I promise I'll do my best to not make this post one giant love letter to Tom Cruise, except that I promise nothing and that's probably what's going to happen.
Really though, Edge of Tomorrow is great and Tom Cruise is a big reason as to why.
In the film, Cruise plays an officer in the U.S. Army whose job it is to sell the current war on an invading alien race to the public. He's a PR man plain and simple, with not a soldier's bone in his body. And when a British General hires him to sell an upcoming surprise attack that wold require him to be front and center during the battle, Cruise panics and his attempts to get out of the job get him marked as a deserter. Before he knows it, he's been shipped off and getting prepped for battle 24 hours before the big invasion.
Oh, and after dying within minutes of crashing ashore on the battlefield, Cruise discovers that every time he dies he wakes up in the same spot exactly 24 hours before before the attack.
This is all information given within the first 15-20 minutes of the film. That's a lot of set up, not to mention the number of characters we meet in that short period as well. Of course, that's part of the beauty of Edge of Tomorrow. The flick moves at an amazing pace but it never sacrifices quality to do so. Everything and everyone is set up and introduced in an exciting and easy to remember way. Even the squad that Cruise is 'assigned' to has a moment of some sort to be remembered and recognized. Even if you can't remember their name, at least they stand out in some way.
Also, the movie has to do a lot of information dumping, which can usually slam the breaks on any momentum a film has going. Not Edge of Tomorrow though. The film uses it's time loop gimmick to drop those pieces of information little by little so that as a viewer you're never feeling like you're listening to Basil Exposition, instead making the discovery part of the fun.
The thing that surprised me the most about Edge of Tomorrow though, was it's sense of humor. I had heard that the movie was funny, but I was still taken aback at how early and often the humor was displayed, and the flick is all the better for it. Director Doug Liman ( Swingers, Mr. & Mrs. Smith) takes extra enjoyment in killing Cruise in every way imaginable. There is one particular gag involving Cruise attempting to sneak under a moving truck that almost had me in tears.
Granted, the film is not a comedy, and it somehow manages to balance the fun tone with some actual stakes.
And this is where Cruise and Emily Blunt shine. The film has one goal. Stop the invasion. Simple as it might sound, Cruise and Blunt both give a sense of urgency to the proceedings and completely sell it to the viewers. Blunt in particular is a bad ass here, continuing to build her Sci-Fi credentials with this and the amazing Looper.
And this is where the Cruise love fest starts. His character, Cage, is the first time in a while where Cruise gets to play a bit of a doofus, at least in the beginning. He perfected the bad ass persona long ago, but here he gets to start off as a corporate loving coward and he relishes the chance. His enthusiasm for any role is always infectious, and even more so here as we see him die so many times and in so many different ways and it feels like a great comeuppance for his cowardice in the beginning. Also, it's hilarious and Cruise knows it.
Seriously though, Cruise is such a good performer that puts everything into every role and Edge of Tomorrow is no different. Who else can go from PR slime to ultimate bad ass hero within 20 minutes?
Look, Edge of Tomorrow is great. It's smart, funny, filled with exciting action and has two lively lead performances from its stars. SO GO SEE IT ALREADY!
Thursday, June 19, 2014
Thursday, May 1, 2014
Spider-Man vs. The Amazing Spider-Man
I've just come from The Amazing Spider-Man 2. I liked it A LOT better than the first one, but I still have a lot of problems with it. I'll address those issues in detail in my formal review later this weekend, but for now I need to talk about how Raimi did it better.
Obviously I can't argue this point without talking a bit about the new films, so please be aware that I will be addressing some plot points from the new films, but I'll do my best to avoid anything too spoiler-filled.
First off, the tone. Raimi's Spider-Man nailed it right off the bat. Light, bright and fun. I've always heard some arguments that it's a little too cheesy and aimed too directly at a kid audience. I think it's a fair criticism, but I also believe Spider-Man was the first of its kind. This movie helped shape the superhero genre as we know it today. I know it's not the first superhero movie, but in terms of the level of blockbuster film making we've come to expect from the genre this movie paved the way, so I think Raimi earns a little bit of leeway here. Anyway, Raimi realizes immediately the ridiculousness of a teenager with spider like abilities and simply goes right over the top with it as only he can do.
For a movie over a decade old, some of the effects really don't hold up, like, at all, but still the infectious tone is what really helps it stand out.
The Amazing Spider-Man though, goes a darker route. It tries to present Spider-Man in a more realistic way, like The Dark Knight did with Batman. Problem is though, Spider-Man doesn't need that realism. Spider-Man enjoys his job as a crime fighter, which comes through with his sarcastic interactions with criminals as he's dealing with them, among other things.
And this is where a lot of my conflict over The Amazing Spider-Man comes in. I really like Tobey Maguire as Spider-Man. I like his overall boy scout innocence he brings to the character, as well as a believable physicality that's needed.
BUT.
Andrew Garfield is SO good as Spider-Man. I don't enjoy his Peter Parker as much in the first Amazing Spider-Man, but that's more of the script's fault than his. His snarky attitude while fighting criminals is so spot on it hurts. Not to mention, he FEELS like a teenager more so than Maguire ever did, making the responsibility he has to carry all the more impressive.
Ugh, and the chemistry between Garfield and Emma Stone is just too cute. I actually like Kirsten Dunst a lot as Mary Jane, but fuck, EMMA STONE.
I also will admit the tone of the The Amazing Spider-Man 2 is much more fun than the first, even though it's forced to follow a lot of the threads that made the first so frustrating, which again, I'll go through in my formal review later.
Anyway, The Amazing Spider-Man feels like a retread, mainly because it is. Did we need another origin story? No, but if it's done well, then who cares? Well, they didn't do it very well, not again at least.
Raimi keeps things short and simple. In his film, Peter's parents are dead. He's raised by his aunt and uncle and ends up being bitten by an engineered spider of some sort giving him his powers.
In the Amazing Spider-Man though, Peter's parents were on the run from something ( of which we still don't know, even after two films), dropped Peter off at their brothers, and were never heard from again. Then, while trying to figure out more information about his fathers research at his old work space, he gets bit by a spider that just so happened to be the subject of his fathers research. There is actually more information given in The Amazing Spider-Man 2 that makes this origin story even more convoluted than it already is, but I'll let you discover that on your own. Suffice it to say that I just couldn't buy it.
What I love about Raimi's first film though is that it gets to the point so fast and believably. Parker gets bitten and Osborne is set up as a villain within the first 15 minutes and it's all so simple and set up so wonderfully and confidently by Raimi that you can't help but get sucked in.
