What would you do if Mark sang out of tune? Would you stand up and walk out on him? Heavy is the head that wears the Facebook crown in this minimalist teaser for David Fincher and Aaron Sorkin’s The Social Network, with Jesse Eisenberg, Justin Timberlake, Andrew Garfield, and Rashida Jones. Great pedigree, great cast, looking forward to it.
Tag: Jesse Eisenberg
Land of the Lost.
So, what’s the rumpus? Well, after a quick breakdown of the rules of surviving said zompocalypse (For example, “Rule 1: Cardio…Fatties die first“), Zombieland basically follows the travails of five of the last humans on Earth. There’s:
- Columbus (Jesse Eisenberg), a nebbishy UT student who survived the initial outbreak mostly by dint of being an OCD Warcraft shut-in. (Eisenberg has put in some good performances in movies like Roger Dodger and The Squid and the Whale, but he’s slumming it here. In fact, I like them both, but Zombieland makes a strong case for staging a “two-man-enter-one-man-leave” arena deathmatch between Eisenberg and Michael Cera. They’re becoming redundant.)\
- Tallahassee (Woody Harrelson), a Twinkie-loving good-ole-boy who’s atoning for a family tragedy by cutting a swath through the undead and being damn good at it. (Harrelson seems to be channeling his Mickey Knox from Natural Born Killers again — not sure what it says that the same guy’s gone from being creepy lunatic anti-hero in NBK to unironic, even compassionate hero here. Tone is everything, I guess.)
- Wichita (Emma Stone), an alluring grifter (she’s basically Mila Kunis’ character from Extract) who’ll double-cross everyone around and do whatever she has to to protect her little sister. (I started thinking of her as Left 4 Dead‘s Zoey after about five minutes of screentime.)
- Little Rock (Abigail Breslin), said little sister, wise beyond her years yet still really looking forward to a trip to Pacific Playland (a.k.a. Wally World.) (FWIW Breslin, most memorable as Little Miss Sunshine, seems to have made it across the child-star gap that swallowed Jake Lloyd, Haley Jo Osment, and Jonathan Lipnicki whole, and appears to be settling well into a young-Jodie Foster vibe.) And…
- “Hollywood” (Semi-Secret Cameo), a movie star who the first four encounter along their road trip. As most other reviews have noted, this extended second-act sequence is probably the highlight of the film, and the biggest laugh I enjoyed was when this character is asked at one point about his/her regrets. Still, I also found this section not as funny as it’s being made out to be, for the same reason — my bro and I have a long-standing argument about this — that I don’t much like Family Guy and think Robot Chicken is lame: Just making some random pop-culture reference willy nilly — oh, yeah! I recognize that! — isn’t, to my mind, all that funny. (Imho, the South Park guys pinned this problem to the wall with their classic manatee episode.) Similarly, just recreating moments from this particular star’s back catalog, as happens a few times here, just feels sorta ho-hum to me.I’ll concede that I’m probably being harder on Zombieland than it deserves. It’s a harmless thrill-ride-type entertainment, and I’ll bet it was quite a bit better than a lot of the past summer’s tentpole releases, most of which I skipped. (I’m looking at you, X-Men Joeformers: Salvation.) Still, maybe I’m just an insufferable zombie-snob — this isn’t The Walking Dead or World War Z by any means — but I left Zombieland feeling underwhelmed. To me, it just felt by-the-numbers, with a tired “family is what you make it” plot and a certain laziness — how is the power on everywhere, by the way? — about it. And if anything, the zombies, never once very frightening, seem like a plot convenience more than anything else.
Also, it’s hard to escape the nagging sensation that this movie is basically just Shaun of the Dead for mooks. This feeling isn’t helped by the earlier-mentioned Family Guy-isms, or the Beavis-and-Butthead-y “I like breakin’ things!” messaging of the middle-going. (Sometimes it’s not even Fleischer’s fault — On its own, the slo-mo credit sequence is good, imaginative fun, but it also can’t help but recall the very similar Watchmen opening, which then involuntarily brings to mind the current mook-King of Hollywood, Zack Snyder.)
