Greetings again from the darkness. When a writer/director sets a standard with a film like In Bruges, the anticipation for the follow-up is palpable, especially from those of us with the demented sense of humor necessary to watch that film over and over. Martin McDonagh is a writer firs (shorts, features and plays), and a self-taught filmmaker second. He again shows his talent for interesting characters in unusual situations, and an extraordinary blend of black comedy, violence and personal struggles with morality.
This film is a smart (but dark) comedy about characters who aren’t nearly as smart as they see themselves. It’s quite self-referential and at its best is a self-parody. Colin Farrell plays a writer who is blocked after creating the perfect title … “Seven Psychopaths”. Sam Rockwell plays his best friend who runs a crafty little dog-napping business and feeds Farrell possible story lines. He even goes as far as to run an ad asking real life psychopaths to come tell their story. Yep, this plan is just running smoothly until Rockwell kidnaps the dog of a local gangster played by Woody Harrelson.
What we quickly figure out is that we are watching Farrell’s writing process unfold on screen. The bigger challenge is trying to figure out which parts are really happening and which parts are fantasy or part of the creative process. The writing and acting are very skillful. Christopher Walken plays Rockwell’s partner and delivers what may be his best performance in years. It’s very offbeat and irregular … in other words, typical Walken. Though there are many excellent scenes, the best ones involve Walken.
The script pokes fun at the weak female characters – Abbie Cornish as Farrell’s girlfriend, and former Bond girl Olga Kurylenko as Harrelson’s less-than-loyal girlfriend. The film also features some of my favorite character actors. In addition to Walken, we get the great Tom Waits as a bunny loving psychopath, Harry Dean Stanton as a Quaker, ZeljkoIvanek as a henchman, and an opening scene with “Boardwalk Empire” alums Michael Pitt and Michael Stuhlbarg.
As wonderful a writer as McDonagh is, we can’t help notice the influences of Quentin Tarantino and the spaghetti westerns – especially The Good, The Bad and The Ugly. His comedic tendencies wrapped in violent sequences really challenge us as viewers. Trying to find the good in those who aren’t necessarily so good adds an element and complexity as the film throws violence in our face as the characters are confronting their deeper feelings on morality. Since Farrell’s character is a writer named Martin, we are probably safe in assuming that McDonagh is working through some of these same issues himself (especially the unnecessary violence and weak women characters). McDonagh proves again to be one of the most intriguing and talented filmmakers working, and even though this one is a tick below his last one, I anxiously await his next.
SEE THIS MOVIE IF: you saw In Brugesand appreciated the dark comedy and philosophical nature OR you don’t want to miss a classic Christopher Walken performance
SKIP THIS MOVIE IF: you prefer your comedy to be light-hearted in nature OR you can’t appreciate the character who brings a flare gun to the final shootout in the desert
Greetings again from the darkness. Writer/Director Rian Johnson (Brick) delivers a very entertaining, creative, thrilling and clever sci-fi film that features time travel, dark comedy, romance, metaphysics, and enough action to keep just about any viewer engaged … as long as you enjoy using your brain a bit. This one requires some assembly … and the ability to ignore the horribly distracting make-up/prosthetic/special effects used to make Joseph Gordon-Levitt look like a young Bruce Willis (he doesn’t).
Source Code, the recent film from Duncan Jones, used time travel in very limited segments. In 2074, time travel is perfected, but has been declared illegal. So, of course, only crime syndicates use it. When you think about it, sending your enemies back in time to be killed and disposed of is brilliant. It’s very difficult to solve a missing person case when the body has been incinerated 30 years prior. The future mob boss known as The Rainmaker hires “loopers” from 30 years past to handle the dirty work. When The Rainmaker begins “closing loops”, he does so by sending the loopers back in time to be killed by their younger selves. Yes, somehow this works.
