down on pancakes and bacon. Jules tears pieces from his muffin. He refuses a bite of Vincent's bacon.
Vincent: Are you Jewish?
Jules: Nah, I ain't Jewish. I just don't dig on swine that's all.
Vincent: Why not?
Jules: Pigs are filthy animals. I don't eat filthy animals.
Vincent: Yeah, but bacon tastes good. Pork chops taste good.
Jules: Hey, sewer rats may taste like pumpkin pie but I'd never know cuz I wouldn't eat the filthy motherf***ers
Jules and Vincent, motor mouths both, chat philosophically for our amusement until a shout of "Garçon. Coffee!" pulls our focus -- Oh, riiiiight. This is also...

Breakfast With... Pumpkin and Honey Bunny


They're not really there to eat.
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for more "breakfast with"s... click the label below

Wednesday, January 14, 2009

Pillar of Link

Oscars, Globes and Year in Review
The Feinberg Files on Oscar's foreign film shortlist and that Gomorra snub
Wall Street Journal good article on Slumdog's Co-Director and why she isn't getting any awards attention while Danny Boyle is drowning in it. (Thanks to David, for pointing it out)
Everything Oscar Andy shares his own hypothetical ballot
In Contention my favorite annual thing at IC, "top 10 shots" of the year
MNPP "the golden trousers" actresses of 2008 -- way crazier than Oscar ballots
MTV Movies Drew Barrymore's coiffure at the Globes. It's Ferrari's fault!
Pop Matters top 20 female performances of '08


The Biz
Coming Soon Samuel L Jackson might not reprise his Nick Fury role. Did Marvel notice that he's in every franchise and if you want your franchise to stand out... maybe no Sammy? This is along the same lines of if you have a suspicious/slimeball/annoying neighbor/coworker/troublemaker you don't really have to cast Stephen Tobolowsky or Danny Huston every time. Just a thought. Spread the wealth, Hollywood. There are more than 36 actors in the world looking for work.
The Carpetbagger updates us on the SAG negotiations. Will there be a strike?
Variety & MTV Andrew Stanton's (WALL•E) future project John Carter of Mars. Hells, yeah

DVD
Flickers on Derek Jarman's fascinating Sebastiane. God, I haven't seen that movie in forever. Tilda Swinton would be proud if you put it on your rental queue.
Hell on Frisco Bay is doing a cool roundup of top ten lists that are about revivals screened this past year "I only have two eyes 2008" -- some good rental ideas here.

Saturday, November 29, 2008

"All In" for Wolverine?

Lookie here, it's Taylor Kitsch (Friday Night Lights) as Gambit in the upcoming Wolverine movie (May 2009)


Off topic: I miss Friday Night Lights.

On topic: I know that Gambit isn't opposed to wearing purple or vests in the comics but I worry that following 2008's mania for The Joker, everybody is going to be wearing vests and greens and/or purples in blockbusters for years to come. "Super" films are really unimaginative this way. After Terminator 2 everybody used cold blue filters for action. Following The Matrix all super-powered folks were suddenly opposed to primary colors and costumed in black. Following The Phantom Menace Samuel L Jackson was cast in seven more (intended) super franchises. Etcetera.

Anyway... doesn't it seem like X-Men Origins: Wolverine should already be on DVD -- like we've been hearing about it for years? I'm curious to see how well it fares given the overall crappiness of the X-Men finale (Last Stand), the popularity of the character, Hugh Jackman's ever rising fame but questionable bankability, and the upcoming glut of comic book movies (the genre seems unstoppable now but oversaturation will eventually kill it).

Friday, October 31, 2008

The Coolest Thing Samuel L Jackson Has Done Since Pulp Fiction

"It wasn't that long ago that discrimination was legal in California..."



Samuel L Jackson telling it like it is.

Far scarier than any ghost, goblin, vampire, or beasty tonight on Halloween is the knowledge that it's the last few hours to donate to the campaign to defeat Prop 8 in California. While some notable Hollywood A listers (Brad Pitt, Ellen DeGeneres, Steven Spielberg, etc... and now Mr. Jackson here) with lots of moolah have donated their names, voices and/or cash to stop this injustice from passing, they haven't raised nearly as much money as various "Christian" churches have --I use quotes because modern Christianity seems to have almost no recognizable connection to its namesake these days. The Mormons are the most despicable and the best fundraisers on the 'Yes on 8' front. As a former Mormon, I would find it very amusing in its boldface underlined hypocrisy --Mormon doctrine is decidedly NOT "one man/one woman" traditional no matter how frequently or how smoothly they lie about it -- if the stakes weren't so high for the future and if it weren't so depressing for the soul. I'm not really comfortable with my country, let alone my tax dollars, being used to prop up discrimination of my fellow citizens. I hope the majority of California voters aren't either.
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Wednesday, October 8, 2008

Vanity Fair's Hollywood ~ Episode 9 (2003)

Missed previous episodes? See: 1995 , 1996, 1997, 1998 , 1999, 2000, 2001, 2002, 2003, 2004 and 2005

In April 2003 Vanity Fair brought us only the second all male lineup in their nine years of this special issue. The idea here was the "Alpha List" and here they were...


