Tag: Nicolas Cage (Page 2 of 5)

Two moods for a holiday eve

It’s almost 9:30 p.m on the West coast and, with one of the nation’s two biggest family-oriented holidays happening tomorrow, a lot of folks on both coasts and in between are probably nervous about food preparations, psychotic relatives, their own psychoses, etc. Some may even be, as the contemporary argot would have it, ready to “lose their shit.” On that note, via Anne Thompson and Pajiba, we have a salute to the modern master of complete loss of emotional control, Mr. Nicolas Cage, from editor Harry Hanrahan. (It goes without saying this is highly NSFW — Cage is the only man in the world whose allowed to lose his shit at the office.)

Feeling a bit unnerved by all that? Me too. So, here’s the human antidote(s) to Nicholas Cage. Michael Caine salutes Cary Grant. How much cooler, calmer, and collected does it get?

Ahh. I feel much better now.

Another Easter weekend trailer: “Leaves of Grass”

We live in a climate where even a fairly action-packed stoner black comedy featuring an apparent comedic powerhouse performance by an A-lister can still be released almost as if it were a 4-hour meditation on the futility of existence from the Ukraine. Fortunately for said A-lister, Edward Norton, and actor-writer-director Tim Blake Nelson, “Leaves of Grass” — which has not much to do with Walt Whitman but utterly wowed Roger Ebert — apparently made audiences squeal with delight at SXSW, reportedly setting up a chain of events which saved that film from what Anne Thompson reported on Thursday would have been a mere $250,000 ad budget.

The movie, which really seems to have dramatically divided critics so far (occasionally a sign of a truly interesting film), continues a venerable tradition of great actors interacting with themselves as identical twins and more fanciful doppelgangers. Below, Norton swims quite nicely in the same waters that worked so well for Jeremy Irons (“Dead Ringers”), Nicolas Cage (“Adaptation”), and, more recently, Sam Rockwell (“Moon“).  All I can say is that with a supporting cast that features a menorah-wielding Richard Dreyfuss, Keri Russell, Susan Sarandon, and filmmaker Nelson, a strong comic actor whose previous indie films have all been on deadly serious topics,  this one may not turn out to be the masterpiece Ebert finds it to be, but it sure looks to me like way too much fun to be left just to us art-house denizens.

SXSW 2010: Kick-Ass

Matthew Vaughn hasn’t had the greatest luck with comic book movies – first, he walked away from “X-Men: The Last Stand” mere weeks before filming began, and more recently, he was replaced by Kenneth Branagh as director of Marvel’s big screen adaptation of “Thor” – so it’s nice to finally see him find a little success in the genre. Of course, “Kick-Ass” has had its share of problems as well, most notably in the lack of studio interest when the project was first being shopped around. And considering just how much graphic violence and language courses through Mark Millar and John Romita Jr.’s eight-issue miniseries, you can sort of understand why. Thankfully, that didn’t deter Vaughn from just securing the financing himself, because in doing so, he was provided the freedom needed to create the kind of balls-to-the-wall comic book movie that its bold source material deserved.

For teenage geek Dave Lizewski (Aaron Johnson), comic books aren’t just an escape from the social hierarchy of high school, but a lesson in morals as well. When he wonders why no one has tried to do the superhero thing in real life, he throws on an old wet suit and heads into the city to fight crime. It doesn’t go quite as well as he imagined, but his random act of bravery is recorded and uploaded to YouTube where he becomes an overnight sensation as the masked crusader, Kick-Ass, spawning an entire subculture of costumed heroes in the process. Meanwhile, father-daughter duo Damon and Mindy Macready (Nicolas Cage and Chloe Moretz) really are living the secret lives of superheroes, and when they catch wind of Kick-Ass’ clumsy heroics, they decide to team up with the kid to take down the local crime boss, Frank D’Amico (Mark Strong).

kick_ass

There’s more to the story that would be considered a spoiler to first-time readers of the comic – namely, the reveal that Kick-Ass’ new superhero pal, Red Mist (Christopher Mintz-Plasse), is actually Frank’s son, Chris, in disguise – but it’s announced so early on in the film version that you’re not surprised when he turns out to be working for the bad guys. In fact, there are plenty of differences between the book and the movie, but with the exception of Dave’s relationship with high school crush Katie Deauxma (Lyndsy Fonesca) – which follows the same general path until it veers off into a decidedly more Hollywood-friendly direction – it’s mostly just additional material meant to flesh out characters that didn’t have as much of a presence in the comic book.

