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Showing posts with label Nicolas Cage. Show all posts
Showing posts with label Nicolas Cage. Show all posts

Randomness: Sorcerers, Pesci, Garfield

Three things that amused me in the past 48 hours.

1. Message received from my friend txtcritic whilst under the influence of Love Ranch
Man, this Joe Pesci has RANGE.
2. E-mail received from reader Yonatan.
It may surprise you but after seeing the movie, I can safely predict that The Sorcerer's Apprentice won't be nominated for an Oscar.
Ah, sweet sarcasm. Times two.

3. Various comments /articles about the "pennies" Andrew Garfield is making for that Untitled Spider-Man Reboot (2012). The hyperbole/perspective distortion amuses in a gallows humor sort of way in this era of double digit unemployment. I understand that it's not Nicolas Cage millions but from the vantage point of this perpetually poor writer $500,000 seems like a very nice paycheck for six/seven months work and a leap frog move up several rungs on Hollywood's lucrative latter. What is it they always say about your first hit in Hollywood, 'You'll make it on the next picture.'? If I ran Hollywood, I'd almost always opt for unknowns for superhero pictures. I've never understood why they pay huge star salaries when the suit and not the face is the draw (for this genre I mean, Iron Man being the exception that proves the rule). Both big screen supermans Christopher Reeve in Superman (1978) and Brandon Routh in Superman Returns (2006) had less acting experience than Garfield has now. I wonder how much they were paid?

Andrew Garfield with his BAFTA trophy for Boy A (2007) --->

[pet peeve tangent alert] One thing that did not amuse me in the past 72 hours... the various online comments/articles hating on Garfield because he's "obscure." Nothing sets me on edge quite as much as pride in ignorance and the shameless act of demanding that that ignorance be seen as a valid opinion. All opinions are not created equally. Why do so many people hate anything unfamiliar on principle or refuse to look anything up or do any research? It's so f***ing lazy. Just because you've never heard of someone does not mean they aren't talented. It just means that you've never heard of them. Simple as that. No shame in not knowing something or someone. It happens to all of us. The only shame is to demand that you should never have to know it and that the world should cater to your limitations of experience or imagination. [/pet peeve rant]

P.S. I have no idea why I continue to talk about this Spider-Man picture when I think it's a bad idea in the first place. I blame my affection for the webslinger, deeply rooted since childhood.

The Bad, The Bad and The Ugly

I don't know how many of you caught my tweet a week back when I finally got through Tim Burton's Alice in Wonderland (more on that soon if I can stomach it)...


..but the following three things are probably living in its toxic proximity. Sometimes I like to mush all the bad things together, roll them around in my mouth until they're one giant blob of suck, which I can then spit out and be done with. This is the way I deal.

Suck 1 Nicole Kidman signed to Cage/Schumacher Flick.
This was announced almost exactly 15 years after Batman Forever opened. Weirdness. If Nic' really wants to travel back in time to 1995, shouldn't she be thinking more along the lines of Gus Van Sant's To Die For?

It's evident to most thinking people -- those that don't reflexively hate on her at least -- that Ms. Kidman has great taste in art flicks and abyssmal taste in mainstream projects. The Latest Evidence: Trespass, from the makers of 8MM. It really shouldn't be this hard to choose your mall films inbetween the ones you're doing for your craft. If you're looking for something mainstream, cozy up to any number of respected directors who are mainstream at heart (or half the time) but still always shoot for art or quality. I'm talking about your Scotts, Scorseses, Spielbergs, Soderberghs, Finchers, Manns, etcetera. You might not get to be in a $200 million grosser but chances are, the movie won't be universally hated. But starring opposite Nic Cage with Schumacher directing you? Dear god, why? It's like asking for trouble.

Schumacher is capable of making a good movie (Tigerland) and Kidman already knows him (Batman Forever) but it's the combo of Cage & Schumacher. That screams BAD MOVIE. Nic Cage, my arch nemesis, already dragged Julianne Moore down with him (in the truly exerable Next) and now Nic' too? Who's next on his hit list?

Nicole and Baz in January 2002. Good times! --->

Suck 2 Baz Luhrmann still hasn't decided on his next project.
The Playlist acts like the abundant possibilities (The Great Gatsby, a Bollywood style musical, or a historical epic) are good things and he'll start filming in 2011 and maybe we'll even get a musical (!) If I know Baz this is not good news but bad, bad news. He's had two years of downtime and he still hasn't decided on his next project? He hasn't even narrowed it down by genre? There's at least three possibilities and likely more? That means we're at least a year away from a decision. Then someone has to write a script and then the studios have to decided whether or not to bankroll it and then Baz has to tinker with it endlessly in pre-production. It'll be 2015 before we get another movie. That's at the earliest and only if we're lucky. Mark my words.

<-- Joss with "Echo" and "Angel"

Suck 3 Continued MGM Fallout.
Joss Whedon's Cabin in the Woods is delayed again. It's not that I care so much about a 3D horror film but that I'm always rooting for Joss and whenever there are hold ups (as there continually are here and there will continually be on The Avengers) that means more and more time away from his true calling: series television. MGM's woes throw kinks in other things, too. The James Bond franchise was totally reinvigorated when Daniel Craig put on the tux. And just as it was worth caring about again... denied. That legendary lion hasn't roared in some time but the nostalgic part of this cinephile's heart really wants it, too.

Talk me through this sudden dark mood. What would you have Nicole Kidman do? Why must Nicolas Cage contaminate the filmographies of so many fine actresses? Will Baz ever get back to work? Will there ever be another 'Craig, Daniel Craig' Bond film? Will Joss ever realize that he should go to pay cable for a new television series?

