Posts Tagged ‘Drama’

  • DVD Review: The Double

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    The Double Movie Poster

    Director: Michael Brandt
    Screenplay: Michael Brandt & Derek Haas
    Producers: Patrick Aiello, Ashok Amritraj, Andrew Deane, Derek Haas
    Starring: Richard Gere, Topher Grace, Stephen Moyer, Martin Sheen
    MPAA Rating: PG-13
    Running time: 92 min.

    (2/5)

    It doesn’t happen often but sometimes you can just tell that something’s been in the works for a while. That’s the case with The Double. The directorial debut of writer Michael Brandt who often works with Derek Haas, the film is based on a script that the duo had originally sold to MGM and which they re-acquired when the studio went under. The script had sat on some MGM shelf for 10 years before the duo rescued the rights and set off to make their film.

    The Double StillSet in the world of espionage and double agents, Richard Gere stars as Paul Shepherdson, a retired CIA operative brought back into the fold when Cassius, a Soviet assassin he chased around the world, re-appears after years of being inactive. As per usual with this sort of fare, Gere is partnered up with a book smart FBI agent who literally wrote the book on Cassius. Ben Geary (Topher Grace) is smart and determined and when he gets a little too close to revealing the truth, that Shepherdson is actually Cassius, he’s pushed off course and even threatened.

    “OMG! You just revealed a key plot point!” It may look like this is the key element to the story but it’s revealed early on in the film not to mention the little fact that it’s in the trailer. This leads to The Double’s major problem. Once they give you that tidbit of information, what’s left to reveal? The information comes so early that it’s obvious that there is some other key point that they’re holding back and when it too is revealed, too late in the story to be of any importance, it’s dropped as passing nugget that doesn’t play into anything that’s come before; it’s a failed “Gotcha!” moment and a missed opportunity because the implications of what’s revealed would have made a much better premise for a movie.

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  • Fantasia Review: Marianne

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    Krister is feeling the boot-heel of karma kick him pretty hard for his past transgressions. After abandoning his wife, Eva, and daughter, Sandra, for a secret mistress, he grudgingly returns to support them when Eva has an unplanned pregnancy. The years of juggling a dual-life between his wife and daughter and his mistress have resulted in his lovely blonde 10 year-old rebelling into a goth-and-piercing lifestyle, complete with dropping out of school and dating a significantly older boy, a slacker pothead who believes in elves and wicca. This is how Krister sees things and compensates with authoritarian airs after his disregard. Life goes on with a young baby girl in the house and a storm cloud of resentment between Eva and Sandra over Krister’s flip-flopping and Eva’s ability to forgive. The breaking point arrives on an evening with Sandra babysitting at home with her parents out on a date. A nasty car accident en route to the restaurant leaves Eva dead and Krister reaping all the grief he has sown on an single event that was (Swedish black irony?) beyond his control. Left with one daughter that hates him and an infant that cries all night for its absent mother who will never return, the fresh widower begins to suffer from a severe case of insomnia. It is a potentially paralytic one according to his therapist (the always wonderful Peter Stormare) as a recurring nightmare of a ghost with clicking high heels and a shrieking wail constricts his chest and will not let him rest. Marianne draws its folklore DNA from the Nordic Mare, which not coincidentally (if one is etymologically inclined) is the latter half of the word “nightmare.”

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  • Cinecast Episode 194 – An Island of Loneliness

