Way to shield the hated heat, way to put myself to sleep: In the trailer bin of late, something out of Area 51 has a very bad train experience in the teaser for J.J. Abrams’ Super 8, produced by Steven Spielberg. I didn’t cotton much to MI:3 or Abrams’ last (produced) monster movie, Cloverfield. But fingers crossed this is closer to the summery fun of Star Trek.
Tag: Cinema
Green Noise.
In casting news, Colin Farrell (recently signed as Jerry Dandridge 2.0) and Marion Cotillard (currently looking stunning in the trailer for Inception) both sign aboard David Cronenberg’s version of Don DeLillo’s Cosmopolis. “The film, based on Don DeLillo’s novel, will follow a multimillionaire on a 24-hour odyssey across Manhattan. Farrell will play the asset manager who loses all his wealth over the course of one day. Cotillard will play his wife.” Oh, the exquisite, finely-manicured melancholy of the super-rich! Eh, I’ll probably see it anyway.
Man in a Box.
This particular tale of the evil that Men do and the fickleness of Fate begins with a tryst — Underneath the overpass and watched by their respective canine companions, two lovers enjoy a brief flurry of passion in a parked car. (As in Before the Devil Knows You’re Dead, this is the fleeting moment of ecstasy that sets up the tale of woe to follow.) The man here is Ray (David Roberts, most recognizable to me as one of the “other” captains in the Matrix sequels), a married construction foreman not above taking a few kickbacks on the side. The woman is Carla (Claire van der Boom), also married, who works at the local beauty salon and spends her nights deflecting the advances of her thug husband’s creepy, ne’er-do-well friends.
The trouble emerges when said husband, Greg (Anthony Hayes), brings home a ginormous satchel of blood-soaked cash one night, and Carla happens to notice him — unbeknownst that he’s being watched — stowing it away in the attic space above the bathroom. Now that kind of money could change lives, and if she and Ray got their hands on it…They could skip this town, flee their respective spouses, and start anew. Ray has doubts when he hears of the plan (and seems less happy that a decision point has been reached anyway.) But if his choice is Carla and the Big Steal or a return to his loveless marriage and workaday construction life…well, that’s really no choice at all.
And so Ray and Claire enlist the aid of a professional but vaguely dodgy-seeming arsonist (Joel Edgerton, the director’s brother and Uncle Owen of Episode II) and his in-over-her-head girlfriend Lily (Hanna Mangan-Lawrence) to set off a fire that will give them a cover story for when they abscond with the missing loot. But, the best laid plans and all that. Inevitably, something goes horribly wrong…several things, actually. And not only that, but somebody else seems to know about The Plan, and starts blackmailing Ray after the fact. Is it Eddie (Damon Herriman) or Leonard (Brendan Donoghue, eerily Bale-like), one of the aforementioned creepy friends? Or is it one of the guys at his site, like Ray’s #2 Jake (Peter Phelps)? Whoever it is, Ray needs to lock him or her down, before a suspicious husband or an agitated arsonist take matters into their own hands…
That should give you the gist of it — The Square is one of those movies where a seemingly simple criminal plan, through happenstance, incident and a steady confluence of minor screw-ups, just takes one wrong turn after another. (In a way, this is a grimmer Aussie version of The Ice Harvest, except now Xmas is a summertime holiday.) And to its credit, not only do the characters rarely do dumb things in this story, they sometimes do surprisingly smart things: See, for example, Ray’s detective work in his office involving the scented card. Of course, smart, dumb, or otherwise, the gods tend to laugh at the plans of men, and, in this particular world, Edgerton is a cruel master indeed.
In fact, the Fates are so remorseless here that Ray and Claire’s frozen run of luck starts to bleed out into the population at large. It’s not just the supporting cast who have to worry: Bystanders and even pets just minding their own business also have catastrophic events befall them as the story moves on. (C’mon now, the swimming incident was gratuitous.) For what it’s worth, this anything-can-happen-to-anyone feel of The Square was anticipated by Spider, an Edgerton-directed short shown just before The Square here at the Landmark E-Street, about a man’s disastrous attempt to kiss-and-make-up after a recent feud with his girlfriend. And when the writer-director of your movie is also a full-fledged stuntman, you have to expect that some really bad things might happen in the story.
In any case, I have some quibbles with the very end of The Square, which I can’t really talk about in specifics without giving the game away. (To speak in general terms: basically, unfortunate happenstance even trumps plot dynamics at the end — The story doesn’t build to an inevitable conclusion so much as more bad stuff happens.) But, up to that point, The Square is for the most part a crisp, atmospheric, and laudably intelligent neo-noir from the Land Down Under. My advice: You better run, you better take cover.
The Vampires (Back) Next Door.
Hit-Girl trades in butterfly knives for fangs (and a Rubik’s cube) as the first stills emerge from Matt’s Reeves forthcoming Let Me In, i.e.,the potentially-unnecessary American remake of Let the Right One In, with Chloe Moretz ((500) Days of Summer, Kick-Ass), Kodi Smit-McPhee (The Road), and the venerable Richard Jenkins (The Visitor, Six Feet Under.) Well, so far it looks a lot like the original, I’ll give it that. (Although, as an observant AICN’er noted, why is Eli/Moretz wearing a hoodie? That was part of the eeriness of the original, that this tiny girl was somehow not feeling the frigid Swedish winter.)
