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Zach Snyder’s always been big on bluster and pizazz but a bit lacking when it comes to the essentials of storytelling. Take “300” or “Sucker Punch,” which made for titillating trailers set to edgy, esoteric rock (Nine Inch Nails’ “Just as you Imagined” layered on clips of the Spartans battling Xerxes in “300” may be the greatest music video/movie trailer of all time); but when it came to holding an audience’s attention for 90 minutes, only fanboys and cultists who dug Gerard Butler’s CGI-enhanced abs and righteous barking, or Babydoll and her bustier-wearing ilk beating down misogynistic ogres, could go the distance – because that was all there was: alluring visuals and sound bites, sans the bite.
One major early steppingstone was his 2004 remake of George Romero’s “Dawn of the Dead,” which featured an eclectic cast (Ving Rhames and Sarah Polley) and zombies that could run at full tilt…
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“The Heat” is funnier than it should be. Part of that’s because director Paul Feig has a way of taking flimsy ideas and strong comedic actors and creating lightning in a bottle. He did it with Melissa McCarthy and Kristen Wiig in “Bridesmaids” and does so again here. If there’s any doubt that it’s more the actors than Feig, I’ll simply point to McCarthy’s recent woeful outing in “Identity Theft.” It’s not so much what he does with the material but the chemistry he educes between his stars and how they build something infectious from thin setups.
The premise behind “The Heat,” which was shot in in our glorious city of Boston — though it doesn’t look so much like the Boston that you and I know — is pretty much the same old comedic cop-buddy story that was popularized by Eddie Murphy and Nick Nolte in “48hrs,” and, later…
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“The Way, Way Back” is the kind of summer comedy that throws enough curve balls at you to make what’s old, new again. A tad dark around the edges and sophomoric in the middle, it’s a sweetly affecting coming of age drama with flourishes of Wes Anderson and even the Farrelly brothers: which should be as no surprise, as it’s co-written and co-directed by Nat Faxon and Jim Rash, the pair, who along with (director) Alexander Payne, received an Oscar for penning the effectively droll George Clooney comedy, “The Descendants.”
The surprise here is Steve Carell who plays against his usual big screen persona as a feckless nice guy and is more like his irritable jerkwater boss on the NBC’s hit series “The Office.” His Trent, a middle-aged divorcee, decides to bring his new girlfriend Pam (Toni Collette) down to his summer house on the shore of some idyllic and…
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With Guillermo del Toro’s 3-D visual artistry and the care he’s imbued into every frame of this spectacular homage to the Japanese rubber-suit movies of the ’60s and ‘70s – not to mention a ready and salivating fan-boy base – “Pacific Rim” is a $185 million monster mayhem royale that has a fighting chance of winning at the box office and in the hearts of moviegoers.
Del Toro has always been an intricate craftsman. The signs were evident in his quirky first outing, “Cronos” and best showcased in his Spanish Civil War-era films “Pan’s Labyrinth” and “The Devil’s Backbone.” His ventures into larger, more mainstream projects such as “Mimic” never took flight or, like “Hellboy” and its sequel, never forged an audience the way less articulate hero fare such as “The Avengers” have – truly the audience’s loss. This time, though, the Mexican-born auteur with a penchant for horror and…
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( photo courtesy aceshowbiz.com )
Nicolas Winding Refn and Ryan Gosling team up for their second bloody go round after finding success and lauds for their 2011 car chase noir “Drive.” The teaming of the pair is a good one, a director with a hyper-stylized eye and a penchant for flourishes of quick bloody violence that would make Sam Peckinpah nod in appreciation; and a laconic actor, enigmatic and bristling, a brooding baby-faced brute if you will, capable of unspeakable savagery.
In “Drive,” the story was rooted in a true anti-hero, who comes to the aid of the hapless family next door. A simple set-up that plyed the darkest recesses of the black and white spectrum. Here though, there’s no true right and just corner, as those who seemingly mete out justice by disemboweling others later prove to be morally ambiguous and as the page turns, perhaps even the face…
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If you’ve seen Sam Peckinpah’s masterfully macabre “Straw Dogs” (let’s all please agree to forget the far inferior recent remake) then you’re already up to speed on what happens in “The Hunt” : quiet European hamlet; a mindful and reserved intellect with a complex past; slow constant simmer; sexual tension; strong reactions based on false assumptions; and a gentlemanly hunt in the woods serving as a ruse for a deeper more perverse game at hand.
Though the arc, ambiance and elements of the two films bear many acute similarities, the context and articulation could not be further apart. Mads Mikkelsen — whom most US viewers know as Hannibal in the self-titled NBC TV series, or as the European bad-ass who bashed in Bond’s balls in “Casino Royale” — plays Lucas, a quiet man trying to gain some degree of custody of his teen son in the aftermath of a bitter…
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^ Hugh Jackman as The Wolverine in film of same name
The Wolverine onscreen always was the more intriguing of the X-Men lot. As an enigmatic outsider with a tortured past and tacit persona, he had character and depth, something few of the skimpily sketched circus anomalies in Dr. Xavier’s menagerie could offer. If you draped a poncho across his back and put a six shooter in his hand he’d not be unlike a young Clint Eastwood in Sergio Leone’s ‘Man with No Name’ trilogy. And now that I come to think of it, the man who plays Logan, (a.k.a the Wolverine), Hugh Jackman, and Eastwood, if of a similar age, look and sound somewhat alike. I’m not sure if their politics or tastes in furniture are akin, but that’s beside the point.
Given the “cool” factor, it’s no surprise that the immortal mutant with a metal reinforced…
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