Tag: Headlines (Page 22 of 146)

The Walking Dead 1.3 – Tell It to the Frogs

They say you do crazy things in the face of death, but going just plain crazy? That’s reserved for guys like Merle, who certainly wasn’t the sanest person to begin with. And now that he’s been handcuffed to the roof of a building with a horde of zombies trying to break through the padlocked door, he’s willing to do whatever it takes to ensure his safety – even if that means begging to Jesus Christ himself. Of course, Merle knows better than to rely on old JC to solve his problems and decides that he’s going to have to free himself on his own. And wouldn’t you know it, that hacksaw is just a belt-length away from his reach. It’s a good thing he’s wearing a belt.

Not that anyone would miss Merle – except, of course, for his brother Daryl, who’s currently away hunting for deer when the scavengers return to camp. But before they deal with that particular situation, the survivors welcome back the group and are introduced to Rick, who is finally reunited with his family. Lori actually looks happy that her husband is alive, but Shane isn’t quite as relieved, as he’s forced to watch from afar as they reconnect with one another. In fact, Lori doesn’t want anything to do with Shane now that Rick has returned, and that includes him spending time with Carl. So why the sudden change of heart? Well, it seems that Shane told Lori that Rick was dead, and she’s not at all happy about him taking advantage of her emotions. That pretty much confirms what I initially thought – that Lori and Shane’s romance is fairly recent – but I’m still not sure what’s worse: Lori having an affair, or the speed in which she moved on after learning that her husband was dead. Neither one is very flattering.

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Unfortunately, Rick is too busy playing the hero to realize what’s going on between his wife and best friend. After T-Dog informs him that he padlocked the door to the roof to prevent any zombies from getting through, Rick decides that he can’t leave Merle to die up there alone, and wants to go back to Atlanta to rescue him. It’s not exactly a popular decision, but when Daryl returns to learn about his brother’s fate, he agrees to join him on the mission. Daryl might just be an even bigger loose cannon than Meryl, and the scene where Shane and Rick had to restrain him was an excellent display of the show’s ability to sneak in a little humor:

Daryl: “You best let me go.”
Shane: “Nah, I think it’s better if I don’t.”
Daryl: “Choke hold is illegal.”
Shane: “Yeah, you can file a complaint.”

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Boardwalk Empire 1.9 – The Road to Oz

Eli may still be stuck in bed, recovering from his gunshot wounds, but he’s doing well enough to finger the guys responsible for taking him down while robbing the casino: the D’Alessio brothers. Their reputation as a bunch of full-fledged thugs more than precedes them, and Eli wants them taken down before they do any more damage. (The Thompsons’ take on criminal activity is of a much higher class, you know.) Nucky, however, is concerned about a mayoral candidate named Derwood Fletcher who’s been talking about all the corruption in the city. Eli shrugs it off, but Nucky’s concerned about how it’s going to affect the election. Something tells me that Eli’s desire to get out there and perform a bit of spin control is only going to backfire. I don’t know if it’ll damage Nucky’s career or Eli’s health, but I just can’t imagine something’s not going to suffer as a result.

Meanwhile, on the boardwalk, Nan Britton – a.k.a. Warren Harding’s mistress – is musing to Margaret about how Warren’s love for her can’t compete for his love of America…not that she’s rationalizing her situation. They soon pop into Margaret’s former place of employment in order to get Nan a few new frocks, but Margaret also gets an earful from Madame Jeunet, who complains how much of her income goes straight into Nucky’s pocket. Oh, that woman: her complaints are valid, but the way she’s trying to play Margaret is despicable.

Hey, look, Jimmy’s back in Jersey! Once again, he confirms that his family isn’t his priority by conceding to Nucky that he came straight from the train station to his office. As I suspected last week, Richard Harrow is going to play a part, with Jimmy telling Nucky that he wants Richard to help him on the D’Alessio job. It’s interesting that Jimmy wants Nucky to admit outright that he wants him to kill the brothers, then makes a face when he gets confirmation that “the kid” has a death sentence as well. Criminals have the strangest take on ethics.

Speaking of the D’Alessios, they’re meeting with Rothstein, who clearly outclasses them by about 10:1, if not more. He knows it, too. First, he underlines the fact that he’s got a reputation to uphold, thereby indicating that he’s not sure they won’t embarrass him, then he discusses the methods of making money via bootlegging in such a way that he gives hem the opportunity to put their foot in their mouth with their stupidity. He wants to set up a scotch-importing business, and he’s hopeful that they might be able to assist him in bypassing Nucky in the equation, though he has them sign insurance policies to cover his bases. I had to laugh at Rothstein’s closing joke about the monkeys at the zoo, because he’s right: he and the D’Alessios are two completely different species of criminals.

I like how Nucky’s a fan of L. Frank Baum’s “Oz” books. I don’t know if you’ve read anything beyond the original “Wizard of Oz,” but there’s some really great stuff to be found in Baum’s exploration of the land of Oz…but I digress. He and Margaret soon descend into a political discussion, where Nucky lays out his theory on politicians: “If we only elected good men, we’d never have leaders.” Is that an original quote? Somehow, it seems too profound for Nucky. The topic quickly shifts to Madame Jeunet and her business, causing Nucky to tense up at the unsuitable nature of the topic and leave abruptly. Whoops: power struggle in the Thompson house.