And, elsewhere on the neighborly vampire re-make front, Anton Yelchin’s Charlie Brewster now has his Jerry Dandridge: Apparently, Colin Farrell is taking Chris Sarandon’s role in the remake of Fright Night. (Toni Collette also joins as Charlie’s mom.) Well, I would’ve preferred Mark Strong, but that works too. Now, on to casting the crucial part of Peter Vincent, nee Roddy McDowell. (And perhaps Christopher Mintz-Plasse as Evil Ed?)
Some Assembly Required.
Alas, while Tony Stark’s original outing was a smart and surprisingly fun thrill ride that kicked off its summer in grand fashion — put another way, it was the Kick-Ass of 2008 — I am sorry to report that Jon Favreau’s leaden, unwieldy Iron Man 2 falls back down to Earth. In short, it’s basically the so-so, overripe, big-dumb-action flick I expected the first time around.
To be clear, the movie isn’t an embarrassment — On acting alone, it’s miles above recent big-budget studio dren like Alice in Wonderland or Clash of the Titans. But, if the first Iron Man soared, this one dutifully plods along, earthbound. Usually, comic book franchises, freed of their origin story, gain momentum in their second chapter — Superman II, Spiderman 2, X2, The Dark Knight. But here, unfortunately, we’re closer to Quantum of Solace territory — after a promising opening round, both films relapse into the lazy writing and unseemly summer-blockbuster habits whose surprising absence had defined their first go-round.
The thing that makes Iron Man 2 so maddening, and even kinda sad in the end, is that the powers-that-be clearly tried to capture the same lightning in a bottle that propelled the first one. As such, this movie feels like it was made by a committee, who sat down with Iron Man, a DVD player, and some notepads and tried to figure out exactly what made the first one tick. Then they took the various strands they came up with, made each one bigger-faster-stronger, and tried to recombinate them for Iron Man 2. Blammo, we have a sequel!…Only, it doesn’t quite work like that. That sort of reverse-engineering may work in advanced weapons manufacturing — but for movies, not so much. And, as a result, Iron Man 2 doesn’t cohere nearly as well as the original. It feels disparate and shapeless and, well, rusty.
So, let’s see here, we have Robert Downey, Jr. being charmingly egotistical, tossing off off-kilter line readings, wooing Gwyneth Paltrow, mouthing off to authority figures (this time, Senator Garry Shandling), and trading in on his troubled past to bring pathos to alcoholic billionaire Tony Stark. Check. We have a few exceedingly likable actors known for talent rather than bankability — Mickey Rourke, Sam Rockwell — in the villain roles. Check. We have lots of future-think computer displays in Tony’s office, maybe a funny robot or two. Check. We have plenty of state-of-the-art military-grade hardware for the boys-and-their-toys crowd, and a bunch of random “Avengers! Coming-soon-to-a-theater-near-you” comic nods to keep the rest of the fanboys happy. Check. Oh, yes, ‘splosions too, and don’t forget the extra Bigger Robots Iron Man has to fight at some point. Check and check.
All the right boxes are checked off, and they even add a few more. (Hey, everybody digs Mad Men. Roger Sterling? Check!) And yet Iron Man 2 still ends up feeling more like an attempt to sell happy meals at Burger King and cups at 7-11 than an actual, full-fledged movie experience. Why? Well, I’m guessing it’s because the film is undercooked. Simply put, the whole thing just feels like it was rushed out of the gate to make this 2010 release date, most notably in the writing department. Screenwriter Justin Theroux is a decent actor (Mulholland Drive, Six Feet Under), and he obviously scored a hit as one of three writers on Tropic Thunder (with Ben Stiller and Etan Cohen.) But, to say this plot has holes would suggest it’s somehow more form than void in the end. As told, this film barely makes any sense whatsoever. You may have heard that Mickey Rourke recently admitted he doesn’t know what the movie was about. Well, I sat through the durned thing, and I’m not sure myself.
There’s no point in nitpicking every little thing that doesn’t make sense in Iron Man 2 — it’s a fool’s errand. But even by the lax standards one must accord a film about a guy in a flying metal tuxedo, it just doesn’t hang together. You could wrestle over the basic plot points: What is Whiplash’s plan here, exactly — just to hope he picks up a benefactor? How does he know Tony will be racing at Monaco, and how does he — or Pepper or Happy — get on the track? Why does Justin Hammer want shoes? For what crime do the cops go after him in the end? Or you can go bigger with it: Why is Pepper Potts the head of Stark now? Why is Rhodey so trusting of the Big Bads? You’re kidding me with this new element stuff, yes? Why can the Black Widow turn off some suits and not others? For that matter, why is she even in this film? But the answer seems to be: Sorry, because that’s all we could think of to keep the story moving along. Sheesh, get over yourself, will ya? Sit back, eat some popcorn, don’t think so much.
