I wrote, quite a bit...lol

So, I’m currently getting back in touch with a lot of things because of recent events. Myself, and my love of movies for sure. But the cynical movie critic in me has really come forth- so I’m getting into watching old supposed classics. What better timing to get into early Woody Allen films apparently, since I finally watched ‘Annie Hall’ last week before seeing the new ‘Ebert presents’ review show. Showcasing an old episode in which Ebert and Gene Siskel, the original television critics, compare and contrast Mel Brooks and Woody Allen. Siskel was for Allen, Ebert for Brooks…I agree with Siskel.

I’ve wanted to watch ‘Annie Hall’ for awhile now. But I was surprised to like it as much as I did. It had a definite flow and energy to it. The performances were all raw, felt on the spot. It moved quickly, didn’t overstay it’s welcome, and ended on a bleak yet somewhat still uplifting final break-up. It was a charming movie, still, through and through.

‘Manhattan’ I instant queued right after watching the ‘Ebert presents’ special, and I must say I really enjoyed it. I really like Diane Keaton, she’s different and has a style all her own. She steals ‘Annie Hall’ and ‘Manhattan’ from Allen, but I think he wants her to. His neurotic passion for everything is inspiring, cause everything tends to work in his favor, even when they break-up for good in ‘Hall’. You still feel as if he’ll neurotically go through life happy. I don’t want to be neurotic, but I have my moments. Everyone does. He’s a walking neurotic awareness poster.

‘Manhattan’ was obviously a love letter to New York. I’ve never wanted to visit the city more. And I must say I rarely enjoy black & white films, but being an obvious creative choice I have to say it’s probably my favorite B&W film I’ve seen. He plays with the B&W in a way to wear it makes the film, one, timeless, and two, an effect. Turning on and off of lights, the screen goes dark but the neurotic babble commences. But it’s always interesting babble. I enjoy films about dialogue, when it’s done in truly effective ways.

Take anything from Quentin Tarantino, Scorsese, Spielberg, all the greats- all those classic films are ripe with sparkling dialogue. ‘The Social Network’ felt like the most amazing run-on sentence in cinema history. It never skipped a beat. Out of recent, and by recent I mean “my” movie-going life in an actual theater, only two Woody Allen films stood out to me. ‘Match Point’ and ‘Vicky Cristina Barcelona’- two very different films, both neurotic without truly neurotic characters. ‘Match Point’ was an especially effective thriller, nothing funny about it at all really. I’m not surprised to hear Ebert and Siskel discuss ‘Manhattan’ as Allen growing more serious, as obviously he did just that. I’ve not seen ‘Midnight in Paris’ but I might make sure to get out to see it this week before it’s gone.

‘Annie Hall’ and ‘Manhattan’ both would get a solid A+

'Midnight in Paris' disappointment

So, just recently my cinema tastes finally arrived upon the classic Woody Allen films of the 70s- namely 'Annie Hall' and 'Manhattan'. Two films I genuinely loved and instantly bought. That doesn't happen all the time, and I love when it does happen. I was actually rejuvinated by film again. I really wanted to see 'Midnight in Paris' when it came out this summer but I failed to do so. But I had eagerly waited to OnDemand it the day it came out. Maybe I would have liked it better if I'd seen it this summer...

The last 10 minutes of 'Manhattan'...better than ANY 10 minutes of 'Paris'...

There are a lot of signature Woody moments, and Owen Wilson's Gil could be a descendant of Woody Allen's Alvy from 'Annie Hall' but the problem with the film lies with his romantic partner. Diane Keaton was so real and naturally beautiful, and more fleshed out. Here we have two love interests, one real and one (supposedly) imaginary. Rachel McAdams is just miscast, somehow, and overshadowed by Marion Cotillard's imaginary Adriana. Maybe a second viewing help, but I felt McAdams and Wilson lacked the chemistry necessary for me to care about their relationship dilemmas.

Effortless conversation scene from 'Annie Hall' over a plate of "here comes the 80s"

People saying this is Allen's best film since his heyday are forgetting 'Match Point'- certainly not the light-hearted 'Paris' fare. It's a very strong film, with great performances (maybe Scarlett Johnasson's best). As for 'Midnight in Paris' I must say I was highly disappointed with my OnDemand service which gave me the film in full screen, no HD, nothing. Some of the luster of the film was surely lost viewing it like this. I still don't think the characters pop as well as his best. I'm going to repost my blog on Allen I wrote earlier this summer on my tumblr blog just to compare expectations to reality and more talk about Allen's classic films.