Lemme put it this way: Throughout the movie, the previously-established Zombie Rules — “Beware of Bathrooms,” “Double-Tap,” “Don’t be a Hero” — will flash up on the screen whenever they become pertinent. This often gives Zombieland the feel of the introductory levels — “Press X to jump” — of a not-very-interactive xBox game. And, while I can’t say I had a bad time at Zombieland, it’s hard to shake the sense that that 81 minutes would’ve been much better spent at home, playing Left 4 Dead. Now there’s a zombie-killing quartet I can get behind
Norsemen and Networks.
Casting for Kenneth Branagh’s take on Thor fills out, with Jaimie Alexander and Colm Feore joining the cast. Alexander plays Sif, while “Feore’s character is shrouded in mystery, though it is known to be a villain.” (That spells trouble to me — Be it stage or screen, Feore can be super-hammy.)
Whoever Feore is playing (Mephisto?), it’s not Loki — That would be Tom Hiddleston, appearing alongside “Papa Kirk” Chris Hemsworth as Thor and Natalie Portman as Jane Foster.
Meanwhile, the strange Aaron Sorkin-penned, David Fincher-directed Facebook movie, The Social Network, gets a cast in Jesse Eisenberg, Justin Timberlake, and Doctor Who alum Andrew Garfield (also soon to appear in Gilliam’s Imaginarium.) “Eisenberg will play Facebook CEO Mark Zuckerberg; Timberlake will play Sean Parker, the Napster co-founder who became Facebook’s founding president; and Andrew Garfield will play Eduardo Saverin, the Facebook co-founder who fell out with Zuckerberg over money.“
Flights of Fancy.
In the trailer bin of late: Rachel McAdams gets another notebook, wherein she keeps up with the comings and goings of future husband Eric Bana, in the new preview for Robert Schwentke’s The Time-Traveler’s Wife. (I haven’t read the book, but was hoping this movie would seem more sci-fi and less rom-com.) Robin Williams finds the Dead Poets Society life considerably less appealing after two decades in the red band trailer for Bobcat Goldthwait’s World’s Greatest Dad. (Definitely maybe.) And Jesse Eisenberg and Woody Harrelson take more than a few pages from Shaun of the Dead in the new trailer for Ruben Fleischer’s Zombieland. It’s looking missable.
2005 in Film.
Happy New Year’s Eve to everyone..I’m celebrating in San Diego with old college friends and likely won’t update again until 2006. So, without further ado, here’s the 2005 movie round-up. Overall, it’s been a pretty solid year for cinema, and this is the first year in the past five where the #1 movie wasn’t immediately obvious to me. But, still, choices had to be made, and so…
[2000/2001/2002/2003/2004]
[Note: The #1 movie of 2005 changed in early 2006: See the Best of 2006 list for the update…]
1. Syriana: I know Stephen Gaghan’s grim meditation on the global reach and ruthlessness of the Oil Trade rubbed some people the wrong way, but I found it a gripping piece of 21st century muckraking, in the venerable tradition of Ida Tarbell and Upton Sinclair. True, Christopher Plummer was a mite too sinister, but otherwise Syriana offered some of the most intriguing character arcs of the year, from morose CIA Field Agent George Clooney’s ambivalent awakening to corporate lawyer Jeffrey Wright’s courtship with compromise. In a year of well-made political films, among them Good Night, and Good Luck, Munich, Lord of War, and The Constant Gardener, Syriana was the pick of the litter.
2. Layer Cake: If X3 turns into the fiasco the fanboy nation is expecting with Brett Ratner at the helm, this expertly-crafted crime noir by Matthew Vaughn will cut that much deeper. Layer Cake not only outdid Guy Ritchie’s brit-gangster oeuvre in wit and elegance and offered great supporting turns by Michael Gambon, Kenneth Cranham, and Colm Meaney, it proved that Daniel Craig had the requisite charisma for Bond and then some (and that Sienna Miller is no slouch in the charisma department either.)