La la la la la la, Smurf the whole link long.

/Film a remake of Citizen Kane? This satiric trailer savages our cinema today.
popbytes Hugh Jackman trains giant robots to box in Real Steel. This sounds so terrible that I desperately want it to be a Bad Movie We Love.
USA Today first look at The Smurfs (speaking of bad movies waiting to happen)
Movie|Line alerts us to a new Chen Chang movie on DVD called Parking. We love Chen Chang.
Towleroad something for the prurient among you: Kellan Lutz costume fitting for The Immortals.

CHUD & The Flick Filosopher are worried about movie geek tastes becoming so dull and unadventurous. What's happened? It's simple. Everyone became a geek. And once something's mainstream...
Silly Hats Only hosted a White Elephant blog-a-thon yesterday. Participating blogs gifted each other with odd movies to write about. See the results.
Low Resolution "She Should Work More Vol XXVI: Amy Madigan" Well stated, Joe. She should. My guess is she's not "soft" enough for what Hollywood wants even in "hard" women.
Broadway Buzz under the 'life is unfair' umbrella add: I missed this Sutton Foster show. Why must I love artforms that are beyond my socioeconomic reach?
Tabloid Prodigy an oral history of Showgirls. Heh. You said 'oral'.
popbytes Taylor Lautner wants to model his career on Tom Cruise's huh. I have a number of problems with this and they are 1) Tom Cruise 2) a role model??? 3) Didn't Taylor want to be Matt Damon last year? Make up your mind!
The Fug Girls commemorate the most awkward moment (ScarJo + Liev Schreiber and Ryan Reynolds) we saw at the Tony Awards with their infallible lip reading skills.
Movie Addict a radio discussion of the funniest movie actresses of all time. The assembled panel is a wide mix of age ranges and the list they come up with stretches over the decades too all the way from Myrna Loy (who gets a ton of love) through Madeline Kahn and on to newbies like Tina Fey. Fey as an all time movie actress? Er... I love Fey but she's very TV. Not that there's anything wrong with that. If you ask me, though, a list without Carole Lombard in the upper rungs is insanity!

Finally if you choose to click on this link, a warning. "Now a warning?" That link will take you to the most horrifying thing you will have seen in weeks months. It's like Nathaniel's nightmare film world, visualized. Proceed at your own risk.
**

Port of Call: Zoo Orleans

While I'm on the Bolt bus from Boston to NYC -- I whale watched this weekend and loved it -- I am watching Bad Lieutenant Port of Call: New Orleans. Why? Because you demanded I write something about it. I hope y'all don't make me regret this.

*Serpentus Coluber caspius

The movie begins with a shot of a snake slithering through Hurrican Katrina water as the credits pile up with familiar batshit crazy types: Werner Herzog, Nicolas Cage, Val Kilmer. I am not at all afraid of snakes and like all phobias, if you don't have it you think it's strange that other people do. What's scary about snakes? They're beautiful and the way they move is intoxicating.

The snake is moving through a flooding prison and a prisoner named Chavez, seeing the snake, says "oh shit". It's the first line of dialogue in the movie. The first and last series has made me hyper aware of how movies begin and "oh shit" doesn't give me much hope for anything beautifully scripted. But it's Herzog so at least it'll be watchable.

I didn't see the original Bad Lieutenant (1992). The only thing I remember hearing about that movie when it came out was that it was 'sick' and that Harvey Keitel went full frontal. There was an uproar because a) you're not supposed to see penis in movies and b) if you do it's supposed to be porn star size. At least that's the rule according to the internet which always collectively freaks out when confronted with anything approximating reality.

I have no phobia about snakes or trouser snakes but I sure as hell don't want to see Nicolas Cage's!!! I bring this up because in this sequence he talks about his $55 underwear and then he takes off his jacket off. For a second I was very afraid. In the end he just jumped into the 'oh shit'ty water with his clothes on to rescue Chavez.

Six months later Cage is investigating a crime and snorting...vicodin? That rescue apparently messed up his back forever. At least that's what I think he's snorting. I didn't even know it was possible to snort prescription medication but I recently watched the first season of Nurse Jackie (so good) and you learn a lot about how creative people get with their addictions, prescribed and otherwise.


Cage's bad lieutenant is investigating an execution style massacre of an entire family in New Orleans. It's drug related as is virtually everything in the movie. In a little dead boy's room he reads a sad poem about a fish, which sits in a glass. I'm currently undecided about the movie but the cinematography (by Peter Zeitlinger) is pretty great.

During a precinct meeting about this bloody crime there's a fun pan left through assembled cops that ends on Nicolas Cage, his shoulders are asymmetrical with pain and his face wears an odd hung expression. He has the most unlikely of movie star faces. If a woman were as ugly as Nicolas Cage she would only get to be a character actress. She would never in a million years get any leading roles and certainly wouldn't earn millions while phoning it in in numerous action pictures.

Insectum Aphidoidea

Not that he's phoning it in in this movie.

I suppose you could say that Nicolas Cage is a good actor but i think you'd have to define good acting first. At any rate he's unarguably an inventive actor. But invention and "good" are not always simpatico. You should also be consistent and you should maybe work towards cohesive characterizations and end goals. In short, there should be a method to your madness... especially when there's actual madness. Otherwise it'll all tip over into self-parody or self-aggrandizement or self-love or all three. I sometimes think that Nicolas Cage is, as an actor, as compulsive a masturbator as his Adaptation altar-ego. Take his Big Daddy role in Kick-Ass for another example. Yes, it's funny that he's mocking Adam West's Batman cadences but to what end?

