Ratcheting up tension of police procedural and parental vigilantism, the phrase “Where’s. My Daughter.” threatens to become an internet meme with Hugh Jackman’s delivery in Prisoners. Joking aside, I believe that this film is worth a look for it’s wonderful cast: Along with Jackman, there is Viola Davis, Maria Bello, Jake Gyllenhaal, Terrence Howard and Melissa Leo. More importantly, helming the picture is Denis Villeneuve, director of the exceptional Incendies, as well as a lengthy resume of challenging Canadian dramas (his school shooting flick Polytechnique is both haunting and experimental.) This being a larger studio picture (with Roger Deakins shooting it) the drama looks a tad bit over-baked. Couple that with with Gyllenhaal as lead investigator, this is a far cry from Zodiac 2; but that may just be the trailer talking. I cannot wait to see this one in September, expect it to play at TIFF in conjunction with its commercial release.
The white house is under attack. Again. Except this time it isn’t aliens but rather a terrorist group with access to some big ass planes (is that a C-130?!).
Directed by Antoine Fuqua, a man better known for action movies that don’t feature big explosions, though Shooter did have at least one, Olympus Has Fallen seems full of big action sequences, including the blowing up of the White House, code name: Olympus.
Gerard Butler stars as a disgraced secret service agent who finds himself inside the White House when a terrorist takes over and kidnaps the president (Aaron Eckhart). Morgan Freeman stars as the guy who takes over the rescue effort (since the president is MIA), Rick Yune is tasked with playing the terrorist mastermind and the movie also stars Melissa Leo, Ashley Judd, Angela Bassett and Dylan McDermott.
The trailer suggests lots of low budget explosions, lots of shooting and more than a handful of one liners. This feels more like a Die Hard movie than the last and upcoming actual Die Hard movies and that’s not necessarily a bad thing. Could go either way but judging from some of these scenes, particularly the burned up American flag falling from the White House, it’s likely to take itself far too seriously to be much fun. And yet, I can’t help but think there could be *something* here.
We’ll find out when the movie opens on March 22nd.
Drunken pilots and glitchy princesses are on the agenda today as Gamble saunters in after the intro segment. Should Flight have been an angrier Anatomy of a Murder style morality tale, should Wreck-it-Ralph have swapped it’s Disney Logo to Brave while bearing the Pixar Logo? Should Matt Gamble start using Google+? All of these things and more are contained in this episode; reordered far too late at night for the hosts collective health.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
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It has been so long since Robert Zemeckis has made a live action movie, that something such as Flight, with its unapologetically populist bent, seems like just the trick at getting this director back on his feet after the hard knocks of his last three forgettable mondo-budgeted Mo-Cap efforts. If this flies somewhere in the middle between Castaway (meh) and Contact (yay!), well, I’ll be happy. I’m not expecting something as rich and moody as Fearless (from the trailer, an obvious point of comparison) but Zemeckis often has a way to slip a fair bit of depth between his polished surfaces. And hell, Denzel Washington, John Goodman, Don Cheadle, Bruce Greenwood and Melissa Leo. That’s some fine casting, folks.
An airline pilot saves a flight from crashing, but an investigation into the malfunctions reveals something troubling.
DISCLAIMER: It is tempting to frame a review of Kevin Smith’s new film, RED STATE, around its controversy on the business and social media side of things. Smiths decision to ‘four wall’ the film on a roadshow style tour and shutting out the usual publicity channels caused a bit of a tempest in a teapot at Sundance, particularly because seems to have become a lot more prickly in the past decade and has no problem broadcasting this to his fanbase either by his podcasting network or twitter account. That being said, I do not judge a Mission Impossible film by concerning myself with Tom Cruises thoughts on pharmaceuticals or his antics on Oprah, and I believe that Smiths film deserves a fair shake outside the confines of personality and gossip (and the business of show.) But it is hard, oh so hard, not to see things through the mist of online micro-controversies.
The ‘cult’ film is back, kicking off with the one-two punch of House of the Devil and The Last Exorcism along with the forthcoming Wicker Man sequel (Robin Hardy’s The Wicker Tree) and Ben Wheatley’s Kill List, the genre hasn’t seen this kind of surge since the mid to late 1970s. Sandwiched in the middle of the micro-renaissance is Kevin Smith’s radical departure from both the Askewniverse and pungent palette cleanser after his real horror film, Cop Out. Red State is not so much a cult-film as it is a film about cults, but one that defies expectations at several turns. Part diatribe against Fred Phelps and the Westboro Baptist Church (who is mentioned – and casually disregarded – explicitly in in the film) part torture-horror, part action-thriller, part bureaucratic farce, there are at least four films clamoring for dominance in Red State. And while Smith may not quite have panache for tonal shifts that the South Koreans have perfected, there are enough surprises on display here to warrant a recommendation along with a caveat or three.
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.