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Iron Man 3 (2013)
Depending far too much on the success of the first two instalments and visual appeal of its played out tactics. Iron Man 3 starts off relatively strong but eventual succumbs to its contrived dialogue, over-compensating story, and childish acrobatics and gadgetry. Desperately trying to infuse more of a dramatic tone into its incessant attempts at comedy and wit, ends up alienating to a point of severe restlessness. Closing a successful trilogy might be considered difficult to say the least. However, after Christopher Nolan’s overwhelming hit, The Dark Knight Rises this past summer. It appears that a competent finale can be done and the failure of Iron Man 3 can be attributed to a single, simple fact. The amount of Marvel films being released is becoming annoyingly ridiculous and the content for these outings is heavily watered-down. Not to say that Iron Man 3 is not entertaining, far from it. I’d rank it a notch above most brainless action pictures released these days. What I am stating is that my expectations did not lower after the first two entertaining chapters and rightfully so.
Tony Stark (Downey Jr) is suffering from severe anxiety attacks and insomnia after the events that took place in New York. Spending his nights the only way he knows how, concocting new and improved suits. When a terrorist know as the Mandarin (Kingsley) begins attacking the United States and its citizens, Tony must suit up once again. After a deadly attack by the Mandarin on the Chinese Theatre in Los Angeles leaves Happy (Favreau) in a coma, renders Tony furious and seeking revenge. After challenging the Mandarin, Tony’s Malibu mansion is attacked and destroyed leaving Tony and Pepper (Paltrow) separated. Upon escaping, Tony crash lands in the middle of Tennessee. Now, with no suit, his mental illnesses, and the Mandarin continuing his attacks. Tony must befriend a child and begin to reconstruct a revamped suit and take down the Mandarin.
I wasn’t fairly excited for Iron Man 3 prior to its release. The publicity didn’t really catch my eye and the trailers didn’t offer anything that inventive. That being said, with outstanding cast additions such as the legendary Ben Kingsley, the incomparable Guy Pearce, and the always radiant Rebecca Hall. I felt there was hope for this loud, cocky, chaotic finale. Conversely, these additions didn’t diminish my guard, if anything, it made me more judgemental and raised my expectations. Another significant reason why my excitement for this third outing dropped off is the absence of Jon Favreau behind the camera. No doubt his keen, comedic eye had a monstrous effect on the first two chapters and his reprisal only as Happy should have been enough of a warning sign. Regardless, I never enter a film expecting it to be terrible. So, when Iron Man 3 disappointed me, it wasn’t a complete surprise, yet I anticipated more.
I am going to start off with some glaring irregularities and issues that extraordinarily hampered Iron Man 3. First off, the reason why the first half appeared passable is because it had a single, linear story line. When the plot broke off into several tangents, it marred the strength of the original and weakened each strand with each passing minute. However, what is most disconcerting about its unnecessary complexity is the multiple chances Iron Man 3 had to save itself, essentially from itself. It’s as if the audience was forced to accompany this nosedive and instead of pulling out of it, we unwillingly were forced to thrust towards the ground. Aside from its laughable story and characters. Watching the second half of Iron Man 3 is like watching a kids cartoon unfold. There is so many irrelevant and expendable one liners and flimsy action sequences it is honestly like a child took hold of the script and cameras for the entire last hour.
Now I, unfortunately have to dissect the forced, trivial performances throughout Iron Man 3. I can’t bring myself to bad mouth Ben Kingsley, Rebecca Hall, and Guy Pearce so I will conveniently blame their fake, simulated portrayals on the limitations and stupidity of Iron Man 3′s weak script and faulty direction. As for Robert Downey Jr, Don Cheadle, and Gwyneth Paltrow, to summarize, I have no problem drowning their characters like a postpartum, depressive mother. I have nothing but the utmost respect for their careers and achievements…and I can understand that the money must have been handsomely defining since it was purchasing as well as silencing their integrity. However, there is an upside, Jarvis and the hollow suits had more depth and emotion than the entire ensemble.
I just can’t help but continually think of the word “unnecessary” to neatly sum up Iron Man 3.
Iron Man 3: 5 out of 10. (I am only giving it a five because I feel bad for Pearce, Kingsley, Hall, and crew).