Even if you can't handle the cheesiness of the first Spider-Man, I feel like Raimi answers that with Spider-Man 2. That sequel still sports a very light and bright tone like the first, but Raimi raises the stakes with a villain that has actual purpose and motivation with Doc Ock. He believes Spider-Man is not only responsible for his wife's death, but that he cheated him out of creating the first renewable energy source the world has known.
The Amazing Spider-Man and its sequel just can't come up with a decent villain though. The Lizard in the first film just never felt convincing, acting more like a necessary plot point than an actual threat. In the second, and I feel this isn't too spoilery, Harry Osborne shows up as the Green Goblin. His reasons for hating Spider-Man really don't make sense. Again, I won't spoil it here since I know the film just came out, but Raimi did it better.
More specifically, the transition from Norman Osborne as the Green Goblin to Harry Osborne as the Goblin. Raimi took three films to make the transition, but the seed was planted in the first, with Harry believing that Spider-Man caused his fathers death. This good old fashion revenge motivation against Spider-Man is much more effective than Osborne's motivation in The Amazing Spider-Man 2.
Maybe this is my main complaint about this new version, we've seen it already, and we've seen it better. I enjoy Spider-Man as a character, and I like seeing him on screen, but to see basically the same story with the same characters within 5 movies and 12 years, I just want them to shake it up a bit.
To be fair, The Amazing Spider-Man 2 has a pretty intense ending (which I'm sure you can guess) and I have to admit I'm excited to see if they can build on the mild improvement they've already made from the first film. Still, I'm sitting here, beer in hand watching Raimi's first Spider-Man and I can't help but think, " Good luck".
Obviously I can't argue this point without talking a bit about the new films, so please be aware that I will be addressing some plot points from the new films, but I'll do my best to avoid anything too spoiler-filled.
First off, the tone. Raimi's Spider-Man nailed it right off the bat. Light, bright and fun. I've always heard some arguments that it's a little too cheesy and aimed too directly at a kid audience. I think it's a fair criticism, but I also believe Spider-Man was the first of its kind. This movie helped shape the superhero genre as we know it today. I know it's not the first superhero movie, but in terms of the level of blockbuster film making we've come to expect from the genre this movie paved the way, so I think Raimi earns a little bit of leeway here. Anyway, Raimi realizes immediately the ridiculousness of a teenager with spider like abilities and simply goes right over the top with it as only he can do.
For a movie over a decade old, some of the effects really don't hold up, like, at all, but still the infectious tone is what really helps it stand out.
The Amazing Spider-Man though, goes a darker route. It tries to present Spider-Man in a more realistic way, like The Dark Knight did with Batman. Problem is though, Spider-Man doesn't need that realism. Spider-Man enjoys his job as a crime fighter, which comes through with his sarcastic interactions with criminals as he's dealing with them, among other things.
And this is where a lot of my conflict over The Amazing Spider-Man comes in. I really like Tobey Maguire as Spider-Man. I like his overall boy scout innocence he brings to the character, as well as a believable physicality that's needed.
BUT.
Andrew Garfield is SO good as Spider-Man. I don't enjoy his Peter Parker as much in the first Amazing Spider-Man, but that's more of the script's fault than his. His snarky attitude while fighting criminals is so spot on it hurts. Not to mention, he FEELS like a teenager more so than Maguire ever did, making the responsibility he has to carry all the more impressive.
Ugh, and the chemistry between Garfield and Emma Stone is just too cute. I actually like Kirsten Dunst a lot as Mary Jane, but fuck, EMMA STONE.
I also will admit the tone of the The Amazing Spider-Man 2 is much more fun than the first, even though it's forced to follow a lot of the threads that made the first so frustrating, which again, I'll go through in my formal review later.
Anyway, The Amazing Spider-Man feels like a retread, mainly because it is. Did we need another origin story? No, but if it's done well, then who cares? Well, they didn't do it very well, not again at least.
Raimi keeps things short and simple. In his film, Peter's parents are dead. He's raised by his aunt and uncle and ends up being bitten by an engineered spider of some sort giving him his powers.
In the Amazing Spider-Man though, Peter's parents were on the run from something ( of which we still don't know, even after two films), dropped Peter off at their brothers, and were never heard from again. Then, while trying to figure out more information about his fathers research at his old work space, he gets bit by a spider that just so happened to be the subject of his fathers research. There is actually more information given in The Amazing Spider-Man 2 that makes this origin story even more convoluted than it already is, but I'll let you discover that on your own. Suffice it to say that I just couldn't buy it.
What I love about Raimi's first film though is that it gets to the point so fast and believably. Parker gets bitten and Osborne is set up as a villain within the first 15 minutes and it's all so simple and set up so wonderfully and confidently by Raimi that you can't help but get sucked in.
Even if you can't handle the cheesiness of the first Spider-Man, I feel like Raimi answers that with Spider-Man 2. That sequel still sports a very light and bright tone like the first, but Raimi raises the stakes with a villain that has actual purpose and motivation with Doc Ock. He believes Spider-Man is not only responsible for his wife's death, but that he cheated him out of creating the first renewable energy source the world has known.
The Amazing Spider-Man and its sequel just can't come up with a decent villain though. The Lizard in the first film just never felt convincing, acting more like a necessary plot point than an actual threat. In the second, and I feel this isn't too spoilery, Harry Osborne shows up as the Green Goblin. His reasons for hating Spider-Man really don't make sense. Again, I won't spoil it here since I know the film just came out, but Raimi did it better.
More specifically, the transition from Norman Osborne as the Green Goblin to Harry Osborne as the Goblin. Raimi took three films to make the transition, but the seed was planted in the first, with Harry believing that Spider-Man caused his fathers death. This good old fashion revenge motivation against Spider-Man is much more effective than Osborne's motivation in The Amazing Spider-Man 2.
Maybe this is my main complaint about this new version, we've seen it already, and we've seen it better. I enjoy Spider-Man as a character, and I like seeing him on screen, but to see basically the same story with the same characters within 5 movies and 12 years, I just want them to shake it up a bit.
To be fair, The Amazing Spider-Man 2 has a pretty intense ending (which I'm sure you can guess) and I have to admit I'm excited to see if they can build on the mild improvement they've already made from the first film. Still, I'm sitting here, beer in hand watching Raimi's first Spider-Man and I can't help but think, " Good luck".
Thursday, April 10, 2014
Master and Commander: The Far Side of the World
Hey dudes.
So for whatever reason I finally decided to put Master and Commander in yesterday after promising to do so back in January. Sorry for the lateness.
Anyway, I hadn't seen it in its entirety since it was out in theaters. I remember going with my Mom and being extremely disappointed. Both of us were expecting another rousing period adventure in the same vein as Gladiator and we could not have been more wrong.
