Category: Movie Dramas (Page 44 of 188)

I think Paul Haggis wants to be an action director now

That’s really the only conclusion I can draw after seeing the trailer for “The Next Three Days,” which starts out like a fighting-for-justice movie along the lines of Jim Sheridan’s “In the Name of the Father” and then becomes moves into an even more well-worn subgenre. Whatever else might be true about the sometimes extremely controversial work of Haggis’s, including the critically lauded, Academy Awarded, but cinephile-despised “Crash” — easily the most divisive Best Picture winner since the similarly largely cinephile-hated “American Beauty” — he knows how to write entertaining dramatic scenes. Could be okay.

H/t – THR’s Jay Fernandez.

A trailer double bill: “The Black Swan” and “The Red Shoes” and some movie news too, I guess (updated)

I’m miles from home, I’ve left my mouse at home, and the barristas where I am are annoying while talking about movies, which is extra annoying to me. Can’t they talk annoyingly about sports instead? Why am I here? I got here early to beat the traffic and am across the street from the New Beverly Theater where I’ll be frittering hours away doing something unspeaking geeky on the occasion of the birthday of a fellow film geek blogger.

So, there’s no time for discuss the more interesting than usual casting news that Idris Elba will be taking over the role of James Patterson’s Alex Cross in the upcoming series reboot, that January Jones will try something different from tantalizing and annoying “Mad Men” viewers as Betty Draper and will be taking over the role of Emma Frost in “X-Men: First Class” or that Noomi Rapace, who originated the role of Lisbeth Salender in the Swedish “The Girl With the Dragon Tattoo” is about to be heavily promoted for an Oscar nomination and may be taking on some blockbuster roles in big time American flicks, except that I just did. Instead, I’m presenting the really terrific — and outstandingly creepy — trailer for “The Black Swan” which seems destined for the title of most unnerving ballet film of all time, which I guess is just what we should expect from Darren Aronofsky after all this time. 13 year-old Chloe Moretz has already endorsed it in my recent interview with her. [UPDATE: Anne Thompson has thrown some very cold water over the Nikki Finke/Noomi Rapace story. I’m sure readers of both blogs may be seeing more about this one.]

I think I’ve presented it before here, but what the heck, after the flip is the trailer for the rather strange and very ravishing classic film Aronofsky pretty much had to have been thinking about as he made his film. I hope Mr. Scorsese, whose directing her “The Invention of Hugo Cabret” guides young Ms. Moretz to “The Red Shoes” — I can’t imagine he wouldn’t, seeing as he’s said it’s his favorite movie.

Blu Tuesday: Hamlet

Running just over four hours in length, Kenneth Branagh’s 1996 production of “Hamlet” isn’t exactly the kind of film that the casual moviegoer pops in on a rainy day, but is instead tailored almost exclusively to cinephiles and diehard fans of Shakespeare. That’s because unlike previous film adaptations of the famous play, Branagh’s version is the first (and probably the last) to utilize the full text, resulting not only in one of the most ambitious studio movies of the last 15 years, but also the most complete film adaptation to ever be made. It just so happens to be one of the best, too, thanks in part to Branagh’s skillful direction, a treasure trove of fantastic performances (including Derek Jacobi as Claudius and Julie Christie as Gertrude), and gorgeous cinematography that benefits from Branagh’s decision to shoot the movie in 70 mm.

It’s completely coincidental that “Hamlet” was released around the same time as the formative years of my literary studies, but although I was already quite taken with Shakespeare’s play by the time I stumbled onto Branagh’s film, it only further deepened my appreciation for the work. And once you see his version of “Hamlet,” it’s really difficult to accept any other. I’m certainly not alone, either, as many people had been clamoring for the film to be released on DVD for years before Warner Bros. caved in with a belated 10th anniversary special edition. (And on my birthday, no less.)

Thankfully, we didn’t have to wait nearly as long for the Blu-ray, and the fact that it’s being released the week after my birthday makes me believe that, in some cosmic way, I’m somewhat responsible. So if you’ve been counting down the days until you could experience Branagh’s “Hamlet” in high definition, you’re welcome. Unfortunately, while the film looks brilliant in HD, there are no new special features to speak of. Granted, the ones that appeared on the two-disc DVD were already pretty good – the commentary by Branagh and Shakespeare scholar Russell Jackson is entertaining and insightful, and the making-of documentary “To Be on Camera,” although a bit dated, features some nice interviews with the cast – but surely they could have dug up something from the archives. Not that it will matter. Anyone that owns the DVD will want to pick up the Blu-ray strictly for the technical upgrades. And when you’re dealing with a movie with such lush production values, it’s more of a necessity than a luxury.