The bad lieutenant is sometimes working on his murder case but just as often he's preying on club goers outside of a bar named Gator's Retreat to score more dope. Somewhere in the world right at this very moment, a grad student has just proposed a dissertation on animal imagery in Bad Lieutenant ... or possibly the films of Werner Herzog. Herzog's got a complete menagerie inside that filmography: monkeys, iguanas, grizzlies... you name it.

Anyway the lieutenant just forced a guy some poor sap to give up his drugs and then made the guy watch as he banged his girlfriend. Pleasant. While doing this naughty deed, Cage emits these sounds that are meant to function as sexual grunting but sound closer to guffawed barking. He's such a weirdo (character and actor). There are many shots of animals in this movie, but there's many more of Nicolas Cage behaving like a beast. Now I am beginning to remember vague implied descriptions of perversity from the first film and also why I never saw it. I understand that the two Bad Lieutenants are not especially related as films, outside of their shared perversity?

Because of my policy about not showing you photos of Nicolas Cage -- a policy I just invented during this post -- I've decided to only share animal photos during this train of review-thought thing. So far we've seen gator signs, snakes, teddy bears, zebra print fabric... and now an actual alligator, or two of them. One, twitching and dying, appears to have caused a car accident and is belly up on the ground. The other functions like an exclamation point, question mark or punchline to the scene. He's been watching his buddy dying. At first I thought he seem sad but later I decided malevolent. Maybe he chased his friend into the traffic... and was using him as bait for human meat? It must be the framing of his massive jaw.

Alligatoridea Mississippiensis

As the gator wanders away from the scene of the accident, we get the 100th or so shot of Cage chasing his particular dragons: crack, vicodin, heroine. You name it. And then he goes on a date with Fairuza Balk. He's still working angles on how to get more drugs and saying amusingly truthful things while doing so.
Whatever I take is prescription. Except for the heroin.
Oh, yes, I said Fairuza Balk. Plus Kilmer and Michael Shannon? They're all swirling around Cage in this film. I think Herzog must miss Klaus Kinski like crazy. Perhaps he's experimenting like Dr. Frankenstein, assembling the parts or essence of as many unstable, livewire or "off" screen personas as he can find by shoving them all into the same movie and squeezing.

Canis lupus familiaris

The further along the movie goes -- I'm done with it now. T'was too hard to write and watch and bus at the same time -- the more clearly we see the lieutenant's insanity. The animal motif keeps building, too. After the snake, fish, and gators we get an adorable white dog that keeps trading owner hands, prompting Cage to utter what might be my favorite of his line readings in the movie.
I got a friend. She just loves animals. All of 'em. Dogs, too.
As if dogs were the least lovable of animals. Heh.

The dog doesn't really own his scene. He's too subservient. The reptiles are another story altogether. Not to be outdone by the gators, iguanas show up rather memorably and twice over. Plus more fish and stray sightings like a bull fight on the television. The plot is a pileup as Cage, almost continually high, fucks up his investigation (he loses the only witness) and gets deeper and deeper into drugs and debts and danger as he juggles police duties, drug fixes, criminal activities, and relationship infighting with his family and prostitute girlfriend (Eva Mendes, pretty solid throughout).

For all of that, I think the movie is a comedy. The story turns give the impression that the whole thing is an unreliable farce or satire or... possibly political satire? This does take place after Hurricane Katrina and the white guy fuck-up keeps being rewarded for his insanity. Maybe that's a stretch. I'm tired. I'm on a bus! In addition to the narrative being jokey or at least absurdist, the hallucinatory bits, like a double iguana sighting, are so vividly performed and directed. The famous iguana sequence is as good as I'd heard but not for the reason I was expecting. I had thought that the scene would be a hallucination from the bad lieutenant's perspective as iguanas distract him from the investigation. Instead Herzog begins and ends the scenes with the iguanas rather than the cops and its shot from their side of the room. It's the cops not the iguanas that are the intrusion.

Iguana Iguana

It's a brilliant choice, which forces the surreal joke that maybe the animals are imagining the movie rather than being drug fueled hallucinations themselves. What do iguana dream of anyway? Like the alligator watching the car accident, one has to wonder what these reptiles are up to. Whatever their master plan, they're ready for their close-up. Mr. Herzog will give it to them.

The movie will make room for a few more animal references and sightings. The most vivid is the story of man becoming an animal. After smoking crack Cage tells a local drug dealer about a football player who sprouted antlers... "like a gazelle! like an elk!" peppering this tall tale with Jack Nicholson laughter. But the iguanas have already claimed the movie for their own and will steal this very scene from both the human gazelle and Cage himself.

The investigation plot -- the least interesting but constant part of the movie -- wraps up and the movie loses me. Why did Herzog and screenwriter William M Finkelstein end this drug fueled comedy with a serious rehab coda? Still, all is not well in New Orleans even after justice has been served. The bad lieutenant is still bad. All that has changed is that he is now aware of his depravity. The movie ends by reuniting the lieutenant with the prisoner he rescued from the hurricane.
Bad Lieutenant: Do fish dream?
...he asks ex con Chavez in a wonderful non-sequitor after a rehab discussion.

Carcharhinus amblyrhynchos et. all

I hoped that the movie would end right there in an imagined animal kingdom. Instead there's one more line. We jump to a shot of Terrence and Chavez visiting an aquarium, the water that first threatened them two hours back is now safely behind glass. Unfortunately Herzog and screenwriter William M Finkelstein can't resist one last full circle joke about Cage's underpants as the movie's last line. Did they have to?
Bad Lieutenant: You know Chavez, I still hate that I ruined my underwear for you.
*
*all species names herein are potentially innacurate. I wasn't going for research or realism.