While I remember it having a few cool battle sequences, Master and Commander proved to be more of an examination of life at sea in the 1800s than I was craving at the moment, and I've stayed away from it ever since. I always kind of knew that I hadn't given it a fair shake though, so when I saw it for $5 on blu ray I figured now was the time to give it another go.
And it just so happens that I kind of loved every second of it this time. Director Peter Weir (The Truman Show, Dead Poets Society) was given $150 million to make an accurate depiction of sea life and warfare circa 1805 with a cast led by a ridiculously charismatic Russell Crowe.
I mentioned a few weeks back that I had been on a Crowe kick lately, and this movie only reinforced that. I'm really not sure he has ever been as commanding (sorrynotsorry) or believable as a leader as he is here. His Captain Jack Aubrey is everything you want in a commander. He's already achieved a legendary status by the time the movie starts, and yet he remains sympathetic to even the smallest job position on his crew. Funny, caring, yet not afraid to dish out discipline when necessary, there is never a moment's doubt that this crew would die for their Captain. And it's all thanks to Crowes performance.
Oh man, and the awesome ship battles. SHIP BATTLES! Saying that makes me feel not my age and it's great. Anywho, they're all seemingly filmed as realistically as possible, with Crowe and other actors screaming words like "Starboard!" and "Albatross!" that seem appropriate given their boat setting. Seriously though, the sequences are exciting and they make me hate the Pirates of the Carribean franchise a little more.The final fight in particular has a moment towards the end, just as the battle is reaching its peak intensity, when everything just suddenly stops, and everyone has to readjust to the moment. It's a moment that feels odd and unexpected, something that I'm sure happens in any given battle, and it was just a nice little touch Weir added to the film.
Most of the movie however, is spent on the chase of the enemies' boat, rather than the battles with it. With that comes sneak attacks, long bouts with no wind, low morale and just some good old character development. There are numerous scenes of the Captain and his officers eating and getting drunk at dinner, swapping anecdotes and things. Sometimes these scenes help move the plot forward and sometimes they just serve as nice character beats, particularly between Crowe and Paul Bettany, who plays the ships doctor and Crowe's close friend and confidant. These guys have an easy chemistry together, which was already displayed in A Beautiful Mind a few years prior, but it's more grounded here. It's a nice depiction of a friendship that clearly helped define both men.
The rest of the cast is also great, with multiple characters getting small bits of story or moments to help them stand out. I have to admit though, during one particular moment when a certain character dies and it leaves the entire crew devastated. The moment certainly resonated with me, but I honestly had no idea who had just died and I never really found out either. It's one of the few complaints I have about the film. There are simply too many characters to follow. Again, it's a small gripe, as there are numerous characters that stand out aside from the Captain and his doctor, and the film is better for it.
I had a pretty great time revisiting Master and Commander: The Far Side of the World. Crowe is as dashing and charming as ever, and further reinforces his reputation as a badass who simply doesn't give a fuck. And director Weir made a beautiful and exciting sea epic that I can honestly say didn't get anywhere near the exposure or love it deserved back in 2003. Do yourself a favor dudes and give this one a look-see.
So for whatever reason I finally decided to put Master and Commander in yesterday after promising to do so back in January. Sorry for the lateness.
Anyway, I hadn't seen it in its entirety since it was out in theaters. I remember going with my Mom and being extremely disappointed. Both of us were expecting another rousing period adventure in the same vein as Gladiator and we could not have been more wrong.
While I remember it having a few cool battle sequences, Master and Commander proved to be more of an examination of life at sea in the 1800s than I was craving at the moment, and I've stayed away from it ever since. I always kind of knew that I hadn't given it a fair shake though, so when I saw it for $5 on blu ray I figured now was the time to give it another go.
And it just so happens that I kind of loved every second of it this time. Director Peter Weir (The Truman Show, Dead Poets Society) was given $150 million to make an accurate depiction of sea life and warfare circa 1805 with a cast led by a ridiculously charismatic Russell Crowe.
I mentioned a few weeks back that I had been on a Crowe kick lately, and this movie only reinforced that. I'm really not sure he has ever been as commanding (sorrynotsorry) or believable as a leader as he is here. His Captain Jack Aubrey is everything you want in a commander. He's already achieved a legendary status by the time the movie starts, and yet he remains sympathetic to even the smallest job position on his crew. Funny, caring, yet not afraid to dish out discipline when necessary, there is never a moment's doubt that this crew would die for their Captain. And it's all thanks to Crowes performance.
Oh man, and the awesome ship battles. SHIP BATTLES! Saying that makes me feel not my age and it's great. Anywho, they're all seemingly filmed as realistically as possible, with Crowe and other actors screaming words like "Starboard!" and "Albatross!" that seem appropriate given their boat setting. Seriously though, the sequences are exciting and they make me hate the Pirates of the Carribean franchise a little more.The final fight in particular has a moment towards the end, just as the battle is reaching its peak intensity, when everything just suddenly stops, and everyone has to readjust to the moment. It's a moment that feels odd and unexpected, something that I'm sure happens in any given battle, and it was just a nice little touch Weir added to the film.
Most of the movie however, is spent on the chase of the enemies' boat, rather than the battles with it. With that comes sneak attacks, long bouts with no wind, low morale and just some good old character development. There are numerous scenes of the Captain and his officers eating and getting drunk at dinner, swapping anecdotes and things. Sometimes these scenes help move the plot forward and sometimes they just serve as nice character beats, particularly between Crowe and Paul Bettany, who plays the ships doctor and Crowe's close friend and confidant. These guys have an easy chemistry together, which was already displayed in A Beautiful Mind a few years prior, but it's more grounded here. It's a nice depiction of a friendship that clearly helped define both men.
The rest of the cast is also great, with multiple characters getting small bits of story or moments to help them stand out. I have to admit though, during one particular moment when a certain character dies and it leaves the entire crew devastated. The moment certainly resonated with me, but I honestly had no idea who had just died and I never really found out either. It's one of the few complaints I have about the film. There are simply too many characters to follow. Again, it's a small gripe, as there are numerous characters that stand out aside from the Captain and his doctor, and the film is better for it.
I had a pretty great time revisiting Master and Commander: The Far Side of the World. Crowe is as dashing and charming as ever, and further reinforces his reputation as a badass who simply doesn't give a fuck. And director Weir made a beautiful and exciting sea epic that I can honestly say didn't get anywhere near the exposure or love it deserved back in 2003. Do yourself a favor dudes and give this one a look-see.
