Contemporary movie trailers suck. Not only are they — like most of the movies they pimp — typically lowest-common-denominator dumb but they also mislead viewers about a given movie’s true nature in an attempt to entice the broadest possible audience. (For example, check out the stupid, disjointed Inglourious Basterds’ trailer, which tried to sell Quentin Tarantino’s arty, longwinded, multilingual revenge epic as a straightforward Brad Pitt-centered World War II action flick.)
I loved Joan Jett when I was a kid. I listened to side one of I Love Rock N’ Roll almost every day — often multiple times a day — for more than a year. I turned the volume up on my crappy little radio every time the title song came on Q102 — which at the height of its popularity, was about once an hour.
The collision of simple, classic guitar chords, her tough-girl voice and her sexy, goth-informed visage staring out from the album’s cover left me endlessly fascinated. As a pre-teen, early-’80s suburbanite, I’d never experienced anything like her.
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?
The local cinematic universe gets a much-needed shot of adrenaline this week. Even the Hollywood studio efforts look palatable.
The post-awards/pre-summer movie season trudges on with a curious collection of releases in a variety of genres: we’ve got another romantic comedy starring Jennifer "I Do Movies to Get a Boyfriend" Aniston (The Bounty Hunter), a futuristic thriller (Repo Men), a family-friendly teen thing (The Wimpy Kid Diaries) and even a 3-D IMAX documentary (Hubble).
We didn’t need the Academy Awards to tell us that Kathryn Bigelow is a really good director — she’s been that for more than 30 years.
The 82nd Academy Awards telecast is Sunday night. Will you be watching?
Yes, I will again succumb to its guilty pleasures, no doubt groaning every 10 minutes or so at the lavish, self-important nature of it all (please don’t let James Cameron win — the only thing worse than his creepy, flowing gray hair is the inevitably pompous speech that will spill from his lips if Avatar wins him a Best Director or Best Picture Oscar, which it likely will).
It’s been a typically lean February on the movie front. How bad? Well, of the 16 movies that have opened this month, only four have received positive reviews from CityBeat writers, two of which are opening at The Esquire this week (Untitled and The White Ribbon), and only one of which is a true multiplex release (Shutter Island).
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.