Obviously, when VF isn't speculating about who might be hugely famous someday there's less to discuss in terms of what happened to their careers. But it can be thrilling to see so many megawatt stars in the same room together when VF goes "classic". Unlike many group photoshoots these "Hollywood" events rarely seemed to be the product of Adobe Photoshop. In other words, the oxygen is believably shared.

Tom Hanks, about to hit 47, was fresh off another hit (Catch Me If You Can) but his career was slowing down. His two Oscars and the occasional blockbuster (DaVinci Code) can warm him if he isn't feeling the warmth of mass adoration quite as much anymore. Here's my quibble: for someone who enjoyed favorable comparisons to the great Jimmy Stewart for so long, where are Hanks' late career stretches? Stewart was doing his best work ever in his late 40s and 50s. Has Hanks challenged himself at all since Cast Away which he made when was 44?

Tom Cruise, turning 41, was still Hollywood's Top Gun/Dog. His ex-wife had just barely won the Oscar that had always eluded him despite three nominations. He was readying The Last Samurai (note the longer locks) and dating Penélope Cruz. He was approximately one year away from firing his longtime publicist, setting off a series of bizarre media events which would damage his reputation and possibly his legacy.

Harrison Ford, turning 61, a longtime powerhouse draw, was slowing down and had famously turned down a role in the Oscar hit Traffic (2000) indicating to some that he wasn't really eager to stretch as he entered his golden years. He had moved to a one film every two years schedule. Michelle Pfeiffer had rightfully gotten much of the credit for his last big hit What Lies Beneath (2000) and when this cover debuted his only recent film K-19: The Widowmaker (2002) had been an uncharacteristic flop. Like Cruise -- only to a much smaller degree -- he was starting to have publicity problems. In 1998 he had added that solitary earring that people like to joke about, his second marriage began to dissolve in 2000 and his engagement to Calista Flockhart, who was just entering her difficult post-Ally McBeal period, was fresh at the time of this shoot. They haven't yet married.

Jack Nicholson, 66, who has been in pictures since '58 had just lost the Oscar Best Actor race for About Schmidt (his 12th and last Oscar nom to date) to upstart Adrien Brody for The Pianist. But with three Oscars already, what more could he want? How about two more huge hits this very year (Anger Management and Something's Gotta Give). '03 was the last the screen would see of Jack until The Departed (2006). That's an uncharacteristically long break for this prolific actor but he's now in his 70s so we'll let it slide.

Brad Pitt, 39, was still married to Jennifer Aniston and had just put a brief period of media swiping about his bankability behind him. The Oceans franchise and his resultant enormous payday ($30 million -- just for the first one) settled that one. More hits would soon follow and then... Angelina Jolie.

Edward Norton's career was going up up up at the age of 33. The previous year had brought ubiquity (four movies and Salma Hayek as girlfriend) and he was about to help deliver The Italian Job. Things got strangely quiet thereafter and he continues to have problems with a "difficult" reputation. Recent highlights include the underappreciated The Painted Veil and another hit, The Incredible Hulk.

Jude Law, 30, had officially and unarguably arrived in his late 20s with his portrayal of a callow golden boy in The Talented Mr Ripley (1999). Ever afterwards he was expected to become a major lead star even though he'd continued with the riveting supporting parts rather than going straight for the franchises or headlining work. Unfortunately the box office didn't cooperate so much on the intermittent lead gigs that he did take. Cold Mountain, hyped to be an Oscar frontrunner long before its debut (it failed to get a Best Picture nom), was on the way. Unfortunately the latter remains his last true hit, grossing nearly $100 million.

Samuel L Jackson, 54, often in enormous hits even if he's not exactly responsible for their success, had just added another billion dollar franchise to his resume with his turn as Mace Windu in the Star Wars Episode 2: Attack of the Clones. Is he a household name more for his ubiquity than for his performances? His career is rather like that of Michael Caine and Gene Hackman before him: a sprinkling of blazingly good work here and there keeps the reputation intact despite the filmography also containing huge swaths of disposable filler. He can't say no! Jackson began to find steady employment as an actor in 1987. He's amassed a frankly astounding number of credits since then in everything from features, tv, to DVD fare, 108 of them in fact. Seven more films coming our way in the next two years. He's not going to be ignored. He's stalking us.

Don Cheadle, 38, was at this point a highly valued supporting actor, beloved by other thesps. He hadn't yet been rubber stamped with an Oscar nod or a lot of fame but he'd turned in vivid work in many good films: Oceans 11, Boogie Nights, and The Devil in a Blue Dress among them. He was soon to graduate to lead roles. Hotel Rwanda and his first Oscar nom would soon follow.