Angela looks horribly uncomfortable with a man’s arm around her, doesn’t she? Not so when she’s being kissed by another woman, though. Hello, menage a troi…? If so, it’s going to be a decidedly uneven affair. But, no, the proceedings are interrupted by the return of Jimmy, who’s acting pretty shitty for someone who’s been away from home and virtually incommunicado for as long as he has. Her friends make a hasty departure, leaving Jimmy and Angela to…interact? I don’t really know what you’d call it. It hardly starts off as consensual, but it appears to end up that way, unless she’s just resigned to her fate.

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Weekend box office: “Megamind” stops the “Unstoppable”; “Morning Glory” rises, but doesn’t shine

All us entertainment scribes — Anthony D’Alessandro most certainly included — are busting out their train metaphors and similes. In a very mild surprise according to some, but not all, of the conventional wisdom pre-weekend, the 3D animated “Megamind” hung on with the vigor of a locomotive in its second week and beat the runaway train thriller “Unstoppable” into the money station.

According to the mighty Box Office Mojo, the supervillain tale showed the long-lasting strength of animated family comedies. “Megamind” dropped a mere 36% in its second weekend, earning a very solid estimate of $30 million and change in its second week for Paramount/Dreamworks. Meanwhile, the all-star comedy, “Morning Glory,” proved to be a one very slow moving train.

Though it was not the #1 film this week, Tony Scott’s “Unstoppable” with Denzel Washington and Chris Pine actually came in pretty much where it was expected to, with an estimated $23.5 million for Fox. The good news is that strong reviews and a somewhat older-than-usual audience may well contribute to some strong legs. The bad news is that its $100 million budget — a big chunk of that no doubt coming from the stars and director’s paychecks (Washington reportedly nearly left the project because of salary haggling) — means it’s going to have to keep chugging for a while to be profitable.

This week’s #3 film was the star-driven comedy “Due Date,” which suffered a fairly average second weekend drop of 52.5% to earn an estimated $15.5 million. Fourth place was taken by another new wide release that was, actually, off to a very decent start relative to its budget. Although nobody seems to like the science-fiction destroy L.A. tale, “Skyline,” a whole lot, the $10 million dollar film made back its budget plus a bit extra, with an estimate of just under $11.7 million.

Rachel McAdams and Harrison Ford in
It was not an exciting weekend for stars Harrison Ford, Rachel McAdams, and Diane Keaton. The not so well received “Broadcast News”-esque “Morning Glory” earned just a bit over $9.6 million for Paramount, which is a long way south of its $40 million budget. Also, “the nation’s #5 movie!” is not much of a come on for audiences.

Meanwhile in limited release, the IFC-released indie comedy first feature from 20-something Lena Dunham, “Tiny Furniture,” earned the week’s biggest per-screen average of $22,450. On the other hand, it was only on one screen. Somewhat more of a test was the 22 theater run of the Danny Boyle-directed James Franco endurance vehicle and near certain Oscar-nominee, “127 Hours.” It earned the week’s second highest per screen with $20,591 on 22 screens. If you don’t have a calculate handy that translates into an estimated total of $453,000 in its second week for Fox Searchlight.

Today on Film Geek’s Corner: Edgar Wright salutes “Danger: Diabolik”

With the passing of the great producer Dino De Laurentiis earlier this week, it’s probably an apt time to run this installment of “Trailers from Hell.” For all his robust crassness, De Laurentiis usually aligned himself with the most distinctive directors around. Below, distinctive director Edgar Wright — most recently of “Scott Pilgrim vs. the World” — discusses a very silly film by another acclaimed distinctive geek auteur, Mario Bavo.

Personally, I find Bava’s films a little bit hard to watch straight through. On the level of narrative, they’re kind of a mess and I can’t live on visuals alone. On the other hand, what visuals. After the flip, I’ll present the regular trailer sans commentary, and also that Beastie Boys video Edgar Wright alluded to.

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The incredibly strange uncle who stopped living but was a lot less entertaining than a dirty baker’s dozen of samurai at AFI

As fate would have it, aside from a double bill of “Eraserhead” and an oddly beat-up print of “Sunset Boulevard” presented by David Lynch, I only saw two complete films at this year’s AFI Film Festival at the Chinese Theater multiplex.

The first was this year’s Cannes Palm D’Or winner, “Uncle Boonmee Who Can Recall His Past Lives” from Thai director Apichatpong Weerasethakul, aka “Joe.” This is obviously a film and a director with many ardent admirers, including a lot of online cinephile acquaintances I respect, and I can certainly understand why viewers much more patient than I with the “contemplative cinema” aesthetic would love it.

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It’s a sweet-natured and poignant magical realist non-story about a dying man and his family, with many striking individual moments but, by its own design, no narrative tension. Sadly, I seem to have a permanent allergy to the kind of deliberately slow-paced films that focus very intensely on the minutia of daily life with no particular story, even if, as in this case, it features plenty of arresting imagery and involves people who turn into half-monkey creatures and a ghost or two. I only nodded off once, but the gentlemen next to me was pretty much a goner at the 20 minute point. Snoring ensued.

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