Movie Review

Wilmington on Movies: The Dictator

Of course the Marx Brothers were partial to non sequiturs too, and several crtics have compared this film to both Chaplin’s The Great Dictator, and the Marx Brothers’ “Duck Soup.” But in their greatest films, Groucho, Chico and Harpo made their comedy work through sheer brazenness, through adroit asides and clever playing to the audience. That kind of wacky genius isn’t really a Cohen forte.

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Wilmington on Movies: Battleship

Gallantly, Alex rushes out to get her said burrito, which he does by breaking into a nearby convenience store, tearing up the ceiling, stealing and (I presume) microwaving a chicken burrito and then resisting arrest, a feat of insane derring-do that so impresses the hottie, Samantha Shane (Decker) that she falls madly in love with Alex. Samantha, incidentally, turns out to be the daughter of Stone’s boss, Admiral Shane, the commander of the entire Pacific Fleet (played by Liam Neeson).

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Wilmington on Movies: What to Expect When You’re Expecting

The movie, which tries hard to leaven its sunny comedy and advice with a little darkness and realism, succeeds only in dredging up unwelcome memories (to me) of Valentine’s Day and New Year’s Eve, and unpleasant thoughts of a possible “What to Expect When You’re Expecting: The Musical.” Is that likely? Is that conceivable? I’m afraid to ask.

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Wilmington on Movies: Dark Shadows

Most interestingly the filmmakers take a lead character, Barnabas C., whom I remember as something of an epicene icon, and they let Depp (who has said that he interprets many roles with a gay slant) make Barnabas so unabashedly heterosexual with his lady loves — Eva Green in Lara Parker’s old role of witch/bitch Angelique Bouchard and Bella Heathcote as both eternal 18th century love Josette Duprez and ’70s governess Victoria Winters — that they either die or kill for love of him.

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Review: GOD BLESS THIS MESS

The only thing worse than the sudden, crushing realization that much of American pop culture is vile, hateful, and stupid is watching a movie in which the main character has this sudden, crushing realization, then proceeds to lecture other characters on said realization. As a result, Bobcat Goldthwait’s “God Bless America” is pretty much doomed from the start, since our hero, Frank (Joel Murray), launches into his diatribe a few minutes after the movie begins.

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Wilmington on Movies: The Best Exotic Marigold Hotel

The movie — based by director John Madden and screenwriter Ol Parker on Deborah Moogach‘s novel, “These Foolish Things“ — is a nice little comedy-drama, intelligently made and beautifully designed and shot. But the acting is what makes it special. That glittering cast of British senior stars are a magnificent seven.

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Wilmington on Movies: The Avengers

These guys aren’t horsing around. They want to make something ass-kickingly fabulous out of this ensemble super-movie — this all-star mega-picture that brings together (for the first time) seven of Stan Lee’s Marvel comic book superstars in their big-movie super-reincarnations: Samuel L. Jackson as Nick Fury, director of S.H.I.E.L.D., Chris Evans’ Captain America, Chris Hemsworth’s Thor, Scarlett Johansson’s Black Widow, Jeremy Renner’s Hawkeye, The Hulk (now played by Mark Ruffalo), and the group’s star of stars and champion wisecracker, Tony Stark a.k.a. Iron Man (played to the hilt by Robert Downey, Jr.).

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Wilmington on Movies: The Five-Year Engagement

Most of the things that go wrong with most Hollywood romantic comedies, are done right here. “The Five-Year Engagement” isn’t a glamorous showcase for a bunch of glam-kids trading double-entendres, but an honest (but also funny) investigation into modern relationships and their quirks and pitfalls. The cast is a first-class, heavy-duty comic ensemble, and the genuinely amusing script has lots of good moments for lots of funny people.

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Wilmington on Movies: The Raven

But wait a minute. This isn’t the kind of horror that puts money in your pockets. A loser roaming the streets and expiring in a hospital? Not in our bottom-line, money-obsessed, failure-hating age. Let’s imagine something more horrible — and certainly more modern, more suitable to contemporary tastes.

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Wilmington on Movies: Headhunters

Slick and fast and gorgeously shot—if sometimes almost criminally over-the-top.

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Wilmington on Movies: Darling Companion

The movie has its flaws — that outlandishly implausible ending chiefly among them — but compared to most of the un-naturalistic, unfunny, unserious, totally phony and sometimes obnoxiously ageist and condescendingly smart-ass gloppy stuff that often passes for American movie comedy-drama these days (and that sometimes gets a pass from the same people who pile on movies like “Darling Companion”), it’s a movie that deserves some encouragement.

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Wilmington on DVDs. Chinatown.

It‘s a picture that seems close to perfect of its kind and one of the ‘70s films I love best. Gorgeous and terrifying and sometimes funny as hell, Chinatown tells a romantic/tragic/murder mystery tale of official crimes and personal corruption raging around the real-life L. A. Water scandal, with private sin and public swindles steadily stripped bare by J. J. Gittes (one of Jack Nicholson‘s signature roles), a cynical, natty, smart-ass Hammetesque shamus, with a nose for corruption and a hot-trigger temper

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Wilmington on Movies: American Reunion

Just the reintroduction of Jim‘s pop and The Stiffmeister alone is enough to raise a litle indecent notalgia in this movie. Or bonhomie, maybe. Not enough to make it a good movie, but at least enough to avoid it being an irredeemably bad one.