Curio: Peg People

Alexa here. An old friend of mine once brought me back a wooden peg doll from a trip to the Czech Republic. It was as glamorous as a few painted pieces of wood can be, with dark hair and a gleaming blue gown. It brought to mind Jennifer Beals in Devil in a Blue Dress. With that in mind, here are some character-driven peg doll creations.

I adore is this Wild at Heart Sailor peg doll. The lip curl! The snakeskin jacket! Makes me nostalgic for the Nicolas Cage of yore:


Even though he's faceless, I think this doll manages to be the spitting image of Brad Pitt's Louis from Interview with the Vampire. Love that his rat meal is included:


Here's a punny one: this Edward Scissorhands set features a spiky-headed Edward, an angelic Kim, and mama Peg (ha!) in her Avon outfit:


But the best pun comes from this set of Simon Peg(g) dolls by Giddy Girlie. I bet she's still working on a Run Fatboy Run doll in tiny running shorts:

DVDs: Disgusting Orcs, Hallucinated Iguanas, and Magical Oak

I haven’t had time to rescreen An Education yet for that article you voted on last week in the weekly DVD/Blu Ray roundup. But just load me up with more work, sadists! Which of these new or remastered/rereleased thingamoviejigs are you hankering to read Nathaniel’s take on?
  • Bad Lieutenant: Port of Call New Orleans in which Nicolas Cage sees reptiles for crazy man Werner Herzog. This sounds kind of interesting but I can't escape Cage this week and that is *not* a good thing

  • The Lord of The Rings (animated!) in which Ralph Bakshi attempts to shove several epic books into two hours of cartoonage

  • Dirt! The Movie Jamie Lee Curtis tells us all about the magical powers of earth in this documentary

  • The Natural (director's cut) Robert Redford's golden baseball drama from 1984. With Glenn Close, Barbara Hershey and Kim Basinger

  • Jade Warrior some Finnish (?) martial arts epic




You chose BAD LIEUTENANT. Here's the Write Up.

An Actor's Link For Me

Big Picture There's not enough movies in the world to support Nicolas Cage's $$$ habits
Antagony... Introducing... Ingrid Bergman
Movies Kick Ass is excited about Gwyneth Paltrow joining Nicole Kidman in The Danish Girl. I never believe these casting dealios until movies actually start filming. I mean, what will become of GOOP if Gwynnie decides to make movies again?
Cinematical appreciates the grace and wit of Ian McKellen on... The View
Coming Soon Darren Aronofsky's Black Swan movie, a thriller about a ballerina (!) , keeps sounding more interesting: Natalie Portman, Mila Kunis will now be joined by Barbara Hershey and Winona Ryder (double yay!)
Just Jared Reeve Carney, Broadway's new Spider-Man

Did you have any film or television adventures over the weekend? I was mostly layed out with a bad back (i.e. painful but golden opportunity to watch movies) but I did waddle to a Mad Men party last night hosted by the great fansite Basket of Kisses where we were all thrilled to see/meet actor Michael Gladis.




He made his screen debut in Kathyrn Bigelow's K-19: The Widowmaker (2002) but he's mostly done guest spots on TV since. Mad Men was definitely the game-changer. He plays pipe smoking bohemian-leaning Paul on the show. But after seeing the wildly disruptive season 3 finale, I got to thinking about how odd it must be for series regulars. You never know what's coming for your character and yet you have to define that psyche consistently every single week. At any moment, particularly on brave serialized shows which embrace change as a narrative force, you could be written out, sidelined or suddenly come into sharper focus. I guess the same is true for non-series regulars. Your next job could be the big one. Or you could be sidelined.

The life of an actor. One can only imagine.
*

Report: A Girl Explodes In London

Dave here, noting that I've hardly been the best guest blogger around, but I've got the three of diamonds up my sleeve and now's the time to play it. (Assuming we're playing snap and you played the three of spades.) Next week sees the start of the LONDON FILM FESTIVAL, and I'll be reporting from the front line, so to speak, mixing up the big show-offs with little treasures (or disasters) from the selection of British and other smaller films on offer. Press screenings have already been going on, which is why I'm here now with my first round-up.

Easily the most notable of those I've seen so far is Werner Herzog's completely left-field remake of Bad Lieutenant, which shows off its flamboyant impulses right from the elongated title, The Bad Lieutenant: Port of Call New Orleans. I had every intention of watching the original beforehand, but time ran away from me, so I went in without any preconceptions, apart from my long-term hatred for Nicolas Cage. Put a strike through that one, though: not that I actively seek out Cage movies, but he doesn't seem to be doing anything different here - rather, it's the movie around him treating his acting 'style' in a completely reversed manner. His oddities are seen as odd, and, what's more, they comply with Herzog's unpredictably mad approach. As he takes more drugs and gets deeper in some labyrinthine plot, Cage's weirdness only gets weirder - his speech becomes tougher, as though he can't unstick his teeth, his hunch almost becomes a hunchback, his grins grow more demented. And it's all absurdly wonderful. You can only think that this is all meant to be hilarious - how else could 'iguana cam' make any sense whatsoever? With the awkward camerawork, slapdash plotting and a floridly orchestral score, this isn't a good film, but it certainly provides a hell of a two hours of rollicking entertainment. As such, grades are rather irrelevant, but take your B and roll with it.

