Today is May 11th, 2016, the 132nd day of the year. In those just-over-100 days a small little company called Disney — heard of it? — has made more money than any single company has any earthly right to make. Not since the Dutch East India Trading Company has a multinational firm held such widespread influence. Disney’s always been a successful company, sure, and even if they had fiscal years of lesser oomph they always had sheer name recognition to fall back on. In a bygone era every kid knew about Disney; today, though, we’re headed toward the era where every kid knows only Disney.
If that post-apocalyptic fever dream of a world seems far-fetched, consider how many of the blockbusters busting the block this year were preceded by that little star making an arc over the Magic Kingdom. Zootopia, for example, which is an animated film about talking animals, is currently hovering above the $930 million mark at the global box office. It is already the highest-grossing animated Disney film ever in China, surpassing even the likes of Frozen and The Lion King, and is in general doing work at the box office as few animated films have done before. Ever.
Continue reading The Jungle Book (2016) →
Jon Favreau and Vince Vaughn’s most recent writing/acting collaboration, Couples Retreat, had a budget of around $60 million. Their first collaboration of this sort, Swingers, had a lowly budget of $200,000. However, despite Couples Retreat having 300 times more money to work with, it is my honest belief that Swingers is at least 300 times better than Couples Retreat.
Swingers is the quintessential low-budget, indie, cult-classic film. Mostly the movie focuses on aspiring actors and best friends Trent (Vaughn) and Mike (Favreau), who meet up with other friends, such as Rob (Ron Livingston), Sue (Patrick Van Horn), and Charles (Alex Desert) in L.A. As with most other films of this similar prototype, the plot is not necessarily the most important aspect. Nothing super exciting happens per se, but it is still such a fun watch because it feels actually real.
Continue reading Swingers (1996) →
This is certainly one of those films that you either absolutely love or downright hate, and I can understand why. Martin Scorsese’s latest work, The Wolf of Wall Street, really isn’t that much different from many of his other pictures except for the intensity of the vulgarity -the literal sex, drugs and rock n’ roll – which turns certain people off from the film. The use of 569 F-words, numerous sex scenes including a gay orgy, the consumption of copious amounts of Vitamin B (posing as cocaine) and Quaalude’s, as well as speeding cars, helicopters and yachts, all add to the excessive feeling and tone that the movie captures so well, love it or hate it. Whether or not you enjoyed this film, you cannot deny how energized it is and that watching it was probably the quickest 180 minutes of your life.
It is easy for someone watching The Wolf of Wall Street to miss many of the film’s truly great aspects due to this vulgarity. The endless bare breasts and drunken and/or high (usually and) benders that the majority of the characters go on may serve as a kind of invisibility cloak for the less well-trained moviegoer. First off, the wittiness, intelligence, and authenticity of the dialogue is likely the most impressive thing about The Wolf of Wall Street. The script, penned by the Sopranos genius Terry Winter, is undeniably phenomenal; see “the McConaughey lunch scene,” “the Jean Dujardin negotiating scene,” “the epic f@#king DiCaprio speech scenes.” At the same time, however, Scorsese encourages his muses to improvise, delve deeply into their characters and bring that necessary authenticity to their performances and the film. It is this combination of impeccable writing and spontaneous inspiration that makes the dialogue in this film so good.
Continue reading The Wolf of Wall Street (2013) →
Sometimes, a movie like Chef is just exactly what you need. Jon Favreau’s latest directorial effort seems a far cry from his Iron Man days and is just about as different as it gets from a fall blockbuster, although Robert Downey Jr. does pop up. The closest you get to an action sequence in Chef is a skillful wielding of a carving knife going to town on a smoked pork loin, which itself certainly isn’t an ascetic display. It’s simple, but that’s not to say it’s ever dull.
The casting for Chef caused an early stir – “the dude who kicked off the Marvel Cinematic Universe directing and starring in a film also starring Iron Man himself, Black Widow herself, and Sid from Ice Age himself?! Chef is going to be so badass!!” – but the fact of the matter is that Chef isn’t the type of movie that has hype or sequels or post-credit cameos by other superpowered chefs from the same franchise. Chef is a tiny, unassuming, been-there-done-that flick about a guy who really just wants to cook some delicious food. Somehow, that’s supposed to be a compliment.
Continue reading Chef (2014) →