Everything was fine until John Cusack walked in from the shadows. Don't get me wrong, his movies are some of my favorites and I love his work, but Cusack playing Poe is a strange combination. Maybe they wanted to have the same dark character they saw in Identity. There are a few people that I could see playing Poe. Off the top of my head, Sam Rockwell, Edward Norton and Gary Oldman are three guys who could pull off the dark character that Poe was. At least Cusack resembles Poe in the movie.
Maybe it is just the trailer that turns me off to Cusack filling the boots of the late American poet. In it, Cusack’s delivery is dry and stiff. I don’t feel any kind mystery that surrounds Poe. Some of his writings are real disturbing when looked at closely, but with Cusack the character appears to be deflated. I guess this hesitation comes from Poe being one of my favorite writers. For all I know, the trailers don’t do the movie justice, which I hope is the case. Cusack is known for his obscure roles and disturbed characters, so this is probably a perfect fit.
The premise for the film has been done before, but since it's Edgar Allan Poe it gives the movie somewhat of a different angle. Some man is committing murders based on stories written by Poe, and then Poe has to figure out who the murderer is with the help of Detective Fields played by Luke Evans. If you're worrying about spoilers, don't be — all of that is in the trailer. I think I know who the murderer is already, but it’s Hollywood so anything can happen.
Movies based off of literature are good as long as they keep true to the source material. It will be interesting to see what happens with The Raven. It feels like a mixture of the Sherlock Holmes movies and the Johnny Depp picture From Hell. We will all find out on April 27.
Another movie is being released today and me torn as to whether to watch it or not. The idea of a The Three Stooges film has bounced around for years, but now it has finally limped its way to the screen. Leave it to Hollywood to take a beloved comedic classic like the Stooges and churn out a mediocre-looking movie.
There have been many names were attached to this project, including Jim Carrey, Justin Timberlake, Andy Samberg and Paul Giamatti. Actually filling the shoes of the Stooges are Sean Hayes as Larry, Will Sasso as Curly and Chris Diamantopoulos as Moe. To me the only choice that makes sense is Sasso because he made a name for himself with physical comedy on Mad TV.
I’m surprised this is actually a movie, because it just looks horrible. I don’t want to watch it but I probably will end up in the theater because the original Stooges are a great gift to slapstick comedy — I’ll even give Curly’s replacement Shemp a nod and say he wasn’t that bad, either. But any movie that incorporates the Jersey Shore should just go straight to DVD.
The tagline for the movie is “Just say Moe” but someone should have told the Farrelly brothers to just say no. They are known for great comedies like Kingpin, There’s Something About Mary and Me, Myself & Irene, but their trek into classic slapstick comedy appears to be anything but. As much of a fan as I am of the Stooges I hope I'm wrong with this one, and that at least Will Sasso is just as good as he was on Mad TV.
Movies that populated theaters in the '80s and '90s are making a comeback. Some are better than others but since there is a built-in audience, Hollywood is cranking out remakes and reboots left and right.
This practice has been done for years but recently more movies than ever have been redone. March brought 21 Jump Street with skinny Jonah Hill and Channing Tatum. The buddy cop movie was actually funny and has made more than $90 million so far.
Other notable remakes over the last few years include Fright Night, Conan the Barbarian, Karate Kid, Clash of the
Titans, Footloose, Nightmare on Elm Street, Wall Street, Arthur and Die Hard. Out of the nine mentioned, only Fright Night and Die Hard were actually enjoyable (in my opinion).
The worst out of the bunch had to be Clash of the Titans. Cheesy acting and bad 3D effects plagued this Sam Worthington CGI-fest. Worthington did a better job in the ads for the Call of Duty: Modern Warfare 3 video game.
Now an Arnold Schwarzenegger movie is getting another look, and thank goodness it isn’t Junior.
The first trailer for a new Total Recall was released Sunday. No, this isn’t a late April Fool’s joke. The remake to the 1990 Schwarzenegger movie is a real thing, and fans of not only the original but of science fiction in general should be giddy with anticipation.
The remake stars Colin Farrell, coming off of his performance from the 1980s vampire remake Fright Night, with Kate Beckinsale and Jessica Biel taking roles of eye candy. Will there be another three-breasted woman? Fans of the original can only hope. AMC’s Breaking Bad star Bryan Cranston plays the bad guy. The cast alone gives a lot more credit to this remake than most.
We will all have to wait to actually watch the thing to figure out if it’s worthy enough to be considered a decent remake.
In other movie news, the next American Pie installment hits theaters today. To me, this is going to be a paycheck movie. Meaning, the original cast of characters is only returning because they haven’t been in anything major in the last few years. Well, for the exception of Allison Hannigan who has been on the long running show How I Met Your Mother. Expect a lot of dick and sex jokes, which is essentially what the first movie was, but now the cast is much older.
The original American Pie was released in 1999 and was seen as a fresh take on the high school sex comedy. The second added on to that with more outlandish situations — like mixing up lube with super glue. American Wedding was thought to be the ending to Stifler and the gang’s stories — compared to the first and second, it was somewhat of a letdown. Then came the straight-to-DVD American Pie Presents movies. I will admit, though, American Pie Beta House was a hilarious college comedy; women might not want to watch because it focuses on a misbehaving fraternity.
Squeezing film stars for as much money as possible is the norm nowadays with movie franchises – just look at Pirates of Caribbean. Maybe I am jumping to conclusions with American Reunion, but the pie lost its flavor a long time ago.