Tuesday, March 25, 2014
Kurt Russell
Hey dudes. Last week Kurt Russell celebrated his 63rd birthday, so of course I celebrated with him by watching a few of his flicks. Specifically, Breakdown and Escape From New York. Obviously great movies, and ones that I had seen numerous times before. But something about this double feature really got me enamored with Russell and his ability to go from ultimate bad ass to ultimate everyman. So, let's take a few moments and remind ourselves just how fucking awesome Kurt Russell is.
To be clear though, I'd like to focus on Breakdown and Escape From New York. Neither one happened anywhere near the beginning or the end of his decades long career, and neither do they exemplify the full range of his ability. The man does it all. Comedy, drama, action, sci-fi, biography, disney. But there's something about these two roles that speak to me about all that is Kurt.
First, let's talk Escape From New York. Snake Plissken has a reputation that precedes him at every corner. To every criminal and authority figure he meets, it's acknowledged that this guy is something else. He has become so mythic, in fact, that almost everyone he meets thinks that he's already dead. It's interesting taking into account how much the film builds Snake's legend, giving hints into past missions. But fairly quickly, we learn that Snake isn't immortal or even particularly intimidating. Almost every threat he faces in the film go after him without intimidation. What we do find is that Snake is the ultimate self-preservationist. He is always able to escape a situation, but just barely. His entrance to New York is almost ruined by a shaky landing on top of the World Trade Center. He is somehow able to beat a gigantic warrior in a wrestling ring, despite having numerous injuries. And in the end, he is somehow able to get the President back safely just in time to stop war, as well as get the antidote to the virus he was given as motivation.
Snake is able to accomplish all of this not because he is superhuman, but because he is an asshole. As Kurt himself mused, Snake is an asshole, but not a dick. Snake's only concern is Snake. Snake simply doesn't give a shit. And it's that attitude that Kurt brings to the film that really elevates the character. I guess spoiler alert, but let's be real, you should have seen Escape From New York by now, but at the end of the film, Snake has the chance to do the right thing by his country. Instead, because the President was a dick towards him in a moment of vulnerability, Snake lets the President make a fool of himself in front of the entire world and potentially starts a new world war in the process.
It's so amazing that Kurt never plays him as heroic. Instead, he infuses an attitude that can only come across as bad ass.
And then somehow, he is able to do the exact opposite in Breakdown.
The plot and execution of Breakdown is so simple it hurts. During a cross country move a couple's new jeep breaks down. A seemingly nice trucker offers a ride to a pay phone ( it's 1997 after all) and the wife insists that she goes while the husband stays with the car suffering in the desert heat. Soon, the husband, played by Kurt, learns that his wife has been kidnapped and if he doesn't pay up a ransom she'll be dead.
The movie itself is unbelievably tense and feels a little too real. But the real joy is seeing Kurt play an everyman in a seemingly impossible situation. It's clear from the start that his character, Jeff, doesn't have a bad ass bone in his body. He is a normal guy, moving across country with his wife for a new job. As his situation becomes more dire, he reacts in a believable way, contacting the authorities at the first chance he gets and even retracing his steps to make sure he isn't overreacting.
It's an insane ride, and if you haven't seen Breakdown already, do so immediately as its on Netflix instant. Back to the point though, Jeff's motivation is more panic and desperation and love for his wife as opposed to Snake's simple self preserving ways, and Kurt brings both characters to life with great skill.
I only focused on these two roles simply because I just watched them, but they really don't begin to scratch the surface of how awesome Kurt Russell is. In terms of his bad ass characters, I feel like MacReady from The Thing is slightly more bad ass than Snake. But that's just me. Also, Jack Burton from Big Trouble in Little China is comedic bufoonery at its best. UGH, we haven't even mentioned Used Cars, Captain Ron, Tombstone, Overboard, Backdraft or Tango & Cash. TANGO & CASH! And yet there are still more not mentioned.
Look, the point of this post is that Kurt Russell is fucking awesome. I assume you already knew this, but on the slight chance you didn't, wake up and begin righting your wrong.
To be clear though, I'd like to focus on Breakdown and Escape From New York. Neither one happened anywhere near the beginning or the end of his decades long career, and neither do they exemplify the full range of his ability. The man does it all. Comedy, drama, action, sci-fi, biography, disney. But there's something about these two roles that speak to me about all that is Kurt.
First, let's talk Escape From New York. Snake Plissken has a reputation that precedes him at every corner. To every criminal and authority figure he meets, it's acknowledged that this guy is something else. He has become so mythic, in fact, that almost everyone he meets thinks that he's already dead. It's interesting taking into account how much the film builds Snake's legend, giving hints into past missions. But fairly quickly, we learn that Snake isn't immortal or even particularly intimidating. Almost every threat he faces in the film go after him without intimidation. What we do find is that Snake is the ultimate self-preservationist. He is always able to escape a situation, but just barely. His entrance to New York is almost ruined by a shaky landing on top of the World Trade Center. He is somehow able to beat a gigantic warrior in a wrestling ring, despite having numerous injuries. And in the end, he is somehow able to get the President back safely just in time to stop war, as well as get the antidote to the virus he was given as motivation.
Snake is able to accomplish all of this not because he is superhuman, but because he is an asshole. As Kurt himself mused, Snake is an asshole, but not a dick. Snake's only concern is Snake. Snake simply doesn't give a shit. And it's that attitude that Kurt brings to the film that really elevates the character. I guess spoiler alert, but let's be real, you should have seen Escape From New York by now, but at the end of the film, Snake has the chance to do the right thing by his country. Instead, because the President was a dick towards him in a moment of vulnerability, Snake lets the President make a fool of himself in front of the entire world and potentially starts a new world war in the process.
It's so amazing that Kurt never plays him as heroic. Instead, he infuses an attitude that can only come across as bad ass.
And then somehow, he is able to do the exact opposite in Breakdown.
The plot and execution of Breakdown is so simple it hurts. During a cross country move a couple's new jeep breaks down. A seemingly nice trucker offers a ride to a pay phone ( it's 1997 after all) and the wife insists that she goes while the husband stays with the car suffering in the desert heat. Soon, the husband, played by Kurt, learns that his wife has been kidnapped and if he doesn't pay up a ransom she'll be dead.
The movie itself is unbelievably tense and feels a little too real. But the real joy is seeing Kurt play an everyman in a seemingly impossible situation. It's clear from the start that his character, Jeff, doesn't have a bad ass bone in his body. He is a normal guy, moving across country with his wife for a new job. As his situation becomes more dire, he reacts in a believable way, contacting the authorities at the first chance he gets and even retracing his steps to make sure he isn't overreacting.
