- The bad guy is back: Empire has released a few new pictures from next year’s Suicide Squad featuring Jared Leto’s Joker. Just in time for Halloween!
- SNL is set to be hosted by Matthew McConaughey for the first time in over a decade, and Adele will be the musical guest. That might just be enough for me to actually tune into SNL again.
- Sherlock: The Abominable Bride, the highly-anticipated Christmas Special and return of the BBC show, will air on both sides of the Atlantic on January 1st, 2016.
- Even if you haven’t seen Crimson Peak yet, this conversation between director Guillermo del Toro and fellow directors Christopher Nolan and Alejandro González Iñárritu is highly recommended.
Continue reading Film & TV News: October 27
One of the most egregious snubs in the history of the Academy of Motion Picture Arts and Sciences concerns last year’s Best Actor trophy, and no, it has nothing to do with Leonardo DiCaprio. Eddie Redmayne walked away with the Oscar for his turn as Stephen Hawking in The Theory of Everything, and indeed his performance was groundbreaking and heartfelt. But it pales in comparison to the tour de force delivered by Body, the Hungarian star of Kornél Mundruczó’s White God, in his role as the tortured, tragic, life-loving, revenge-seeking, slobber-mouthed Hagen. Due respect to Redmayne, but Body’s performance is simply one of the most emotional and drool-covered performances in years.
As a young actor Body was met with obstacle after obstacle as he tried to make ends meet while pursuing his craft. He auditioned for some of the most iconic roles of our time and even received a callback for The Beast from The Sandlot, but the dude who played Mr. Mertle claimed Body was “impossible to work with” and cited the Hungarian-English language barrier as a primary qualm. He was an extra in Air Bud: Seventh Inning Fetch but soon disowned the film and distanced himself from the creative vision of the entire Air Bud series. Body struggled to be taken seriously as an actor, forced to take work in Iams commercials and as a busboy of sorts in the alley behind an L.A. hotspot.
Continue reading White God (2014)
Around the 30-minute mark of American Sniper there’s something that’s not quite a montage, not quite a self-contained series of events, not quite comfortable in that first half-hour of the film. Sniper Chris Kyle spots an insurgent in his scope and he takes him out. A few more lone insurrectionaries crop up, and Kyle fires again. Again. Again. It sounds like a montage, but director Clint Eastwood doesn’t let it play out as such. And it’s fairly quick, cutting from one shot to the next inside the space of a minute and a half. Still, though, there’s something brutal and cold and darkly affecting about this life-of-Kyle in 90 seconds, something that almost singlehandedly elevates American Sniper to the level of a modern classic war film.
I assumed that Sniper would be a lot like The Hurt Locker, judging from the trailers and a few reviews and my admittedly vague knowledge of Chris Kyle’s story. Sniper is a lot like Hurt Locker, to be sure, but it’s not exactly in the way I expected. The similarities, really, are resigned mostly to the aesthetic — and visually, they’re so similar that you might expect Kyle to peek through his scope and spot Will James strutting down the sandy street in his EOD blast suit.
Continue reading American Sniper (2014)
Chris Pratt dominated 2014. From reprising his role as the lovable Andy Dwyer on the hit comedy Parks and Recreation to his starring roles in blockbuster smashes The LEGO Movie and Guardians of the Galaxy, which will garner the attention of this review, he seemed to be everywhere you looked. While I assert that Pratt was at his best in Guardians, his attempts at seriousness in various parts of the film felt a bit like he was trying too hard. But, his first scene in the film was absolutely brilliant, as he gets a little funky and sings into a space rat as though it were a microphone. This scene sets the stage for the tone of the remainder of the film: a collection of comical ridiculousness that you simply can’t take your eyes off of.
Guardians is a borderline Star Wars spoof, while at the same time paying all due respect to it. The genius of the film is found in the clever dialogue that evidences this point. One scene that comes to mind in particular is the one in which all the guardians decide to fight together against Ronan, all standing up to somehow state their dedication to the cause. Bradley Cooper’s hilarious Rocket comments, “Great. Now we’re all standing. A bunch of jackasses standing in a circle.” While the mocking of the cliché trope that is standing up to display emphasis is something I found to be tremendously clever, I also recognized the themes, such as devoting oneself to a just cause regardless of the dangers attached to doing so, that are so similar to those of the original Star Wars trilogy. Thus, Guardians is a sort of revitalized Star Wars reboot that stresses humor over drama but nevertheless paints a potent emotional portrait when it needs to, despite Pratt’s overacting at times. In addition, the film resolves itself in an incredibly familiar way. A band of outlaws come together to save the galaxy and are rewarded with impunity and heralded as heroes by the galactic authorities. Sounds a lot like A New Hope to me. To take it one step further, I honestly wouldn’t have been disappointed had this film instead been titled Star Wars: Episode VII – The Force Awakens.
Continue reading Guardians of the Galaxy (2014)