Cinecast Episode 199 – Another Company Man [Alt. No Music Version]

Cinecast Episode 199 (alternate version with no music). This post is simply for streaming purposes and easier access for iTunes subscribers. For full show notes and listener comments, please visit the official post for this episode.

Thanks!

 

 
 

Zooey x 4

 

Many people are growing tired of everyone’s favourite ‘manic-pixie-dream-girl’ Zooey Deschanel. I am not one of those. Since the usual place for this, our old MorePOP! subsite has given up the ghost, enjoy her retro-design-fetish music video with her band She & Him on the mainsite.

 

Review: The Company Men

Director: John Wells (“E.R.”)
Writer: John Wells
Producers: Claire Rudnick Polstein, Paula Weinstein, John Wells
Starring: Ben Affleck, Tommy Lee Jones, Craig T. Nelson, Chris Cooper, Maria Bello, Kevin Costner, Rosemarie DeWitt
MPAA Rating: R
Running time: 104 min.


There really isn’t any way of describing how terrible this film is without getting into specific spoiler territory so I’ll try to brush over some of the overall problems with the movie without getting too detailed. Suffice it to say that this film is trying so darn hard to be relevant and informative that it instantly becomes irrelevant, a product of its own past and something that has already aged terribly. Up in the Air, this is not. It’s full of corny, overwrought clichés that are so heavy handed that I couldn’t help but bust into laughter as I verbally recalled the story to my girlfriend two hours after leaving the theater.

The story is essentially about a bunch of corporate execs that lose their job due to downsizing and are having a hard time coping with their 12 weeks of full pay and benefits at a $120,000+ a year. They have a hard time finding employment in this downtrodden economy (yeah, the $60,000/year job just isn’t good enough) and several of them end up either sitting around all day feeling sorry for themselves, learning the value of an “honest” day’s work or just giving up entirely. Or in Chris Cooper’s case, getting drunk and throwing rocks at the office building while screaming obscenities in the middle of the night. It’s pretty dramatic stuff – it’s just like Jenny in Forrest Gump.
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Park Chan-Wook, meet Tony and Ridley Scott.

 
 

Well colour me completely surprised on this one. South Korean director Park Chan Wook, who certainly has a world-wide cult following with his Vengeance Trilogy and his recent off-the-wall vampire flick, Thirst, is going to be making an English language film with Fox Searchlight to be produced by Ridley and Tony Scott, under their Scott-Free banner. I rarely go to AICN anymore, but I did today and learned of this film, called STOKER:

A young girl whose father suddenly dies. Her mysterious and estranged uncle returns to the family after a long absence. Suddenly strange things begin occurring.

OK, seriously, not too much to go on, but Park Chan-Wook has a great visual sensibility and makes some of the glossiest, but still very compelling, cinema in South Korean (competing mainly with contemporaries, Bong Joon-Ho, Im Sang-soo and Kim Ji-Woon), he’s been in a bit of an experimental mode right now, shooting a lengthy BMW Short type film for a TelCo on an iPhone. I am certainly interested to see what he can do on this side of the world with Hollywood money. Do not hold your breath though, at best, this doesn’t start shooting in spring and there is no casting at the moment, but the rumour is Mia Wasikowska (In Treatment, The Kids are All Right, Alice in Wonderland.)

VOD Review: Kaboom

 

[In light of its premiere on VOD yesterday (thanks to Gamble for the reminder), here is our festival review of Gregg Araki’s latest exercise in ‘comedy’]

Probably the best thing audiences will get out of Gregg Araki’s latest joint, Kaboom, is some well thought out and thorough advice on cunnilingus from rising star Juno Temple. Well, that and its very pretty cast parading around in holier-than-thou-coolness. Otherwise, the flat, though colourful, look of the film, its refusal to take anything too serious, or spend too much effort on story or character, leave the film fitfully entertaining but rather stuck in the middle of the directors C.V. It is half-way between the stoner classic Smiley Face, and his more narcissistic-hubris laden debut The Doom Generation.
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Zuckerberg & Parker: just a coincidence?

David Fincher’s The Social Network is currently my second favourite film of 2010, and my pick (both prediction and preference) to take home this year’s Best Picture Oscar. As I wrote in my review back in November, the movie is “a stunningly absorbing and superbly acted drama with a flawless pace and mesmerizing aesthetic…a film that offers a brutal critique of one of its most influential figures of the internet age, and one that seems Fincher’s evolution as both a storyteller and an artist come magnificently to a head.”

But there is one moment in the film that even after three viewings has always left me wondering.

SPOILERS AHEAD FOR THE THE SOCIAL NETWORK

So as I’m sure you remember, there’s a moment about two thirds of the way through the film where Zuckerberg (Jesse Eisenberg) moves out to California with a group of interns. And by a seemingly random chance, who should happen to be helping his friend move out from the house directly across the street but internet entrepreneur and all round douche-bag Sean Parker (Justine Timberlake). Both characters play it off as a happy coincidence and the movie proceeds from there without giving it much more thought.

But of course there’s no way this meeting was just a coincidence. We are talking about two of the most cunning characters in recent cinema history, both of whom have a serious interest in inserting themselves into the other ones life. I’ve read the script (available here thanks to Sony Pictures) and the scene is written in exactly same way as it is filmed – completely ambiguous. So the question remains: was it Zuckerberg who rented a house that “just happened” to be across from where Parker was crashing, or had Parker sussed out Zuckerberg’s whereabouts beforehand, choosing to use the sight of a collapsing chimney as a plausible excuse to ring the doorbell?

Thoughts anyone?