After Hours (1985)
For any of those who might have missed it. I am going to post my review of Martin Scorsese’s After Hours. It had originally been posted as part of Rorschach Reviews “Scorsese Spotlight.”
Coordinating its sly humour, melodramatic performances, and obscure content that, at times, is unsettling and disturbing into a vastly entertaining ordeal. After Hours is a subtle, strange, and sadly underrated Martin Scorsese film filled with the usual facets we’ve grown to expect from his mastered craft. Consisting of a night lived perpetually through hazy events and vague characters. After Hours might pull a few more punches and be just a bit more over the top then your typical Scorsese picture. But the hypnotic performances, faultless camerawork, and inconceivable storyline are impossible to dismiss. After Hours, beaming with its incredible circumstances that cause gut wrenching anxiousness, doesn’t solely rely on its ambiguity. Starring Griffin Dune and Rosanna Arquette, After Hours is cast with brilliance. Blending in elements of social disparity and emotional depth, After Hours was cinema ahead of its time.
Paul (Dune) is a word processor who openly voices his displeasure for his life’s boring and lonely nature. When Paul meets Marcy (Arquette) at a coffee shop after work, she gives him her phone number. After the two part ways, Paul returns home and eventually works up the courage to call Marcy. She invites Paul to come over to her place in SoHo, even though it is late at night. When Paul hops into a cab that has little to no regard for the rules of the road, his crazy night has begun. Encountering multiple bizarre characters such as punks, criminals, psychos, and an angry mob that is ruthlessly hunting him down, Paul just wants to get home.
Imagine in the most general sense that Martin Scorsese undertook the challenge of a romantic comedy. Now, considering his track record and mindset, After Hours didn’t disappoint me in the slightest. In brief summarization, After Hours is essentially Scorsese’s take on rom-com. He’s managed to mix in several other genres and characteristics that a Scorsese picture would be doomed without. But honestly, I wouldn’t have it any other way. As he clashes the unpredictability of humanities darkness and normal, kindhearted nature, Scorsese defines and balances the contrast. Scorsese has an uncannily keen eye for filming and flaunts his repertoire throughout After Hours. In my opinion, After Hours contains some of his best filmed sequences, really breathtaking and humbling.
Usually I’d rip apart every facet of a Scorsese film, just to get to the guts. You know, the gooey mechanisms, the organs, the force that sends him into motion. But with After Hours, the best way to digest it is to simply inhale. Sit back, relax, take it for what it is. However, I’m a reviewer and this is a film blog, so, for lack of better words, the show must go on. I suppose the most intriguing point throughout After Hours is the consequences of being too trusting, too fast. At every turn, Scorsese introduces characters who are somewhat irrelevant to the story. However, in time, their importance expands. It is no coincidence that there growing relevance coincides with their abrupt turn from hospitable to hostile. The structuring and how every occurrence and antagonist continues to build and fortify on top of the previous is staggering. The plot may be too fantastical, but each one of us has had one of those never-ending nights. After Hours makes The Hangover look like a walk in the park.
While Griffin Dune is outstanding, more to the point, believable in his performance, which is imperative to a film that needs assistance staying grounded. It is Rosanna Arquette who I believe really took the reigns in After Hours. Her idiosyncrasies and carefree inhibition are infatuating. Every tiny, misplaced laugh, situational depression, and vicious rants add another layer to an already versatile tale. Griffin Dune starts off a tad isolating and his calm demeanour is for some reason unnerving. But as we continue to accompany him on this journey for companionship as it evolves into an all out manhunt, our sympathy evolves with it. We suddenly begin to root and urge Dune along unquestioned, which is an outstanding feat that I heavily applaud Scorsese and Dune for. Lastly, is there any role that Catherine O’hara doesn’t portray a strung out, emotional lunatic? Maybe it’s because she is so effective and intimidating.
After Hours is an intoxicating joy ride that never ends. Bursting with loveable characters, quirky laughs, and heartless severity. Scorsese has spawned another original masterpiece.
After Hours: 9 out of 10.
Juno (2007)
Just a quick review today guys, sorry about that. I am rather busy but I will soon return to business as usual. I hope you enjoy this review. Juno is one of my all time favourites. Have a great weekend!