Hugh Grant on his way to 43, had recently delivered another semi-hit (Two Weeks Notice) and a critical success featuring his best work (About a Boy). The king of romantic comedy was beginning to threaten retirement in interviews but he didn't quit. Instead he made the Bridget Jones sequel for 2004. Oops! He doesn't work too often now but his next film is, you guessed it, another romantic comedy with a much younger woman.

Dennis Quaid, 49, was suddenly experiencing a real comeback -- not just the hyped kind. The late 90s had been bumpy for his star status and the breakup with Meg Ryan at the turn of the decade had been messy for both, public relations-wise. But in 2002 he had carried the crowd pleaser The Rookie with a winning star turn and almost won an Oscar nomination for his performance stretch in Far From Heaven. By the time of this cover, he was suddenly in demand again though it would take a couple of years before new movies started hitting theaters.

Ewan McGregor, 32, was soaring. The success of Moulin Rouge! (2001) and the Star Wars prequels had lifted him from well regarded daring British thespian to star. He had two movies coming out: Down with Love was a welcome change of pace as far as romantic comedies go but not something the public was interested in, Big Fish another serio-comic fantasy for Tim Burton performed reasonably well but seemed to fade quickly from public consciousness. It's been semi-rough since, with flops for which he was unjustly blamed (The Island) and strange choices (second fiddle to Renee Zellweger for Miss Potter?) piling up and a distinct lack of the edgier roles that made him a rising star in the first place. It's easy to imagine a resurgence, though: Eight new films coming your way in the next two years.

Matt Damon, 32, had just struck gold with The Bourne Identity (2002) and that franchise, together with smart choices for follow-ups (goofy cameos for friends, stretching for auteurs, working on smarter-than-usual mainstream projects) has served him exceedingly well. Until the Bourne franchise he was always connected to his best friend Ben Affleck, a bigger star (at the time). Nobody would argue that he's not a movie star on his own now. Five movies are on their way including a fourth trip into Bourne territory.

PLEASE NOTE: If you'd like to read more about any of these stars, click the names on the labels below.


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median age: 43. Jude was the baby boy @ 30 and Jack the papa @ 66.
noticeably absent: Since VF tagged this the "alpha list" it's hard not to notice missing heavy hitters like Denzel, Johnny, Clint, Russell or Leo (see, you didn't even need their last names) ... though obviously you can't fit all A listers on one cover.
collective Oscar noms before this cover:
26 nominations and 5 wins for acting (Hanks & Nicholson share that trophy count. Damon has an Oscar but it's for screenwriting Good Will Hunting)
collective Oscar noms after this cover: Only two nominations followed: Jude Law for Cold Mountain (2003) and Don Cheadle for Hotel Rwanda (2004). Both of them lost. Grant, Quaid and McGregor have all been snubbed by Oscar voters on more than one occasion. What a shame.
fame levels in 2008, according to famousr, from most to least: Cruise, Pitt, Hanks, Nicholson, Ford, Damon, Grant, Law, Quaid, Norton and Cheadle. Neither Samuel L Jackson nor Ewan McGregor are listed on the famousr site.
previous episodes of 'VFH': 1995 ,1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004 and 2005.
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Tuesday, July 8, 2008

Thoughts I Had While Watching Jumper

Hayden Christensen wishing he were Keanu Reeves

1 Why am I watching this?

2
The first minute of Jumper is dizzying... and not because the camera spins around Hayden Christensen as protagonist "David Rice". It's because the movie starts with the Fox logo which always arrives with that endearing pompous trumpeting. Blow your own horn, baby. I love that moment because it reminds me of Moulin Rouge! My mood plummets immediately since right after that I see and hear Hayden Christensen. Oh yes, there's voiceover and he's already giving a bad performance just talking into a mic. How does one do that? And why is their voiceover? There's voiceover because we're all too stupid to understand totally simple things we are seeing with our own two eyes. Haven't you all learned by now? Film is not a visual medium. It's an aural medium accompanied by cute illustrations. [/sarcasm]

"Hayden Explains It All!" Well, until the film gets complicated and then Jamie Bell takes over exposition duties. He's better with the words.

<--- 3 Can the whole movie star this kid who is playing the younger Hayden instead of Hayden Sr? Normally I wouldn't ask that given the other kid who played the Hayden Jr. I don't know how you can be a worse actor than Hayden but that one accomplished it. er... congrats?

4 I always kind of geek out when Michigan gets mentioned in a movie. Turns out David and his love interest Millie (Rachel Bilson) grew up together in Ann Arbor. The first time our hero "jumps" (i.e. teleports) he ends up in the Ann Arbor Public Library. For those of you unfamiliar with Michigan, Ann Arbor is kind of like an oasis of sanity in otherwise nutsy midwestern conservative land.

Michigan has lots of trees. The abundance of foliage has nothing to do with the movie but I wanted to share. Michigan is beautiful but the movies never show you that.


