Well, you’re certainly NOT going to tell a lady she can’t cut her own hair, right? RIGHT? I thought so. Anyway, this Sin City“sequel” looks pretty cool, although as a friend noted a few weeks back when he saw the trailers: “Everyone’s looking a wee bit long in the tooth even WITH all that makeup!” Of course, I laughed along with him because we’re no spring chickens either. But hey, neither of us is up there on the big screen chewing up the scenery for a well-earned paycheck. Hmmm… maybe we should consider a career move? I think he can play Marv without all that rubber goo on his face. Me, I guess I can be anything in a script like a table, wall or tree. I think I’m a bit wooden when it comes to the acting stuff, so playing an inanimate object is probably a better start…
Wait. Horrible Bosses 2? Well, there’s no accounting for taste, I suppose. Now, I didn’t “hate” Horrible Bosses, when I finally caught it on cable but it certainly wasn’t a film I’d thought I’d see a sequel for. The again, it seems that ANY major Hollywood comedy that rakes in some bucks takes the easy money route to Sequeltown, offering bigger paychecks to the returning cast while adding more names into the pot to get those who liked the original to go rushing into theaters for that big weekend or four before slowly to quickly declining returns push the feature down the other road to the inevitable “Own it on Blu-Ray/DVD” commercials that kick off without fail in under six months these days before the film is either bought or not bought on it’s next road to that cable premiere.
I’m not at all interested in Horrible Bosses 2, in case you didn’t guess. Nice try though, Warner Bros. (and that’s all I’ll say about that). Still, I bet there’s a Horrible Bosses 3 next year…
Amusingly enough, the dial-up connection I’m using now is FASTER than all the wi-fi spots I’ve visited today. At least for posting stuff, that is. I’ll still need to do a bunch of downloading tomorrow, so it’ll probably be a long day of updating, getting a new banner and background up and so forth and so on. You’d THINK being in a major metropolitan area would mean you have better service than some tiny hamlet out in the boonies, but nope. Anyway, this TV spot for the upcoming James Brown biopic (which I probably won’t like outside of the music) is keeping me slightly happier at the moment, as are a few games I’ve had queued up for this weekend. Eh, I guess I shouldn’t complain too much – at least I can work from almost anywhere provided the internet can keep up with me, grrrr…
Hmmm… suspicions confirmed. Dracula gets retold, so it’s officially “Dracula Untold” now, thus the need for a reboot of this magnitude. Big, loud, full of CG effects and hey, why not let’s get that hot singer du jour Lorde to do the theme song you’ll more than very likely hear as part of the end credits and want to download at some point? *Sigh*… Oh well. The young ones will eat it up, the weekly movie-goers will pay their money as usual, the older curmudgeonly critics will lament the lack of Lugosi’s accented mumbling sexy style, while others trumpet it as “sexier than Twilight” in those tween magazines and online haunts for the Emo chicky/Hot Topic crowd. Everyone wins… well, not really, but so goes the modern vampire movie – into the past with lots of the present 9and too much for my more mundane horror tastes). Eh, October isn’t so far away, so perhaps my mind will be changed? We shall see (as usual)…
WANTED! Dark Horse Comics and toy design master Eric So want YOU to grab this very limited edition (950 pieces) and very cool stylized Marv vinyl figure, which is set for a September 10 release, not long after the August 22 premiere of Sin City: A Dame to Kill For at a theater near you. Each Marv is 13 inches tall, individually hand painted, has a removable cross and chain and in a neat touch, you get a bunch of sticky bandages you can apply to his handsome mug. Well, I think he’s handsome… in that his mother dropped him off a roof too many times but he never stopped breathing kind of way.
Anyway, go bug your comics shop guy or gal if you want one of these. You better find a nice place to put it, too. Nobody puts Marv in the corner. For long…
“Nothing like a little disaster for sorting things out.”
Some people hate Michelangelo Antonioni’s groundbreaking 1966 film Blow-Up (or Blowup depending on how you prefer it spelled, I go with the poster myself) with a passion reserved for cruel dictators and people who drive vans full of puppies and baby rabbits into lakes. Me, I’ll admit to disliking and being frustrated with the film when I saw it as a not quite ready to see something so heady teenager thinking it was going to be something entirely different. However, as years have passed and I’ve seen it a few more times, I’ve come to truly appreciate the film for the things it nails while realizing most people who despise the film tend to over-analyze it to the point of making themselves confused as to exactly what the movie is about.
