Having emerged as somewhat of the frontrunner in the awards race in recent weeks, Zero DarkThirty opens to special limited engagements this week before nationwide release in January. It’s a pretty strong week in terms of variety, with Judd Apatow’s latest, This Is 40, foreign drama powerhouse, Amour,and Walter Salles’ adaptation of On the Road. Add a natural disaster survival drama, a case of double-dipping with a popular animated feature, and Tom Cruise reaching for justice for a well-stocked long weekend of cinematic entertainment.
Zero Dark Thirty
Language: English
Rating: R
Genre: Action/Drama/History
Director: Kathryn Bigelow
Starring: Jessica Chastain, Joel Edgerton, Jason Clarke
“The greatest manhunt in history” follows the decade-long efforts to find Osama bin Laden, spanning from the September 11 attacks to his death at the hands of Navy S.E.A.L. Team 6 in May 2011. See Clayton and Joey’s early reviews. Read more on Weekend Openings: (12/19-12/21)…
I’m sure I’m hardly the only one who never expected to see Seth Rogen and Barbara Streisand share the silver screen, but that’s just what they do in ‘The Guilt Trip’, a harmless comedy that mostly works due to the chemistry of the pair. There’s not a whole lot to love here, but more often than not there’s something to smile at. The script by Dan Fogelman has the ingredients to be successful, and the team of Rogen and Streisand do their best, but the direction of Anne Fletcher bungles the tone. She really struggles with the transitions from comedy to drama, leading to a vague sense of dissatisfaction with the end product. I’m sure that it’s going to have a decent amount of fans now that it’s in theaters; a bit earlier than original scheduled, but one will have to keep their expectations low. I was hoping for a bit more than what I got, but those eager to just watch Rogen or Streisand do their thing (with the former more toned down than usual) will likely enjoy.
Something has happened to Judd Apatow since he busted onto the scene with The 40 Year Old Virgin (2005). Apatow has never had a real problem with entertaining and his writing has always been at the very least average to say the least if at times juvenile or unfocused. In his newest film This is 40, the sort-of-sequel to his hit-film Knocked Up (2007), Apatow presents his most matured outing as a writer and director to date. Perhaps it was the already made foundation from his previous film and the characters Pete (Paul Rudd) and Debbie (Leslie Mann), whatever it is, This is 40 very successfully encapsulates marriage and life in a tender and comedic way. It’s one of the 2012’s great surprises. Read more on This is 40 (***)…
Simply put, Andy and Lana Wachowski and Tom Tykwer’s Cloud Atlas is an allegory about love, freedom, and the connectivity of the human spirit throughout all of time, space, and everything in between. But there is nothing simple about this film – this challengingly ambitious and wildly intrepid film – that weaves six unique stories through different periods in time (between 1849 and approximately 2346), all following the same actors redefined in each tale by different ethnicities, genders, and ages, in what is almost certainly a nod to reincarnation. If you try to connect the dots between each story being told, you might miss the larger point of the narrative, as Cloud Atlas is most profoundly felt in the sum of all its exuberant parts. And while I was intrigued with each separate story being told, I was surprised by the wave of emotion that hit me as the film pulled itself together marvelously in the end. Cloud Atlas is already an esoteric and devisive film amongst critics and audiences alike, but count this writer as one on the side of this being one of the best films of the year.
Once upon a time at The Awards Circuit (and even before then when we were still called The Oscar Igloo) we put out Script Reviews on a decently consistent basis. Things have slowed down a lot in that regard over the last year or two, but I’m back again this season with a few planned, including Quentin Tarantino’s ‘Django Unchained’ and this one here for Judd Apatow’s sort-of sequel ‘This is 40′. A spinoff of sorts from ‘Knocked Up’, this could be one of the only comedies with a shot at awards consideration this year. Does it actually have a chance? Having read the script, I’d say yes, mainly in terms of the screenplay itself, which is very strong and moves the filmmaker into some new and fertile ground. Granted, I was wrong about ‘Funny People’ a few years ago, but this should have a much more solid appeal to audiences and voters alike, which bodes well for the flick. Apatow has found a happy medium between the broader comedy of his first two directorial outings and mostly drama with awkward comedy that so many people took issue with the last time around. I haven’t disliked a film of his yet, and judging by this script, he’s going to be 4 for 4 in my book this December.
With the upcoming DVD/Blu-ray release of Sarah Polley’s second directorial feature, Take This Waltz, the Canadian-born writer/director builds upon the promising foundation of her filmmaking career.
Polley follows up her acclaimed and Oscar-nominated debut, Away from Her (2006), with a simply honest portrayal of a woman’s struggle to fill the gaps in her seemingly happy marriage. Boasting crisp cinematography, good writing, and believable character depictions, the effort mostly succeeds in coming across as composed and genuine. While Michelle Williams predictably delivers a solid performance, it’s difficult at times to understand or empathize with her predicament and decisions, due to their impulsive and somewhat erratic nature. Seth Rogen as the naively loving, slightly disconnected husband and Sarah Silverman as the strangely wise alcoholic sister-in-law both fill their supporting roles effectively. It’s worth a look if you’re curious.