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Wilmington on Movies: 21 Jump Street

I may have missed those laughs, but since 21 Jump Street is already a certifiable big hit — and even a certifiable critical hit — nothing I can say is likely to resonate one way or another. The fact that I found it not very funny, not very entertaining, visually scrappy, and full of dopey scenes that made little or no sense will count for little or nothing here in Box Office Mega Land.

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Wilmington on Movies: Casa de mi Padre

When good actors play bad actors giving bad performances in a bad movie, there’s a thin line — between bad and good and bad-good or good-bad. One can appreciate the subtle self-effacing skill involved in bad-as-good movie-making and acting. But aren’t these people taking away work from genuinely bad actors?

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Wilmington on Movies: Silent House

It’s a contemporary variation on the “Old Dark House” lady-in-distress thriller, based on the Uruguayan suspense film La Casa Muda and it stars the very pretty and convincing Elizabeth Olsen as Sarah, a sensitive and troubled young lady whose somewhat obnoxious father John and somewhat enigmatic Uncle Peter have joined her at the family’s summer home, to clean it up and prepare it for sale.

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Wilmington on Movies: John Carter

John Carter, the new live action Disney epic — based on the popular early 20th century pulp series of science fiction novels (“A Princess of Mars,“ etc.) by Tarzan creator Edgar Rice Burroughs — reportedly cost all of that and more, and it still looks like as if it’s missing something. But maybe it’s missing something money can’t buy.

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Wilmington on DVDs. Jack and Jill, Footloose, Monty Python and the Holy Grail

Among Jill’s more unfortunate traits: a habit of leaping into Jack’s bed and spooning (She calls it part of “twin time“), starting arguments at dinnertime, saying everything in a loud, squeaky Bronx screech of a voice, diarrheic reactions to chimichangas and a tendency to leave huge dark sweat stains on her bed sheets.

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Wilmington on Movies: Tim and Eric’s Billion Dollar Movie

… a hellhole inhabited by more idiots and a wolf or two, including the uncredited John C. Reilly as the affably deranged halfwit Taquito, the uncredited Will Ferrell as the stomach-churning con guy Damien Weebs, the uncredited Zach Galifianakis as the rustic simpleton Jim Joe Kelly (at least I think he was a rustic simpleton), Jeff Goldblum as “Chef” Goldblum …

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Wilmington on Movies: Dr. Seuss’ The Lorax

It isn’t as if this show were a bomb. It’s made by intelligent guys.

They know how to shoot. They think Seuss is a toot, They love trees and they love cracking wise.

Cinco Paul, and Ken Daurio, and Chris Renau-rio, the gang from Despicable Me

Well, maybe their flick is too big and too cheery-o: a Slightly Disposable Spree.

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“People respond strongly to my work, one way or another. I care about critics in the sense that if you have a good review, it’s nice to hear about it, and if you have a bad review, it’s quite nice not to hear about it. When I am making a movie, I try to put all of that out of my mind and think just about the world I am creating. When people criticize my work, they often seem to say either that my worldview is too specific or, “Who needs your world?” Those are not criticisms that resonate with me, because what fictional world do you actually need? To write a screenplay and not make the movie, or to make a movie from a screenplay I didn’t write, both seem odd to me; it’s hard for me to divorce the creation and direction processes. For that reason, I have never given up on a script. When I settle in on something, I just work on it until I kind of get it—though that can take a while. But as long as I have an idea in mind, I will pursue it. It just seems to flow: If I made the thing up in the first place, then that is a reason for me to direct it. I have been asked why I don’t make a big-budget movie or what’s considered a Hollywood movie. I don’t feel particularly compelled to do that sort of thing. The more economical you can be, the more fun you are going to have. I find it all slows down when it gets really big. The process can be so much more light on its feet and inspiring when you are nimble.”
~ Wes Anderson Confides In The WSJ

“Just got back from Dark Shadows at the Lincoln Square IMAX (102′ wide screen, over 50 sears per row). I loved almost every second of it. What a shock. I can see why people under 49 hate it, and it’s not just because of its ’60s TV roots–it’s a very traditional, classic-style horror film: leisurely-paced, character-driven, beautifully designed (mostly real sets, not CGI), music used as a humorous or ironic underline, not particularly violent (there’s more blood in the 1970 version), perfectly cast with superb actors, and of course a nice sense of humor to balance the horror. No jump scenes, no teens sliced to pieces by some mask-wearing non-entity, just good old-fashioned story-telling. It’s more like Hugo than Hostel, and not just because it shares cast members and underperformed. And as for the much-derided third act: the complaints are horseshit. Everything that takes place in the climax is logically built up to in what precedes it. Yes, the werewolf is a surprise, but it shouldn’t be given the family history and that character’s behavior, and the explanation is eminently reasonable. In an era where Bridesmaids is considered award-worthy writing, it’s no surprise that many people have forgotten what a well-made script can be like. So fuck all the haters. Dark Shadows lived up to my expectations (no small feat), and should be seen by everyone who still appreciates quality, grown-up, Old Hollywood-style filmmaking. Cadavra has spoken.”
~ Cadavra on Dark Shadows

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