Christian Bale's disastrous comb-over/rug combo basically opens the film with a wordless monologue. Beneath that unnatural mop is the sharp mind of Irving Rosenfeld, a “from the feet up” con man making the leap from running legit (but boring) dry cleaning businesses to grifting down-on-their-luck rubes on bad bank loans. His operation starts taking off when he hooks up with Amy Adams, a natural businesswoman looking to reinvent herself. She does this with a name change, a phony British accent and, later in the film, by frizzing her hair out to preposterous proportions.
For a gal named Carrie White, she's sure got a lot of red on her.
Watching Kimberly Peirce's 'Carrie' is an odd experience. If you've seen Brian De Palma's version from 1976, this new version is - and there's really no point in denying this - like watching a cover band. There's a tweaked scene here and there (including a new, creepy-as-heck opening) plus the addition of cell phones and references to 'Dancing With The Stars.' This remake, more than most, really feels like hitting the same marks. It may be a peculiarity specific to 'Carrie,' because, let's face it, not a whole heck of a lot happens in this story. Considering most moviegoers' familiarity, there's plenty of room to stew and think, "Why is this considered such a classic?"
With piracy drama 'Captain Phillips,' Paul Greengrass ('Bloody Sunday,' 'United 93') has defended his ground as the go-to man for tragic, reality-based pressure-cooker films. The dude really knows how to get your palms sweaty, even when you kinda-sorta know how things are going to end up. Note to self: don't take your cargo ship through the Somali Basin if you don't have to.
Greengrass is also the director of the best two 'Bourne' movies ('Supremacy' and 'Ultimatum') and just as Matt Damon glided through those films as the steely, mixed-martial killing machine, Tom Hanks' center-seat performance here is a master class in keeping it cool.
Here's a tip. If you don't want people to think you are a child molester, pick out different frames than the ones Paul Dano wears in 'Prisoners.'
When neither Jake Gyllenhaal (as Detective Loki - yeah, you read that right) or his CSI crew can find any evidence that suspected molester Dano abducted two little girls that went for an unsupervised walk through a Pennsylvania suburb after Thanksgiving dinner, it's up to one of the two fathers of the girls - Hugh Jackman - to take matters into his own hand...
That's what 'Arrested Development' star Tony Hale shouts from the back of Melissa McCarthy's broken down jalopy of a police car as she goes through the motions of an uninteresting chase sequence.
"Hoo boy," I mutter. "We're in for another 'Identity Thief' here" - a movie where physical comedy and riff-heavy music cues will have to suffice instead of any real wit. But something happens about 10 minutes into 'The Heat,' the latest comedy from 'Bridesmaids' director Paul Feig. McCarthy's Detective Mullins loudly and brashly bursts into a room and meets Sandra Bullock's Special Agent Ashburn.
The chemical reaction is instantaneous. McCarthy and Bullock, both naturally funny people, feed off one another and crackle as one of the best comedy pairings since John Cleese and Michael Palin. 'The Heat' is a decent movie; McCarthy and Bullock are outstanding.
Seventeen summers ago, Will Smith gave us the catch phrase "welcome to Earth" and then punched an alien in the face. This time he's the invading alien (kinda) and his new line "this is Earth" is much more doom and gloom than swagger. An international icon, father and potentially the next great crazy celebrity, Will Smith is finally ready to pass the baton to his son Jaden.
But it isn't a baton he's using in 'After Earth' (an original sci-fi film based on a story of Smith's own creation) but a C-40 Cutlass – a doohickey kinda like Darth Maul's lightsaber, which springs out different blades depending on what you need. Actually, we never quite know how the Cutlass in 'After Earth' works, but it is one of a number of really nifty gizmos that populates the half-baked mythos of this film.
It is every 16 year-old's rite of passage to sneak into an R-rated slasher, get grossed out by blood, turned on by boobs and shout back at the screen. To that end, 'Texas Chainsaw 3D' is a worthy claimant to the franchise.
Pop culture enthusiasts can be forgiven if they approach Peter Jackson's J.R.R. Tolkien prequel trilogy thinking about 'Star Wars.' Will this next (but previous!) chapter in one of Fandom's key franchises broaden the cinematic universe we love so much, or will this be another case where they should have let enough alone?
Well, as is so frequently the case in life, I can't give you such a black and white answer. For starters, we may not be able to fully analyze 'The Hobbit' until all three chapters are in. Nevertheless here we are and 'An Unexpected Journey' does, indeed, have a lot going for it. It is also saddled with tangents, jabberjaw scenes that never end and far too many beats whose sole function is to remind you how much you love the original 'Lord of the Rings' films.
I have no firsthand knowledge of how the CIA works. (You are shocked, I'm sure.) Yet among the things that has me so excited about Kathryn Bigelow's major new achievement, 'Zero Dark Thirty,' is that I come away from it thinking “yeah, that feels right.” So much in this story of “how we got Bin Laden” is a mixture of bullheaded perseverance and dumb luck. We've heard about “the fog of war” but this film shows the fog of intelligence. This look at world's biggest manhunt may be the best manhunt movie ever made.
I can only take so much. I approach a family-friendly film with as open of a heart as possible, but when hit in the face with the shovel of whimsy and wonderment and wide-eyed optimism over and over and over again, eventually, I have to strike back. Sorry, 'Rise of the Guardians' - there's a lot that is admirable in you, particularly some of your design work, but you brought this on yourself.
With an asinine plot, risible dialogue and atrocious acting, this sequel to a half-remembered video game adaptation still manages to provide a great number of base thrills with its nightmarish imagery. As such it is a quagmire of dread both within and without, disturbing to watch and to think about. This makes for a strange alchemy: in time you identify with the lead character (a young woman in peril) not because you are engaged with the film, but because enduring such an atrocity becomes its own act of survival. How 'bout that for a neat trick, eh?
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