Wah Do Dem's main calling card seems to be the appearance of one Norah Jones, but given she's in it for all of two minutes, that's rather irrelevant. Max (the slightly goofy but charming Sean Bones) is dumped by her just before they're due to go off on a cruise to Jamaica, and, despite scrabbling around trying to find another 'cruise partner', Max ends up going alone. Which of course means we enjoy all the (largely true) cruise cliches of old people and utter boredom and SHOCK! a gay person. Things get brighter for us as things get worse for Max (especially once he gets to his destination), but what value the film emits is less hilarity than a surprisingly felt message about embracing the unpredictability and liberating danger life can hold. The over-saturated colour makes the film, the debut of duo Ben Chace and Sam Fleischner, seem a little amateurish, especially as it clashes with the handheld camerawork, but it's not an unpleasant little film. C

She, A Chinese was a disappointing way to start to my festival - the roving, restless camerawork paints some pretty pictures and Lu Huang's solid performance can't conceal the aimlessness of the film. Admittedly, the central character is aimless and the film charts her search for something better, for some purpose, and I suppose the vague non-conclusion is making some kind of meaningful point. But it never latches onto any kind of insight about the clash of the various cultures and social milieus Li Mei settles in, dealing instead in lame cliches and droll, detached moments, even when her life veers into the darkest of places. C-

And last on today's this-is-longer-than-I'll-usually-talk-for report is the not-nearly-as-exciting-as-it-sounds The Exploding Girl. It's not entirely a metaphor, though - she's exploding because stress and drink and suchlike provoke an epileptic fit in her. 'She' being Ivy (Zoe Kazan), a young college-going girl who plunges into herself when the combination of a long-distance boyfriend and a visiting male friend she might be attracted to starts to implode before her. Bradley Rust Gray's film is sweet, low-key, maybe a little dull at points, but the observational, placed camerawork (if something gets in the camera's way, be it a car, a tree or an ass, it stays in the way) and Kazan's sympathetic performance make it a pleasant sit. B-

I'll be back on Monday, when the festival will really kick in; impending highlights include the world premiere of Fantastic Mr. Fox, as well as A Single Man, Stale Popcorn favourite Samson & Delilah and some men staring at goats. See you then.

TIFF 09 Coverage Concludes: Whip It, Mother and Child, Up in the Air

As promised here's the final installment of this year's Toronto Film Festival coverage. My anonymous friend (txt critic) saw 26 movies in half a week (I know!) and agreed to rank them all upon his return.

Here's his last few capsules and rankings
1. A Serious Man A+ (previous post)
2. Precious A (previous post)

3. Up in the Air A
The recipient of the most ejaculatory pre festival hype, I think Jason Reitman’s film’s low-key aspirations, and the small-scale story it tells, will perhaps not benefit from being oversold by everyone and their mother (most random Torontonians I waited on line with over the course of the week told me they thought it was “very good, not great”). So, while adding to the hype is to the movie’s detriment, I have to report that I completely swooned for the movie. I can already see the backlash coming, as the movie’s conventional story arc (man-as-an-island bachelor starts to see the value in having other people in his life) will be easy to bemoan. What really sells it all is that it avoids sentimentality and seems to come from a sincere place of honest emotion. It's also extremely funny, never losing its designation as a comedy, even as the resonance starts to approach around the midway point. What’s perhaps most impressive about Reitman’s direction is the handling of this shift and balance of tone: there aren’t “serious” beats, and the film doesn’t jarringly turn into a drama halfway through. It grows subtly more weighty as it goes along, until you're misty-eyed. George Clooney gives one of his best performances, while still staying in his comfort zone. There will be much bigger, showier performances than this, but the film wouldn’t work without his deft handling of the character’s arc. This isn’t a blow you away emotional movie or Juno-esque crowd-pleaser -- the two prevalent adjectives in my mind are “quiet” and “bittersweet” -- but it’s the sort of thing that’s going to entertain and touch a lot of people, and for once, actually earn the feelings it arouses. Oscar nominations for picture, director, actor and adapted screenplay all seem assured.

4. Mother and Child A
Following up Nine Lives and Things You Can Tell Just By Looking At Her with yet another female-driven ensemble film that happens to be his best yet, Rodrigo García’s latest is an openly emotional, fascinating, complex tale of three different women whose lives may or may not cross but, at the least, run parallel. All three (played by Annette Bening, Naomi Watts and Kerry Washington), have had their lives impacted by adoption -- Bening gave birth at 14 and put the girl up for adoption, Watts is her grown-up daughter who’s never met her mother, and Washington is infertile, trying to adopt with her husband. While you emerge from the theater extremely satisfied, no easy answers are found and the film acknowledges the messiness of the emotions / situations entailed in such situations.

Rodrigo García directs The Bening

Watts, Washington and Samuel L. Jackson (in a very small, understated role) are terrific, but the powerhouse performance here belongs to Bening. Starting the film out as an (seemingly) impenetrable bitch, Bening slowly makes us understand the character, and the decisions and emotions that have informed her life. By the time the film ends, you understand why this character ends up in the emotional place that she does. It never feels unrealistic or like a cheat. I don’t know if the film will get distribution before the end of the year but if it does, Bening will unquestionably be one of the five nominees for Best Actress.