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    After several weeks of ‘shooting the shit’ and not bothering with the current film releases, we attempt to make up for lost time, and even (mother mercy!) get ahead of the game. This episode is loaded down with SPOILER-style reviews of two films in limited release (there is your fair warning) and one that many are looking forward to this Christmas. But fear not dear listeners, Black Swan is getting wider by the week and Finnish oddity Rare Exports, a delightfully deadpan anti-Christmas kids flick is probably coming to a theatre near you any moment now, hopefully VOD or other distribution channels will follow. The last is the Coen Brothers latest, a re-envisioning of the Charles Portis novel that is similar enough to the 1960s John Wayne movie in story and plot that spoilers are more or less moot. The boys pour on the love of classic westerns as well as experimental looks in the genre from Cat Ballou to Deadwood. And being that years end is just around the corner, it is time for lists once again. All three of us present our TOP FIVE female performances as an appetizer for our ten picks of the year. Some great DVD choices this week lead into a rousing “discussion” (and by discussion, we mean an epic They Live styled “PUT THE GLASSES ON” smackdown with Gamble doing his best Roddy Piper and Andrew assuming the stoic Keith David position) of how ‘interesting’ Michel Gondry’s Green Hornet is for what it is. It is worth staying to the end for that one, even if Kurt throws up his hands in exasperation of the whole argument. Oh, and just to mix things up a little we talk some Terrence Malick and the recently web-release Tree of Life Trailer.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_10/episode_194.mp3

    ALTERNATIVE (no music track):
    http://rowthree.com/audio/cinecast_10/episode_194-alt.mp3

     
     
    Full show notes are under the seats…
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  • Cinecast Episode 194 – (Alt. No Music Version)

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    Cinecast Episode 194 (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!

     

     
     

  • Trailer: Gus Van Sant’s Restless

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    He is a funeral crashing drop-out with a ghost friend. Gus Van Sant embraces ‘feel-good quirk’ for the first time since his dada-ist prank that was the Psycho remake. How will Restless turn out in the end? Will it be on the bombastic, glossy-schlock side that includes his Good Will Hunting and Finding Forrester? It certainly does not appear to be Van Sant in ‘meditative death mode’ even though that is the obsession of the main character, and very likely the fate of his soul-mate. Then there is Milk which seemed to sort of straddle the line between his two filmmaker personalities, a middle-brow, but still solid affair. Perhaps that is where Restless will end up in darker yet still narrative Drug Store Cowboy territory, but I fear that phase of Van Sant’s career is long gone. All filmographic musing aside, I really hope that the director does interesting things with materials that may have its drama overshadowed by quirk.

    Oh yea, I’m a more than a week late to this trailer, everyone else around here has skipped or dismissed it for some reason. I quite like the recent ubiquitousness of Mia Wasikowska (In Treatment, Alice in Wonderland) and it looks as if 20 year old Henry Hopper (Dennis Hopper’s son) has more than his share of screen presence, and all pictures are benefited from the presence of Jane Adams (Little Children, Happiness).

    Restless is to be release sometime in 2011. The Trailer is tucked under the seat.

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  • Review: Lovely, Still

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    Ever see a film that is so sweet that it passes beyond your instrinsic gag reflex and makes you love it despite any misgivings from the brain? From sheer force of screen presence and chemistry Martin Landau and (positively radiant) Ellen Burstyn manage to hold the film on the rails and stabilize it amongst a young directors (first timer Nicholas Fackler) need to inject jittery gimmickry into the narrative. It is perhaps one of the first films about December-December romance that will possibly appeal to the younger se. That is if there were any way for a multiplex crowd to see it – its current release in Canada seems to be a single theatre, with no advertising support, and on top of it a Christmas movie released in mid October. Sheesh) With Lovely, Still it is as if Fackler decided to make his own Away From Her through the editing rhythms of Darren Aronofsky’s Requiem for a Dream. Where Sarah Polly had the prose of Alice Munroe as a starting point and captured her story in a straightforward manner, Fackler aims for M. Night Shyamalan, which slightly hurts and cheapens the film in the final act. This film could have been an honest contender for the type of annual Christmas ritual-viewing along the lines of It’s A Wonderful Life (which not-surprisingly is watched at one point in the film) or A Christmas Story until the rushed final moments. Nevertheless, it is still quite lovely.

