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Boardwalk Empire 1.3 – Feet of Clay

So where were we? Oh, right: the blood-covered guy in the woods.

The lone gunshot victim is being hustled into the emergency room, having somehow managed to survive for several days in the woods. How he managed to do this, however, remains a mystery…or, at least, it does to Eli, anyway. “He’s fat?” suggests Eli. “He’s insulated? I don’t know. How should I know? I’m not a doctor.” Nucky’s pissed off about the whole situation, but he’s particularly angry at Jimmy…and, really, can you blame him? Nucky tells Eli to take care of the situation, and he certainly gives it his best shot, but attempts to smother the poor bastard with a pillow fail, though it’s not clear whether it’s because Eli’s a bad smotherer or if the guy just has really good lungs. Either way, it’s a minor miracle that Eli manages to quickly set aside the pillow just before Van Alden and his boys swing in to the question the fellow.

Catching the tail end of Nucky’s charitable phone call served as yet another piece of evidence that he’s had his own issues with a child at some point in his past. As ever, it was nice to see as much of Lucy’s body as possible – little did we know how much more we’d be getting later – but when she started talking about the possibility of having a baby, I thought the way she said “mommy” was highly disconcerting. I know some guys get off on baby talk, but hearing her talk that way while half naked and seconds away from giving a blow job, all I could say was, “Ew.”

Wow, I knew Nucky was a big shot, but when you’re big enough to get Eddie Cantor to play your private party, you’re really something. Eli pops ’round to tell Nucky about the situation at the hospital, but when Nucky tries to give him shit for not having stayed at the hospital to protect their patient, Eli – otherwise distracted by Cantor’s goo-goo-googly eyes, basically says, “This ain’t my problem, go be pissed at Jimmy,” and to echo my statement from a few paragraphs back, can you really blame him?

Speaking of Jimmy, when they put the focus on his fascination with how his wife could keep their son still long enough to take his picture, followed by him flipping through the photo album, I thought it was simply to offer a sense of how depressed he was with the lost time between him and his family and how different he and his wife have become. I didn’t anticipate that it would lead to that scene with Jimmy and Tommy ending up at the photographer’s studio. I can see why he would’ve been suspicious of the photographer at first, based on the scandalous shot of his wife baring her shoulder, but once Jimmy had met the man and his wife and seen how comfortable Tommy was around both of them…I dunno, I guess I just thought it would dissipate somewhat. Instead, he seemed to get even more jealous, though part of that could simply be because he’s dealing with so many emotions that he just doesn’t know what to feel.

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Weekend box office: “The Social Network” kicks off Oscar season with a low-key victory; “Let Me In” in isolation

Not that a brainy drama about the founding of a popular web site really should do ultra-massive business, but there were those expecting huge numbers for “The Social Network” and, as reported here on Thursday, the film was expected to make at least $25 million. However, as we peruse the Box Office Mojo chart, we see that it did a respectable but far from immense $23 million and, as everyone is noting, it’s success seems to be concentrated in urban areas. Not a surprise. Still, for those fascinated by the Jessie Eisenberg vs. Michael Cera Jewish dweeb v. Goyish geek showdown, this is a big win for Team Jessie, I suppose. Mazeltov.  Overall, it seems likely that the collaboration between between the powerhouse team of director David Fincher and writer Aaron Sorkin’s place as the film-to-beat, awards-wise, is set and that should mean some very strong legs.

The week’s #2 film was probably a pleasant surprise for Zack Snyder and Warners. “Legend of the Guardians: The Owls of Ga’Hoole” did well in matinees, probably benefiting from little competition for the always crucial family dollar. The film dropped only 32.6% from its lackluster opening for an estimate of $10.8 million and change. Oliver Stone’s third-place “Wall Street: Money Never Sleeps” suffered a more usual drop of just under 47% for a neither-bullish-nor-bearish estimated week 2 take of $10.1 million for Rupert Murdoch’s Fox.

Easy A,” a cheaply made and therefore very profitable mini-hit comedy, and the outright bomb, “You Again,” earned estimates of $7 million and a skosh above $5.5 at fouth and fifth place, respectively. Then, we get to this week’s two horror releases.

“Case 39” — a horror flick aimed at adults which has generated no excitement anywhere, with anyone, is thought to have made about $5.35 million. Still, that makes them a whole $50,000 ahead of this week’s real box office unfortunate.