5. Micmacs A-
6. The Road A-
7. The Informant! A- (previous post)
8. Harry Brown B+

9. The Bad Lieutenant: Port of Call New Orleans B+
One of the best midnight movies I’ve ever seen (a cult following is already assured), this Nicolas Cage vehicle from Werner Herzog -- using the title and pretty much nothing else from the Abel Ferrara-Harvey Keitel film -- has a warped, nutso energy running through it that had me frazzled when I wasn’t busy laughing. Cage’s off-the-wall performance as a cop addicted to pussy, coke, and back-pain pills is a live-wire tour de force, that for once, utilizes the actor’s over the top inclinations for a character they actually work for. The film’s truly a blast. You alternately gasp and laugh in disbelief, waiting to see what Cage (and Herzog) will do next. My personal favorite moment is a TWO-MINUTE-LONG shot of iguanas Cage is looking at, made all the more brilliant when it’s revealed by another character that said iguanas aren’t even there. This won’t play with Cage’s National Treasure fans, but this is an audience movie if there ever was one.

10. Antichrist B+ (previous post)

11. Whip It B+
Drew Barrymore’s roller-derby directorial debut is perhaps most surprising for the fact that it’s more than “fun,” it’s actually “good.” Showing an assured hand on her first go-round, Barrymore more than capably handles every aspect of the story without short-shrifting any of them: the sports elements work (the derby scenes, violence and all, are insanely fun and well-shot), the coming of age story and love story never feel like bullshit, and the family relationship drama actually proves touching.


Whip It never lets Marcia Gay Harden’s overbearing mother become a caricature or a shrill harridan and allows Daniel Stern, of all people, to be the film’s warm, fuzzy heart. Ellen Page is strong in the central role that can't have been well defined on the page, and the supporting cast is aces, most notably Kristin Wiig in her first screen role (besides, maybe, Ghost Town) that allows her to be as funny as she can be.

12. Perrier’s Bounty B+ (previous post)
13. The Trotsky B (previous post)
14. Daybreakers B
15. Chloe B (previous post)
16. Jennifer’s Body B (previous post)
17. Ondine B-
18. Leaves of Grass B- (previous post)
19. Good Hair B-

20. The Hole C+ (previous post)
21. Solitary Man C
22. George A. Romero’s Survival of the Dead C (previous post)
23. The Joneses C (previous post)
24. Creation C- (previous post)
25. Get Low C-
26. Capitalism: A Love Story D+ (previous post)
Would you all join me in a rousing chorus of "Release Mother and Child!" I need The Bening back in my life. It's torture that festivals dangle these goodies and the distributors look around like "who, me?"

I hope you've enjoyed this year's TIFF coverage and please join me in thanking txt critic, MattCanada and Lev for sharing their thoughts! Maybe next year I'll even make it there myself.

TIFF: The Bad Lieutenant: Port of Call New Orleans

Lev Lewis reporting from the Toronto International Film Festival.

Just came from a screening of The Bad Lieutenant: Port of Call New Orleans and let me just say that it's an insane, rollicking and at times brilliant piece of cinema. I wasn't expecting my thoughts to be anything but negative, but Werner Herzog and Nicolas Cage really hit this one out of the park.

It's easily Cage's best performance since Adaptation; at this point I'd even say that the Academy owes him some recognition. Believe me that's not something I thought I'd be saying after the appalling work Cage has done in the last few years. But in The Bad Lieutenant he takes all his absurd, comical ticks and mannerisms and creates a bizarre, thrilling character that carries the lunatic film.

Editors note: "WHAT?"

It's truly a once in a lifetime experience. They've constructed a ludicrous and hilarious takedown of the cop genre that's imbued with Herzog's unique sensibility.
*

Nic Cage Owes Us and U.S.

You've heard about Nicolas Cage's repeat IRS problems, right? He's now been hit with a six million dollar lien from 2007

Tweet of the Day


LOL Jeremy.

Oh, schadenfreude! I normally don't succumb to your base comedy -- especially when it comes to taxes. I got in trouble when I was 19 and dense about college scholarships -- but it's Nic Cage, so I must take pleasure in this particular misfortune... or enormous fortune as the case may be.

In 2007, Nic Cage Master Thespian won a Razzie nomination for his triple feature: Next, National Treasure: Book of Secrets and Ghost Rider. Shouldn't he have to pay us damages as well?

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DVD: Push and Knowing

It's the day you've all been waiting breathlessly for. You can finally watch superpowered Chris Evans, Djimon Hounsou and Dakota Fanning throw things around (with their minds! ooooh) since Push, their flop f/x thriller has arrived on DVD. You can watch it in the privacy of your own dorm room / apartment / house / attic / basement and conjecture about how long Chris Evans career will last now that his agent doesn't want him to do beefcake anymore. Hopefully his agent has seen The Proposal and has realized that beefcake sure isn't hurting Ryan Reynold's career. Or you can watch it and wonder about how well Dakota Fanning will bridge the child star / young adult actress divide.

I don't mean to sound so snarky because against my better judgment I am actually curious to see this. But like I said back in February...

I'm sure it would be better if Mo'Nique was in it.


Much better.

Unfortunately for us, Mo'Nique's buzzy picture Precious, the movie that once shared this film's name, is not available for our viewing until November 6th. We can't wait.

Also on DVD
  • Box office hit Knowing which I had hoped to see nominated for abundant Razzies including Worst Actor in Perpetuity Nicolas Cage [my review]. Unfortunately Roger Ebert shoved his thumbs way up into its dumb deterministic disaster porn and thus saved it from its deserved fate.
  • The Unborn, a horror movie about a twin that never made it and is angry about it. Carla Gugino and Gary Oldman appear for reasons that only their managers or bank accounts can explain. Where are the projects for these two actors? But the plot got me to thinking about a fantasy book that spins on this same, malevolent dead twin theme called The Bone Doll's Twin. If you like fantasy books, I recommend.
  • I had no idea that the stars of the scary Joy Ride (2001), Steve Zahn and Leelee Sobieski, reunited for another thriller. They did. It's called Night Train and it went straight to DVD.
  • And though it's not its first time on DVD, Kathryn Bigelow's vampire cult classic Near Dark (1987) has also been rereleased today... to coincide with all the hoopla regarding her work on The Hurt Locker? Maybe not. There's been no publicity to celebrate the connection. That's too bad.

