This time I was struck by how different Jaws is compared to the sleek, sequel-laden, CGI-driven summer fare of today. Watching a drunken Quint (a thoroughly convincing Robert Shaw) stomp aroundJaws' grimy, pathetic boat — which is a character unto itself — is welcome aesthetic shift from the alienating pixelated mayhem of Thor, Transformers: Dark of the Moon, Captain America and the like.
While I recognize and appreciate the undeniable creative juice expended in their creation, I admit to a blind spot when it comes to comic books (aka graphic novels to the genre’s serious devotees). I outgrew the form shortly after the death of Captain Carrot and His Amazing Zoo Crew, which went out of print after a 20-issue run in the early 1980s. (Don’t ask how much I spent on a recent, eBay-procured mint copy of the first issue.)
Which brings me to Watchmen, probably the most anticipated movie our young, quality-deprived year to date.
We've got another thin week for new movie releases — unless you're excited about the latest Narnia film, which I'm not. Even the new Johnny Depp/Angelina Jolie thriller — which I was initially eager to check out despite the warning sign its studio raised by not screening it in advance for critics — is getting thoroughly trashed by those unlucky enough to have seen it. That leaves Wild Target, another film its distributor (the indie outfit Freestyle) didn't screen in advance, as the lone possible saving grace. No pressure.
I try to stay away from movie trailers as much as possible — either because they rarely give you an accurate idea of what a movie is truly about or because they reveal the entire thing in two minutes. (On the other hand, I suppose I'd rather spend a few minutes with something like Tron: Legacy or The Tourist than sit through two mind-numbing hours.)
An example of the first reason is on display in the difference between the theatrical trailer version of No Strings Attached (which is set to open wide Jan. 21) and its much racier red band version.
Oliver Stone has been out of sorts ever since he gave people an aneurysm with the over-the-top, frenetic football extravaganza Any Given Sunday (1999).
Now that I think about it, U-Turn (1997) blew, too. In fact, it’s been since the underrated (and under-seen) Nixon (1995) that Stone had me fully engaged.
Recent years have been especially tough on the onetime provocateur: World Trade Center (2006) seemed a naked attempt to prove he could make a standard studio picture after the unqualified disaster that was the bloated, thoroughly disjointed Alexander (2004). How far had Stone fallen? I didn’t even bother to catch World Trade Center or Alexander during their theatrical run — an unthinkable occurrence back when even his less successful films were at least intriguing in their mix of testosterone-laden spectacle, pungent dialogue and formal dexterity.
All that said, I can’t wait to see what Stone does with W., his take on the presidency of George W. Bush (as played by what looks to be an inspired Josh Brolin).
The movie opens Oct. 17
Here are a few trailers to tide you over.
Versatile special-effects maestro Shane Mahan knows his summer blockbusters — he's worked with everyone from Steven Spielberg and James Cameron to Tim Burton and Jon Favreau.
"They are the best communicators, and I think they’re also the best visionaries,” Mahan says.
Mahan is something of a visionary himself.
When willLeonardo DiCaprio lighten up? It doesn't look like it's going to happen anytime soon.
Asked recently if he would consider doing something besides the heavy dramatic lifting of recent years (see Gangs of New York, The Aviator, Blood Diamond, The Departed, Body of Lies, Revolutionary Road, Shutter Island, Inceptionand now J. Edgar), the 37-year-old actor responded with this to-the-point rebuttal: “Why would I want to do something I would consider a profound waste of time?"
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).
On Saturday night (Nov. 12) after the 7:30 p.m. screening of Take Shelter at the Esquire Theatre in Clifton, CityBeat contributing editor Steven Rosen will lead a discussion into the film's meaning — and what really occurs at the mysterious ending.
The Ides of March is nearly here. George Clooney's political thriller, partially shot here in Cincinnati, opens wide tomorrow, and the film's publicity blitz is now in full effect with TV spots flooding the airwaves (you know, the ones pimping Rolling Stone critic Peter Travers' typically overly exuberant blurbage) and Clooney himself doing a few selected interviews.
While CityBeat unfortunately didn't get one of those interviews (our bribe of complimentary CB T-shirts and a pass to the MidPoint Music Festival apparently weren't sufficient enough to sway his handlers; we instead talked to Ides actor Max Minghella), Clooney will appear on tonight's episode of The Charlie Rose Show on PBS to discuss the film. It's probably no surprise, then, to learn that Clooney's character in Ides — an articulate liberal Pennsylvania governor who is running for the Democratic presidential nomination — appears on Rose's show in the film.