I have decided that Wes Anderson is now on my list of favorite directors. I liken him to the Coen Brothers; even their bad films are better than most people’s good ones, though there’s nothing bad about this one.
By the time Corey Feldman writes, in chapter 14 of his memoir Coreyography, “He was the only person in my immediate circle who wasn’t molesting me,” he’s already dished enough tawdry shenanigans among the young Hollywood set, and those who exploited them, to gain your trust. He’s telling the truth and he’s not holding back. Eminently, incessantly readable – indeed, compulsively readable, and digestible in one sitting if you’ve got the stomach – Feldman’s memoir has enough drug abuse, child molestation, and general sleaze for a month of miniseries.
Enemy begins with Jake Gyllenhaal’s heavily bearded character entering a room where a group of men surround some sort of sex show. A scantily clad woman cries out in what could be either pleasure or pain. The camera pans across the faces of the men. Some seem fascinated, some seem uncomfortable, some, almost weary. Two women wearing sheer robes and high heels walk out. One woman places a Sterling silver serving tray on the floor and removes the cover to reveal a giant spider. The other goes to step on it with her high heel, and the camera cuts away. Then, things get weird…
Although it was released throughout much of the rest of the world mid-2013, and won’t be released in the US until April 4th, Time Warner Cable is currently offering – and promoting heavily – Steve Coogan’s Alan Partridge (re-named from Alan Partridge: Alpha Papa) on VOD, presumably to cash in on Philomena’s massive surprise sweep at the Oscars. Alan Partridge is nothing like Philomena.
It may not be non-stop awesome, but it’s non-stop popcorn fun.
There are things that surprised me about this new Robocop remake, and things that didn’t. Of course, the most surprising thing was that someone had actually decided to remake Robocop at all; ultimately, a film that least needed to be remade. How the Hell do you improve upon perfection, which is precisely what the original Verhoeven masterpiece of satire happens to be? Not surprisingly, you don’t.
This is a film I was looking forward to. My interest in art, a stellar cast, so much potential to be informative and fun; all these things piqued my interest and gave me hope. Alas, expectations can be a bitch.
Über-prolific Brit’s Brit Mark Gatiss would be an international treasure if only for his writing and acting on Sherlock, let alone for such gems as his History of Horror three-part masterpiece (check it out!). But unfortunately, despite his heart almost certainly being in the right place, Gatiss – perhaps out of sheer lack of hours in the day – has turned in, and thus caused to be filmed, a wretched script in An Adventure in Space and Time, a brilliant idea terribly executed.
In 1836, near the heart of Texas, a young girl named Cynthia Anne watched as the adult members of her family were murdered and butchered by a raiding band of Comanche Indians. She, along with other young family members, was then taken by the group of warring Comanche. Learning of the massacre and the abduction, the girl’s uncle committed himself to rescuing his surviving kin from the grasp of the savages. This single event set in motion a story that would play out for more than a century.
It’s a movie that has a similar look as the Underworld films and only about as good as the worst of those. That’s not saying a great deal, I’m afraid, yet, I, Frankenstein still isn’t the worst film I’ve seen, or even likely the worst we’ll see this year. Oh, three cheers to the Hollywood crap machine.