I’d be inclined to declare this whole weekend a massive multiplex fail if it weren’t for the fact that the only major release is actually getting really great reviews. And if you’re looking for something a little more low-key, this weekend is absolutely booming with opportunities provided you live in New York or Los Angeles. So onward we press into summer!
X-Men: First Class
Aside from its surprising ability to draw in very talented actors (its cast includes James McAvoy, Michael Fassbender, Jennifer Lawrence, Kevin Bacon, Oliver Platt, and January Jones), my hopes for this film were unfathomably low until a couple of weeks ago, when word got out that Matthew Vaughn’s fourth feature (he previously directed Layer Cake, Stardust, and Kick-Ass) was actually really, really good. I don’t know why it surprised me so; after all, I liked all of his films to varying degrees, but it seems like, at least this once, a film slipped through the famously rigorous Fox development process. Currently boasting an 87% on Rotten Tomatoes, which is better than any superhero movie has faired since the 2008 one-two-three punch of Iron Man, Hellboy II, and The Dark Knight, X-Men: First Class is poised to make a big dent this weekend both culturally and financially. I’ll be wading through the masses tomorrow to find out for myself how it holds up. Join me!
Hit the jump to see what else is coming out this weekend in limited release, including one of my favorite films of the year thus far.
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Cannes is in full swing and there’s plenty other stuff going on besides — way too much to cover completely. So, consider this just me hitting a very few of the highlights of the film world right this moment.
* The critical wars are going full strength at Cannes with the biggest love-it/hate-it proposition appearing to be Alejandro González Iñárritu’s “Biutiful.” I haven’t seen the film, of course, but Iñárritu is most definitely my least favorite of “the three amigos” of Mexican/Spanish/U.S. cinema. (The other two being Alfonso Cuarón and Guillermo del Toro) and not only because his name is the most impossible to type. I mostly liked “Amores Perros” but his “21 Grams” and “Babel” struck me as exercises in touchy-feely realism that was a lot less real than it seemed to fancy itself.
Still, he’s working with different writers now and everyone seems to agree that the always great Javier Bardem is especially fine in it, so I suppose I should keep an open mind. Still, reading about the film, it’s hard not to side with the anti-faction when much of the commentary echoes my feelings about past films and when the pro-side is being taken by Jeffrey Welles, who really doesn’t seem to respond well when other people don’t love his favorite films. It’s a conspiracy, I tells ya!
In any case, David Hudson does his usual amazing job summarizing the critical reaction from a wide swath of the press; John Horn at the L.A. Times focuses on the reactions of big name critics.
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