Despite an intriguing hook and certain scenes that suggest a zany potential, the raunchy female-centric comedy ‘For a Good Time, Call…’ can’t manage to be near the level of something like ‘Bridesmaids’. To be fair, it’s far better than something like ‘The Sweetest Thing’ and I laughed quite a bit here, but the film is essentially without a plot and it’s a bit frustrating to keep waiting for the movie to go somewhere it doesn’t. The end result is something enjoyable but a bit too sitcom-like for my tastes. The film certainly isn’t a bad time at the movies, but it doesn’t especially stand out as a top notch comedy in 2012. Co-writer/star Lauren Miller has appeal and potential on both ends, while Ari Graynor is finally given a big role to tackle, but their charm isn’t enough to get by here. Director Jamie Travis doesn’t do much to give the screenplay (which feels more like an outline than a shooting script) anything extra, leading to too many scenes that are fine, but could have been better. When the film is funny, it’s real funny, but for a 90-something minute flick, it moves slowly. I can’t fully recommend this movie, but I’m hardly demonizing it either. I just was hoping for a little bit more than I got…
The second half of the year is upon us. The race is about to heat up with big Oscar hopefuls coming down the pike. Our John Foote will be in attendance at the Toronto International Film Festival and many films will be unveiling themselves to critics alike. There is a very unclear yet still feasible shape to the race looking from ten thousand feet.
There are internet jitters building for Paul Thomas Anderson’s The Master starring Joaquin Phoenix and Philip Seymour Hoffman. With the trailers released and now the film being pushed up to September, it looks as though we may be in store for a master class in filmmaking. Phoenix also looks to be a lead contender for his first Oscar after delivering in his previous nominated works, Gladiator (2000) and Walk the Line (2005). Phoenix does have tough competition ahead of him including what looks to be a critical darling-type performance coming from John Hawkes in Ben Lewin’s The Sessions. Early word is very positive for the film and the turns by Hawkes along with co-stars Helen Hunt and William H. Macy. Since Hawkes’ initial nomination two years ago for Winter’s Bone, he hasn’t shown any signs of letting up. He was arguably left off last year in Sean Durkin’s Martha Marcy May Marlene and will be seen later this year in Julia Dyer’s The Playroom and Steven Spielberg’s Lincoln. There seems to be a tremendous following and support for him in his current state. Speaking of Spielberg, we’re still awaiting some type of marketing material for his upcoming Lincoln biopic. No poster or trailer has been released with very few stills leaked online. One starts to think if it will even be ready in time.
A nightwatchman gets skinned alive and obliterated at a Costco in a suburban town and store manager Evan (Ben Stiller) assembles a neighborhood watch group to find his co-worker’s killer in The Watch, a science-fiction/comedy which, in fits and starts, is an amusing movie. Proudly crude and vulgar, The Watch tells an aliens-attacking-Earth story with an underlying mix of subplots which take the film down tangential paths that never truly lead anywhere. The film lacks a focal point, unless that focal point is to simply throw a little graphic violence, graphic humor, and star power at the wall and see what sticks. And the problem is, little really does.
Seeing Ben Stiller, Vince Vaughn, Jonah Hill, and Richard Ayoade riff with one another has intermittent hilarity, but ultimately The Watch suffers mightily from its poorly constructed story which incorporates way, way too much. As a result, the screenplay by Seth Rogen, Evan Goldberg, and Jared Stern delivers moments too scattershot to mean anything once the film, or in some instances the scene, comes to an end.
Sarah Polley’s first feature film as a director, Away from Her (2007) was an extraordinary work, a startling love story but also a brilliant character study about a couple over sixty dealing with Alzheimer’s disease. Julie Christie gave the performance of her career as Fiona, a proud woman descending into the nightmare of the disease, with Canadian icon Gordon Pinsent as her husband, Grant, a former college professor who adores his wife but was not above a dalliance with a student years before. Retired, they spend their time in their home, journeying out into the winter to cross-country ski, or enjoy the weather and beautiful landscapes. When the impact of the disease begins to wear on Fiona, making her everyday life difficult, she decides to go into a facility where she can receive the proper care, and not be a burden to her husband. Grant is opposed, believing he can care for his wife, but she is adamant, and will not listen to him. What really hurts Grant is the fact that once she is in the place, they cannot have contact for thirty days. Once there she seems to forget him, and connects with another patient, who needs her. The picture is about love, and how much one will do if they truly love another, how far will we go for love? Sacrifice is so much a part of any relationship and what Grant is willing to sacrifice for Fiona was a blinding reminder of what we have within ourselves to do for another person. Read more on Take this Waltz (**)…
Actress-turned-filmmaker Sarah Polley continues to explore love in a very unique way with the romantic drama ‘Take This Waltz’, a tremendously acted and emotionally wrenching film that’s about much more than initially meets the eye. Michelle Williams again is doing excellent work in the lead role, and Seth Rogen is as good as he’s ever been (and far more serious than ever as well) as her husband, while the supporting cast shines as well. Polley herself continues to grow as a director in all sorts of ways, and if her screenplay occasionally doesn’t seem to be on the same level as everything else, it only prevents the movie from reaching the heights of being an incredible flick, settling instead of just being excellent instead. It’s a bit slowly paced and might be too mellow at times for some, but there are rewards to be found if you give it a chance. The film opens at the end of June, and it’s a welcome respite from what likely will be yet another summer filled with pointless explosions, car chases, and a general lack of intelligence (hopefully excluding the likes of certain titles like ‘Prometheus’, ‘The Dark Knight Rises’, and a few others if all goes well). This is one definitely not to miss, as it’s among the finest titles of 2012 so far.