A coming-of-age rom-com that focuses more on the heartbreak than the laughter. Juno’s relentless quirkiness, philosophical depth, and political shades are vastly entertaining, yet alarming and enclosing. But conversely, are a much welcomed and appreciated cinematic suffocation. Juno might appear to be harmless and vindicated on the surface…In retrospect, underneath its harmless exterior is a set of disturbing and harsh realities. Not everything about this unorthodox film is doom and gloom. The vibrant, bitter story is carried along by a light, rather breezy hilarity that’s closer to masking the fallacy of invisible innocence than outrightly distracting the viewer from it. Containing a script filled with oddities, performances that mar the line of morality, and innovative direction. Juno is a romantic comedy for past, present, and future generations to come.
Sometime in autumn, Juno (Page), a 16-year-old high school student living in Minnesota, discovers she is pregnant. The father is Paulie Bleeker (Cera), a fellow classmate and friend whom she spent one night in a big chair having sexual relations. Juno decides to have the unborn child aborted at a local clinic. But upon arriving, Juno has a sudden change of heart and decides to give birth and give the baby to a couple willing to adopt. After an extensive search, Juno finds the perfect parents in Mark (Bateman) and Vanessa (Garner). When all the papers are signed, Juno continues on with her schooling and life as planned, waiting to give birth. What she doesn’t realize is the physical and emotional toll the next 9 months will force upon her.
Harnessing the charisma, honesty, and charming irregularities of its shy, solidified cast. Juno features Michael Cera, Ellen Page, and Jason Bateman as the funny, at times troubled leads. With Jennifer Garner, Alison Janney, and J.K Simmons supporting as they exude their usual comedic genius. By a wide margin, Page takes top spot for her performance as Juno. As the lead, Page is forced to deal with, not only a significant body change, but also an unprecedented, rapid ascent into maturity and she captures these facets in their entirety, effortlessly. Following up Page is Bateman who’s a close runner up. Showcasing a much more artistic and serious side to his usual hilarity. Bateman is incredible as a confused, helpless, deviant looking for an escape. Cera doesn’t diverge from his typical behaviour and believably falls for the girl, hard. As a unit, Juno’s ensemble couldn’t have performed any more faultless.
Diablo Cody, writer of Juno, and director Jason Reitman give new life to a failing genre. With a unique sense of humour and circumstances that break the mould, Juno is cinematic evolution. Reitman and Cody up the ante by forging an encompassing situation that affects not only the typical protagonists in a rom-com. But residually, albeit indirectly dismantles anyone who’s connected. Reitman’s staggering ability to consume a story’s identity and regurgitate it to his viewers in a emotional, meaningful, visually spectacular way is worthy of unconditional appreciation. Juno is existing proof that you don’t need to break the bank or complicate the story to make a film that sticks in the viewers mind. Using what it has to make the viewer laugh, cry, and appreciate what is truly important, Juno is a modern classic.
Showing the intricacy in what is seemingly a simply event. Juno’s implicitly and adoring nature is worthy of the audiences heartfelt endearment and empathy.
Juno: 9 out of 10.
Matchstick Men (2003)
Sorry guys, this will be another quick post as I am beyond exhausted. I hope each and every one of you had a great weekend. Also, I want to thank you all for your continued support of my site through these difficult first few months 
.
A light, delicate, well managed thriller sporting outstanding performances from its three leads. Matchstick Men may deviate from Ridley Scott’s genre sweet spot, nonetheless is proof of Scott’s ability to handle a variety of themes. Never having an issue keeping the attention of its audience through a paced, yet deliberate build to a clever, heart wrenching finale. Matchstick Men might be a tad predictable and sentimental in its delivery, but not so much as to hamper its psychological advantage. Reaping the benefits of its lulling nature and jolting the viewer with heavy doses of harsh realities and unforeseen twists. Matchstick Men never takes itself too seriously which would usually be a death sentence for most thrillers. But Scott and company manage to obtain the best of both sides. Starring Nicolas Cage, Sam Rockwell, and Alison Lohman. Matchstick Men’s cast are as absurd as they are grounded, which is a terrific mix for a film of this caliber.