For all its swingin’ London scenery, excellent use of that great Herbie Hancock score, skinny exotic models posing for a seriously unlikable main character and seemingly “boring” stretches where seemingly, nothing important happens for some viewers looking for a proper narrative before something important DOES happen (that’s picked upon as important to those plot followers, naturally). The funny thing is, any attempts as locking in that golden “Aha!” moment are interrupted by a few distractions that intentionally take focus away from things unless you’ve clued into what’s actually going on here. With all that, Blow-Up is actually a surprisingly minimalist and easy to understand film, albeit an experience that demands your complete attention. Well, once you cut through the arty fat and get to the hidden in plain sight meat on the bone dangling in front of you, it’s a more fulfilling viewing experience. On the other hand, it’s also a film that while open to a few interpretations, still revolves around a central theme some continue to overlook. Continue reading →
I have no idea how many times I’ve seen ALIEN since 1979, but it’s one of my favorite films, period. I’d written about it briefly but never in depth because there have been so many other and better dissections of Ridley Scott’s classic that the only thing I have to offer is SEE IT if you haven’t. The cool thing is it’s been released in so many formats that you can find it almost anywhere for whatever you have that plays legally purchased films. Of course, 20th Century Fox wants you to buy it from them HERE, so feel free to do that if you like. Personally, I’d want to grab the first four films in either the ALIEN Quadrilogy or ALIEN Anthology box sets, but if you just want to be scared out of your wits with the best entry in the franchise, go with the first one.
And yeah, I know it’s Friday, silly. I started this post last night but the internet was hating me at home because it vanished for about an hour or so and it was after midnight by the time it came back from wherever it went.
It’s actually quite funny, sitting and watching a favorite film with people who haven’t seen it before who initially end up not liking as much as you do. I’ve had this happen countless times, but I don’t think I’d ever had such an odd reaction from the last screening I did of The Graduate, Mike Nichols’ excellent, classic 1967 comedy/drama. What I saw (and still see) as one of the many films of that year that were minor to major revolutions in film making, my friend and his wife (who are a tiny bit younger than me) ended up being divided on a few fronts, making for an interesting discussion afterwards. I’d initially planned a straightforward review of the film, but watching these two people interact during and after the movie made me scrap that in favor of this article.
Is Dustin Hoffman’s Benjamin Braddock merely a “spoiled rich kid, a stalker and a jerk!” or is he just “an elite everyman living a plastic life” like my friends debated (among other things)? If you look at the film with a modern eye, the answer is yes on both counts. However, that modern eye will miss a chunk of the film’s actual comedic value and even some of the most interesting elements of this classic. if there’s a lesson to be learned here, it’s this: spinning things into a too politically correct version of a movie that needs to be seen as a sign of the times it was made in isn’t always necessary, but it makes for some perky bits of conversation… Continue reading →
Yes indeed, the more I see of this, the more I like it so I hope to all the hot hells it doesn’t disappoint. I already know what to expect from a Marvel Studios film, so I know that I need to keep my eyes peeled for in-jokes and cross references to other ME properties, there won’t be any mention of Spider-Man (different studio!) and you’ll NEED to sit through the entire end credit sequence so you can get slapped upside the head with a shocker of a fanboy surprise other people who see this won’t get because they’re not Marvel fans at all, but dragged their kids (or were dragged BY their kids) to see this. I keep thinking of this kid who started yelling at his parental unit to “WAIT!” when I went to see The Avengers because “WE HAVE TO SEE THE ENDING!” and half the theater telling that daddy dearest to sit down so the kid would stop with the wailing. Good times? Nope, but hell, you may as well get that full ticket price worth, I say. At least that dad agreed to listen to the masses and didn’t drag the kid outside, so there’s a victory for the loud small fry contingent, I guess…
Even though the first time I saw Forbidden Planet was when I was about five or six years old on a medium-sized black and white TV with not always perfect reception and the film was rather horribly panned and scanned from what I recall, I fell in love with it and it’s remained one of my favorite science fiction films. I’ve since seen it countless times and it remains quite a fun film to watch thanks to everything melding together so flawlessly (including its handful of flaws).
I think it was also one of the first movies I actually remember looking at the music credits for and being surprised that two people composed the “electronic tonalities” that were buzzing my eardrums and pleasantly sinking into my brain’s recesses. Louis and Bebe Barron’s impressive score drove home right away that this was no ordinary 1950’s flick with a low budget and cast of no-names mugging it up for the camera. I’ll also admit to thinking director Fred Wilcox was a relation, but I think my mother or father pointed out that many people have the same last name who aren’t related at all (but I don’t think I believed her at the time). Flash forward a few years later and when I finally saw the film in color on a huge TV in its original widescreen format, I was even more floored thanks to the beautiful color palette and (mostly) still impressive visual effects. I was also a bit jealous because back in 1956, it must have been blowing audiences back in their seats to see this on a massive Cinerama screen with those sounds booming from multiple theater speakers… Continue reading →
"DESTROY ALL FANBOYS!" 