It's an insane ride, and if you haven't seen Breakdown already, do so immediately as its on Netflix instant. Back to the point though, Jeff's motivation is more panic and desperation and love for his wife as opposed to Snake's simple self preserving ways, and Kurt brings both characters to life with great skill.
I only focused on these two roles simply because I just watched them, but they really don't begin to scratch the surface of how awesome Kurt Russell is. In terms of his bad ass characters, I feel like MacReady from The Thing is slightly more bad ass than Snake. But that's just me. Also, Jack Burton from Big Trouble in Little China is comedic bufoonery at its best. UGH, we haven't even mentioned Used Cars, Captain Ron, Tombstone, Overboard, Backdraft or Tango & Cash. TANGO & CASH! And yet there are still more not mentioned.
Look, the point of this post is that Kurt Russell is fucking awesome. I assume you already knew this, but on the slight chance you didn't, wake up and begin righting your wrong.
Thursday, March 20, 2014
Divergent, Part 1
Alright, so I saw Divergent for Cary Citizen tonight and I kind of really liked it. It's nowhere near as campy as Twilight nor as exciting and entertaining as The Hunger Games, but there was enough teen angst and pretty people to keep me involved in its much too long 140 minute running time. I don't feel like giving two reviews of the flick, but I really wanted to get a few thoughts out immediately about why I liked it. My full review, which will post Monday or Tuesday, will go into a bit more detail about the films many flaws. For now though, I'm drinking wine and I want nothing more than to admit how much Divergent gave me great satisfaction in pretending I'm not actually 27 years old, but any other age younger than that.
I have to bring up Twilight again. In short, I love Twilight. I love them all. As films I mean, because I can't read. This is who I am. I find them to be campy and wonderful, and New Moon is actually legitimately captivating in a way I can't really describe.
As I said before, Divergent isn't as campy as Twilight, but it isn't afraid to embrace what it is, which is silly young adult fodder. And that's fine! I like shit like that. I mean, it's pretty silly when during what is supposed to be a defining moment where our female protagonist is discovering who she is and where she fits in this dystopian world that an Elle Goulding song comes on just to make sure we know what she is feeling.
It's that use of pop songs as way of character development that really pushes Divergent over the edge for me. Where The Hunger Games attempts to actually carve out genuine characters and stakes, Divergent just wants to manipulate and entertain.
Ugh, I'm drunk and I don't feel like I'm getting my point across very well. I like that Divergent wants to keep things simple. I think Shailene Woodley is kind of wonderful and I had some sort of vendetta against Theo James, the film's main hunk, before I saw the film. Of course, he proved to be easy to watch and also physically capable in the action scenes.
For some reason I am drawn to these young adult adaptations. Maybe it's because of my refusal to grow up or maybe it's due to the fact that I'm some kind of piece of shit, but Divergent pulled me in despite it's flaws, and I'm excited to see if it tries go the serious route ala The Hunger Games or if it embraces the ludicrousness of its premise like Twilight.
Again, I'll have an actual, more sober review in a few days. But for now know this, I liked Divergent, and that's OK.
I have to bring up Twilight again. In short, I love Twilight. I love them all. As films I mean, because I can't read. This is who I am. I find them to be campy and wonderful, and New Moon is actually legitimately captivating in a way I can't really describe.
As I said before, Divergent isn't as campy as Twilight, but it isn't afraid to embrace what it is, which is silly young adult fodder. And that's fine! I like shit like that. I mean, it's pretty silly when during what is supposed to be a defining moment where our female protagonist is discovering who she is and where she fits in this dystopian world that an Elle Goulding song comes on just to make sure we know what she is feeling.
It's that use of pop songs as way of character development that really pushes Divergent over the edge for me. Where The Hunger Games attempts to actually carve out genuine characters and stakes, Divergent just wants to manipulate and entertain.
Ugh, I'm drunk and I don't feel like I'm getting my point across very well. I like that Divergent wants to keep things simple. I think Shailene Woodley is kind of wonderful and I had some sort of vendetta against Theo James, the film's main hunk, before I saw the film. Of course, he proved to be easy to watch and also physically capable in the action scenes.
For some reason I am drawn to these young adult adaptations. Maybe it's because of my refusal to grow up or maybe it's due to the fact that I'm some kind of piece of shit, but Divergent pulled me in despite it's flaws, and I'm excited to see if it tries go the serious route ala The Hunger Games or if it embraces the ludicrousness of its premise like Twilight.
Again, I'll have an actual, more sober review in a few days. But for now know this, I liked Divergent, and that's OK.
Sunday, March 16, 2014
All Is Lost
All Is Lost stars Robert Redford as a nameless man who is forced into survival mode while sailing alone across the ocean. In terms of pure plot, that's pretty much it. Despite its simplicity though, All Is Lost proves to be an intense and satisfying piece of work featuring a great performance by Redford.
The film opens with a narration by Redford, one of the films only pieces of dialogue, and he's presumably saying his final goodbye before dying. The narration implies great regret, about what though we never find out. We never even know Redford's characters name, in the credits he's simply listed as 'Our Man'. Director J.C. Chandor specifically leaves out any kind of back story, instead focusing on Our Man's fight for survival and letting the audience fill in the blanks with whatever clues he leaves.
It's interesting to compare All Is Lost with Gravity, both are extremely simple survival tales on the surface, where one takes place in space and the other on the ocean. Of course, technically speaking, neither are simple but the executions of both make it seem that way. I've heard some rumbling that a lot of people thought Sandra Bullocks back story in Gravity felt a little forced and unnecessary, as many felt that being stranded in space was reason enough to get back to earth. I personally didn't mind it, but I liked seeing All Is Lost go the other route.
From beginning to end, Our Man remains calm and reacts realistically to every situation handed to him, revealing only once any ounce of frustration by dropping a much deserved "FUCK!" when the situation absolutely calls for it.
The few moments of action in the film are tense and palpable, while also feeling small and claustrophobic. All of the worst moments are filmed either inside the boats' cabin or inside the life raft. Even more impressive is the fact that it appears that Redford did as many of the stunts as possible. Not bad for 78 years old.
The real magic of his performance though is in the details. Like his opening narration, it seems that Our Man is filled with some great regret. It's not exactly there in every moment, but as things seem to get worse with every passing moment, it seems clear that he wishes he had said or done more. It's a beauty of a performance that I wish had gotten just a little more attention than it did last year.
Not the same roller coaster ride that Gravity delivers, All Is Lost instead goes smaller in both scale and amount of actors and proves to be just as tense and satisfying, albeit in much different ways. It doesn't hurt that Redford proves once more why he is such a legend in the medium. In short, see All Is Lost, see it now.