3. Ballets Russes: Penguins and comedians, to the wings — The lively survivors of the Ballets Russes are now on center stage. Like the best in dance itself, this captivating, transporting documentary was at once of the moment and timeless.
4. Good Night, and Good Luck: Conversely, anchored by David Strathairn’s wry channeling of Edward R. Murrow, George Clooney’s second film (and second appearance on the 2005 list) couldn’t have been more timely. A historical film that in other hands might have come off as dry, preachy edutainment, Good Night, and Good Luck instead seemed as fresh and relevant as the evening news…well, that is, if the news still functioned properly.
5. Batman Begins: The Dark Knight has returned. Yes, the samurai-filled first act ran a bit long and the third-act train derailing needed more oomph. Still, WB and DC’s reboot of the latter’s second biggest franchise was the Caped Crusader movie we’ve all been waiting for. With help from an A-list supporting cast and a Gotham City thankfully devoid of Schumacherian statuary, Chris Nolan and Christian Bale brought both Batman and Bruce Wayne to life as never before, and a Killing Joke-ish Batman 2 is now on the top of my want-to-see list.
6. Harry Potter and the Goblet of Fire: As I said in my original review, I initally thought Cuaron’s Azkhaban couldn’t be topped. But give Mike Newell credit: Harry’s foray into Voldemortish gloom and teenage angst was easily the most compelling Potter film so far. Extra points to Gryffindor for Brendan Gleeson’s more-than-slightly-bent Mad-Eye Moody, and to Slytherin for Ralph Fiennes’ serpentine cameo as He-Who-Must-Not-Be-Named.
7. King Kong: I had this film as high as #2 for awhile, and there are visual marvels therein that no other movie this year came close to offering, most notably Kong loose in Depression-Era New York City. But, there’s no way around it — even given all the B-movie thrills and great-ape-empathizing that PJ offers in the last 120 minutes, the first hour is close to terrible, which has to knock the gorilla down a few notches.
8. Capote: When it comes to amorality for artistry’s sake, Jack Black’s Carl Denham ain’t got nothing on Philip Seymour Hoffman’s Truman Capote. I think it’d be awhile before I want to watch this movie again, but, still, it was a dark, memorable trip into bleeding Kansas and the writerly id.
9. Sin City: One of the most faithful comic-to-film adaptations on celluloid also made for one of the more engaging and visually arresting cinematic trips this year. I don’t know if the look and feel of Sin City can sustain a bona fide franchise, but this first outing was a surprisingly worthwhile film experience (with particular kudos for Mickey Rourke’s Marv.)
10. Munich: I wrote about this one at length very recently, so I’ll defer to the original review.
11. Brokeback Mountain: A beautifully shot and beautifully told love story, although admittedly Ang Lee’s staid Brokeback at times feels like transparent Oscar bait.
12. Lord of War: Anchored by Nicholas Cage’s wry voiceover, Andrew Niccol’s sardonic expose of the arms trade was the funniest of this year’s global message films (That is, if you like ’em served up cold.)
13. The Squid and the Whale: Speaking of which, The Squid and the Whale made ugly, embittered divorce about as funny as ever it’s likely to get, thanks to Jeff Daniels’ turn as the pretentious, haunted Bernard Berkman.
14. Star Wars Episode III: Revenge of the Sith: Thank the Force for small kindnesses: George Lucas put the Star Wars universe to bed with far and away his best outing of the prequels. The film flirts dangerously with the Dark Side, particularly in the “let’s take a meeting” second act, but for the most part Sith felt — finally — like a return to that galaxy long ago and far, far away.
15. A History of Violence: I think David Cronenberg’s most recent take on vigilantism and misplaced identity was slightly overrated by most critics — When you get down to it, the film was pretty straightforward in its doling out of violent fates to those who most deserved them. Still, solid performances and Cronenberg’s mordant humor still made for a far-better-than-average night at the movies.