Well it works until Seth (Paul Dano) chokes up and lets his future self escape. That doesn’t go over well with the modern day (sent from the future) crime boss (Jeff Daniels) who just can’t allow these future guys to be roaming free. Then, just like that, the same thing happens to Joe (Joseph Gordon-Levitt). His future self (Bruce Willis) appears, young Joe flubs the kill, and the next thing you know, Young Joe and Old Joe are seated in a booth at a remote diner ordering the same breakfast and staring into their own eyes. You may recall that Mr. Willis is an acting time travel expert thanks to his “trips” in Tweleve Monkeys and The Kid.
It’s impossible not to compare to some other time travel movies (there have been MANY). There are certainly similarities to The Terminator, but not so much to Hot Tub Time Machineor Bill and Ted’s Excellent Adventure. It’s a tricky topic because it involves the uncertainty of how things done today might impact what has already happened. Or something like that. It would have been interesting to get more flavor from the 2074 world, since all we see is the blissful (until it’s not) presence of Old Joe and his saviour bride. Also, you have to believe that if you came face to face with the future “you”, there might be at least a brief Q&A.
Plenty of fun stuff in this one, although, I had a tough time buying a blond Emily Blunt as a Kansas farmer. Her young son Cid, played very well by Pierce Gagnon, is one of the more interesting characters in the film. He is supposed to the young version of the future Rainmaker, and he possesses some unusual traits … with Blunt trying to supply sufficient motherly love to prevent him from spinning off track.
Director Johnson has a knack of tossing in some dark humor at just the right time. Some of the romance seemed a bit forced, but the criminal element and the Joe vs Old Joe stuff was really fascinating to keep up with. If you enjoy movies that are somewhat challenging, and you can suspend reality for the time travel elements, it’s one that you’ll probably find quite entertaining.
SEE THIS MOVIE IF: time travel and sci-fi tickle your fancy OR you want to see Hollywood’s best attempt to make Joseph Gordon-Levitt look like a young Bruce Wills
SKIP THIS MOVIE IF:Hot Tub Time Machineor Austin Powersare the level of seriousness you expect from time travel flicks
Greetings again from the darkness. Director Todd Solondz is the master of film uncomfortableness. If you have seen his Happiness or Welcome to the Dollhouse, you won’t debate whether that’s a real word or not. Mr. Solondz has a way of finding the worst in his characters and then taking it even darker and more negative. And yet, somehow, his latest (and maybe his simplest film to date) could be called a comedy.
We are first introduced to Abe (Jordan Gelber) and Miranda (Selma Blair) as they share a table at a wedding, though obviously aren’t remotely together. He is oblivious to her near silent attempts to nicely avoid providing her phone number to him. The film moves quickly to provide proof that Abe is the epitome of arrested development. A mid-thirties something who not only “works” for his dad, but still lives with his parents (Mia Farrow, Christopher Walken) in a bedroom decorated with action figures. It’s difficult to look at someone who takes up as much space as Abe and categorize them as a kid, so I believe the better term is “not an adult”. He stalks Miranda and doesn’t seem to mind/notice that she is a heavily medicated depressed individual who looks at him like he’s a circus act.
Abe’s work environment is no better than his personal life. He brings nothing of value to his dad’s company, yet somehow thinks he is always being mistreated. This carries over to his feelings toward his brother Richard (Justin Bartha), who is a doctor. Abe, who dropped out of college, believes the only difference is that Richard was the favorite son and received special privileges. It’s very easy to label Abe a “loser”, but somehow Solondz manages to maintain our interest with small sparks of hope (very small).
The hope quickly fades and Abe’s life heads on a fast downward spiral. There are some bizarre fantasy/dream sequences that involve the quiet, much older co-worker Marie (Donna Murphy), and a conversation in the car with his mother and brother that plays like something directly out of a Woody Allen movie (made even creepier with the presence of Mia Farrow), plus another odd sequence featuring Miranda’s ex (Aasif Mandvi) and the source of her Hep B.
There are some funny moments, but as Mr. Solondz would prefer, the laughs are tainted with guilt. We can’t help but wonder why we laugh at a guy for whom we have such little respect … actually bordering on disgust. I must admit to being pretty tired of Abe by the end of the movie, and couldn’t help wondering if it might have been more effective as a short film. Still, the acting was superb, and unfortunately Abe isn’t that much of a stretch from someone you probably know in real life.