The film opens with a narration by Redford, one of the films only pieces of dialogue, and he's presumably saying his final goodbye before dying. The narration implies great regret, about what though we never find out. We never even know Redford's characters name, in the credits he's simply listed as 'Our Man'. Director J.C. Chandor specifically leaves out any kind of back story, instead focusing on Our Man's fight for survival and letting the audience fill in the blanks with whatever clues he leaves.
It's interesting to compare All Is Lost with Gravity, both are extremely simple survival tales on the surface, where one takes place in space and the other on the ocean. Of course, technically speaking, neither are simple but the executions of both make it seem that way. I've heard some rumbling that a lot of people thought Sandra Bullocks back story in Gravity felt a little forced and unnecessary, as many felt that being stranded in space was reason enough to get back to earth. I personally didn't mind it, but I liked seeing All Is Lost go the other route.
From beginning to end, Our Man remains calm and reacts realistically to every situation handed to him, revealing only once any ounce of frustration by dropping a much deserved "FUCK!" when the situation absolutely calls for it.
The few moments of action in the film are tense and palpable, while also feeling small and claustrophobic. All of the worst moments are filmed either inside the boats' cabin or inside the life raft. Even more impressive is the fact that it appears that Redford did as many of the stunts as possible. Not bad for 78 years old.
The real magic of his performance though is in the details. Like his opening narration, it seems that Our Man is filled with some great regret. It's not exactly there in every moment, but as things seem to get worse with every passing moment, it seems clear that he wishes he had said or done more. It's a beauty of a performance that I wish had gotten just a little more attention than it did last year.
Not the same roller coaster ride that Gravity delivers, All Is Lost instead goes smaller in both scale and amount of actors and proves to be just as tense and satisfying, albeit in much different ways. It doesn't hurt that Redford proves once more why he is such a legend in the medium. In short, see All Is Lost, see it now.
Wednesday, March 5, 2014
Top Ten of 2013
Hey dudes, here's another one of my top ten lists that's 3 months late. Actually, this one is a little later than usual. As my own personal rule, I try to make my list before the Oscars take place since it usually takes me that long to get caught up not just on the nominated films, but also ones that I just plain missed. Hell, I still haven't seen quite a few, like Short Term 12 or All is Lost. I plan on it, but you know, whatever.
2013 was kind of a ridiculously good year for movies which meant that making this list was more than a little difficult. I mean, we had Prisoners, Spring Breakers ( LOOK AT MY SHIT!), Mud, The Last Stand, Iron Man 3, Drinking Buddies, Prince Avalanche, Rush, Captain Phillips, Riddick, Before Midnight, The Place Beyond The Pines, Pacific Rim and The Way, Way Back. Shit man, and those are just a few of the good ones.
Before getting into the top then though, I would like to talk about a few that missed the list, but only just.
First up, The Wolverine. Let's be real, this movie fucking rules. Jackman is as committed and ripped as ever, with a storyline based on one of the mutants' most beloved tales from the comics. Director James Mangold gleefully shows off Logan in full berserker rage mode numerous times in The Wolverine, something that was only ever hinted at or shown once a film. Also, the director's cut is something of a rarity these days, an alternate cut of the film that actually improves on the theatrical version. It's only about 10 or so minutes longer, but we get an extended blood bath of a fight between Logan and some ninjas as well as the Wolverine saying 'fuck' a few more times. Seriously though, Mangold made a really solid Wolverine flick filled with great action and probably the best performance Jackman has given as the regenerating mutant. If this turns out to be the final solo film for him, it will certainly be one that left us wanting more.
Next up is 12 Years A Slave, one of the most brutal, haunting and honest depictions of slavery in America that's ever been put on film. Pretty much everything about this movie is great, and I'm genuinely glad it won Best Picture at the Oscars. If anything, I'm a little disappointed Paul Dano didn't get a little more love. Everyone who was nominated and/or won absolutely deserved their accolades, but Dano is a master of all things despicable, and he really made my skin crawl, more so even than Michael Fassbender's character. No matter though, the film is great and will long be remembered as a great piece of work.
Ok, so this one hurt. I really wanted this one in the top ten. Pain & Gain is the kind of movie that's basically made specifically for me. First off, it's directed by Michael Bay. Second, it stars Dwayne The Rock Johnson, no quotations required. Typically, I wouldn't need much else, but my man Bay decided to throw in Mark Wahlberg, Anthony Mackie, Tony Shalhoub, Ed Harris and a so unbelievable but it's true storyline that I really didn't have a choice but to love it. In fact, this review sums up my feelings pretty well.
Ok, the moment most of you don't care about. Here are my ten favorite movies from 2013.
10. This Is The End- Seth Rogen and Evan Goldberg, the writers and star of Superbad and Pinapple Express, make their directing debut with one of the most insane, star studded, and smartest comedies of the year. Basically, a bunch of famous people gather at James Franco's house for a party, and the end of days begins. Everyone is the movie plays themselves, or at least a version of themselves, a fact that was unfortunately lost on a lot of people I know who didn't like the movie, but they were stupid so who cares. Rogen and Goldberg display great confidence as comedy directors, but their strength lies in their writing abilities. This Is The End really swings for the fences and goes to some genuinely weird places, but thanks to a lot of great jokes and a recurring theme of friendship that has popped up in just about all of their scripts, the film proves to be their best collaboration yet, and I can't wait to see that else they have up their sleeve.
9. Inside Llewyn Davis- Ah, the Coens. This is actually the only movie on the list that I haven't seen more than once. However, the Coens' ode to giving up on your dream has stayed with me nevertheless. Honestly, I need to see the film again before I can even think about doing a write up that will do the movie justice, but I couldn't ignore the effect the film had on me. Once again, the Coens' have cast the movie perfectly, with Oscar Isaac leading the way with an already criminally underrated performance as Llewyn Davis. If you haven't already, see this immediately.
8. The World's End- Oh hey, that other comedy about the end of the world. Edgar Wright re-teams with Simon Pegg and Nick Frost to finish their Cornetto Trilogy and the result is the trio's most accomplished work to date. Look, Shaun of the Dead is pretty much perfect, but I think in time The World's End will prove to be the best of the three. Like This Is The End, all three cornetto films had a strong friendship theme running through them, but none more so than The World's End. As per usual with Wright's films, it took me a second viewing to discover just how touching and rich with character detail The World's End is. Now, here's to a year plus wait to the inevitable awesomeness that is Ant-Man.