Knowing Review

The new genre thriller Knowing begins with a prologue from 1959. We know because the titles tell us and because the students at a newly opened Grade School dress in cheerful colors and seem uniformly attentive and polite as they might in a Leave it to Beaver influenced universe. They answer every question with a metronome precise chant of “Yes Miss Taylor.” Miss Taylor is their teacher and they’ve been asked to draw visions of the future. They’ll bury their art in a time capsule to be opened exactly 50 years later by a future generation of schoolchildren in 2009 or, as the titles helpfully declare minutes later, “Present Day.” (What happens when people are watching this on DVD in January 2010? How can ‘exactly 50 years from 1959’ be 2010 be “Present Day”? It’s a question for Dr. Manhattan)

One of the students is not a ‘50s Stepford Child. Her name is Lucinda Embry (Lara Robison) and she looks just as wan, forlorn and dead-eyed as the actress Rose Byrne always does (kudos to the casting director, the resemblance is truly uncanny). Knowing’s female lead will be playing an Embry descendant in the present day. Little Lucy hears creepy, loud and overlapping voices which drive her cuckoo. They’re later referred to as “whisper people” though the decibel level the sound team chooses for these voices suggests not such much whispering as “shouty people with lisps”. The voices are feeding her information and the information isn’t pleasant. She scribbles seemingly nonsensical numbers frantically for two pages until her teacher pulls the sheet out from under her preventing its completion. Miss Taylor is annoyed that Lucy didn’t follow the “draw the future” assignment. Chant it with me now “But she did Miss Taylor, she did!"

In the present day we meet a sad widower Professor Koestler (Nicolas Cage) and his hearing impaired son Caleb. We know it won’t be long before they discover Lucy’s “drawing” and all hell breaks loose. We know this because Knowing is the furthest thing from subtle in mood or gradual in its foreshadowing. As early as the prologue the filmmaker makes no differentiation between the creepy parts and the mundane. It’s all scored and shot the same negating the twisting effect of true creepiness. Thriller music, spooky production design choices and low camera angles prevail. Professor Koestler and his son don’t just live in a normal house where we might see their world unravel as the thrills emerge. Their world is already creepy and doomed. They live in a house that could be the Amityville Horror‘s cousin. It’s out in the foggy woods. Of course it is!

Most embarrassing is Knowing’s intimate familiarity with extremely loud “SCARE” sound cues. Sometimes this desperate tendency botches the suspense entirely. There’s one shot in the film involving a piece of furniture that should be a genuinely unsettling “reveal” It’s preceded by a THIS IS SCARY sound cue so eardrum crushing loud I felt my seat vibrating. But instead of timing it to the reveal, it happens before. We’re actually still looking at Nicolas Cage looking at something when we're told to be very afraid. When the edit hits and we see the scary thing for ourselves it's still creepy but way anticlimactic. The movie was scared for us so we don't have to be.

An early scene of Koestler giving a lecture to his class attempts to establish an underlying theme for the film in the question “Determinism or Randomness?” but it’s a red herring of the most cynical variety. The film is crushingly deterministic and besides, no mainstream Hollywood thriller would ever opt for randomness when “everything happens for a reason” is on offer. It’s not the comfort motto of the masses for nothing. This sad man believes in randomness. His wife’s death has killed his faith. Movie stars playing characters who’ve lost their faith before the movie begins always regain it before the end credits. It’s a rule. Just ask Mel Gibson in Signs.

(some spoilers now)

Lucy’s list of numbers is revealed to be prophetic codes to past and future catastrophes with large body counts. Those whispering voices are soon embodied by mysterious blond child-stalking men. Numbers in thrillers always means code breaking which always means Determinism. When will Professor Koestler shuck his “Randomness” preaching and join Team Determinism? Very soon, moviegoer, very soon.

Once Koestler gets his paws on the Lucy’s disaster clock paper, he immediately starts underlining and circling groups of numbers with a big fat red marker. He breaks the code. He becomes a daredevil throwing himself in harm’s way repeatedly to save lives since he knows where and when the disasters will happen. Huge budgeted special effects follow – the first setpiece is the most successful and startling, probably because it’s the only one that the movie hasn’t relentlessly prepped us for. The unknown is always scarier than the known. Which is why people prefer the known (Determinism!) to the unknown (Randomness!). Some of the disasters are well realized but the effect isn’t so enjoyable. The director Alex Proyas sinks low, even panning up to an American flag blowing in the wind, as the end note of a New York City disaster sequence. Cheap shot Proyas, cheap shot. More troubling is the dehumanizing dumb religiosity of the whole enterprise, capped by one of the silliest endings I can recall seeing in a movie theater. Knowing’s spectacle of death and disaster and that final scene will probably be a huge hit with apocalypse-loving evangelical Christians considering its commitment to doomsday prophesies. Watch the world burn –we knew it would!!!

Nicolas Cage charts his acting process.