Roy (Cage) is a con artist living in Los Angeles. Working with his protege Frank (Rockwell), the two own and operate a fake lottery, selling water filtration systems to vulnerable victims. Roy suffers from a variety of mental illnesses such as OCD, agoraphobia, and an aggressive tic disorder. Roy eventually attends therapy and receives medication in return for his visits. During a session, Roy unveils information about a past relationship and the possibility of him being a father. When Roy convinces his therapist to contact his past lover, he learns his has a 14 year old daughter named Angela (Lohman). Just as Angela and Roy start to conduct a meaningful relationship, an opportunity arises to con a wealthy businessman out of a lot of money.
The story may be foreseeable to an extent. However, Matchstick Men separates itself from the litter of horrifically cliched psychological thrillers with unfathomable emotional depth and a criminally artistic muse portrayed by exceedingly loveable cons. Ridley Scott takes a break from shooting the vastness of space and ancient ruins to remain in place on Earth. Although the plot is still relatively uncommon and extravagant. The core of it is something sensible and every viewer can empathize with. Whether you’re dealing with parenting issues, mental illness, or self preservation, Scott manages to extract the human element in an inhumane story. Scott’s terrific filming and camera techniques mastered to capture large scale cinema transfers to the simplicity of struggling to comprehend reality.
Nicolas Cage perhaps gives the performance of his career with his lead roles in Adaptation being the closest comparison. Cage portrays a severely delusional con artist suffering from extensive OCD and loneliness. Every twitch, tweak, and repetition is carefully calculated and delivered with impeccable timing. What is truly remarkable about his portrayal of this socially challenged individual is the authenticity he brings to the role. It’s nice to see Sam Rockwell somewhat break free of his typical roles to inhabit the body of the antagonist for Matchstick Men. There is something about his mannerisms that always seems to draw the viewers attention to him, he acts like a magnet. Alison Lohman does an outstanding job capturing the disorientation and angst of a boundless teen hanging on to her sanity by a thread.
With its tremendous cast, incalculable plot, and firm direction from Scott. Matchstick Men is a psychological thriller that should impress even die hard fans of his more ambitious pictures.
Matchstick Men: 8 out of 10.
Adventureland (2009)
Just a quick review today as I am off to Niagara Falls for the weekend. I’ll more than likely post tomorrow as well but it will probably be a bit later than my usual posting time. Anyway, enjoy and have a great weekend!
Bursting at the seams with nostalgia, wit, humour, and seductiveness. Adventureland is a rambunctious, yet sweetly subtle coming-of-age romantic comedy oozing with angst and clever diction that resonates not only with young ones, but adults as well. Investing a substantial amount in the directionless, hormone driven motivations of youth, their lack of aspirations, and facing the difficult transition into adulthood. Adventureland benefits from an idealistic, simplistic nature and a slew of staggering performances. Greg Mottola, who wrote and directed this retro love story. Substitutes the profanity and raunchiness of his previous effort Superbad, with a tale of heartfelt infatuation and whimsical comedy that even seizes its timeless cliches.
In the year 1987, James (Eisenberg) plans to travel through Europe in the summer before heading off to attend an Ivy League school. After graduation, his parents inform him of their major career setbacks and that he will not be going to Europe or doing any of his future endeavours unless he obtains a job. Upon being rejected at almost every decent place of employment, James manages to find a place in the rundown amusement park, Adventureland. When James faces an unlikely, possibly dangerous situation, he is rescued by a striking co-worker named Em (Stewart). As he continues to struggle through the summer, he finds himself falling for Em. Finding caring, reliable friends in other various employees as well as Paulette (Wiig) and Bobby (Hader), who are Adventureland managers. James begins to find his current situation not only tolerable, but favourable. Befriending a machine repair man named Mike (Reynolds), James begins to learn life lessons as he transfers into adulthood.
Absorbing the comical imperfections and endearing elements of Adventureland’s charismatic leads inflicts a dizzying, subdued, ageless state among the viewer. Starring Jesse Eisenberg, Kristen Stewart, and Ryan Reynolds supported, rather, accompanied by Bill Hader and Kristen Wiig, Adventureland has no shortage of capable employees. Eisenberg’s quirky, bordering sociopathic awkwardness is entrancingly comical and infectious. Reynolds, who’s role is ingeniously uncharacteristic, is predictably stellar as his performance is particularly polarizing and deviously convincing. Hader and Wiig, in limited roles, still manage to produce the most uproarious laughs and also showcase their more serious, professional talents. As for Stewart, she unleashes pheromones that will leave you defenceless and willingly vulnerable to her undeniable attractiveness and warmth.
