Five minutes into American Hustle, I realized I probably was not going to like the film. I stuck around for the next two hours, but the film never grabbed me. It has been praised by critics, but I consider myself kin to the many other viewers who left the film feeling apathetic. Us emotionless millions, unmoved by a film with such heavyweights, such ACTING — we are legion. Continue reading “The Empty Balcony: American Hustle”
From director Toby Wilkins, Splinter is the little horror movie that could. I love little horror films. Generally, filmmakers who are starting out or would otherwise never get a shot behind the camera end up helming horror flicks. It’s like a film rite of passage. Why horror took on this mantra, I have no idea. All I know is, thank goodness it wasn’t rom-coms. What a horrible universe it would truly be if Wes Craven was known for starting out as the director of The Last House on the Left, a movie about a young girl who finds herself in a love triangle with some lovable rogues from the big city. Or if John Carpenter changed the face of emotionally powerful family pictures with Halloween, the story of young Laurie Strode reuniting with her long-lost brother after a family tragedy separated the two on Halloween night, many years before. Or if Sam Raimi was the legendary director of Good Living, about two couples who discover the true meaning of love and sharing while vacationing at a rustic cabin in the woods. Blecchh!! Continue reading “October Horrorshow: Splinter”
Taylor Kitsch just had a bad year. He starred in three major release films. How can that possibly be bad? The three films were Battleship, John Carter, and Oliver Stone’s latest ham-fisted effort, Savages. Three films, three disappointments, and Mr. Kitsch has suddenly moved into Ryan Reynolds territory as the latest bankable star that turned out to be not so bankable. It isn’t all his fault, though. John Carter was doomed from the start, and Battleship was so awful, a cavalcade of thespians from the Royal Shakespeare Company couldn’t have saved it.
Which leads us to Savages.
Occasionally Oliver Stone gets an itch to make an over-the-top movie full of extreme violence and outrageous criminality. When that has happened in the past, he gave us Natural Born Killers and the screenplay to Scarface. This year it was Savages, adapted from the novel by Don Winslow, which tells the tale of a California airhead and the two drug dealers who love her. Continue reading “The Empty Balcony: Savages”