SEE THIS MOVIE IF:you don’t mind a dose of guilt mixed with some humor
SKIP THIS MOVIE IF: you prefer to avoid the depressed and the losers amongst us.
Greetings again from the darkness. Well it took six years, but co-directors Jonathan Dayton and Valerie Faris finally deliver their follow-up to the smash hit Little Miss Sunshine. With a script from first time screenwriter Zoe Kazan (granddaughter of legendary director Elia Kazan), we get an odd mash-up of would-be Woody Allen, Charlie Kaufman, Stranger Than Fiction, and a “Twilight Zone” episode.
The story begins almost as a whimsical fantasy. Paul Dano plays Calvin, a blocked writer 10 years after writing the next great American novel, while he was still a teenager. The necessary comparisons to JD Salinger are made, and we witness Calvin as a socially-inept type who was never comfortable with his early success, and now can’t find a way to move on with life. Given a writing assignment by his shrink (Elliott Gould), Calvin discovers the true power of the written word is far beyond anything he had previously imagined.
After a dream of meeting a lovely girl in the park, Calvin’s fingers tear through his manual typewriter and develop a story around his literal dream girl. And literal means literal. He runs into her downstairs. His creation has become his creation. Once he realizes they aren’t going to lock him away for insanity, Calvin and Ruby (also Zoe Kazan) begin a real relationship. Well as real as it can be with a girl who is not really real and whose actions can be changed simply by typing words on a page. If you think this sounds like a male fantasy, then you are in agreement with Calvin’s brother (Chris Messina).
A trip to visit the brothers’ mothers (Annette Bening) and her boyfriend (Antonio Banderas) adds some humorous scenes while also signaling the beginning of trouble for Ruby and Calvin. It turns out that bringing your invented dream girl into the real world doesn’t always work so well. Who would have thought? There is much humor in the film including Steve Coogan as Calvin’s mentor. Deborah Ann Woll (“True Blood”) has a scene as Calvin’s ex-girlfriend and it is probably the best written scene in the film. Really good insight into how two people’s view of the same relationship can vary greatly.
The story can be looked at from different perspectives. It certainly serves as insight into how a writer’s mind can work. Many writers need a muse … but few get to create their own! More importantly, it makes a statement on how we (well, not me) often try to control and manipulate the other person in our relationships. This is a sterling reminder to be careful what you ask for … you just might get it.
**Note: on a side note, it is refreshing to see a love story between two actors who look rather “normal” rather than so perfectly beautiful they appear to be a genetic experiment
SEE THIS MOVIE IF: you enjoy off-beat, quirky humor with an underlying message
SKIP THIS MOVIE IF: the last thing you wish to do is crawl inside the head of a Hollywood writer
Greetings again from the darkness. If you are a fan of the series, this is a sensational ending to the Christopher Nolan Batman trilogy. Though replicating Heath Ledger’s Joker is not possible, every other piece of this finale worked for me … and worked exceptionally well. There are critics who are nit-picking, saying that the story is muddled, the villain a letdown, run time too long, the first half is slow or the second half is too traditional in action. My challenge to these critics … name a better comic book hero film. For me, this is an incredibly entertaining and ambitious film that sets the standard for the genre.
In addition to director Nolan, many of the familiar characters are back. Christian Bale as Bruce Wayne/Batman, Michael Caine as Alfred, Gary Oldman as Commissioner Gordon and Morgan Freeman as Lucius Fox. New to the series are Anne Hathaway as Selina Kyle/Catwoman, Joseph Gordon-Levitt as Officer Blake, Marion Cotillard as Miranda Tate, and best of all, Tom Hardy as Bane – the hulking masked monster wreaking havoc on Batman and Gotham.
I will not go into any of the plot points other than to say this is the first time we have seen a villain who is at least Batman’s match physically and mentally. Bane is a wrecking ball with a general’s strategic skills and voice that is begging to impersonated by intoxicated males of all ages for years to come. There are a couple of twists that add much fun for the fans of the first two films, including a return appearance by a key member of Batman Begins. Also, Michael Caine is given a couple of wonderful scenes to prove he is more than a driver and butler.