5 Hayden takes over the role of "David" 14 minutes into the movie. It was too much to hope that he wouldn't ever show given that he's the "star" (the term being applied loosely) Thankfully the young over-employed actor is playing an asshole so it's one of his most believable turns. David sees people trapped in floods on TV and doesn't teleport in to help them, though he literally can't stop teleporting to meet his every other self-serving whim. Basically he's a lazy prick. He teleports all over his own apartment rather than move a muscle. He even jump/shifts position on the couch rather than get up to fetch the remote. In other words, if this were a realistic movie he'd be looking a lot more like Jonah Hill @ this point in his life rather than Hayden. But it's the movies. We forgive erring on the side of beauty.

I'm hard on Hayden, I realize. There's always Shattered Glass (2003). But his position in the industry warrants a tough stance. Actors and actresses who take up movie space that's disproportionate to their actual talents are a problem for everyone ...most notably audiences and better screen actors. Basically he's OK... but it's the same thing as TV stars who can vaguely carry tunes getting leads in Broadway musicals. It ain't right. You shouldn't be a headliner unless you're great. You just shouldn't.

Sadly, Hollywood is not a meritocracy.

<--- 6 Movie parentage. David's dad is Henry the Serial Killer? Yikes. I'd teleport away, too. Run little David, run! The mother who abandoned him @ 5 years of age is the ever lovely Mrs. Josh Brolin, Diane Lane who is slumming here --and how! -- she's barely even trying in her tiny but pivotal role. One of David's fondest memories is visiting New York with her. So off to New York City young David goes. Good choice. David is a jerk but he isn't stupid. He robs banks by teleporting inside them and lives the good life never wanting for anything.

7
Something odd: The longer I watch the movie the more I'm totally confused by its quality level. There are some decent shots, good compositions, lighting, etcetera. Technical stuff seems strong and then... doesn't. It's very uneven. Doug Liman is the director. His credits include Go, The Bourne Identity, Swingers, Mr & Mrs. Smith ...pretty good movies but this one is all over the place. The concept is fun, the storytelling a mess. For example at one point, after a jarring edit that should be more of a "meanwhile" style transition, we're in the conclusion of some battle in the jungle. A Jumper (David isn't the only one) is roped to a tree, while being steadily electrocuted. It prevents teleportation. Samuel L Jackson shows up as a 'Palladin' to mutter some religious wackiness "Only god should have this power!" and stabs the unfortunate kid. The scene is very random. It sets up the central violent conflict (Palladins vs. Jumpers) of the franchise --excuse me, plot. But it does so about as clumsily as it could.


8 JAMIE BELL! A real actor. He's not top billed. But again... Hollywood ≠ meritocracy. So much fire, conviction and watchability. He's a kleig light surrounded by 40 watt bulbs. Bell is an actor we'll be seeing until he's ancient and gray. You can always tell. The bland ones can't really keep it up once they can no longer coast on youth and Hollywood's love of same. Movie careers for Hayden and Rachel will not last through wrinkles, loss of skin elasticity and general thickening. Bell's character "Griffin" keeps popping into frame watching David. It takes him quite a long while to get involved in the plot, damnit. He's another Jumper but he's crafty. He's practicing guerilla warfare to take out the Palladins rather than being taken out himself. Griffin has learned to use his powers in clever violent ways and the movie does make some fun use of his jumping... though the teleporting attack of Nightcrawler way back in X2 was handled with more skillful choreography, camerawork and editing.

9. I think the problem is that teleporting in Jumper happens too quickly and too often. You've barely registered where the characters are and they're gone. For an action sequence to be exciting, for it to work up any emotional armchair gripping, you have to be able to follow along. When David and Griffin's uneasy Jumper camaraderie turns to Jumper vs. Jumper infighting, it's not exciting but funny: they look like staccato jumping beans bouncing around various parts of the screen. Where will they pop up next? But at least their choice of weapons was exciting. I'll give the movie that.

<--- 10 Jackson looks silly and I'm so over him as an actor. Exactly when did he jump the shark to become a self-parody? He was so terrific in Pulp Fiction but he hopped the big fish long ago, no? sigh. His best scene: beating the crap out of Hayden Christensen. That was
___________________________... satisfying.

11 For what it's worth Rachel and Hayden aren't terrible in this, just dull. A lot of fanboys (the presumed target audience for action flicks with superpowered elements) are stereotyped as disdaining romantic subplots. Maybe I give people too much credit but I think moviegoers hate romance in action movies because it usually plays like a marketing requirement or a cheap emotional shortcut rather than an organic element. It's squeegeed in there for demographic concerns. Romantic screen chemistry is tricky. If actors have it a screen romance is among the most electric things that can be captured on film. But it's elusive and rare. Hayden and Rachel hit their beats well enough (their painful parting at an airport is well conveyed --she no longer trusts him. He hasn't come clean) but ... zzzzz.