Sherlock Holmes 2

Less impressive than 'Girl with the Dragon Tattoo' was the sequel to 'Sherlock Holmes'- subtitled 'A Game of Shadows' because Sherlock mutters it once early in the film. The further away from it I get, the worse I find it. The more empty I find it. Robert Downey Jr. is perfect in the role, it's Jude Law's best role in years- yet both film's have let them down. They are empty, soulless films. I think I prefer the first simply because the novelty factor was stronger then. And I preferred some of the musical queues and slightly darker subject matter.

What the Flick gives you their thoughts...

Yet it's strange that the villain was better this time around, Jared Harris (who is great on 'Mad Men'), plays Moriarty. Apparently Brad Pitt was originally attached to this role- I'm glad he let Harris have the opportunity to show his skills to the masses. But there isn't enough moments of sly, intellectual battles of wits between him and Holmes that would have made this more interesting. the slow motion action is cool at first and ultimately lose their luster.

And why is Noomi Raprice in this movie? Rachel McAdams? These films just haven't gotten it right yet.

Girl with the Dragon Tattoo (2011)

Okay, so I find it hard to sit and type out extended film reviews like I used to be able to. Even movies I like a lot I can't find the gumption to write about. Does that mean that just aren't THAT good? Have movies gotten so bad we're excited about shit? No way- 'Girl with the Dragon Tattoo' is a mean, grimy slap in the face of the Christmas moviegoing season and I love it even more for it. The wintery setting was as icy as it's characters. David Fincher created another masterpiece with this film- and it's only hampered by being pre-dated by a good-as-well Swedish original.

She owns this role, sorry Noomi Raprice, you sucked in 'Sherlock 2' anyways...

If THAT film didn't exist, this film would have been bigger and even more well received. I've not gotten the chance to check it out again but I really want to. Rooney Mara absolutely STEALS this away like I thought she would. Her oh so brief moments in 'Social Network' were so spot on perfect she instantly shot towards the top of my most liked actresses working today. That opening scene of 'Social' is ELECTRIC I say, electric. The whole movie. I could geek about that movie for a ridiculous sum of time. But in 'Tattoo' Mara totally transforms herself into Lisbeth Salender, and I understand her mass appeal that has caught on. She's a strong, multi-layered character that any actress should have been dying to play and Mara nailed it- imagine Katherine Heigl doing THIS shit. (Btw, f*ck that Heigl bitch!)

Mara owning it in 'Social Network' last year...

Daniel Craig delivered one of his favorite performances of mine in this movie as well. He dials his Daniel Craig-ness down wayy low where it needs to stay. Aside from the Bond films, his macho British bullshit is boring. Here he gives us shades of the character in spurts, enough to know and care- and wisely he doesn't try to steal moments from Mara. This is the first time Craig has played a submissive dweeb right? The rest of the cast is superb across the board, Fincher always gets solid performances through his abrasive but if-you-ask-me HIGHLY effective directing quirk of doing a zillion takes. Every one of the lines come across fluid, and everyone is completely in character all the time. Even highly recognizable faces like Stellan Skarsgard compose the illusion. Big ups to Joely Richardson, who I think really made her few scenes count. She was always one of my favorite parts of 'Nip/Tuck' and wish she'd get more solid work.

Total transformation...I have to say I prefer looking at pre-this pic Mara. Just sayin.

Gotta talk about the great Trent Reznor/Atticus Ross score. It's a beast, and sticks in your head just like some of the 'Social Network' beats. HOWEVER, this is NOT as good as the 'Social Network' score. It's a longer movie and there are way fewer stand-out moments than 'Network' had. I got chills during several scenes of 'Network' (still do, actually) and I can't recall any chills due to the score here. More so I felt chilled the whole time watching the icy nightmare on screen.

Overall, I have to say while this marks the third film in a row of David Fincher to make my number one spot for the year (2010 'Social Network', 2008 'Benjamin Button'). He's easily my favorite director working today and I look forward to anything he has to offer. While his 'Dragon Tattoo' isn't quite 'Social Network' great- it achieves it's own high praise.

Big Movie Day

So, BIG moviegoing day today- 'Girl with the Dragon Tattoo' (FINALLY!) and 'Young Adult'. Initial thoughts- 'Young Adult' is more immediately likable, even with a wretched main character. But EVERYONE in 'Dragon Tattoo' was somewhat wretched. It's a brutal, uncompromising and bold film. I wish I hadn't seen the Swedish version prior. Totally fresh would have been ideal. It's not 'The Social Network' or 'Zodiac' but it's still impeccable in this year's crop.

Charlize Theron totally makes 'Young Adult' what it is. Her and Diablo Cody's funny (in sad ways) script. She is a HOT MESS, straight up. I can't wait for a sequel.

