
Fifteen years ago, Men in Black was released in theaters. It further cemented Will Smith‘s star status, gave his high-energy style a perfect foil with Tommy Lee Jones‘ dour-yet-playful performance, and provided a fun, upbeat experience that was delightfully silly and bizarre (I still crack up when Smith tells Jones, “Awww. You brought that tall man some flowers!”). Strangely, Men in Black 3 doesn’t draw strength from anything that made the original film an enjoyable experience. Instead, the latest sequel finds its heart in supporting characters, and letting special-effects makeup guru Rick Baker run absolutely wild as he swings his marvelous alien creations into the 1960s. It’s a shame that Mr. Smith and Mr. Jones’ performance, and the humor can’t match Baker’s bravado and creativity.

Up until the past 15 years or so, television series were firmly episodic. Serialized TV (outside of mini-series) risked alienating viewers since it stopped anyone from coming in mid-season. However, with the rise of DVDs, OnDemand, and digital downloads, serialized TV series have become firmly established. Some shows still retain an episodic nature, but some series—particularly dramas—have been built around telling one long story over the course of an entire season. Our new feature, Seasoned, will review a TV series by season rather than by episode.
Hit the jump for my review of the fourth season of The Wire. Click on the corresponding links for my reviews of Season 1, Season 2, and Season 3.

At this point Cameron Crowe’s films have a feel that is distinctly his – he’s an auteur. Going in, you know the sort of music he’s going to use, and you know the sort of melancholy emotions he’s going to go for. With his latest, We Bought a Zoo, he’s totally in his wheelhouse and that’s going to be enough for people who want that Cameron Crowe feeling. Matt Damon stars as a widower who decides to take his children out of the city, and buys a country home that is also an operating zoo where Scarlett Johansson works. Our review of the Blu-ray of We Bought a Zoo follows after the jump.

David Lean has been canonized as one of the great directors, an honor that he’s earned, even if his body of work is inconsistent. If his later years were less good, and some of his earlier films are weak, it doesn’t matter. He directed Lawrence of Arabia and Bridge on the River Kwai. The Criterion collection has brought together his first four films, and they were all adaptations of Noel Coward’s work (hence the title David Lean “Directs Noel Coward”). The films are In Which We Serve, This Happy Breed, Blithe Spirit and Brief Encounter. And our review of the Blu-ray set of David Lean Directs Noel Coward follows after the jump.

Living in paradise is not as glamorous or care free as many outsiders may believe, and the King family is a perfect example of it. The Descendants, an Alexander Payne film adapted from the novel of the same name by Kaui Hart Hemmings, follows Hawaii-based lawyer Matt King (George Clooney) on his painful, yet often comedic quest to reunite his family after his wife suffers a tragic accident. While the film tugs on heart strings towards the end, it mostly infuses audiences with almost uncomfortable laughter and anticipation for when the story will kick into gear. Hit the jump for our review of The Descendants on Blu-ray.

Sometimes a performance overwhelms a movie. On paper, Stanley Kowaski is an important role in A Streetcar Named Desire – of that there’s no doubt – but the showcase role should be Blanche DuBois. Blanche is a fragile woman who’s come to New Orleans after leaving her home city under dubious circumstances. And nothing against Vivien Leigh’s work in the film, but it’s Marlon Brando as Stanley who owns the movie. Brando was ready to pop when the film was released in 1951 – he’d done a film before, but when partnered with director Elia Kazan his method acting changed the way films were made. Seriously. Our review of the Blu-ray of A Streetcar Named Desire follows after the jump.

Anyone can be offensive. The skill comes with trying to get people to laugh at it. Sacha Baron Cohen, the mind behind the semi-scripted comedies Borat and Bruno, has shown a great skill at getting audiences to laugh at light comic fodder like incest, rape, anti-Semitism, screaming dickholes, and carrying bags of shit to the dinner table. He also tends to throw in a little social criticism for some spice. The Dictator marks his first feature-length, fully-scripted film, and while the blade may be a bit more polished, the edge remains razor-sharp. Despite a slapdash plot and a cop-out ending, The Dictator is brilliantly irreverent, juvenile, cartoonish, and it will have you laughing, feeling guilty about laughing, and then laughing even harder.

Movies like Extremely Loud and Incredibly Close are difficult to review. On the one hand, part of me wants to rip Stephen Daldry’s film to shreds and call it a manipulative, corny, over-the-top, Oscar-seeking mess. But the other part of me wants to drop the cynicism and enjoy the heartfelt emotional journey for what it aspires to be: a film that attempts to cope with the aftershocks of 9/11, and mourn those we lost in the fire.
Watching Extremely Loud on Blu-ray over the weekend, I was surprised by how much I enjoyed it. While not exactly the masterpiece it thinks it is, Daldry’s film at least sidesteps the problems I had with the director’s previous efforts, especially the overtly saccharine The Reader and the morbid, depressing The Hours – both of which tried to do too much and therefore lacked focus. Hit the jump for my review.