16. Walk the Line: Despite the great performances by Joaquin Phoenix and Reese Witherspoon, Walk the Line ultimately seemed too much of a by-the-numbers biopic to do the Man in Black full credit. But, definitely worth seeing.
17. In Good Company (2004): Paul Weitz’s sweet folktale of synergy, downsizing, and corporate obsolescence was too charitable and good-natured to think ill of any of its characters, and I usually prefer more mordant fare. Nevertheless, the intelligently-written IGC turned out to be a quality piece of breezy pop filmmaking.
18. The Constant Gardener: Another very good film that I still thought was slightly overrated by the critics, Fernando Meirelles’ sophomore outing skillfully masked its somewhat iffy script with lush cinematography and choice Soderberghian editing.
19. Primer (2004): A completely inscrutable sci-fi tone poem on the perils of time travel. Kevin and I saw it twice and still have very little clue as to what’s going most of the time — but I (we?) mean that in the best way possible.
20. The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe: The Chronic-what? Andrew Adamson’s retelling of C.S. Lewis’s most popular tome lagged in places, and the two older kids were outfitted with unwieldy character arcs that often stopped the film dead, but it still felt surprisingly faithful to the spirit of Narnia, Christianized lion and all.
Most Disappointing: The Fantastic Four, which I finally saw on the plane yesterday — One of Marvel’s A-List properties is given the straight-to-video treatment. From the Mr. Fantastic bathroom humor to the complete evisceration of Dr. Doom, this movie turned out just as uninspired and embarrassing as the trailers suggested. Runner-Up: The Brothers Grimm. Terry Gilliam’s long-awaited return wasn’t exactly a return-to-form. But, hey, at least he got a movie made, and Tideland is just around the corner.
Most Variable: Hitchhiker’s Guide to the Galaxy: I still haven’t figured out how I feel about this one. I liked it quite a bit upon first viewing, but it didn’t hold up at all the second time around. Still, the casting feels right, and I’d be up for The Restaurant at the End of the Universe, provided they turn up the Ford-and-Zaphod shenanigans and turn down the forced Arthur-and-Trillian romance.
Worth a Rental: Constantine, Aliens of the Deep, Me and You and Everyone We Know, Charlie and the Chocolate Factory, The Island, March of the Penguins, The Aristocrats,Tim Burton’s Corpse Bride, Jarhead, Sarah Silverman: Jesus is Magic, The Ice Harvest, War of the Worlds
Ho-Hum: Inside Deep Throat, The Jacket, Million Dollar Baby (2004), The Ring 2, Kingdom of Heaven, Unleashed, Mr. & Mrs. Smith,
Aeon Flux
Best Actor: Philip Seymour Hoffman, Capote; Eric Bana, Munich; Heath Ledger, Brokeback Mountain; David Straitharn, Good Night, and Good Luck
Best Actress: Reese Witherspoon, Walk the Line; Naomi Watts, King Kong
Best Supporting Actor: Jeff Daniels, The Squid and the Whale; George Clooney, Syriana; Brendan Gleeson, Harry Potter and the Goblet of Fire
Best Supporting Actress: Maria Bello, A History of Violence; Tilda Swinton, The Chronicles of Narnia
Unseen: The 40-Year-Old Virgin, Bee Season, Broken Flowers, Cache, Casanova, Cinderella Man, Crash, Enron: The Smartest Guys in the Room, Grizzly Man, Gunner Palace, Head On, Hustle & Flow, Junebug, Match Point, The New World, Nine Lives, Pride and Prejudice, Serenity (although I watched all of Firefly last week), Shopgirl, The Three Burials of Melquiades Estrada, Wallace and Gromit: The Curse of the Were-Rabbit, Wedding Crashers
2006: Frankly, the line-up doesn’t look too exciting at the moment. Nevertheless, 2006 will bring A Scanner Darkly, Casino Royale, The Da Vinci Code, Flags of our Fathers, The Good German, The Inside Man, Marie Antoinette, M:I III, Pirates of the Caribbean 2, Snakes on a Plane (!!), Southland Tales, Superman Returns, Tristam Shandy, V for Vendetta, and X3.