One of the more outstanding qualities about Adventureland, albeit, lesser known qualities is its fluidity and authenticity. Never, at any point, does the dialogue, interactions, or story ever appear forced. This is imperative to a film that so broadly relies on the believability of its circumstances and connectivity of its cast. This can be attributed to Mottola’s invested, realistic script and firm, but flexible direction. He elegantly captures the distinct vibe and flow of the films intentional historic feel and exaggerates the situation to unnecessary severity. His ability to control the captivation his immature characters want so recklessly to exist is remarkable. Coincidentally, the reason Adventureland resonates so strongly with its audience is evoked through the time and effort poured into the film in its entirety by the cast and crew.
Adventureland: 9 out of 10.
Millions (2004)
Astoundingly, Danny Boyle, director of such dark, diabolical films. Followed up his twisted efforts in Trainspotting and 28 Days Later with the heartwarming and innocent, Millions. Running rampant through the imaginative minds of two brothers who’ve obtained the ability to achieve all of their wildest fantasies. Millions is a journey through the magical purity and uncontaminated processes of virtuous youth. In typical Boyle fashion, their is no shortage of stylish camerawork, ethical behaviour, unprecedented wonderment, and disproportionate beauty. However, perhaps the most rewarding part of Millions is witnessing Boyle out of his natural element. Now, as he trots in uncharted territory, Boyle is able to flaunt never before seen facets of his craft that are unable to fuse with his more morose outings. Featuring James Nesbitt, Alex Etel, and Lewis McGibbon. Millions is an unmatched chapter into a genre that is lacking the awe and originality needed to inspire future generations.
Damian (Etel), his brother Anthony (McGibbon), and their father Ronnie (Nesbitt) move to a new house. Since the recent passing of their mother, the brothers have vastly changed their personalities. Anthony is fixated with money, how much things cost, and the impending currency change from British pounds to the Euro. Damian is not bothered with these trivial things and finds himself obsessed with completing good deeds and acquiring sainthood. Damian rounds up all the empty boxes left after moving and builds a fort near the train tracks in his backyard. One day, a train comes zooming by and a bag filled with money smashes into his fort. As Damian and Anthony struggle over what to do with the money, there is another who covets the bag and is willing to do anything to retrieve it.
Bringing to life what most on this planet have wished for at least once at some point in their existence is no easy undertaking. But for someone as accomplished and respected as Boyle, there is no second guessing Millions. Their is no denying that greed and sadness are prominent throughout the film. Focusing on such fragile themes with young, prepubescent protagonists carrying a majority of their weight is risky. Baring them with these burdens needs balancing and Boyle, with the assistance of Frank Cottrell Boyce in composing the script, infuse it with laughs, love, and generosity to refine any irregularities.
Like a bug inside your brain, Millions is never to far from your thoughts.The viewer is slowly immersed in the fictitious situation at hand and left answering countless questions regarding their own morality. Millions allows the viewer to decipher the circumstances and enhance their conscious. Which ultimately lets the audience unleash their most exposed, vulnerable selves and make uninfluenced decisions.
Boyle continues his descent into ousting greed from our minds by bringing a unique offering to the forefront that includes the downfall of the pound and a daring train robbery. Trainspotting was heavily based upon the ugly side of greed and managed to show the dark depths one is willing to go to satisfy their needs.Make no mistake, Boyle’s persistence doesn’t weigh down his skill set. His atmospheric prowess, striking visuals, and ability to find the heart in the abstract is pleasingly present at every moment in Millions. Performance wise, one wouldn’t expect two leads of such a young age to convey portrayals as strong as they did. Etel and McGibbon could pass as brothers in any situation. Nesbitt is relentless in his bereaved role, as any parent would be. Desperately trying to find solace in his children and subtle relationships, Nesbitt is terrified and masks it well.