Since this is Batman, the action scenes have to be analyzed. It should be noted that Batman is not on screen very often, but when he is, it is quite thrilling. We have new toys and weapons, and quite a bit of fisticuffs with Bane and Catwoman that compete with any of the giant firepower scenes. One of the more fascinating sets is the prison based in a pit of despair that harkens back to Poe. This pit plays an important role in the past and present. For those who were worried that Catwoman’s presence might take away from the aura of the movie, fear not. Ms. Hathaway creates an interesting duality that proves very interesting.
Neither Mr. Nolan nor his DOP Wally Pfister are proponents of 3D (Thank Goodness!!), so instead we get treated to 50 minutes of actual 70mm IMAX footage. This means, if possible, you should catch this on an IMAX screen. I have seen it IMAX and XD, and while both are visually stunning, the IMAX is an overwhelming site at times.
The movie picks up 8 years after the ending of The Dark Knight. Harvey Dent is worshiped as a hero, and Bruce Wayne is a Howard Hughes type recluse – broken body and all. The initial aerial sequence is a fun start to a film that runs just under 3 hours. Of course, there is so much offered here that deserves comment, however, I believe the film is best watched with only the upfront primer of the first two films in the series. I will give nothing away here that might impact the joy of discovery during this gem. Contrary to some critics, I believe the story is fairly easy to follow and quite intense, thrilling and pure cinematic joy … including the thumping score from Hans Zimmer.
For those who claim there is a lack of humor … Exhibit #1: Hines Ward returning a kickoff for a TD. Come on, how long since he was fast enough for that??
Note: Though I haven’t addressed the Aurora shooting here, I did post a statement on the blog on July 20.
Greetings again from the darkness. So many movies take advantage of our expectations and have a basis of familiarity in everything from community to setting to character personality and reactions. Every so often a movie comes along that reminds us there really is no such thing as “typical”. People and communities are all different. Some are more different than others, but none I have witnessed come close to the Bathtub … a self-contained world on the “wrong” side of the levee.
This small community of folks are clearly poverty stricken by societal standards, but their ability to live off the land and support each other is a world that will fascinate, frighten and inspire you. Wink is not the warm-hearted single dad we are often spoon-fed by Hollywood. Instead he is a fierce protector and teacher of survival techniques to his equally fierce daughter Hushpuppy. She is a force of nature and displays a near-feral intensity that will leave you speechless.
There is no need for much detail here as this film is best experienced with little upfront knowledge. First time director Benh Zeitlin lives in New Orleans and co-wrote the screenplay with Lucy Alibar, whose one-act play the story is based. They wisely chose two non-professional actors as their leads, and both are stunning. Dwight Henry is a local pastry baker and family man, but you will struggle to believe that as you watch him fight the elements, time and a serious disease.
As terrific as Mr. Henry is, the one who left me breathless was Quvenzhane Wallis as Hushpuppy. She is a six year old girl and hits the screen like no one you have ever seen. She is in-tune with the animals, nature and this wilderness life she is leading. Despite her internal strength, we are periodically reminded of the imagination and life-through-the-eyes of a 6 year old. A prime example is when she accidentally starts a fire, she immediately hides in a cardboard box assuming she is safe if she can’t see the flames. Just as quickly, Hushpuppy proves just how unusual she is as she stakes her claim in being remembered in the Bathtub long after she is gone.
**NOTE: it’s unusual to be talking about Oscars midway through the year, but young Ms. Wallis must receive consideration for this performance
SEE THIS MOVIE IF: you are a fan of independent filmmaking or take particular pleasure in unusual stories and characters
SKIP THIS MOVIE IF: light-hearted entertainment with precocious well-trained child actors is your preferred movie type
Greetings again from the darkness. The big debate seems to be whether it is too soon for the Spider-Man franchise to be re-booted. It was just 10 years ago when Tobey Maguire first appeared as Spidey and a mere 5 years ago when director Sam Raimi delivered the last leg in his trilogy. Obviously the reason to re-boot starts with “doll” and ends with “ars”. It is more interesting to decide if this is an improvement over the previous series.