12 I'm entertaining myself by noticing how often Rachel gets her hair touched up in between shots. Consider...


Those two shots are 30 seconds apart and there's no change of narrative scene. Either "Millie" has superpowers involving superspeed hairstyling or this sequence took too long to film. Side note: Rachel Bilson has huge eyes. That helps in the movies. Just ask Anne Hathaway.

13 In concept I give this movie a B. I wonder if the source material is any good. Anyone read it? In execution it's a D. Sloppily performed, uneven, nonsensical... too enamored of its franchise potential to think about how it's telling the story. Even the superpowers are uneven. If you're dealing with the "super" you need to have some rules that you stick with. For example: Kryptonite always f***s Superman up. Go! This movie doesn't seem to know what the limits of the Jumpers are... or what may or may not hurt them. If there's nothing at stake, how can we worry about their safety. And if they're in danger, we should worry. Not that anyone would ever worry about Hayden Christensen.

14 Jumper 2 is supposedly teleporting to a movie theater near you in 2011. They could take it to a higher level instantly by switching it up. Jamie Bell is now the lead. Go!
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Tuesday, May 13, 2008

Can I Get You Another Link?

Cinema Styles "I drink your milkshake" is going to have a long shelf life. This is one of the best true stories I've read.
--> i09 Samuel L Jackson pics from the Spirit. Samuel L Jackson is in way too many franchises. Let me get this straight "The Octopus" is also "Shaft" is also "Nick Fury" is also an "xXx" Agent is also "Mace Windu"? TOO MUCH. Please stop.
Anne Thompson
on the problems w/ Indiana Jones press rounds
Mighty God Kings superhero movie problems and advised fixes
/Film has a new still from Vicky Christina Barcelona. Why am I so excited for this? It's not like Woody is regular w/ the brilliance...
Lost in the Frame speaks true in regards to Iron Man (except for the bit about waiting for credits to end as being dorky... I call that "watching the whole movie")
Blake Snyder on screenplay 'beat sheets' and Iron Man & Forgetting Sarah Marshall. This is one of the most horrifying screenwriting articles I have ever read. No wonder movies are so formulaic.

off cinema
Things Younger Than McCain a whole blog of things younger than the Republican candidate for President. hee. And while we're on politics... Hillary Clinton does not appear in this post but here's her imaginary salute to my May Flowers series... --->
IMDB
TV renewals for fall. Are your shows dead yet?
Art Resource the great artist Robert Rauschenberg has died. Here's a gallery of his work.
Jay Brannan (from Shortbus) is going on tour. Can't wait.
YouTube Battlestar Galactica Season 4 Rap. For true BSG nerds only!
Sticky and Sweet So, yeah, got my Madonna tickets. They're terrible but I've had good seats at two previous concerts so I can deal. I don't mind so much. Just to be in the massive stadium. There's always binoculars.

Tuesday, April 1, 2008

DVD Releases: Chipmunks, Bette, Sweeney

Run for your lives. Alvin and the Chipmunks is now on DVD and the said-to-be-pure-crap movie which I will never ever see, which won more box office dollars than all of the critical hit dramas of 2007 (or thereabouts) combined, more popular with John Q Public then the bliss of Ratatouille (and I wish I could scream "april fools" after saying that, but alas --tis true), will now be seen by millions more. What a world.

Other new DVD releases: The Good Night (featuring Paltrow, Cruz and DeVito) and Samuel J Jackson's 79th feature film Resurrecting the Champ (he can't say no!)


In better news, Tim Burton's interpretation of Sweeney Todd: The Demon Barber of Fleet Street is also out for your home viewing pleasure. Though my own review was glowing, my reaction mirrored its Oscar run. When it opened it had critics and Oscar pundits all hyped up and eager for a shave and then everybody said "nyahh" at the last minute and moved on. A fast fade --not the masterpiece it should have been --but definitely worth seeing for that genius score, Burton's gleeful blood sprays, and pieces of Johnny & Helena's Golden Globe celebrated performances.

Finally, just in time for Davis's centennial (see previous post) is Volume 3 of the Bette Davis Collection. It doesn't have any of her Oscar nominated performances but it's a true 1940s fest with the The Old Maid, All This and Heaven Too, The Great Lie, In This Our Life, Watch on the Rhine and Deception.

Wednesday, October 24, 2007

Jumper and Streamer

February action flicks aren't usually my thing (if its an action flick @ Valentines you gotta worry the powers that be feel it's not strong enough to survive summer's blockbuster throwdowns) but I checked out this Jumper trailer on account of research I was doing for an audition I had for a talking head gig on some cable movie show (cross your fingers. or not)

<-- Careful Hayden. Don't get that scenery stuck in your teeth.