Decidedly endearing and surprisingly philosophical, Millions is a Boyle film that should appease all cinephiles of any age.
Millions: 8 out of 10.
Sightseers (2012)
A whacky and sincere story about psychopathic lovers taking to the road. Sightseers is a devilishly atmospheric and intensely sociopathic black comedy. Directed by Ben Wheatley who appeased the Toronto International Film Festival faithful with Sightseers this past year and with his previous film Kill List in 2011. I wasn’t entirely sure what I was getting myself into when I purchased my ticket for Sightseers at TIFF, but I had heard good things regarding Kill List so I approached Sightseers with cautious optimism, and I was rewarded. Sightseers is as cruel as it is unique when it comes to its two loveable murderers and provides huge laughs that strain your entire body. Starring and written by Alice Lowe and Steve Oram. Sightseers morbid sense of humour and lackadaisical attitude towards its victims is vitally refreshing and breathtakingly hilarious.
Chris (Oram) is dying to take Tina (Lowe) on a vacation travelling around in his caravan. When the plans are finally set, the two take to the road. As they visit several odd destinations, Tina begins to see a darker side of Chris. He gets very distracted and angry at the slightest annoyance and tends to overreact. As they continue on their journey, Tina learns of Chris’s terrible secret. Committing despicable acts as they continue on their journey, Chris and Tina begin to frustrate one another.
Sightseers is one of a kind. I can’t really compare it to another film and do It justice. Its approach is unconventional and its comedy is not for everyone. It shares the most similarities with recent Quentin Tarantino films. There is shared DNA in the way Tarantino and Wheatley and crew distinguish their violence with comedy. They both fixate on the marrow of their stories even though Sightseers isn’t as elaborate or complex.
Wheatley seems to have perfected his craft with Sightseers. His brilliant camerawork showcasing the outstanding vastness of the terrain and dizzying heights of the sky are immaculate. But he hasn’t forgotten what has gotten him here in the first place. The gruesome detail in the savagery and care meshed into the barbarity is incredible. However effective Wheatley is able to conduct his settings and cast is incomparable to Oram and Lowe’s script which drives the film. I have the utmost level of appreciation and respect regarding the script. The emergence of Lowe’s character’s subtle, passive realization of Oram’s bloodthirsty rage and her quick acceptance and accompaniment is laughable and sweet.
As for performances, Oram and Lowe are at the centre of the film for the majority. Lowe fits her role brilliantly. She performs her characters shy, passive aggressiveness faultlessly and that compliments the reluctancy exploding from her in regards to the foulness throughout Sightseers. As for Steve Oram, I don’t think I’ve laughed so hard with such a thorough performance. Just so there is no confusion, I mean that in the best way possible. Every movement, every disgusted grunt, Oram delivers the psychotic goods.
Just missing out on our top 10 list for the films released in 2012. Sightseers is a must see for those looking for some terrific visuals and a laugh while they’re being grossed out.
Sightseers: 8 out of 10.
Don’t forget guys to check out this weeks past top 10 and contribute to blogger talk which was posted yesterday, cheers!
Midnight in Paris (2011)
Leaving a lot for the imagination to ponder and envy. Woody Allen’s clever, insightful, magical Midnight in Paris is what fantasies are made of. Full of inspiration and romance, Allen returns to top form with this gem. Venturing through time, showcasing the who’s who in arts and literature, Midnight in Paris is an enjoyable history lesson. Garnering four Oscar nominations in 2012 and earning a victory for best original screenplay, Midnight in Paris is ripe with invention and individuality. Reviving the likes of Earnest Hemingway, F. Scott Fitzgerald, and T. S. Elliot, amongst other countless, unrivalled talents. Midnight in Paris is a writers wet dream. Leading the way through the wormhole is Owen Wilson who is supported by the beautiful and talented Rachel McAdams. Midnight in Paris also features terrific supporting performances from Michael Sheen, Tom Hiddleston, Adrien Brody, and the effervescent Marion Cotillard. Directed and written by the aforementioned Woody Allen, Midnight in Paris’s hallowed glow emits a calming, entrancing warmth.