7. You're Next- You guys, this is a great fucking horror movie. I saw it in a huge theater with maybe 4 other people in attendance and it was still one of my favorite movie-going experiences of 2013. Granted, no else in the theater seemed to like it as much as I did, but fuck them. I know a lot of people who thought the hype train kind of killed this movie, and I think I can see why. The movie doesn't really bring anything new to the table. In fact, it's a pretty standard home invasion movie in terms of plot. However, the film delivers with its extremely dry sense of humor and a group of talented actors that make the characters more than just the next victim. Not to mention this flick features one of the most badass female characters in recent memory. Get over the hype and enjoy You're Next for what it is: one of the most fun slasher flicks in a long, long time.
6. Man of Steel- I fucking love this movie. I've said it since the first viewing, and somewhere in between I kind of had second thoughts. I never gave up on loving it, but I was very aware of the films faults. I still don't think it reaches the heights of even Batman Begins, but I think the film gets a lot right. Also, I'm just glad we got to see Superman on screen again. I know some would argue otherwise, saying that Superman never really saves anyone here, given that that's what he's known for. I can't argue that their wrong. I mean, he saves the world and all, but the great thing about Superman is that when he's not fighting supervillains, he's saving cat's from trees. No job is too small for Superman. That's just who he is, and I love him for it. I think Zack Snyder knows that, too. He just wanted to show us how that man learns that no job is too small. I could be completely wrong too, but it would make for great sequel fodder to show the Man of Steel learning from all the damage he caused during his fight with Zod. Will that happen? I have no idea, but I loved Henry Cavill's take on the character and I loved seeing a more alien version of Krypton. My favorite on screen iteration will always be Richard Donner's Superman: The Movie from 1978 with Christopher Reeve and I have a whole lot of love for Superman Returns too. Still, I love Man of Steel and even if the sequel screws it all up, and it might, I'll still have this action packed take on the iconic character to enjoy.
5. Her- Ugh, I still have a hard time putting into words just how much I loved this movie. It's basically a great exercise in learning from the love you lost and using that to move forward. The film itself isn't that simple, but that's the beauty of it. Look, just watch this movie. It's a Spike Jonze movie about a guy who falls in love with his operating system. Come on.
4. Gravity- I love it when big, expensive movies get it right. And I don't just mean be entertaining either. It doesn't hurt to have a genuine master behind the camera like Alfonso Cuaron, not to mention a huge bag of charisma and acting talent filled with George Clooney and Sandra Bullock. Gravity was a movie that's meant to be seen on the big screen, but somehow still works on the small one. I can't verify it, but I'm sure being stranded in space might be fucking terrifying, and Cuaron realizes that fear brilliantly.
3. Fast & Furious 6- How has this franchise become so amazing? Oh yea, Justin Lin and his amazing eye for all things ridiculous and action related. Lin's love of this series bleeds through on every frame, and I'm going to have a hard time accepting anyone else at the helm. Not only has he raised the stakes in term of action with each entry, but he's insisted on maintaining a continuity with story and characters and its theme of family above all else that I can't help but find myself rooting for these guys every time.
2. About Time- This movie has officially replaced The Notebook and 13 Going on 30 as my favorite romantic anything. Don't fret, I still love The Notebook, and I'll probably revisit it most when I'm an emotional wreck for any reason, but About Time is one of the sweetest, most sincere movies I've ever seen. No other film from 2013 gave me such an emotional reaction. It's so rare to have a romantic comedy that depicts a normal couple that has typical problems that they deal with and resolve with actual communication and patience. It's just a minor plot point that the male lead just so happens to able to travel through time. It's a great set up, really, and the film actually becomes more of a father-son bonding flick than a straight romantic comedy, and I really can't recommend it enough. Does that make me a hopeless romantic? No. But watch it anyway.
1. The Wolf of Wall Street- What a fucking insane movie. The drugs, the sex, the depravity. I loved it all. Scorsese kind of outdid himself here. Time will tell just how high this will rank among his filmography, but for now it's at least a close second for my personal favorite DiCaprio/Scorsese collaboration behind The Aviator. So much has already been said about this movie that I can't really add much, other than it's an absolute must. DiCaprio gives a performance that goes from straight dramatic to downright physical comedy gold. Also, Jonah Hill masturbates publicly. Hilarious, profane, and it features Matthew McConaughey in a year that was full of Matthew McConaughey. In short, The Wolf of Wall Street was my favorite movie of 2013.
So there it is. Feel free to judge, as I hope you all will.
I'm seeing some movies for Cary Citizen this month, but I'm also seeing Need For Speed for myself, so I'll come back here and say things about that movie.
Until then, suck it.
2013 was kind of a ridiculously good year for movies which meant that making this list was more than a little difficult. I mean, we had Prisoners, Spring Breakers ( LOOK AT MY SHIT!), Mud, The Last Stand, Iron Man 3, Drinking Buddies, Prince Avalanche, Rush, Captain Phillips, Riddick, Before Midnight, The Place Beyond The Pines, Pacific Rim and The Way, Way Back. Shit man, and those are just a few of the good ones.
Before getting into the top then though, I would like to talk about a few that missed the list, but only just.
First up, The Wolverine. Let's be real, this movie fucking rules. Jackman is as committed and ripped as ever, with a storyline based on one of the mutants' most beloved tales from the comics. Director James Mangold gleefully shows off Logan in full berserker rage mode numerous times in The Wolverine, something that was only ever hinted at or shown once a film. Also, the director's cut is something of a rarity these days, an alternate cut of the film that actually improves on the theatrical version. It's only about 10 or so minutes longer, but we get an extended blood bath of a fight between Logan and some ninjas as well as the Wolverine saying 'fuck' a few more times. Seriously though, Mangold made a really solid Wolverine flick filled with great action and probably the best performance Jackman has given as the regenerating mutant. If this turns out to be the final solo film for him, it will certainly be one that left us wanting more.
Next up is 12 Years A Slave, one of the most brutal, haunting and honest depictions of slavery in America that's ever been put on film. Pretty much everything about this movie is great, and I'm genuinely glad it won Best Picture at the Oscars. If anything, I'm a little disappointed Paul Dano didn't get a little more love. Everyone who was nominated and/or won absolutely deserved their accolades, but Dano is a master of all things despicable, and he really made my skin crawl, more so even than Michael Fassbender's character. No matter though, the film is great and will long be remembered as a great piece of work.
Ok, so this one hurt. I really wanted this one in the top ten. Pain & Gain is the kind of movie that's basically made specifically for me. First off, it's directed by Michael Bay. Second, it stars Dwayne The Rock Johnson, no quotations required. Typically, I wouldn't need much else, but my man Bay decided to throw in Mark Wahlberg, Anthony Mackie, Tony Shalhoub, Ed Harris and a so unbelievable but it's true storyline that I really didn't have a choice but to love it. In fact, this review sums up my feelings pretty well.