There is another reason that I visit the theater maybe two or three times a year, and that is the price of tickets. My student status means what little money I have goes to more important needs. Going to see a movie should be an enjoyable event not a troublesome occasion that breaks your bank account. Tickets, dinner and movie snacks can get incredibly expensive which is why I’m glad there was still a little tax return money left when I went to see The Hunger Games. I know this is a little late in regards to the movie’s release, but better late than never.
With that being said, I didn’t have any preconceived notions of the story, characters or setting. In some cases that is the best way to be introduced to a series. With a clean slate, that allows little room for disappointment. The only thing that I was really disappointed about was the use of the shaky camera, mainly in the opening and final scenes in the arena. Apparently director Gary Ross felt that using shaky cam work would help give a better portrayal of Katniss Everdeen’s point of view and gave a sense of urgency to the movie. My only advice is that if you get motion sickness, be careful with this one.
There was one thing that went unnoticed though. Peeta, played by Union, Ky., native Josh Hutcherson, turned into a wimp in the arena. A big deal was made of how much weight he could throw around, even showing him picking up a spiked metal ball and hurling it across the room. I was expecting him to throw a heavy boulder at someone Braveheart-style. Instead, we were shown that he all he could do was camouflage himself to look like a rock. At least in the book he killed someone.
The Twilight books are horribly written — I wasn’t able to get more than 20 pages into the first one before I had to stop — the English major in me came out again, rejoicing like the Wicked Witch was dead. Then the Twilight movies completely destroyed every bit of vampire lore ever created. Vampires don’t sparkle and they can’t go out in the sun. I guess I don’t get the appeal of Twilight because I’m not a teenage girl. The choice of actors/actresses was strange as well, mainly because they give the same performance in each movie they are in. Check out Taylor Lautner’s terrible action movie Abduction for a piece of wood with abs’ best impression of acting. With that, I think I need to stop with the Twilight comments before it gets out of hand.
Now that Sunday night’s Oscars are over, the Internet is full of catty stories and tweets parsing every last second of televised coverage, from Angelina Jolie’s exposed leg to Adam Sandler’s participation in a taped segment in which actors discussed why they love movies. (If he really loved movies, he’d stop making them, some have said.)
It’s both understandable and sad that the Oscars — and movie-award season in general — ends like this, with far more interest in the telecast’s trivia than in the movies that win awards. Arguably, the news value of this year’s show peaked before it even officially started, when Sacha Baron Cohen, in costume as “The Dictator” for an upcoming movie, spilled an urn of faux human ashes (ostensibly Kim Jong-il’s) on interviewer Ryan Seacrest.
It’s getting worse, too, now that the Internet and 200+-channel cable television have educated us ad nauseam to the nature and inner workings of the Oscar campaign season. We carefully learn how a film builds momentum by moving through all the secondary award ceremonies from critics groups and the Hollywood professional guilds and associations.
As a result, the Academy Awards themselves have become anticlimactic, which partially explains the media devotion to dissecting the telecast. And the attempts by the Motion Picture Academy to build false enthusiasm by allowing up to ten Best Picture nominees have been a disaster, since we all now know how to “read” the nominations to distinguish the real ones (they also have Best Director nods) from the padding. Not all that long ago, few outside Hollywood insiders even knew there was a well-orchestrated “campaign season,” much less how to follow and handicap it.
Convention wisdom, and you hear a lot of it these days, would be to revive the Oscar telecast by de-emphasizing the importance of the awards, themselves. Reduce the number given out on TV, especially the more esoteric or niche ones, in favor of increasing the glitz, spectacle, star power and big production numbers. Do like the Grammys have done, where classical, jazz, folk, blues, opera, international and more are rarely ever presented on the show.
But I think the Academy should go the other way and try to increase public awareness of the importance of Oscar nominations. But maybe not for the Big Four categories – Best Picture, Director, Actor and Actress, which probably do suffer from overexposure by the time the telecast comes around (although The Artist, this year’s big winner, could use the help since many people have been scared off by the fact it’s a black-and-white silent film).
Click the jump for more on ways the Academy could draw more attention to deserving films such as A Separation, In Darkness, Footnote and Bullhead.
There were plenty of local mentions throughout the interview. Clooney briefly talked about his time at Augusta High School, where he played basketball (he claimed that the team was 1-25 his senior year) and was generally a great student. Just like myself growing up, every student who got As at his school received Reds tickets. Gotta love that Carl Lindner.
But there's also another noteworthy local Sundance connection this week: Know Theatre is giving a 2011 Sundance film its Cincinnati premiere with a one-time screening 7 p.m. tonight (Dec. 7) in its space at 1120 Jackson St. in Over-the-Rhine. (Tickets are $10.)
As I pointed out last week, there have been an uncommon number of strong movies released of late, including four last week: The Descendants, Hugo, The Muppets and My Week with Marilyn. That quartet follows the recently released Martha Marcy May Marlene and Like Crazy, which means a half-dozen movies in the last three weeks have garnered an A- or better from CityBeat's typically stingy crew of critics.
In just the first of a coming avalanche of groups that will unveil their various movie awards/prizes/best lists, the New York Film Critics' Circle, considered one the more discerning groups of critics in the country, yesterday announced its 2011 award winners. Michel Hazanavicius' The Artist — a silent, black-and-white drama about the silent, black-and-white era of 1920s Hollywood — won Best Picture and Best Director.
The winning streak continues this week. In fact, it's shaping up to be the best slate of opening films in recent memory.