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  • Review: The Switch

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    The Switch Onesheet

    Directors: Josh Gordon & Will Speck (Blades of Glory)
    Screenplay: Allan Loeb, Jeffrey Eugenides (short story)
    Producers: Albert Berger, Ron Yerxa
    Starring: Jason Bateman, Jennifer Aniston, Jeff Goldblum, Juliette Lewis, Patrick Wilson, Thomas Robinson
    MPAA Rating: PG13
    Running time: 100 min.

    (3.5/5)

    The problem with The Switch isn’t the movie itself (though it too has its misses) but the marketing. Yes, it’s difficult to sell a dramedy to the male population at large but to sell it as a romantic comedy is disappointing, especially when it features a great performance from the male lead. Perhaps it will work to the film’s benefit and women will see it with their girlfriends, like it and drag the men or heck, date night might be lady’s choice but however you cut it, this film is unlikely to reach the audience who will appreciate it most: new dads.

    The Switch Movie StillDirected by the duo who brought us the travesty that is Blades of Glory, The Switch is a completely different ballgame, one that feels like the duo traded themselves in for someone who actually knows what they’re doing.

    Based on a short story by Jeffrey Eugenides, it’s the drama of a woman (Jennifer Aniston) who wants a child so badly, she decides to find herself a donor. Her best friend Wally (Jason Bateman), a one time romantic interest who is too much of a realist to be Kassie’s boyfriend but who makes for perfect friend material, is against the idea but shows up to the “I’m getting pregnant” party to support the woman he secretly loves. A series of lightly amusing events later, we learn that Kassie’s pregnant, moving away to raise her son outside of New York and just like that, seven years go by. With a new job lined up, Kassie moves back to the Big Apple, reunites with Wally and the seed donor and then things get complicated.

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  • Review: GET LOW

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    getlow_01

    You are pretty much guaranteed quality in a Robert Duvall performance, any Robert Duvall performance, whether it is small cameo support (From The Conversation to The Road) or the lead in an intimate drama or even a Civil War epic. He is, simply put, one of the great actors of all time – one who can do both larger-than-life screen demolishing performances and quiet, subtle acting with his eyes alone. Yet about once every decade he really brings something special to the table; a particularly memorable character, a very intense performance. In the 1960s, his feature film debut, he plays the haunted and pale Boo Radley in To Kill A Mocking Bird; in the 1970s he immortalized his love for the smell of napalm in the morning as a general who like to surf and plays Wagner when going into battle; in the 1980s he plays a quiet, down-on-his-luck country singer who does odd jobs for room and board while trying to put his life back together; and in the 1990s his turn as the bombastic Apostle E.F. might just be the best single performance of that decade. Get Low is with little doubt his performance of this decade, something that embodies all of those characters mentioned above, yet is its own multi-layered beast. The film itself maybe be accessible and easily digestible stuff, I am not sure that the world actually needs a warm and fuzzy inversion of Billy Wilder’s Ace in The Hole, but the Duvall performance is the thing. And it certainly does not hurt that his supporting thespians are Sissy Spacek and Bill Murray.

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  • DVD Review: Youth in Revolt

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    Youth In Revolt Movie Poster

    Director: Miguel Arteta (The Good Girl)
    Writers: Gustin Nash, C.D. Payne (novel)
    Producer: David Permut
    Starring: Michael Cera, Portia Doubleday, Jean Smart, Zach Galifianakis, Steve Buscemi, Fred Willard, Ray Liotta, Justin Long
    MPAA Rating: R
    Running time: 90 min.

    (2/5)

    Michael Cera isn’t an actor that shows range. The 22 year old has been playing the oddball geeky kid for a few years now and he doesn’t show any sign of moving on. For the most part his performances work but the films aren’t always good and frankly, the reason to see most of them (to date at least), has been to see if Cera is doing something new but when Youth in Revolt came around, I, and from its box office run, many others, had given up on the idea of seeing Cera in the same old role.