Ok, the moment most of you don't care about. Here are my ten favorite movies from 2013.
10. This Is The End- Seth Rogen and Evan Goldberg, the writers and star of Superbad and Pinapple Express, make their directing debut with one of the most insane, star studded, and smartest comedies of the year. Basically, a bunch of famous people gather at James Franco's house for a party, and the end of days begins. Everyone is the movie plays themselves, or at least a version of themselves, a fact that was unfortunately lost on a lot of people I know who didn't like the movie, but they were stupid so who cares. Rogen and Goldberg display great confidence as comedy directors, but their strength lies in their writing abilities. This Is The End really swings for the fences and goes to some genuinely weird places, but thanks to a lot of great jokes and a recurring theme of friendship that has popped up in just about all of their scripts, the film proves to be their best collaboration yet, and I can't wait to see that else they have up their sleeve.
9. Inside Llewyn Davis- Ah, the Coens. This is actually the only movie on the list that I haven't seen more than once. However, the Coens' ode to giving up on your dream has stayed with me nevertheless. Honestly, I need to see the film again before I can even think about doing a write up that will do the movie justice, but I couldn't ignore the effect the film had on me. Once again, the Coens' have cast the movie perfectly, with Oscar Isaac leading the way with an already criminally underrated performance as Llewyn Davis. If you haven't already, see this immediately.
8. The World's End- Oh hey, that other comedy about the end of the world. Edgar Wright re-teams with Simon Pegg and Nick Frost to finish their Cornetto Trilogy and the result is the trio's most accomplished work to date. Look, Shaun of the Dead is pretty much perfect, but I think in time The World's End will prove to be the best of the three. Like This Is The End, all three cornetto films had a strong friendship theme running through them, but none more so than The World's End. As per usual with Wright's films, it took me a second viewing to discover just how touching and rich with character detail The World's End is. Now, here's to a year plus wait to the inevitable awesomeness that is Ant-Man.
7. You're Next- You guys, this is a great fucking horror movie. I saw it in a huge theater with maybe 4 other people in attendance and it was still one of my favorite movie-going experiences of 2013. Granted, no else in the theater seemed to like it as much as I did, but fuck them. I know a lot of people who thought the hype train kind of killed this movie, and I think I can see why. The movie doesn't really bring anything new to the table. In fact, it's a pretty standard home invasion movie in terms of plot. However, the film delivers with its extremely dry sense of humor and a group of talented actors that make the characters more than just the next victim. Not to mention this flick features one of the most badass female characters in recent memory. Get over the hype and enjoy You're Next for what it is: one of the most fun slasher flicks in a long, long time.
6. Man of Steel- I fucking love this movie. I've said it since the first viewing, and somewhere in between I kind of had second thoughts. I never gave up on loving it, but I was very aware of the films faults. I still don't think it reaches the heights of even Batman Begins, but I think the film gets a lot right. Also, I'm just glad we got to see Superman on screen again. I know some would argue otherwise, saying that Superman never really saves anyone here, given that that's what he's known for. I can't argue that their wrong. I mean, he saves the world and all, but the great thing about Superman is that when he's not fighting supervillains, he's saving cat's from trees. No job is too small for Superman. That's just who he is, and I love him for it. I think Zack Snyder knows that, too. He just wanted to show us how that man learns that no job is too small. I could be completely wrong too, but it would make for great sequel fodder to show the Man of Steel learning from all the damage he caused during his fight with Zod. Will that happen? I have no idea, but I loved Henry Cavill's take on the character and I loved seeing a more alien version of Krypton. My favorite on screen iteration will always be Richard Donner's Superman: The Movie from 1978 with Christopher Reeve and I have a whole lot of love for Superman Returns too. Still, I love Man of Steel and even if the sequel screws it all up, and it might, I'll still have this action packed take on the iconic character to enjoy.
5. Her- Ugh, I still have a hard time putting into words just how much I loved this movie. It's basically a great exercise in learning from the love you lost and using that to move forward. The film itself isn't that simple, but that's the beauty of it. Look, just watch this movie. It's a Spike Jonze movie about a guy who falls in love with his operating system. Come on.
4. Gravity- I love it when big, expensive movies get it right. And I don't just mean be entertaining either. It doesn't hurt to have a genuine master behind the camera like Alfonso Cuaron, not to mention a huge bag of charisma and acting talent filled with George Clooney and Sandra Bullock. Gravity was a movie that's meant to be seen on the big screen, but somehow still works on the small one. I can't verify it, but I'm sure being stranded in space might be fucking terrifying, and Cuaron realizes that fear brilliantly.
3. Fast & Furious 6- How has this franchise become so amazing? Oh yea, Justin Lin and his amazing eye for all things ridiculous and action related. Lin's love of this series bleeds through on every frame, and I'm going to have a hard time accepting anyone else at the helm. Not only has he raised the stakes in term of action with each entry, but he's insisted on maintaining a continuity with story and characters and its theme of family above all else that I can't help but find myself rooting for these guys every time.
2. About Time- This movie has officially replaced The Notebook and 13 Going on 30 as my favorite romantic anything. Don't fret, I still love The Notebook, and I'll probably revisit it most when I'm an emotional wreck for any reason, but About Time is one of the sweetest, most sincere movies I've ever seen. No other film from 2013 gave me such an emotional reaction. It's so rare to have a romantic comedy that depicts a normal couple that has typical problems that they deal with and resolve with actual communication and patience. It's just a minor plot point that the male lead just so happens to able to travel through time. It's a great set up, really, and the film actually becomes more of a father-son bonding flick than a straight romantic comedy, and I really can't recommend it enough. Does that make me a hopeless romantic? No. But watch it anyway.
1. The Wolf of Wall Street- What a fucking insane movie. The drugs, the sex, the depravity. I loved it all. Scorsese kind of outdid himself here. Time will tell just how high this will rank among his filmography, but for now it's at least a close second for my personal favorite DiCaprio/Scorsese collaboration behind The Aviator. So much has already been said about this movie that I can't really add much, other than it's an absolute must. DiCaprio gives a performance that goes from straight dramatic to downright physical comedy gold. Also, Jonah Hill masturbates publicly. Hilarious, profane, and it features Matthew McConaughey in a year that was full of Matthew McConaughey. In short, The Wolf of Wall Street was my favorite movie of 2013.
So there it is. Feel free to judge, as I hope you all will.
I'm seeing some movies for Cary Citizen this month, but I'm also seeing Need For Speed for myself, so I'll come back here and say things about that movie.
Until then, suck it.
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