We must first look at Spider-man himself. Played here by Andrew Garfield, we get a more thoughtful Peter Parker and a more athletic Spidey version than we had with Maguire. As usual, my pet peeve is that Garfield is a 28 year old man cast as an 18 year old high school science nerd. Looking past that, Garfield manages to pull off the stunts without looking too much like a real super hero. So that’s a plus. Luckily for him, his scenes with Gwen Stacy (Emma Stone) work because Ms. Stone is such a super talent. She makes everything she is in, just a little bit better.
Next we look at the villain. Rhys Ifans plays scientist Dr Curt Connors, who transforms into Lizard in the quest to regenerate growth of his lost right arm. He was once partners with Peter’s dad in their research into reptilian genetics. While Doc Ock (Alfred Molina) from Spider-Man 2 is still my favorite villain in the series, it’s clear that Lizard is certainly capable of frightening the younger viewers, so parents beware. It should also be noted that Dr Curt Connors was played by Dylan Baker in the Sam Raimi trilogy.
Lastly, we look at the story. This take is much more personal and provides detail to the backstory of Peter Parker. We learn how (but not exactly why) he lost his parents (Campbell Scott and Embeth Davidtz) and see how he came to be raised by Aunt May (Sally Field) and Uncle Ben (Martin Sheen). We see how Peter and Gwen Stacy come together and learn that she is every bit his equal intellectually, if not a notch above. Casting Dennis Leary as Gwen’s Police Chief dad works as Leary and Garfield exchange barbs at the table. Peter is still a photographer, but this time for the school instead of The Daily Bugle … whose logo makes an appearance on TV.
Director Marc Webb was somehow selected for this despite his only feature film being (500) Days of Summer… not exactly a film known for its CGI. Admittedly, the CGI used here is less rushed and cluttered than in previous Spidey films and many of the stunts look to be real stunts instead of the fake stuff. The closing credit cookie clearly sets up the sequel, though I can only guess that the shadowy figure is Norman Osborn. That’s still up for debate.
** NOTE: fear not, we get the now expected Stan Lee cameo
SEE THIS MOVIE IF:you are a fan of comic book heroes and simply enjoy the bigger than life films, even if it’s not at the level of The Avengers(it’s still better than Green Lantern)
SKIP THIS MOVIE IF: you are limiting yourself to one super hero movie this year … if so, make it The Dark Knight Rises
Greetings again from the darkness. After suffering through the miserable Mirror Mirrorearlier this year, my fairy tale palate needed cleansing. The original Brothers Grimm tale was actually pretty dark and first time director Rupert Sanders has some success going heavy into ominous with his version. The movie has some flaws, but is actually quite fun to look at.
Early on, we get a taste of Charlize Theron as the wicked stepmother/evil queen. Her calm voice and unforgiving stare prove quite chilling and one of the best parts of the movie. The magic mirror (on the wall) shows signs of life and we understand quickly that this Queen’s power will not be used for the greater good. The palace itself is quite a site and Snow White’s escape provide us a behind-the-walls pass, including the medieval sewer system.
My favorite parts of the movie are the foreboding Black Forest and its polar opposite fairyland. The art decoration for both is excellent and fairyland even offers a nod to the Disney cartoon version. Both sets offer some stunning visuals … the forest ogre, the dwarfs and the white buck with a matrix rack. Ahh, the dwarfs. Can’t have Snow White without them. This group (originally eight) have the superimposed heads of actors we all recognize: Bob Hoskins, Ian McShane, Ray Winstone, Nick Frost, Eddie Marsan, Toby Jones, Johnny Harris, and Brian Gleeson. This camera trick allows us to connect pretty quickly with the group.