'Fright Night' for the 'Twilight' Set

Okay, so for some reason I failed to see the remake of one of my favorite 80's horror films, 'Fright Night' while it was in theaters. Something about this being 3D has bothered me since the first trailer. It doesn't need to be in 3D, that's for sure. Having watched it today in regular old 2D, I have to say I was pleased despite the occasionally cheesy 3D effect (in 2D!) ruin an otherwise okay moment in the film.

It updates the original film in several ingenious ways that should definitely stand out to fans of the original film- yet does enough to modernize the film and make it feel like more than a retread of previous material. Anton Yelchin is great here, but he tends to be. His Charley Brewster is less immediately likable than the William Ragsdale's original but as the film progresses he makes it work. Imogen Poots (whataname!) is hot and makes Amy less annoying than Amanda Bearse did. But stealing the show is Colin Farrell. THIS is a vampire. I like that this remake didn't shy away from being a little mean-spirited and enjoyed how it stumped my expectations by progressing much differently than the original. The audience (and most of the main cast of characters) are aware Jerry is a vampire ("Jerry, the vampire?!?! ha") maybe 20-minutes in. I thought my OnDemand had skipped ahead, but once I got into the film's groove I enjoyed it.

'Black Keys' El Camino Review Coming...

My track by track review, with (hopefully) working links will be up later...honestly probably not till tomorrow. But I've listened through the CD practically twice and love every track- some more than others, but overall- it's awesome. These songs speak to me in shocking ways, like the album was tailor-made for me (thanks guys). But seriously, they just make great music. I can't wait to see them headline March 2nd in Cinci!

Early contender for favorite track...

but I've been listening to that for a few days...so it's gestated. Right out of the gate, this could end up my favorite...

Also I'm working on reviews of some Oscar contenders I caught on screeners at a friend's house. I felt bad watching them, but in my defense of one ('Carnage') I probably won't be able to see it anytime soon because I'm not special enough to be in NY/LA. I hate how that works out, but thank God for Baxter Avenue Theaters here in Louisville. The other film, 'Martha Marcy May Marlene' DID open around here and I couldn't get a chance to go...but I really wanted to and it lived up to my high expectations in a weird way. But my thoughts on those two films as well as my thoughts on the Oscar-hopefuls so far.

Further proof...

North American 2012 TOUR DATES for Black Keys were released just hours after that last post. First stop, Cincinnati. On a Friday. Tickets on sale next week. It's happening.

'The Black Keys', Seriously?

Why are they suddenly the most awesome band ever? I caught them opening for 'Kings of Leon' at what, I suppose, was the downfall of my love for THAT band. Their set sucked and lacked the energy of the 'Black Keys' warm-up act. I need to see them in concert, immediately. It's already sounding like this album is going to be speaking directly to me- like this is going to be serious. "She's the worst thing I've been addicted to?" For real? "I got a love that keeps me waiting." That's going to be my new anthem.

What the Flick?!?

Here's a weekly film critique show that I find myself looking forward to, and now they are updating their look and style...do they have visions of grander platforms? I hope so. But they are genuinely entertaining to watch and their discussions of the films are more about genuinely critiquing the films, rather than offering an extended synopsis and saying rather it's good or not. Unfortunately that's what 'Ebert presents' was starting to rectify before unfortunately being taken off the air. That's a bummer, but another (better) review show is available every week. Btw, I REALLY want to see 'The Muppets'- and I've never been a huge fan of the show.

Jason Segel is awesome however, and I'll get laughs just remembering his puppet bits in 'Forgetting Sarah Marshall' (a movie, I fear, is way underrated). Amy Adams is always a plus. But the reviews are just glushing and it seems like a truly feel-good movie. Could be good.

'Hangover II' Thoughts

Okay seriously, what were they thinking with this sequel. It's maybe the new golden standard of what NOT to do with a sequel to a surprise blockbuster- copy the whole fucking movie. This is a remake people, not a sequel. It's got inspired moments- my favorite is the look at the gang as kids, which is all kinds of fucked-up-awesome. More genuine shock and awe like that was needed to make revisiting the same general scenario again, worthwhile. Mr. Chao's small pecker sticking out for  everyone to see wouldn't have been fun, for anyone, in 3D.

The cast is tired. Zack Galifanakis just doesn't want to be there. the only one trying is Ed Helms and he's trying too hard. And why not bring Justin Bartha into the action? Last time it was funny, yeah he was stuck on the roof. Why is he not "with the guys" this time? He's obviously being ostracized. Bradley Cooper, I used to like him, and now I don't. He's smug. It's kinda his thing in this series, but he plays it SO well.

Watch the clip below for the film's best scene.

Most Ridiculous Song I Can Think of Right Now...Ever

"I see you sitting there stuffin yo face, why don't you stuff me up." seriously, you have to appreciate that on some ridiculous level. And that the song makes me wanna drive around listening  to it loud and proud, I feel ridiculous.