Itchy Feet and Fading Smiles.
In the midst of my pre-transit-strike christmas shopping downtown, I took an evening breather at the Angelika to watch The Squid and the Whale, Noah Baumbach’s withering confessional film based on the divorce of his semi-famous parents (writer Jonathan Baumbach and film critic Georgia Brown) in Park Slope, circa 1986. The movie is mostly episodic vignettes in the life of a broken family and at times suggests a more misanthropic Me, You, and Everyone We Know. But it also feels scarily authentic and is probably one of the most convincing — and wryly funny — depictions of divorce I’ve ever seen on film, with particular kudos going to Jeff Daniels as the sad sack father in this outfit.
The story centers on 16-year-old Walt Berkman (Jesse Eisenberg of Rodger Dodger, playing Baumbach’s alter ego) and his younger brother Frank (Owen Kline), as they try to navigate the fallout from their writer parents’ collapsed marriage. (The title of the film refers to a display of an underwater death struggle at the American Museum of National History, which is referenced several times as an apt metaphor for the younger Berkmans’ plight.) Walt sides with his father Bernard (Daniels), a washed-up author-turned-college-professor, while Frank enlists under the standard of his up-and-coming writer mother Joan (Laura Linney), who has a profoundly irritating habit of calling her children “Pickle” and “Chicken.” As the parents war over the details of their absurdly complicated joint custody agreement, both Walt and Frank begin to display increasingly bizarre behavior, with Walt pilfering Pink Floyd’s eminently recognizable “Hey You” as his own composition for the school talent show and Frank taking on the habits of the “philistines” his pretentious father so loathes, namely drinking, masturbating in public, and idolizing his goofy semi-pro tennis coach (Billy Baldwin, playing it broad).
With all due respect to the rest of the cast, most of the funniest (and most cringeworthy) scenes in the film are a result of Jeff Daniels’ terrific performance as paterfamilias-in-exile Bernard Berkman, one that should be on the warning label for anyone thinking of a career in academia. At once bombastic and deflated, Bernard is a terrible snob — he refers to Franz Kafka as “one of my predecessors” and can’t stop tossing off pithy and damning critiques of his son’s high school reading list (A Tale of Two Cities is “Minor Dickens,” for example.) At the same time, the wolves are at the door: Daniels’ eyes — hidden in the depths of his scruffy academic beard — have a furtive and hunted look, as if at any moment his wounded ego will cough up its last and he’ll collapse into a paroxysm of fatal self-loathing. Bernard basically deserves almost every indignity that’s heaped upon him here (with the possible exception of his wife’s serial infidelity, which, the movie suggests, may have originally turned him into this stunted, paralyzed pretender), but Daniels’ haunted resignation makes both the laughter and the pain stick.
The Village Idiot.
Having completed my chores in timely fashion this past Sabbath morn, I decided to undertake a sojourn in M. Night Shyamalan’s The Village, in spite of my apprehension over The Curse of William Hurt and The Mel Gibson Film Which We Do Not Much Enjoy. As you perchance have ascertained, it seems the goodly people of this nonsensical village have experienced some difficulty with the strange and mysterious residents in the nearby woods. Alack, Number Six is nowhere to be found, and Goody Ellen Ripley seems too engaged sweeping and darning at the present time to handle the marauders in her usual efficacious manner. This is highly unfortunate, for M. Night Shyamalan’s The Village is an exceedingly drab and silly place, whose full terribleness can only adequately be described in spoiler-filled invisitext (Note: invisitext turned off — it’s been 15 years):
Hoo boy…grab your torches and pitchforks, village people, cause we’ve got a really lousy film on our hands. (Ok, Van Helsing and Riddick were worse, but they harbored fewer delusions of grandeur…this film is just a pretentious bore.) As a refresher, I liked Sixth Sense, was intrigued by Unbreakable, and loathed Signs, and this one’s probably just as bad as Mel Gibson’s run-in with the water-and-door-averse aliens. Even though the plot twists in this bad boy can be seen a mile away, they still don’t make any sense. As with Signs, this is a film so lame I can only wrap my mind around it in numbered point form:
1) First off, the whole Elders bit. Is it really possible not to see this coming? What other explanation could there be for those big black cabinets in every house? I understand that these Villagers were not exposed to Scooby Doo, but how strikingly incurious could they be?