Gil (Wilson) and Inez (McAdams) tag-along on their parents business trip to Paris. Gil, who is a successful writer in Hollywood would like to make a change and begin writing novels. At first glance, he falls in love with Paris and insists he and Inez move their permanently. Inez does not agree with Gil’s infatuation with Paris or his notion that the 1920′s is the golden age. Gil is left alone for the night when Inez goes dancing with her friends. Gil decides to take a walk through Paris at midnight hoping it will spark his imagination. When the unthinkable happens, Gil is transported into a world filled with his wildest fantasies. This might be the break Gil is looking for, but it also might destroy his relationship with Inez.
Allen’s satirical, ironic twists on the rom-com genre have never been more intoxicating. Blending the feverish, impulsive, hopeless romance and the disheartening reality of its lowering priority level amongst our social and political commercialism is ingenious. Allen hasn’t conceived a story this idealistic and unique since his 2008 release of Vicky Christina Barcelona. In that span of three years, he released two films, both misses. However, all is forgiven and forgotten with Midnight in Paris. I’ll contently digest the bad in order to obtain the good, and this good is an acquired and particular taste. Midnight in Paris’s easygoing, eccentric, fruitful completeness is a pleasant sedative that lulls the viewer into the bewildering perplexity of cinemas intended stupefaction.
Midnight in Paris might cater to a certain level of expectancy, which might be off putting to some. It is fully plausible to understand how one might find Midnight in Paris presumptuous and founded upon pretentiousness. On the contrary, it has no intention of condescending to any viewer. A facet of Allen’s brilliance is the simplicity in Midnight in Paris. There is no overcompensation or unnecessary explanation for the time travelling aspect and as a viewer, among many, there is no need or desire to question the implication. Midnight in Paris is enjoyable and easily comprehended, regardless of a factual explanation. All the tools needed to connect with Midnight in Paris are traits of the human body. Laugh, weep, or spite, Midnight in Paris is one of the easiest films to adore that you’ll ever come by.
To my surprise, Owen Wilson did not earn an acting nomination at the 2012 Oscars for his role in Midnight in Paris. His performance is distinguished by the subtlety of his comedic indifference radiating from slight body movements and facial expressions. This is the most effective Owen Wilson has been since 2007′s The Darjeeling Limited, possibly even further back to 2005 with Wedding Crashers. In a surprising change of pace, McAdams undertakes the role of a villain in Midnight in Paris, or maybe that’s just my interpretation. However, coming from me, someone who’s bordering adoration for McAdams is teetering towards obsession, to say that she’s the antagonist, it must be a powerful performance. Finally, Cotillard continues her North American domination with another outstanding effort. In the film, she is the reason we search for love. To sit here and nitpick the impeccable supporting performances from Hiddleston, Brody, Sheen, and Kathy Bates seems pointless. It’s hard to argue perfection when it is only on display for minutes at a time. Take their track records and my word for it, they’re terrific.
In conclusion, just to be clear, I was joking about my McAdams obsession. I simply enjoy her films and performances, as well as think about her night and day…kidding. Midnight in Paris has the comedy and emotion to back up its boastful endeavours and melancholic moments.
Midnight in Paris: 8.5 out of 10.
I’m Alan Partridge (1997)
In anticipation of Alpha Papa, I’ve decided to review and, in a sense, revive this hilarious, yet relatively unknown television show originating in 1997 entitled I’m Alan Partridge. Outlandishly funny, subtly sensitive, and featuring a career defining role for Steve Coogan. I’m Alan Partridge might cater to a certain comedic taste. But the intelligent humour occasionally swaps its satire for idiotic laughs that are sure to please any viewer. The first season original aired on BBC in the year 1997. It then took another five years for the second season to be released, also airing on BBC. Each season consists of six episodes with each running just short of thirty minutes. The show depicts the life of Alan Partridge in his late thirties. Partridge, played by Steve Coogan, is recently divorced and hosts a radio show in the early hours of the morning. Deceptively controversial, intentionally sporadic, and bursting with likeable characters. I’m Alan Partridge is sure to make you laugh out loud and cause your body ache.
Season 1: In the first season, Alan, recently divorced from his wife Carol, has found residence in the Linton Travel Tavern. He has distanced himself from his kids and currently works for a broadcasting company. Alan’s radio show is entitled “Up with the Partridge.” Aside from his radio show, Alan allows appears in low-profile and weakly funded appearances for various corporations and businesses.