One of last year’s potential Oscar contenders that got pushed out of the race to this year was Sarah Polley’s film ‘Take This Waltz’. It had solid reviews from festivals, but just never really got going in 2011. Could this be the year that it gets some recognition? Well, it opens this June, and there’s a new Trailer that you can check out below after the jump. Personally, I think it looks like a winner, but we shall see…
Rating: R for language throughout, sexual content, and some drug use.
Running Time: 99 Minutes Studio: Summit Entertainment Release Date: January 24, 2012
Director: Jonathan Levine
Stars: Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick, Anjelica Huston.
I’m always a big fan of the Independent Spirit Awards, especially since their host usually gets to have more fun than most. This year should be a real treat, since Seth Rogen was asked to host the show. Here’s the story from The Hollywood Reporter:
Film Independent has tapped Seth Rogen to host the 2012 Film Independent Spirit Awards.
The 50/50 star will emcee the 27th annual awards ceremony, to be held on the Santa Monica beach on Saturday, Feb. 25 with the telecast to air at 10 p.m. ET/PT on IFC.
“We’re incredibly excited to have Seth as the host for the 2012 Film Independent Spirit Awards and join us in celebrating this year’s exquisite films and talented filmmaking artists. Seth’s charm, intelligence and quick wit are sure to light up the room and will make for a truly entertaining afternoon,” said Film Independent senior director Sean Mc Manus.
Stricken with a shocking, confounding, and life-threatening cancer diagnosis, 27-year old Adam Lerner (Joseph Gordon-Levitt) is forced to deal with realities he never could have anticipated in the brilliant “50/50″, a comedy/drama that takes a considerable amount of risk in conveying a story of this subject matter with a liberal mix of humor and drama. Adapted from screenwriter Will Reiser’s real life experiences in battling a dangerous and rare form of cancer, “50/50″ is a film of subtle power and effectiveness, one of the more dynamic surprises I have encountered in a long, long time.
There is cancer in my house, the bad kind: brain cancer. It is incurable. This cancer just sits, ever growing, hiding in the recesses of the brain too far down for the surgeons to cut out, waiting for the chance to erupt once again. This one is one of the least-understood forms of cancer, so the doctors know little about it. My wife has struggled through radiation and is now struggling through aggressive chemotherapy to treat what we have been told is a very malignant form of cancer in her brain. We figure we could sit around and cry about our plight, but instead we choose to laugh, or, as Renton suggests in Trainspotting (1996), choose life. What alternative is there, really?
50/50 (***) hit home with me in a very powerful way. Admittedly, I was concerned about seeing the film. When you are living the experience portrayed in the film, one tends to judge it in comparison to their lives. That might be an unfair standard to place on the film, but that’s the way it is with such subject matter. Thankfully, director Jonathan Levine and screenwriter Will Reiser have made an excellent, powerful and deeply moving film that permeates with the one thing we feel each and every day when all seems lost…hope. Read more on John’s TIFF Diary: Day Six…
Talented actress/director Sarah Polley disappoints with second film "Take This Waltz"
Sunday was a day of disappointments at the festival. I mean serious letdowns, folks: one from a promising young lady experiencing a sophomore slump, the other a former world-class director who gave us something downright juvenile.
Take This Waltz (**) is the second feature from gifted actress/director/writer Sarah Polley and though she swears it is not autobiographical, she went through a divorce last year, has remarried and is three months pregnant with her first child.
After the masterpiece that was Away from Her (2007), Polley turns her camera on a much younger married couple this time, though no less troubled. Where Away from Her gave us a palpable insight into the love that Grant (Gordon Pinsent) had for Fiona (Julie Christie), not once through Take This Waltz did I ever get a sense of that depth of love and devotion.
The funniest movie of 2011 so far, Paul is an extraterrestrial/road trip comedy that knows how to tickle the funny bone. It’s not exactly hilarious, but enough of the jokes are amusing that there’s no denying this is an effective comedy (it reminds me a lot of English comedy, actually). It’s also just very well made (though I’d actually say that the talent involved made me wish for a slightly more memorable film), with smooth direction from Greg Mottola and an amusing script from co-stars Nick Frost and Simon Pegg. They all do their jobs well, and with Seth Rogen voicing the title character, there’s no shortage of talent to be found. The movie is actually smarter than it lets on, and drops the geek references almost every other minute. There’s plenty to like here, and almost nothing to complain about.
British comic book nerds Graeme (Pegg) and Clive (Frost) have traveled to America to attend Comic-Con and tour sites like Roswell and Area 51. A good time is had, but then on the road they stumble upon something that they never expected…a real live alien. Read more on Paul (***)…