2) Along those lines, if you call a shed “The Old Shed That Is Not To Be Used” in any human society, no more than a week would pass before some enterprising youth started skulking around it. And why are the creatures called “Those We Shall Not Speak Of” anyway, when everyone is incessantly speaking about them? Surely some other nomenclature would take off at some point.
3) How come not a single Village soul has ever attempted to beat back the not-so-frightening wicker creatures with a block of wood or a stick of fire or something? Hasn’t anyone ever wondered why the Elders never seem to be around when the creatures come out?
4) What is this clipped faux-nineteenth century argot everybody’s speaking in? It’s embarrassing (although A.O. Scott made an excellent point when he noted that this is how William Hurt sounds all the time. Perhaps this actually makes sense.)
5) After our worst fears about the Scooby Doo Elders have been confirmed, why would Shyamalan think the blind girl’s encounter in the woods would be scary in the slightest? The only real question was whether it was Brendan Gleeson or Adrien Brody in the costume.
6) What vested interest would the government have in protecting this village from fly-overs, poachers, etc.? Nada, zip, zero. We already have Colonial Williamsburg.
7) Whatsmore, I find the political economy of this film somewhat repellent. Is the urge to create a rigid, backward-looking, and authoritarian society — where everyone knows everyone else’s business (except of course, the Big Business), where the only people of color are Red, and where the only trouble around is Adrien Brody the Village Idiot — really as worthy and benign as Shyamalan makes it out to be? These people are nutjobs, but they’re portrayed as humanists. If anything, the end of the film makes it seem as if this noble way of life will and should go on. There’s no real critique made at all of the Elder’s impositions, only of its misuse by Jealous Brody.
8) Speaking of which, village idiot? Blind girl who sees auras? C’mon now. You’re not even trying.
9) I see very well how Shyamalan might have intended this as a Twilight Zone meditation on terrorism, what with fear-mongering and color codes and all that. But, if that’s the case, then the film should not have been constructed as a Sixth Sense thriller rife with plot twists in the last third (particularly when the plot twists are so glaringly obvious). It should have shown its cards up front and then attempted to explore this allegory a little more creatively.
In sum, with Goody Weaver and Mssrs. Brody and Gleeson as residents of this unfortunate village, I had thought my brief stay in these woods might be more relishable. As it is, I am headed for the towns and shall not return.
Love, Sex, and Balance.
I should’ve posted this yesterday, but forgot. Rather than see the fireworks last Friday, I decided to stay in and have a Blockbuster night. And, since I don’t feel like giving these films the full treatment at the moment, I’ll just say in passing that, despite attempting an open mind, I hated Punch Drunk Love (with the exception of the beautiful color fades.) I found it self-consciously arty and pretentious in true P.T.A fashion (Oooh, harmonium = love), and Emily Watson was a complete cipher throughout. Adam Sandler made the best of a bad hand, but I’ll still take Happy Gilmore over this any day of the week. Equilibrium, starring Christian Bale, Sean Bean, Taye Diggs, and Emily Watson again, was cheesy C-grade sci-fi fun in a Dr. Who kinda way despite having the most implausible fight sequences since Gymkata. And Roger Dodger started out well enough, but I eventually became bored with Campbell Scott’s character. The opportunities for telling LaBute-like satire were rich, but instead we find out that all Roger needed was his lost innocence? What a waste of a good setup. Still, there’s some nice character work here, so I’d say Roger Dodger is a moderately enjoyable rental.