Or I tried to. I despise streaming video. Why do sites use it? Jumper is jumping itself. Watching streaming video is akin to covering your eyes with your fingers and allowing yourself a freeze frame peak now and then --1 frame per second when it's supposed to be 24 damn you studio fools! But it's worse than that. A friend should be covering your ears while you cover your eyes, allowing you only intermittent blasts of sound... that aren't in sync with the images. I have high speed internet action and I'm still living in staccato motion land. The technology sucks. Blah. Give me Quicktime that's fully loadable before you watch every time. It's sad when YouTube quality video is better than official site videos from multi billion dollar corporations.

Anyway. From what I can make out, Jumper is about genetic anomalies that allow hot young men of wildy disparate acting skill* to teleport. Mace Windu ditches his lightsaber but brings other cool looking gadgets to do battle with the jumpers... in Egypt and elsewhere. I'm not sure.


But I'll probably see it. If only for the joy of watching Jamie Bell blow the others off the screen.... and that includes you Mr. Jackson (though you did do some creative recharging on Black Snake Moan. Good on you. More please)

*[Olympic Acting Scores: Hayden Christensen: 3.1 Jamie Bell: perfect 6.0 across the board but for Canada --they're rooting for Hayden]

Monday, August 21, 2006

No Snakes on This Blog

I was trying to be the only blog that never mentioned Snakes on a Plane in any stage of its life but then I realized that would be an achievement that nobody would notice. So I'm giving up since it lets me talk about some other crap that I care more about. At least marginally.

When I first heard the title ages ago I had a little chuckle and thought "cool". It reminded me of that brief and shiny moment back in nineteen-ninety-godiamsoold when that Nicolas Cage / Bridget Fonda movie was not called the generic It Could Happen To You but was referred to as Cop Gives Waitress 2 Million Dollar Tip. Mmmmm, high concepty. I like truth in titling but I had only a marginal interest in the movie. What killed it for me was the huge media dollars push for it which masqueraded as a grassroots fan movement. I was so sick of hearing about it. My opinion: Real cult movies are always accidental.

Now, if the snakes had dialogue or musical numbers and were all voiced by Sterling Holloway I woulda totally been on board. Especially if they resurrected that great Jungle Book sequence "Trust in Me" and made Samuel L Jackson's eyes go all hypnotic spiral. That woulda put my ass in a seat.

I'm not sure that this is as big of a disappointment as people are saying ($15 million for a B movie in late August? Sounds impressive to me) but then again... I'm fully aware that I'm not a numbers guy. I don't really get the box office fascination --or rather I get it but I could never indulge because I'd get too depressed.

Consider the following fact:
John Tucker Must Die, a cheap Mean Girls knock-off made something like 40 times what Heathers made. It also made more than the (completely unrelated) masterpiece Eternal Sunshine of the Spotless Mind. So did these fine 2006 releases: Date Movie, Little Man, RV, Scary Movie 4, The Lakehouse, Firewall, and dozens of others.

I'm sorry, here's a tissue. No. No. You can't have this bottle of pills. No! I don't trust you when you get like this.

In happier news, Monster House is holding well (good WOM) and the summer's WOM champ, The Devil Wears Prada is finally in the year's top ten. Go Meryl! This is now officially her biggest hit ever having surpassed even Lemony Snicket. Unless you adjust for inflation in which case I believe Kramer Vs. Kramer is still the champ. Either way, it's more than enough of a success to insure year-end awards play.

It won't stay in the top ten of course. We can't have a movie that good in the top ten, are you crazy? Gotta make room for Talladega Nights any second now... and more Clicks and DaVinci Codes and maybe a few more sequels like M:i:III that people want to see but no one will care about next year this time or even in a few months time.

No Snakes on This Blog

I was trying to be the only blog that never mentioned Snakes on a Plane in any stage of its life but then I realized that would be an achievement that nobody would notice. So I'm giving up since it lets me talk about some other crap that I care more about. At least marginally.

When I first heard the title ages ago I had a little chuckle and thought "cool". It reminded me of that brief and shiny moment back in nineteen-ninety-godiamsoold when that Nicolas Cage / Bridget Fonda movie was not called the generic It Could Happen To You but was referred to as Cop Gives Waitress 2 Million Dollar Tip. Mmmmm, high concepty. I like truth in titling but I had only a marginal interest in the movie. What killed it for me was the huge media dollars push for it which masqueraded as a grassroots fan movement. I was so sick of hearing about it. My opinion: Real cult movies are always accidental.

Now, if the snakes had dialogue or musical numbers and were all voiced by Sterling Holloway I woulda totally been on board. Especially if they resurrected that great Jungle Book sequence "Trust in Me" and made Samuel L Jackson's eyes go all hypnotic spiral. That woulda put my ass in a seat.

I'm not sure that this is as big of a disappointment as people are saying ($15 million for a B movie in late August? Sounds impressive to me) but then again... I'm fully aware that I'm not a numbers guy. I don't really get the box office fascination --or rather I get it but I could never indulge because I'd get too depressed.