Kristen Stewart brings her successful Twilightrun to fairy tale land. She isn’t given much to do other than fight and gaze. Her Joan of Arc look serves the film’s purpose, but does any guy really think she is “fairer” than Charlize? Chris Hemsworth (Thor) plays the titular Huntsman and serves the cause admirably, as does Sam Claflin as Snow’s lusty, trusty childhood friend. Sam Spruell plays the Queen’s henchman brother, but is most memorable for one of the worst haircuts in Hollywood history … straight out of Dumb & Dumber.
The battle scenes are well done, the soundtrack is not overbearing as one would expect, but there seems to be something missing here. The film is fun to look at it, but just doesn’t deliver on any type of emotional level. Perhaps the material is just too familiar after all these years of hoping the first bite of an apple doesn’t render us unconscious.
SEE THIS MOVIE IF: you prefer the darker, sinister version that the Brothers Grimm intended OR you are just trying to wash away the memories of Julia Roberts cackling as the wicked Queen earlier this year
SKIP THIS MOVIE IF:you are expecting something in line with the classic animated Disney version
Greetings again from the darkness. Uninspired sequels often prove quite annoying for a true movie fan. However, dedicated followers of a franchise often overlook the flaws and are just happy to see their familiar heroes back on screen. Back for a third time in 15 years, Agents J (Will Smith) and K (Tommy Lee Jones) show they can do this in their sleep … actually I think Mr. Jones really did doze off a couple of times.
Fortunately there are a couple of things that make this one entertaining enough. Josh Brolin‘s spot on imitation of Tommy Lee Jones may be better than the real thing. Brolin seems to be enjoying himself and realizes he is the featured attraction here. There is also a very creative segment that takes place at Andy Warhol’s Factory … with Bill Hader pulling off the Warhol look and voice quite well.
Obviously with the Warhol segment, time travel is involved. That’s the real disappointment here. Outside of the Apollo 11 segment and listening to Status Quo play “Pictures of Matchstick Men”, the trip to 1969 is really a wasted opportunity for plot and humor. Also scarce is the use of aliens that were so prevalent in the first two. This time around, we get an overdose of Boris the Animal played by the always interesting Jemaine Clement (“Flight of the Conchords”).
Also back is Emma Thompson in a couple of brief scenes as Agent O. In addition to Brolin, we get new life from Alice Eve (a young Agent O) and Michael Stuhlbarg as Griffin … a less annoying version of Joe Pesci from the Lethal Weapon series. Director Barry Sonnenfeld has stuck with this franchise for all three entries. Let’s hope it’s now allowed to rest in peace.
SEE THIS MOVIE IF: you are a huge fan of the MIB franchise OR you want to see Josh Brolin’s impersonation of Tommy Lee Jones
SKIP THIS MOVIE IF: you were hoping after 15 years, there might be something new … heck, even Will Smith looks exactly the same!
Greetings again from the darkness. If anyone ever asks “What was the name of that late 60’s goth, supernatural soap opera with the cult following?“, it’s safe to assume they mean the TV series “Dark Shadows“. It ran from 1966-1971 for a remarkable 1225 episodes. For those who remember it, the image they recall tends to be actor Jonathan Frid as Barnabus Collins … the first vampire most of us ever saw outside of a Friday night horror film. The series made quite an impact on two young boys in particular: Tim Burton and Johnny Depp.
There are many reasons that movies get made. Pet projects or labors of love are not as common these days because of high production costs. But that’s exactly what this movie is – a pet project for Burton and Depp. They clearly have fun with the characters, and the film dallies ever so closely to the parody line. The initial set-up is brilliant and dark and ominous, leading us to believe this film will be in line with Burton’s Sleepy Hollowor Corpse Bride. Instead, the rest of the movie is more in line with Beetlejuice. Definitely not a bad thing – just different than what we were prepped for.
