As is the case every year, the big studios use the first quarter as a dumping ground for its duds, movies that for one reason or another they think are unlikely to generate much interest in an audience whose expectations are already diminished. Still, this year's list of dumpster dwellers seems even more robust than usual. On the other end of the spectrum, I can think of only two studio films to this point that have transcended the mediocre: Paul Feig's Bridesmaids and Duncan Jones' Source Code, both of which tweak genre conventions in slightly unexpected ways.
Our largely uneventful summer movie season gets a kick in the ass this week with the arrival of not only one of the best films of 2009 — Kathryn Bigelow’s The Hurt Locker — but also the third annual Oxford International Film Festival (OIFF), which moves to Cincinnati this year.
Underneath Cincinnati has undergone a number of behind-the-scenes changes in its 10 years of existence (members of the Southern Ohio Film Association now guide it), but its mission has largely remained the same — to showcase and support area independent filmmakers.
The Harry Potter movie series comes to a close this week with the release of Harry Potter and the Deathly Hallows: Part 2, which, if I'm not mistaken, represents the eighth movie adaptation of J.K. Rowling's wildly successful book series.
I confess: I've never watched a Harry Potter movie. I've caught a few minutes here and there on HBO or at a friend's or family member's house, but for some reason I've never been compelled enough to sit down and take in the entirety of even one of the series' movies.
The Sundance Film Festival announced its 2011 lineup today. The festival, which invades the small ski-resort town of Park City, Utah, Jan. 20-30, will include 115 films from 28 different countries. Befitting a fest known for its nurturing of fresh talent (40 of the 115 are from first-time filmmakers), the 32 films in the U.S. Dramatic and Documentary (16 in each category) include a bunch of new names as well as a few familiar faces.
Back in August of last year, Paramount Pictures announced that it was moving Martin Scorsese’s Shutter Island, the anticipated follow-up to the director’s Oscar-winning The Departed, from an Oct. 2 release date to February 2010. The move was perplexing for a variety of reasons, the most obvious of which was the presence of an Oscar-bait director like Scorsese and an equally lauded A-list actor like Leonardo DiCaprio. Such a shift — especially one that moves a film from the fall awards season to the Land of Misfit Movies known as February — is typically a sign that it’s expected to disappoint for one reason or another.
The fall movie season is off to a shaky start. Anticipated films like the Coen brothers' Burn After Reading, Clark Gregg’s Choke, Spike Lee’s Miracle at St. Anna and Fernando Meirelles’ Blindness have left critics (and most audiences) wanting.
Even the relatively well received Nick and Nora's Infinite Playlist has its detractors (like me) — if you're hanging your entire premise on being knowing and hip, you'd better be knowing and hip, which N&N doesn't quite pull off. It's like a meld of 200 Cigarettes and Empire Records (come to think of it, that might sound good to some people) — glossy imitations of the real thing. N&N is much too conventional, which is somewhat surprising considering director Peter Sollett was the guy who gave us the perceptive teenage romance Raising Victor Vargas.
(Michael Cera and Kat Demmings contemplate what might have been in Nick and Nora's Infinite Playlist.)
Add this week’s two biggies — The Duchess and Body of Lies — to the list of disappointments. While each has its charms, neither is entirely satisfying. (See reviews below.)
Lucky for us, we have other options. The Contemporary Arts Center begins its “Historical/Horror Film Series” on Monday night (Oct. 13) with a double feature of John Huston’s Let There Be Light at 6:30 p.m. and Carl Dreyer’s Vampyr at 7:40 p.m.
Finally, and most curiously, the Esquire Theatre will present a Paul Newman Tribute with rotating screenings of Cat on a Hot Tin Roof, Cool Hand Luke, Butch Cassidy and the Sundance Kid and The Verdict beginning today through Oct. 16. Go to www.esquiretheatre.com for times.
On to a complete list of this week's theatrical releases. As usual, several didn't screen for critics in advance, which means I'll have reviews up for them later this weekend.
Opening films (Oct. 17):
BODY OF LIES — While Ridley Scott's film strips away much of the fat from David Ignatius’ source novel, it also winds up frustratingly superficial. Body of Lies is a nuts-and-bolts action drama putting on the undercover persona of something with a message. Still, it's fairly successful as an action drama. (Read review here.) (Rated R.) Grade: C plus
CITY OF EMBER — Upstart British director Gil Kenan’s latest family-friendly fantasy finds an elaborate underground city in peril as its once powerful generator begins to fail. It’s up to a pair of teenagers (Soairse Ronan, so strong in Atonement, and Harry Treadway) to save the residents of Ember — including its curiously upbeat mayor (Bill Murray) — before it’s too late. The massive cast includes Tim Robbins, Mary Kay Place, Toby Jones and Martin Landau. (Rated PG.) Grade: Review coming soon
THE DUCHESS — Saul Dibb’s costume drama captures the look and feel of the period exquisitely but lacks the daring to provide greater context for its titular character's political activism. Stars Keira Knightley and Ralph Fiennes. (Read review here.) (Rated PG-13.) Grade: C plus
THE EXPRESS —Dennis Quaid has a thing for sports flicks. The trend continues in this true-life story of Syracuse running back Ernie Davis (Rob Brown), the first African American to win the Heisman Trophy. Quaid plays Ben Schwartzwalder, Davis' inspirational — and revolutionary — coach. Gary Fleder, the guy who once upon a time gave us the stylish, corrosive crime thriller Things Denver to Do in Denver When You're Dead, directs what looks to be yet another uplifting sports drama. (Rated PG.) Grade: Review coming soon
QUARANTINE — Quarantine might be a remake of Jaume Balaguero’s Spanish thriller [Rec], but, if the trailer is any indication, John Erick Dowdle’s big feature splash looks to suckle the creative teat of last year’s surprise success, Cloverfield. The plot centers on a television reporter (Jennifer Carpenter) and her cameraman (Steve Harris) who battle a mysterious adversary while trapped in an apartment building. (Rated R.) Grade: Review coming soon
What's up with all the 1980s love currently spilling out of multiplexes?
Sure, Hollywood and marketers of all sorts have long mined nostalgia as a powerful enticement tool in the marketplace. But is 20 years enough time to generate sufficient yearning for a period whose mainstream culture is best represented by the rise of stupid action movies and/or creatively bankrupt sequels (see the career of Sylvester Stallone for examples of both), acutely disposable Pop music (see everything from Hair Metal to Milli Vanilli), ludicrous clothes (see Miami Vice) and the presence of a two-term president whose nefarious policies laid the groundwork for our current economic meltdown?
The amusing, curiously lo-fi comedic diversion known as Hot Tub Time Machine revisits a moment in time not known for its significant cultural contributions (especially on a mainstream level). Who better, then, to appear in a movie that looks back with a nostalgic eye to the 1980s than Crispin Glover, one of the great, under-appreciated oddballs of that or any era?