Consider the following fact:
John Tucker Must Die, a cheap Mean Girls knock-off made something like 40 times what Heathers made. It also made more than the (completely unrelated) masterpiece Eternal Sunshine of the Spotless Mind. So did these fine 2006 releases: Date Movie, Little Man, RV, Scary Movie 4, The Lakehouse, Firewall, and dozens of others.

I'm sorry, here's a tissue. No. No. You can't have this bottle of pills. No! I don't trust you when you get like this.

In happier news, Monster House is holding well (good WOM) and the summer's WOM champ, The Devil Wears Prada is finally in the year's top ten. Go Meryl! This is now officially her biggest hit ever having surpassed even Lemony Snicket. Unless you adjust for inflation in which case I believe Kramer Vs. Kramer is still the champ. Either way, it's more than enough of a success to insure year-end awards play.

It won't stay in the top ten of course. We can't have a movie that good in the top ten, are you crazy? Gotta make room for Talladega Nights any second now... and more Clicks and DaVinci Codes and maybe a few more sequels like M:i:III that people want to see but no one will care about next year this time or even in a few months time.

Sunday, May 14, 2006

Short Reviews: Art School Confidential, Inside Man, Freedomland and Akeelah

Oh, it's been ages since I was "reviewing" dear readers but I'm getting back to it. Some short pieces on things I haven't gotten around to yet.

Akeelah and the Bee
Spellbound, that endearing spelling bee documentary from a few years back seems to have created a whole mini-wave of enthusiasm for this uniquely geeky competitive sport. There's been a Broadway musical, Bee Season, and now this charming if formulaic ode to to the bee. What makes Akeelah work despite its derivative nature is that its a genuinely warm movie. Nobody is breaking any new ground therein including the actors --I doubt this is what anyone expected when they prayed for Angela Bassett and Laurence Fishburne to work together again --but one senses that the sentimentality of the filmmaking is coming from a place of utter conviction rather than lathered on cynically to bait audiences into loving the film. It's still shamelessly sentimental but it's sweet. Keke Palmer, who plays the title character with natural grace, is a find.
B-


Art School Confidential
I did not attend an art school but I was a design major in college. I was smiling near the beginning of this new film from the Ghost World team as the various art 'types' were trotted out. I suspect though that these very broad targets for satire don't need the audience to have a working knowledge of this world. The targets are too broad really. It's a little hard to laugh when you can see a joke coming a mile away. Especially when the punch lines don't twist the joke you saw from a distance. I suppose I'd also hoped to see more visual wit in the filmmaking since that would have been fitting for a comedy about the arts. The chief pleasure (and also a source of disappointment) in Art School Confidential is waiting around for the more seasoned actors to do their thing. John Malkovich, Jim Broadbent, and Angelica Huston as the professors are all great at what they do but they aren't given terribly much screen time in which to do it.
C-

Freedomland
This drama about racial tension erupting in the projects when a white child goes missing is in trouble from the very first frames. It starts off so loud and agitated that you start suspecting the reels were put in the projector in the wrong order. By the time the film quiets down and the story begins you've already got a headache. This technique ("start with a bang!") generally works well with action films but it's very problematic for what wants to be a wrenching psychological drama. Or is that really what this film wants to be? Freedomland is truly all over the place in tone and narrative. There's at least four movies in it fighting for dominance. All that's left is to watch the actors try to make sense of it. Samuel L Jackson phones it in. Edie Falco manages against all odds to eke out an interesting character. And Julianne... Oh, Julianne.

I've tried pleading with her directly but it's time to get her friends, husband, agents, and management involved. Do not even hand this woman a script involving a missing or dead child! Yes, she's good at this stuff and obviously drawn to fictional women with these issues but she's worked this terrain so many times now she's fast approaching self parody. That would be a sorry fate for one of the great screen actresses.
D+

Inside Man
Though he's an acclaimed filmmaker Spike Lee also has a reputation for being highly uneven in execution. If the pleasures of Inside Man are any indication a director-for-hire gig now and then is just what he needs to rejuvenate his auteurial mojo. This bank robbery picture strikes me as one of those films that might not stand up to intense plot scrutiny but, as with any heist picture (or any other relative of the adventure genre), what matters is the fun you're having as an audience member. Fun is something that Inside Man provides in generous helpings.

Everything within Inside Man seems shot through with adrenaline. Take for instance the score. Terence Blanchard did terrific work with Spike before on 25th Hour (top ten in 2002) and this time there's an inspired addition of a Bollywood song to kick things off. It's not surprising to see multicultural elements in a Spike Lee joint but it's a pleasure to see them woven in to the film and narrative with wit and without much fuss as they are throughout this picture. The writing too is quick witted. The plot is complex and peculiar enough to keep you riveted for what amounts to an overextended running time.