Well, maybe they’re right, but the beauty of the first Iron Man is that it was slick, smart, and reasonably self-contained — It hung together quite well, and you didn’t have to turn your brain off to enjoy it. But this one’s lumbering and bric-a-brac and all over the place in that summer-action-movie way, partly because I guess they wanted to top the first film, and partly because it’s overburdened with all the random Avengers-prequel nonsense. See: Samuel L. Jackson as (nu-school) Nick Cage and Scarlett Johansson as the Widow. (I don’t want to hate on Johansson too much, although I still think somebody like Olga Kurylenko was a much better fit to play a sleek Russian super-spy. Suffice to say, they didn’t even give her an accent for some reason, and, when it comes to her big Trinity-ish action setpiece…well, I found Hit-Girl more plausible.)
So, is there a silver lining here? Well, Mickey Rourke isn’t given near enough to say or do, but he’s fun while he lasts. And, while Sam Rockwell may be slumming in a well-worn groove as “the guy who’s not quite as cool as he wants to be” (Galaxy Quest, Zaphod), he just about steals the movie away every time he shows up. (Consider the scene where he’s arming War Machine, and that business with the little nuke — a joke lifted from MIB‘s “noisy cricket,” by the way.) So, there’s hope for the franchise yet, if they keep up the quality casting and just spend a little more time putting it all together next time. The first weekend alone already suggests Iron Man 3 will be a go. Here’s hoping Favreau, Downey, et al get the pieces in order first before embarking on part III. Gotta break that rusty cage, y’all.
The Thespian, the Fantasist, and the Siren.
“[T]here isn’t any such thing as a bad day. Yes, bad things happen. But any day that I’m still here, able to feel and think and share things with people, then how could that possibly be a bad day?” Lynn Redgrave, 1943-2010
“‘He’s going to be remembered as the most renowned fantasy illustrator of the 20th Century,’ Pistella said.” Frank Frazetta, 1928-2010.
“‘The whole thing that made me a star was the war,’ Ms. Horne said in the 1990 interview. ‘Of course the black guys couldn’t put Betty Grable’s picture in their footlockers. But they could put mine.” Lena Horne, 1917-2010.
The Dream Knight.
“You musn’t be afraid to dream a little bigger, darling.” Our minds are the scene of the sale after this very appealing new trailer for Christopher Nolan’s Inception, with Leonardo di Caprio, Joseph Gordon-Levitt (still broke up over Summer, it seems, or is he auditioning for Nolan’s new Joker?), Ellen Page, Marion Cotillard, Cillian Murphy, Tom Berenger, Ken Watanabe, Tom Hardy, Michael Caine, and a lot of pulsating TDK-like strings. Even if this looks basically like The Dark Knight meets The Matrix meets Dreamscape (with a splash of MW2), it’s on the top of my summer queue — July 16, 2010.
The Power of their Source? The Crystal.
Once more, they will replenish themselves…(omg this is the best). First announced in 2005, the much-anticipated Power of the Dark Crystal is finally out of development hell with a brand-new pair of directors, the Spierig brothers, recently of Daybreakers. I’m all for it. Hey Tron and Clash of the Titans are back in 2010, so why the heck not? Let’s complete the trifecta…in 3D.
Update: The Spierigs speak: “To be honest, the first film is, when I was young, pretty scary stuff. This will certainly have scary elements to it. It’s not a horror film by any means, its just got a really solid mythology and solid idea.“
Hugo Gets a Crimson Cranium.
As rumored for awhile now, Hugo Weaving — a.k.a. Agent Smith, Elrond, and V — will add even further to his fanboy cachet by suiting up as the Red Skull for Joe Johnston’s Captain America: The First Avenger. (Not altogether surprising: Weaving just showed up in Johnston’s botched Wolfman.) He joins Chris Evans as the Cap’n, Sebastian Stans as Bucky, and Hayley Atwell (late of Cassandra’s Dream) as Steve Rogers’ love interest, Peggy Carter.
Update: It looks like the character of Howard Stark — Tony’s dad — is also involved, although he probably won’t be as Roger Sterling-ish.
Update 2: The Cap’n’s rogues gallery expands as Toby Jones signs to play Arnim Zola, “a Nazi scientist who used his horrific experiments to allow himself to unnaturally extend his life, ultimately leading to his consciousness being permanently stuck in a robotic body. Type-casting!”
A Glutton for (Mutant) Punishment.
“Vaughn’s involvement had been on and off, with negotiations resuming yesterday thanks to the involvement of producer Bryan Singer. Another factor had been Fox’s desire of wanting to have a finished film for next summer, making the search for a director who can deliver a quality film a priority.“
Hmm…strange. Elsewhere in comic-to-film news, Layer Cake, Stardust, and Kick-Ass helmer Matthew Vaughn — who memorably left X3 before it became a Ratner hack job — is now back with the mutants for X-Men: First Class, i.e. the Professor X & Magneto backstory. I’d kinda soured on the X-franchise after the last two Fox ventures — never even saw Wolverine — but Vaughn instantly makes this interesting again.