The days of Nicolas Cage’s sensitivity and risk-taking as an actor have been over for so long it’s hard to get worked up about a new lame performance. But I’ll try. He makes only the broadest of acting choices. He MOPES in capital letters. He DRINKS in capital letters. He SHOUTS whenever he can get away with it (the late film bad acting shouting duet with Rose Byrne is especially funny). When the movie needs him to cry he doesn’t cry so much as hunch his shoulders and jam his eyelids together as if he can force tears out physically. He’s like a Terminator mimicking emotions they’ve seen humans express that they don't quite grasp. Cage doesn’t just overact. He overacts and then underlines. Then he starts circling his emotions with a big fat red marker. For years he’s collected massive paychecks as a student of the Joey Tribiano “I smelled a fart” school of acting. He who smelt it, dealt it. This time Cage has an excuse for the face pulling. The movie stinks. D

Links, Episode #351

The Guardian Peter Greenaway to animate The Last Supper. I love the way Greenaway thinks. He's a true original. Can't wait to see what he makes of this opportunity.
Jewcy is Woody Allen's Cassandra's Dream about Soon-Yi
Scott 2 B Certain goes backstage @ BAFTA/LA event. Funny
<--- popbytes with excerpts from the new W with Scarjo & Portman (promoting The Other Boleyn Girl)
Silly Hats Only has the Muriel Awards. I voted
Defamer more on the ongoing Kathleen Turner / Nicolas Cage feud. I use to really worry that this blog was regressing to the 80s… but it’s the pop culture universe from fashion to movie stars to. It's not me, thank you. What year is it again?
Towleroad The Little Dog Laughed, a sharp comedic play about a closeted gay Hollywood star is playing in Connecticut. I wouldn't miss it if you have the chance
EW why the Sex & The City clones can't get it right... although basically this article implies that there is no cloning that would work. I agree with the notion that a new group of people needs representation, fantasized or otherwise. There's many voices that haven't been heard.

Time to go back to the festivals: Berlin
The Telegraph Madonna is @ the event with Filth & Wisdom
European Films my friend Boyd has a ton of great coverage... and mouthwatering photos for true cinephiles.
Band of Thebes covers the queer films playing at Berlinale including Dream Boy. I wasn't aware anyone had made a movie of that. I loved the book and when I finished reading it years ago I thought "wow, this would make a great movie if it found an audacious creative director to transfer it" --did they pull it off?

Now Playing: Do We Have To?

In January typing up "now playing" posts is going to be painful.

Just Opened
First Sunday
beware of First Month releases. Especially comedies
In the Name of the King: A Dungeon Seige Tale -features Jason Statham and Leelee Sobieski (omg she's still alive?) in a medieval type thing that looks very contemporary for some [cough] budget [/cough] reason. I like that this movie is clearly a conspiracy to make bald guys sexier to moviegoers. Notice how Jason looks rocking hot as usual whilst all the other guys have really bad wigs and are decidedly unsexy. Is that in his contract? Poor Ray Liotta.
The Pirates Who Don't Do Anything -is part of some franchise called Veggie Tales but, honestly, I prefer to know as little about that as is humanly possibly.

And finally The Bucket List, one of the NBR choices for top ten films of the year (oh dear. board of review peoples. really) went wide. I'm not sure what the point of a first week limited run was for a mainstream movie starring Jack Nicholson and Morgan Freeman. This is not a critics pet / platform picture. But what do I know? Box Office mysteries abound. Like: why are people going to see Nicolas Cage movies, still? I know it sounds improbable but they are.

Meanwhile...
It's time to catch up on the would be Oscar players you haven't had the opportunity to see yet. Atonement, Juno, Kite Runner and There Will Be Blood all added hundreds of theaters. For those of you who lift moviegoing suggestions/ideas from the film experience, I am unhappy to report that being named on my top ten list does not add screens to your theatrical run. (Shocking!) So apologies to all that were so honored.

Five films from my top ten list are still playing. You can see how many theaters they're still in in the graphic. The Romanian Cannes Festival winner 4 Months 3 Weeks and 2 Days (also on my list) begins a proper run on January 25th in major cities. The remaining four top ten titles are now on DVD so you have no excuse to skip them (Once, Away From Her, Zodiac and Ratatouille)

Lust, Caution is down to 9 screens and Michael Clayton drops to 31 ...though at least the latter had a long and healthy run. Even There Will Be Blood, a huge talking point picture online, is still on under 200 screens (it had a big theater count add yesterday). If you've been waiting desperately in your smaller city it shouldn't be much longer. The Oscar nominations are announced on January 22nd. Friday January 25th should be an exciting weekend at the movie theater for quality film lovers in smaller markets.

There Will Be Linking

ModFab chooses the heroes of 2007. There will be watery eyes [...and there will be less "there will be"s very soon. Promise. Just a temporary tic on account of There Will Be Blood taking up so much space in me noggin -ed.]
Eddie Copeland joins me in the war against mimicry as the pinnacle of acting
Hollywood Elsewhere "best" pictures as world views
I Watch Stuff has a 40 second Coraline preview. I loved that book. Pfeiffer pfans will remember that it was originally to star Michelle Pfeiffer as Mother / Other Mother but the project was switched to animation while in development
Out in Hollywood
celebrates James Marsden's miracle year


Man About Town loves Atonement
Paramount Vantage lets you read their Oscar hopefuls -screenplays for all five
LA Times 7 reasons to hate year end lists
Zoom-In I'm offering up rental suggestions for those longing to wipe the memories of modern day Nicolas Cage from their brain, replacing them with sojourns back to his good old days
Reports from the Edge witness the horrifying world of 'if the Oscars were determined by box office receipts' ...don't say I didn't warn you about the horrifying part