Most importantly the performances are bliss. It's almost always annoying when actors speak directly to the camera but Clive Owen does it superbly. He plays this thief with such charismatic 'you love me. you hate me. you love to hate me' confidence that his scenes called to mind the 'razzle dazzle' con that the musical Chicago warns you about. It's also a kick to see Jodie Foster sprung from her woman-trapped-in-small spaces thriller phase and gleefully intoxicating to see her try and fail at something she's not suited for. (Hey, I'll take the often missing Jodie wherever I can get her these days). But in the end Inside Man is all about watching Denzel Washington having a ball. This actor sometimes gets bogged down in overly earnest characterizations. This is his most satisfying and lively star turn since the one that won him his second Oscar in Training Day (2001).
B+

Short Reviews: Art School Confidential, Inside Man, Freedomland and Akeelah

Oh, it's been ages since I was "reviewing" dear readers but I'm getting back to it. Some short pieces on things I haven't gotten around to yet.

Akeelah and the Bee
Spellbound, that endearing spelling bee documentary from a few years back seems to have created a whole mini-wave of enthusiasm for this uniquely geeky competitive sport. There's been a Broadway musical, Bee Season, and now this charming if formulaic ode to to the bee. What makes Akeelah work despite its derivative nature is that its a genuinely warm movie. Nobody is breaking any new ground therein including the actors --I doubt this is what anyone expected when they prayed for Angela Bassett and Laurence Fishburne to work together again --but one senses that the sentimentality of the filmmaking is coming from a place of utter conviction rather than lathered on cynically to bait audiences into loving the film. It's still shamelessly sentimental but it's sweet. Keke Palmer, who plays the title character with natural grace, is a find.
B-


Art School Confidential
I did not attend an art school but I was a design major in college. I was smiling near the beginning of this new film from the Ghost World team as the various art 'types' were trotted out. I suspect though that these very broad targets for satire don't need the audience to have a working knowledge of this world. The targets are too broad really. It's a little hard to laugh when you can see a joke coming a mile away. Especially when the punch lines don't twist the joke you saw from a distance. I suppose I'd also hoped to see more visual wit in the filmmaking since that would have been fitting for a comedy about the arts. The chief pleasure (and also a source of disappointment) in Art School Confidential is waiting around for the more seasoned actors to do their thing. John Malkovich, Jim Broadbent, and Angelica Huston as the professors are all great at what they do but they aren't given terribly much screen time in which to do it.
C-

Freedomland
This drama about racial tension erupting in the projects when a white child goes missing is in trouble from the very first frames. It starts off so loud and agitated that you start suspecting the reels were put in the projector in the wrong order. By the time the film quiets down and the story begins you've already got a headache. This technique ("start with a bang!") generally works well with action films but it's very problematic for what wants to be a wrenching psychological drama. Or is that really what this film wants to be? Freedomland is truly all over the place in tone and narrative. There's at least four movies in it fighting for dominance. All that's left is to watch the actors try to make sense of it. Samuel L Jackson phones it in. Edie Falco manages against all odds to eke out an interesting character. And Julianne... Oh, Julianne.

I've tried pleading with her directly but it's time to get her friends, husband, agents, and management involved. Do not even hand this woman a script involving a missing or dead child! Yes, she's good at this stuff and obviously drawn to fictional women with these issues but she's worked this terrain so many times now she's fast approaching self parody. That would be a sorry fate for one of the great screen actresses.
D+

Inside Man
Though he's an acclaimed filmmaker Spike Lee also has a reputation for being highly uneven in execution. If the pleasures of Inside Man are any indication a director-for-hire gig now and then is just what he needs to rejuvenate his auteurial mojo. This bank robbery picture strikes me as one of those films that might not stand up to intense plot scrutiny but, as with any heist picture (or any other relative of the adventure genre), what matters is the fun you're having as an audience member. Fun is something that Inside Man provides in generous helpings.

Everything within Inside Man seems shot through with adrenaline. Take for instance the score. Terence Blanchard did terrific work with Spike before on 25th Hour (top ten in 2002) and this time there's an inspired addition of a Bollywood song to kick things off. It's not surprising to see multicultural elements in a Spike Lee joint but it's a pleasure to see them woven in to the film and narrative with wit and without much fuss as they are throughout this picture. The writing too is quick witted. The plot is complex and peculiar enough to keep you riveted for what amounts to an overextended running time.

Most importantly the performances are bliss. It's almost always annoying when actors speak directly to the camera but Clive Owen does it superbly. He plays this thief with such charismatic 'you love me. you hate me. you love to hate me' confidence that his scenes called to mind the 'razzle dazzle' con that the musical Chicago warns you about. It's also a kick to see Jodie Foster sprung from her woman-trapped-in-small spaces thriller phase and gleefully intoxicating to see her try and fail at something she's not suited for. (Hey, I'll take the often missing Jodie wherever I can get her these days). But in the end Inside Man is all about watching Denzel Washington having a ball. This actor sometimes gets bogged down in overly earnest characterizations. This is his most satisfying and lively star turn since the one that won him his second Oscar in Training Day (2001).
B+