People will be picking apart the really not good $5.3 million estimated performance for Overture of the solidly made, beautifully acted horror/coming-of-age remake “Let Me In” for weeks. I personally think that both Anne Thompson and her box-office guy Anthony D’Allesandro are partially on the right track. The idea that it fell in the cracks between the art-house and horror world has some real validity. As I’ve often noted, horror fans these days seem to demand hard-edged scares often amounting to simulated trauma, and “Let Me In” pretty obviously isn’t going to that place. Real art house patrons might turn up their noses, preferring the “real” film, “Let the Right One In,” from Sweden and non-horror fans might avoid it simply because it’s horror. Some may even assume it’s in some way like “Twilight.”

There’s also the issue of R-rating which D’Allesandro termed a “stake through the heart.” Indeed, both films will likely become favorites of young people who see them on home video and I don’t think that’s a bad thing. I usually dislike parents taking young kids to “hard R”-rated films, but despite a couple of scenes of strong blood, some ingeniously implied ultra-violence, and some morally complex ideas that would probably benefit from a bit of parent-child discussion, I certainly wouldn’t think less of parents allowing mature tweens to see either film. I’m sure many will on DVD and Blu-Ray.

The other good news for Matt Reeves, however, is that his film only cost $20 million. It’s also possible there will be some award nominations here and there. It’s just a shame that, given their ages, neither Chloe Moretz or Kodi Smit-McPhee are likely to be nominated in the Best Actor or Actress Oscar category, and there’s really no justification at all to say that either of them are in “supporting” roles. It’s completely their movie.

LET ME IN

Der Glenn Beck’s Face — a mash-up for a Sunday morning

Glenn Beck, Donald Duck — one is a brainless cartoon character who’s always in the wrong and had wacky misadventures, and the other is Donald Duck. (Bet you saw that one coming a mile away.)

I was going to post this later, but as my source for this, Roger Ebert, tweets, better to put it up sooner before the Disney lawyers get to it — though I guess some believe there may be possible extra added first amendment protection as it’s overtly political speech. Anyhow, nice use of some great classic-era cartoons from the Walt Disney factory at its peak. You knew “The Three Caballeros” had to get in there at some point. Wonder what they’ll make of this at Breitbart’s Big Hollywood?

Another Tony Curtis moment

Blake Edwards’ 1965 “The Great Race” is an childhood favorite of mine —  I remember being about six the first time I saw it. I think I liked the cars, the broad slapstick, and the cartoony iconography. I watched it again a couple of years back for the first time in its entirety in probably more than 20 years and found it held up a lot better than I had expected, not least because of a really fine comic performance by Tony Curtis as the absurdly heroic and properly chauvinistic the Great Leslie.

In this scene — briefly interrupted by some very nice Laurel & Hardy-slapstick from villains Jack Lemmon and Peter Falk — good guy Curtis puts various gentlemanly moves on early feminist Natalie Wood, who he had also romanced the prior year in “Sex and the Single Girl.” It’s a very funny send-up of supremely confident romantic movie heroes of old and of Curtis’s own ultra-suave persona. It also features some very nice sword play by Curtis, who was actually knew how to handle a saber.

“The Great Race” airs Sunday night/Monday morning as part of TCM’s 24-hour Tony Curtis marathon tomorrow night at 1:30 a.m. Eastern/10:30 Pacific for you night-owls and DVR owners.

City Island

City Island is a beach-side neighborhood in the Bronx that’s so idyllic looking it’s hard to believe non-millionaires can afford to live there. Andy Garcia stars as hereditary homeowner Vince Rizzo, a prison guard — excuse me, “corrections officer” — who is also secretly an aspiring actor. When an inmate (Steven Strait) turns out to be his heretofore unknown son, he takes the handsome ex-con home without a word of explanation to anyone. This is a dangerous move, as his family is already seething with Italian-American emotion. Wife Joyce (Julianna Margulies) is lonely and convinced that Vince’s alleged poker games — cover for the acting classes he takes from a curmudgeonly Alan Arkin — are cover for an affair. The Rizzos’ beautiful college student daughter (Garcia’s real life daughter, Dominik García-Lorido) is secretly stripping for cash. Meanwhile, their gawky teen son (Ezra Miller, the funniest person in the movie) is nursing a fetish involving the giving of culinary pleasure to obese women. The final turns of the screw are Vince’s friendship with a very pretty fellow acting student (Emily Mortimer) and an audition for, naturally, the latest Martin Scorsese crime epic. Yes, “City Island” is terribly contrived, but the film is full of funny dialogue, good acting, and genuine feeling that nicely papers over the problems. Writer-director — and sometime classic film blogger — Raymond De Felitta is no visual stylist and may be too eager too please, but he knows how to entertain.

Click to buy “City Island”

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