Johnny Depp gives a wonderful performance as Barnabus Collins, the rich young man cursed by Angelique, the witch he spurns in love. His curse is to be turned into a vampire and buried alive. When his casket is discovered 196 years later, the world of 1972 is quite different than the one he left. He comically struggles to fit in and make sense of it all … not the least of which is his remaining family. At his beloved Collinswood Manor lives Elizabeth Collins Stoddard (Michelle Pfeiffer), Roger Collins (Jonny Lee Miller), Carolyn Stoddard (Chloe Grace Moretz), David Collins (Gulliver McGrath), the live-in child psychiatrist Dr Hoffman (Helena Bonham Carter), and their recently hired nanny Victoria (Bella Heathcote). While he was buried, the wicked witch Angelique (Eva Green) becomes the most powerful figure in town. Ms. Green holds nothing back in her over-the-top jealous witch fun.
Burton does a nice job poking fun at the 1970’s with comedy that won’t mean much to today’s youngsters, but will hit home with those from the era. The art direction and sets are terrific, especially Collinwood Manor. The music of the 70’s is used to comic effect, including a live performance by Alice Cooper. Michelle Pfeiffer does the best job at capturing the look and feel of the original series, but her daughter’s character (Moretz) takes an unnecessary turn as Burton tries to cram as much in as possible. In fact, the film is actually quite fun to watch, but is lacking real substance in the story department … not dissimilar to the original series.
This is the 8th film collaboration between Burton and Depp. They make a wonderful team, and Depp has added another entertaining character to his Captain Jack Sparrow, Edward Scissorhands, Mad Hatter legacy. His movements and speech pattern are especially entertaining as we are mesmerized by his milky white complexion. His dialogue (written by Seth Grahame-Smith) demands attention and is both comical and majestic simultaneously. Burton’s tribute to the TV series includes cameos by four of the original actors: Kathryn Leigh Scott, Lara Parker, David Selby, and the recently deceased Jonathan Frid (pictured left) as guests at the ball. It’s a classy touch. Danny Elfman’s score is a bit overwhelmed by the use of numerous 70’s classics, and it was disappointing to hear The Killers version of “Go All the Way” rather than The Raspberries as the closing credits rolled.
Burton is one of the more visual directors and even though the story is a bit lacking, each scene gives us plenty to absorb. The ghosts are especially well done, as is the fishing town of Collinsport which was built just for the movie. It has many similarities to Bodega Bay, which film lovers will recognize as the setting for Hitchcock’s The Birds. Lastly, Burton gives us another scene with the great Christopher Lee – this time as a boat captain caught between Angelique and Barnabus. Good stuff.
SEE THIS MOVIE IF:you are a fan of the original TV series OR you enjoy Burton/Depp collaborations OR you “get” 1970’s humor
SKIP THIS MOVIE IF: in your mind, the 1970’s have as much relevance as 1870
Greetings again from the darkness. When a writer/director sets a standard with a film like In Bruges, the anticipation for the follow-up is palpable, especially from those of us with the demented sense of humor necessary to watch that film over and over. Martin McDonagh is a writer firs (shorts, features and plays), and a self-taught filmmaker second. He again shows his talent for interesting characters in unusual situations, and an extraordinary blend of black comedy, violence and personal struggles with morality.
business and feeds Farrell possible story lines. He even goes as far as to run an ad asking real life psychopaths to come tell their story. Yep, this plan is just running smoothly until Rockwell kidnaps the dog of a local gangster played by Woody Harrelson.
may be his best performance in years. It’s very offbeat and irregular … in other words, typical Walken. Though there are many excellent scenes, the best ones involve Walken.
As wonderful a writer as McDonagh is, we can’t help notice the influences of Quentin Tarantino and the spaghetti westerns – especially The Good, The Bad and The Ugly. His comedic tendencies wrapped in violent sequences really challenge us as viewers. Trying to find the good in those who aren’t necessarily so good adds an element and complexity as the film throws violence in our face as the characters are confronting their deeper feelings on morality. Since Farrell’s character is a writer named Martin, we are probably safe in assuming that McDonagh is working through some of these same issues himself (especially the unnecessary violence and weak women characters). McDonagh proves again to be one of the most intriguing and talented filmmakers working, and even though this one is a tick below his last one, I anxiously await his next.
Posted by David Ferguson 
Movie Reviews from the Dark 