And even when the movie isn’t using the comic as a blueprint, it still feels like it belongs in “Kick-Ass.” Director Matthew Vaughn clearly understands the world that Millar and Romita Jr. have created, and that familiarity resonates throughout, from the high-energy action scenes to the colorful performances from its cast. Aaron Johnson is a real find as the title character – a Peter Parker type who can play both dorky and cool – but it’s his pint-sized co-star who walks away with the film. Chloe Moretz has already proven that she’s mature beyond her years (see: “500 Days of Summer”), but she easily trumps that performance with an instantly iconic role that places her in the middle of some of the coolest, most wildly violent fight sequences since “Kill Bill.” Even Nicolas Cage is at the top of his game as his character’s alter ego, Big Daddy – a vigilante so conceptually similar to Batman that Cage speaks with an Adam West-like cadence.

That’s exactly the kind of detail that might drive some fans crazy, but it complements Vaughn’s vision nicely, because his “Kick-Ass” is more of a satire of the superhero genre than a straight-up action flick. And when you have an 11-year-old girl running around town chopping up gangsters, how could you not acknowledge the absurdity of the situation? Millar’s book had its moments, but Vaughn mines the material for even more laughs, especially in the relationships between Aaron and his friends (Clark Duke and Evan Peters), Kick-Ass and Red Mist, and Big Daddy and Hit-Girl. The end result is an entertaining blend of action and comedy that, despite falling short of its ridiculously high expectations, delivers everything that was awesome about the comic and more.

“That’s why we’re superheroes. They love us.”

The box office preview is coming along later today, I promise, but in the meantime it seems it’s never a bad time for a new “Kick-Ass” trailer. Yesterday came the announcement that this highly buzzed about non-supernatural/non-sci-fi superhero action black comedy from the highly underrated director Matthew  Vaughn (“Layer Cake,” “Stardust“) will be opening the big SXSW Film festival in Austin this March.  Now, via the Heat Vision blog, here’s a very decent general audience trailer  — the movie itself is certain to be a “hard R”  — which describes the story in a bit more detail.

And, just for a bonus, here’s an earlier Red Band clip-trailer via Trailer Addict that I failed to run a while back, It adds a bit to what we saw previously of Chloe Moretz and Nicolas Cage as the not at all ordinary alter egos of Hit-Girl and Big Daddy. It kind of makes you all gooey inside.

I think it’s safe to say that, between this and his stellar reviews for “Bad Lieutenant: Port of Call New Orleans,”  Cage certainly appears to have his regained his performing mojo. From what I’ve been reading, I’m also looking forward to more people agreeing with me that Vaughn, once  known only as Guy Ritchie’s producer, is the better movie storyteller.

“The Hurt Locker” sweeps the National Society of Film Critics Awards

The National Society of Film Critics has bestowed another big awards win on the Iraq war thriller, “The Hurt Locker,” which won’t hurt its Oscar possibilities.  As with the two other most prestigious critics groups — the Los Angeles and New York film critics — the highly praised tale about a bomb disposal unit during the chaotic early days of the U.S. invasion won the group’s best picture award scroll.

The Hurt Locker

Ironically, according to Peter Knegt of Indiewire, the last time a single film swept the best picture prize from all three groups was when Curtis Hanson’s outstanding “L.A. Confidential” managed the coup in 1997. It lost the Oscar to James Cameron‘s sentimental and spectacular romantic melodrama, “Titanic” — one of the most widely disagreed with Best Picture winners in recent history. With “Avatar” becoming a wide popular favorite and a gigantic hit, a repeat of this scenario is not outside the realm of possibility.

“The Hurt Locker” also won major prizes for director Kathryn Bigelow and star Jeremy Renner, who edged out Jeff Bridges, currently a favorite the win the Best Actor Oscar for “Crazy Heart,” as well as Nicolas Cage for “Bad Lieutenant: Port of Call New Orleans.” For Best Supporting Actor, once again “Inglourious Basterds” break out bad guy Christoph Waltz took the top prize, with another former unknown, Christian McKay, getting the second largest number of votes from critics for “Me and Orson Welles.”  The best screenplay nod went to the Coen Brothers’ ultra-dark black comedy, “A Serious Man.”

Mo'Nique in In something of an upset that, I’m guessing, might not be repeated at the Oscars, Yolande Moreau, of the French language biopic “Seraphine,” beat Meryl Streep in “Julie and Julia” by one vote for Best Actress. Once again, however, talk show host and comedian Mo’Nique added to a truly impressive number of wins with her work in “Precious,” taking yet another Best Supporting Actress prize.

You can see the complete list of winners at bottom of the Indiewire article I linked to above.

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