You won’t see many Chinese movies as irreverent, mischievous or iconoclastic as Let the Bullets Fly. The nation is better known for works of gravitas and dignity: celebrating its rich history or exploring serious aspects of the human condition. Bullets is more Hong Kong than Beijing, with Stephen Chow its obvious spiritual kin. The distinction doesn’t necessary make it a great movie, though it certainly helps it to stand out from the crowd. Hit the jump for the full review.

Tim Burton‘s Dark Shadows is a series of flawed assumptions resulting from remarkable incompetence. Burton believes he’s blended a gothic style with a campy comedy, but his film is neither. The characters act at being a bunch of kooky, Addams Family-style misfits, but they’re nothing more than vague, one-dimensional sketches or, in the case of the protagonist, a confused contradiction. Seth Grahame-Smith‘s script thinks it has balanced out the story elements into a compelling narrative, but it’s a poorly plotted mess that eschews character development in favor of a softball joke or clumsy dark humor. With the exception of a great performance from Eva Green, Dark Shadows flails wildly at concocting a strange brew, and only comes up with weak tea.

It’s nice to see a down and dirty action movie, and Contraband offers a number of things that are fun. It’s got Mark Wahlberg in the lead, and a supporting cast that includes Kate Beckinsale, J.K. Simmons, Ben Foster, Giovanni Ribisi, and Lukas Hass. It’s got a no-nonsense plot about smuggling, and at least one good shootout. But it’s also imminently forgettable. Our review of the Blu-ray of Contraband follows after the jump.

Nothing like The Avengers has ever been attempted in Hollywood history. No major motion picture has ever been the culmination of four different blockbuster franchises, each with its own protagonist, and crossing them over into one gigantic film. It’s bigger than a sequel or even a planned trilogy. Marvel had to take pieces from their previous superhero films to assemble The Avengers. The studio wedged set-up into Iron Man 2, wove the covert government agency S.H.I.E.L.D. into Thor, and tacked bookends to Captain America: The First Avenger. The plan for The Avengers was audacious to the point of near-hubris, but writer-director Joss Whedon has managed to deliver an absolute powerhouse of a payoff that’s truly worthy of Marvel’s astonishing ambition.

I rarely re-read books, but I’ve re-read J.K. Rowling‘s Harry Potter series numerous times because I love being in the world she’s created. I always want to see what’s behind every corner, and what’s happening beyond Harry’s point-of-view. I wish Hogwarts: A History was a real book, and that Professor Binns had new and exciting pieces of information about the Wizarding World rather than being brushed off as a boring history teacher. I also wanted to know about Rowling’s thought process in writing the books; a kind of “Author’s Commentary” that went beyond annotations and provided something deeper.
The new online experience, Pottermore, provides all of this through a nice interactive experience that continues to respect fans and let them be a part of Harry’s world like never before. Hit the jump for my full review.

The Martin Scorsese who put out The Last Temptation of Christ is not the Martin Scorsese we know today. He had yet to make Goodfellas, and though Raging Bull netted Robert De Niro an Oscar, Scorsese spent much of the 1980’s in the wilderness, making niche films which were considered disappointments, only to secure financing through directing a for-hire hit movie (The Color of Money). Christ was most notable for the controversy it engendered, as it was protested by a number of religious groups, which kept it out of most big chain theaters. Vanya of 42nd Street is a project that transcends its set-up, and acts as a follow-up to Louis Malle’s My Dinner with Andre. It reunited Andre Gregory and Wallace Shawn with a cast (that includes Julianne Moore) that performed Anton Chekhov’s Uncle Vanya on the fly for years. Both have come out from Criterion on Blu-ray, and our reviews of both follow after the jump.

Sometimes a film makes you wonder if Hollywood truly is running out of ideas. Or maybe director James McTeigue just wanted to put John Cusack in period dress and the Sherlock Holmes franchise was already taken. Tone-deaf, The Raven squanders an intriguing idea with dull action set pieces and an unfocused theme. The plot revolves around grisly murders that replicate Edgar Allan Poe’s most horrific works in an attempt to get the not-so-famous Poe to solve the case in Baltimore. For those unaware, this isn’t based on a true story. Hit the jump for my full review.
PAN’S LABYRINTH’s Ivana Baquero Joins CARRIE Remake Alongside Judy Greer and Gabriella Wilde
Director Brad Parker Talks CHERNOBYL DIARIES and His Future Bad Robot Project
THE DARK KNIGHT RISES Mega Gallery Featuring 50 Images and 15 Posters
Copyright ©2005 - 2012. All Rights Reserved. California web design ![]()