Season 2: Five years after the first season, Alan has left the tavern and moved into his own house. He continues to host his radio show but it has been moved to the third best time slot available. Alan has released an autobiographical book titled “Bouncing Back.” He lives in a caravan outside of his dream home that is unfinished.
Since its inception, I’m Alan Partridge has received critical acclaim, for example, garnering several BAFTA nominations. However, the surprising number of, not just viewers, but followers, is staggering. Coogan has been able to keep Alan Partridge going for an extended amount of time and make it as fresh as ever. With a strong cult following and a full length feature set for release in 2013, Alan Partridge shows no signs of dying anytime soon. I’ll post the teaser trailer for Alpha Papa at the end of the review.
It is extremely difficult to review a show with such a limited number of chapters, but I digress. I guess this review will have to be short and sweet. Here is a bit of history regarding Alan Partridge. Steve Coogan has been the brains and talent for Alan Partridge for over 20 years. Originating from a radio show called, On the Hour, Coogan has been portraying Partridge since 1991. Appearing in various radio shows, television series, and numerous TV and Radio specials, Coogan has certainly made sure Mr. Partridge has been active.
I’m Alan Partridge is a clever, witty, hilarious show full of potent, satirical jabs at every facet of our society’s growing fascination with celebrity.
I’m Alan Partridge: 9 out of 10.
Here is the trailer for Alpha Papa.
Seven Psychopaths (2012)
The impeccable placement of incoherent rants and misplaced attempts of psychotic sincerity are no doubt Seven Psychopaths strong traits. But it is the idiotic gangsters, lazy thieves, and the disgruntled writer that Martin McDonough embellishes to serve a hilarious, malicious endearment dependent on the compatibility of one another that is truly a brilliant malfunction. Scribed in the same manner or at least running along a similar wavelength, stunningly I might add. Seven Psychopaths draws serious reflections to Charlie Kaufman’s screenplay Adaptation. Featuring Sam Rockwell, Christopher Walken, Woody Harrelson, Colin Farrell, and directed as well as written by the aforementioned Martin McDonough. Seven Psychopaths is a grisly rendition (even if it is melodramatic), of the comedic struggles that accompany being a writer in our current society.
Marty (Farrell) is struggling with his unfinished, overdue script entitled “Seven Psychopaths.” Unwilling to accept help from his close friend Billy (Rockwell), Marty continues on his alcohol fuelled destructive path. Upon arguing with his girlfriend Kaya (Cornish), Marty has no choice but to seek shelter at Billy’s house. Taking this as a sign that Marty needs assistance, Billy issues an add in a local magazine regarding Marty’s search for psychopaths to star in his script. All the while Billy and Hans (Walken) conduct a thrifty business in which they steal dogs from their owners in hopes of returning them when an reward has been issued. Unknowingly, Billy and Hans accidentally steal the dog of a psychotic mobster named Charlie (Harrelson), who is desperately searching for the dog using any means necessary.
The desert portion of Seven Psychopaths is by far the most comedic and brilliant. While Rockwell, Walken, and Farrell diverge from one another and succumb to their own demons. The expansive shots of the vast desert at night clashing with each characters emotion and obscurity is oddly epic. Seven Psychopaths has one of the best assembled casts of 2012. By a wide margin, the most intriguing psychopath is Sam Rockwell. His version of a conscientious, loyal, honest murderer is a phenomenal revaluation. Rockwell shows his satirical severeness, yet also comedic aura that he hasn’t performed this admirably since Confessions of a Dangerous Mind. If it wasn’t for Rockwell, Walken would have controlled all of the viewers gazes. Christopher Walken surface is rock solid but his interior is molten emotions. One of Walken’s best performances to date, he is funny, smart, and intimidating. Woody Harrelson matches the laugh output of his fellow cast members as well as out performing their insanity. Big kudos to McDonough for his original script and firm hand behind the camera. The panoramic shots of the desert and skylines are exceptional. However, McDonough’s clever and witty dialogue would be useless if it didn’t have this outlandish and eccentric cast to relay it.
Seven Psychopaths: 8 out of 10.
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