Christian Bale's disastrous comb-over/rug combo basically opens the film with a wordless monologue. Beneath that unnatural mop is the sharp mind of Irving Rosenfeld, a “from the feet up” con man making the leap from running legit (but boring) dry cleaning businesses to grifting down-on-their-luck rubes on bad bank loans. His operation starts taking off when he hooks up with Amy Adams, a natural businesswoman looking to reinvent herself. She does this with a name change, a phony British accent and, later in the film, by frizzing her hair out to preposterous proportions.
You'd think that a guy trapped in a hotel room for 20 years would find a better movie to be in once he got out, right?
'Oldboy,' Spike Lee's remake of the Park Chan-wook cult film from 2003, is a fairly rotten film, which is strange because it is very similar to the rather effective original. Sometimes, though, there's something gained in the translation.
To be a heart-on-your-sleeve weepie in 2013, you've got to have some far-fetched gimmick. 'About Time' has time travel, 'Safe Haven' had ghosts and 'Delivery Man' has Vince Vaughn as an anonymous sperm donor hunted down by hundreds of his young-adult offspring. The mechanics of the plot are so ludicrous that audiences should be forgiven for shouting, “No, sorry, it wouldn't work that way!” back at the screen. But one has to give the movie credit for its sheer audacity. It refused to offer an explanation for its instigating illogic. Great character actor Damian Young gets the unenviable task of delivering the hook with the phrase “certain complications arose ...”
Is it a Quantum Field Generator or a a Soul Forge? It's both, and that's why 'Thor: The Dark World,' like 'Thor' before it, is one of the best films that blends sci-fi and fantasy. Add the humor, star charisma and nods to the wider Marvel Movie Universe and you've got 120 minutes of straight-up nerdy glee. If dorky blood flows through your veins, you will love this movie.
The kids today and their video games! Well, if Gavin Hood's adaptation of Orson Scott Card's beloved sci-fi novel, 'Ender's Game,' is any indicator, the fragging youngsters of today may become the saviors of tomorrow. Whether they want to or not.
For a gal named Carrie White, she's sure got a lot of red on her.
Watching Kimberly Peirce's 'Carrie' is an odd experience. If you've seen Brian De Palma's version from 1976, this new version is - and there's really no point in denying this - like watching a cover band. There's a tweaked scene here and there (including a new, creepy-as-heck opening) plus the addition of cell phones and references to 'Dancing With The Stars.' This remake, more than most, really feels like hitting the same marks. It may be a peculiarity specific to 'Carrie,' because, let's face it, not a whole heck of a lot happens in this story. Considering most moviegoers' familiarity, there's plenty of room to stew and think, "Why is this considered such a classic?"
With piracy drama 'Captain Phillips,' Paul Greengrass ('Bloody Sunday,' 'United 93') has defended his ground as the go-to man for tragic, reality-based pressure-cooker films. The dude really knows how to get your palms sweaty, even when you kinda-sorta know how things are going to end up. Note to self: don't take your cargo ship through the Somali Basin if you don't have to.
Greengrass is also the director of the best two 'Bourne' movies ('Supremacy' and 'Ultimatum') and just as Matt Damon glided through those films as the steely, mixed-martial killing machine, Tom Hanks' center-seat performance here is a master class in keeping it cool.
Here's a tip. If you don't want people to think you are a child molester, pick out different frames than the ones Paul Dano wears in 'Prisoners.'
When neither Jake Gyllenhaal (as Detective Loki - yeah, you read that right) or his CSI crew can find any evidence that suspected molester Dano abducted two little girls that went for an unsupervised walk through a Pennsylvania suburb after Thanksgiving dinner, it's up to one of the two fathers of the girls - Hugh Jackman - to take matters into his own hand...
It's clear from the start that 'Getaway' is not a good movie. The opening sequence is a mess of different video stocks and flashbacks, an easy tell that a team of editors tore out their hair trying to skip as much boring exposition while leaving the first scenes cogent. But once former race car driver Brent Magna (Ethan Hawke) is behind the wheel of his stolen souped-up vehicle and is receiving crazy, destructive orders from the disembodied voice of Jon Voight, there's at least plenty of smashy-smashy to keep you occupied. The bad guy has some master plan – kidnapping Hawke's wife so that he'll be a mobile slave to his chaotic whims is part of laying the ground work.
But more than seeing traffic destruction on the streets of Sofia, Bulgaria (this month's production location low-bidder) there's a bigger catastrophe. Fifteen minutes into the movie, Selena Gomez shows up.
How could something that is so gorgeous also be so damn dull? Well, where there's a will, there's a Wong Kar Wai.
The jazzy, experimental arthouse darling of the 1990s ('Chunking Express,' 'Fallen Angels,' 'Happy Together') fails to get out of his '2046'/'My Blueberry Nights' slump with 'The Grandmaster,' a strong contender for most boring picture of 2013. The version I saw is the Weinstein Company's “American Cut,” not to be confused with the homegrown successful “Chinese Cut” or the intermediary cut that played at festivals like Berlin.
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