Trailer time: “Monsters” at the arthouse (updated)

Here’s the new trailer for Gareth Edward’s “Monsters” which is getting a bit of hype on the geek blog circuit. I saw this one at the Los Angeles Film Festival and have an opinion, of course, but you can read that after seeing the trailer. I will say, though, that this is a very well done trailer but if you’re going in expecting to be hugely terrified or wanting to see anything like an ordinary monster film, you’re probably not going to like it. The R rating — if memory serves, is primarily for cursing and mild “sexuality,” not all of it human.

H/t /Film and here’s the official “Monsters” site.

Here’s what I wrote after the festival:

Ever wonder what would happen if an old fifties monster movie like the George Pal “War of the Worlds” decided to concentrate on characterization and its romantic subplot, and kind of let the rest of the story take care of itself? This mostly improvised film from effects guy/writer/director Gareth Edwards is actually a lot more like ur-rom-com “It Happened One Night” than the film it’s most frequently compared to, “District 9,” as it focuses on a tough-guy news photographer (Scoot McNairy) escorting the beautiful-but-engaged daughter of his media mogul boss (Whitney Able) across a Mexico plagued by giant squid monsters. It’s not nearly as funny as it sounds — it’s not really meant to be, nor is it as compelling as Newsweek critic-turned-programmer David Ansen was claiming, though there are some interesting political echoes.

It is, however, gorgeously imagined and, including the somewhat comically old-school squid monsters, something of a visual miracle considering what appears to have been a minimal budget. Nevertheless, Edwards concept of basically filming where he could and then trying to shoehorn those stolen locations into a storyline with entirely improvised dialogue, doesn’t even come close to flying dramatically. His shoehorning of effects worked better.

UPDATE: Merrick prefers the UK trailer. Whether or not it’s better as its own experience, I could go either way as both trailers are very good. Still, it’s also very nice and it is, in fact, much truer to the real spirit of the film, which for better and for worse is much more arthouse than grindhouse. See it after the jump.

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A roundtable chat with Kevin Pollak of “Middle Men”

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A highly entertaining character actor, stand-up comic, and now also a screenwriter and Internet talk show host, Kevin Pollak will nevertheless remain forever in the shadow of three men. One is wise-guy crook Todd Hockney from Christopher McQuarrie and Bryan Singer’s slambam 1995 debut, “The Usual Suspects” (currently at #24 of all-time most popular films on IMDb); the other two are, of course, William Shatner and Christopher Walken. So powerful are the Pollak impressions of these two men, I’d venture that when most of us attempt to impersonate either actor, we’re really not doing Shatner or Walken, we’re doing Pollak doing Shatner or Walken. (Though, personally, my extremely bad Christoper Walken is really a very bad impression of Kevin Spacey‘s Walken but, for all I know, Spacey got his from Pollak while shooting “Suspects.”). Indeed, I can remember a time when it seemed like nobody did Shatner and I’m pretty sure it was Pollak who kind of opened to door for all the other impressionists into the voice and mannerisms of the man Pollak calls “the Shat.”

Among the nearly 90 or more productions he’s been involved with as an actor, Kevin Pollak’s latest release is “Middle Men,” a black comedy-laced drama owing more than a little bit to Martin Scorsese. The film stars Luke Wilson as straight-arrow businessman Jack Harris who falls in with a pair of highly inventive cokeheads (Gabriel Macht and Giovanni Ribisi) and would be Internet porn kings during the late 1990s. The pair have developed the first really viable method for collecting money over the ‘net in a reasonable amount of time. Of course, things get massively complicated from there and Pollak turns up later in the film as an FBI agent who comes to Harris and his porn star girlfriend (Laura Ramsay) with a startling new reality. The film, co-written and directed by George Gallo, best known as the screenwriter of “Midnight Run,” is actually just part of an ongoing collaboration between the director and the actor-comic and now screenwriter.

As is often the case, I was one of a number of scribblers who were participating in a roundtable with Pollak during the “Middle Men” press day at L.A.’s Four Season’s hotel. Pollak arrived in a friendly but highly subdued mood. He was a late addition to the press day and obviously has been keeping very busy. Among many other projects, he had a new stand-up special ready premiering, and an increasingly popular podcast, Kevin Pollak’s Chat Show, with recent guests including Neal Patrick Harris and John Slattery of “Mad Men.”  Pollak frankly seemed a little tired at first, though going out of his way to be funny — because that’s what you expect from Pollak. Things perked up as it went.

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