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show and tell: NO STRINGS ATTACHED |
 rated R Director Ivan Reitman had his name on some legendary productions in his day, defining comedy for a generation with classics like “Animal House” and “Ghostbusters.” But let’s face it, that was two generations ago. Celebrated as his early work may be, he’s proven woefully ill-equipped to connect in any significant way with current times or tastes. His tepid “Evolution” was just a half-cooked “Men in Black” rip-off, and “My Super Ex-Girlfriend,” ineffectually chased the ambulance of the industry’s burgeoning fascination with superheroes. His successes have always been firmly tethered to the capability of his casts to comically improvise inventive and surprising exchanges within the situations he drops them into, providing a certain freewheeling, unexpected spirit to some otherwise slight material. This technique, when you’ve got genius comedians like John Belushi or Bill Murray in front of the camera, can yield some demonstrably gut busting payoffs. A couple of newsflashes, for you, Ivan: Ashton Kutcher? Not a genius. Natalie Portman? Not a comedian. |
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show and tell: SEASON OF THE WITCH |
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rated PG-13
It’s nice to see that a filmmaker need not waste millions on computer animation to achieve that glassy, lifeless dead-eyed look in his characters onscreen. All one needs do, apparently, is hire Nicolas Cage. At his best, Cage can bring a manic, some would say unhinged, unpredictability to roles that in other hands could be as thin as the script paper. He elevated the otherwise thankless drinking-himself-to-death role in “Leaving Las Vegas” to a full-on Oscar win. His decision to read the Big Daddy part in last year’s “Kick-Ass” in the voice of Adam West was pure lunatic genius. However, this experimental nature is decidedly haphazard, and, more often than not, his realization of the personalities he’s paid to embody begins and ends with whatever ludicrous hairpiece the makeup crew glues to his noggin. It’s a shame enough to the actor, but is becoming more and more of an insult to his audience. With a spate of recent pictures like “Sorcerer’s Apprentice” and “Bangkok Dangerous,” Cage seems to have whole-heartedly given over to playing dress-up instead of playing characters. |
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rated PG-13 What kind of a western has no high noon showdowns, black-hat bad guys, stage coaches, tumbleweeds, quick draw artists, jailbreaks, wagon trains, saloon brawls, injun fightin’, cowboys on cattle drives or, for that matter, even one single cowboy? Turns out, a really, really good one. Based on the celebrated 1968 novel by Charles Portis, this new adaptation of “True Grit” by Academy Award winning directors Joel and Ethan Coen (“Fargo,” “No Country for Old Men”) certainly offers meaty helpings of other classic motifs: scoundrels on the run, lawmen on their trail, dusty boots and broad brimmed hats, gallows and gunfire and spurs and all that. But, most notably, like its source material, its strength is in its long game. All these tropish devices very effectively serve a much deeper standard of “wild west” storytelling: the sense of a beautifully hazardous, even feral landscape being slowly overtaken by the vexing rigors of civilization. |
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