    Youth in Revolt Movie StillThat’s why I skipped it and even the addition of bad boy alternate personality Francois Dillinger wasn’t enough to catch my attention during its theatrical run but on DVD, I was going to give it a shot because who knows, maybe Francois is different but now that I’ve seen it, I wish I’d stuck by my initial reading and stayed well away.

    Miguel Arteta’s film (based on C.D. Payne’s novel) has it’s moments but its no where near as good as Arteta’s crowning achievement to date, The Good Girl. There’s no reinvention of Cera here and if anything, the film feels like a hipster version of American Pie and at its core, the story of a boy who just wants to get the girl and if possible, get laid in the process.
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  • DOGTOOTH Trailer

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    Dogtooth

    Somewhat of an infamous film on the festival circuit for the last year and change, Yorgos Lanthimos’ satire Dogtooth is hyped as weird, transgressive, darkly funny and gorgeous to boot. Kino is very brave to release this one, although I am not holding out much hope for a release beyond New York City. If you are listening Toronto theatre programmers, please get a 35mm print up here for those who missed it at TIFF last year. Dogtooth gets a single screen release on June 25th.

    Three teenagers are confined to an isolated country estate that could very well be on another planet. The trio spend their days listening to endless homemade tapes that teach them a whole new vocabulary. Any word that comes from beyond their family abode is instantly assigned a new meaning. Hence ‘the sea’ refers to a large armchair and ‘zombies’ are little yellow flowers. Having invented a brother whom they claim to have ostracized for his disobedience, the uber-controlling parents terrorize their offspring into submission. The father is the only family member who can leave the manicured lawns of their self-inflicted exile, earning their keep by managing a nearby factory, while the only outsider allowed on the premises is his colleague Christina, who is paid to relieve the son of his male urges. Tired of these dutiful acts of carnality, Christina enlists the elder daughter for some girl-on-girl action, carelessly disturbing the domestic balance. Soon enough, sex has spread throughout the household like fire. Next stop: rebellion.

    Trailer (possibly NSFW) is tucked under the seat. (more on the style and structure here)

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  • Romanian Wave continues with Cristi Puiu’s “Aurora”

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    Aurora Movie StillThe Romanian New Wave may have picked up steam with Cristian Mungiu’s 4 months 3 weeks and 2 days but it wasn’t the first film to come out of Romania to great acclaim. It had predecessors and one of those was Cristi Puiu’s The Death of Mister Lazarescu.

    Now five years later, with the wave riding high, Puiu returns to the festival circuit with a new offering. I wish I could relay what Aurora is about but the Cannes description provides only snippets and the trailer which has found its way online doesn’t provide much more than a series of disconnected images and bits of story. Sure, I could look around for reviews but I’d rather hold back for the day, likely later this year, when I have a chance to take in the three hour story Puiu has set out to tell. And it must be quite the story as Puiu has taken on the reigns completely not only writing and directing but also taking the lead role of Viorel.

    What I can tell is that this film shares many of the markers of its predecessors: bleak, dark, a little miserable and the trailer suggests that it also includes moments of joy.

    Trailer tucked under the seat.

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  • Gorgeous “City of Lakes” now streaming! Free!

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    City of Lakes Still

    A few weeks ago I gushed about the discovery of a trailer for a movie called City of Lakes. At the time, I wasn’t sure if this was an actual film or a glorified wedding video but after some discussion with the director, I was told that this was indeed someone’s wedding video and from what I could see of the trailer, the best wedding video I’d ever seen.

    But City of Lakes isn’t simply a wedding video. It’s a gorgeous short film complete with story arc and happy ending. I would have paid to see this on the big screen but the film ins’t likely to be playing at a theater near you but if you’re Kurt, or someone with a large enough television, an internet connection and a bit of innovation, you too can take the gorgeous visuals of the entire film which is streaming online in HD for free.

    Film is tucked under the seat. It’s highly recommended you blow this sucker up to full screen to really appreciate the visuals. By far one of the prettiest things I’ve seen this year. Big kudos to the film’s producers Pacific Pictures for the opportunity to share.

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