I love Iron Man 2.That feeling I got at the end of the first one - joy, excitement, anticipation of a next chapter, the realization that the Great Movie Season was upon us - was back again, this time from the word go. You know in those old movies when something surprising and mind-blowing happens and the heroine throws her hands up to her face? I did that. I didn't even realize it until I set them down, but my instinctive physical response to the film climactic fight sequence was the ol' hands-to-face routine. Exciting!
What's interesting is that they manager to progress the character by regressing the character. The Tony Stark who realized there was a world to save in the first movie, has let that power, fame and awesomeness go to his head. And so, once again, we get Robert Downey, Jr., doing his fast-talking smart-assery while Gwyneth Paltrow and Don Cheadle try to keep a handle on him. Ah-ha, but there's a darker edge to his behavior, due to plot developments that you'll just have to see for yourself. So, yeah, he's reckless and kind of an asshole, but he's Tony fucking Stark, so he's also lovable and we know he's going to come round in the end. Hurrah!
The villains are great fun. Mickey Rourke's Ivan Vanko is mesmerizing to behold, with Rourke disappearing into the role. I know, I know: it's an Iron Man movie, where everyone's constantly winking at the camera, but sue me, the man actually becomes a Russian baddie. He's amazing to watch, and so it's a shame that he's kind of given short shrift in the film's finale. For such a great climax, it really blueballs the audience Rourke-wise. Not so much Sam Rockwell's nefarious Justin Hammer, Stark's competitor, who is deliciously sleazy. To see these two Hollmann Award Winners sharing scenes of villainy together was almost too much. I wish we had more of them, really.
Except I don't, because there's one thing the Iron Man movies have that the other superhero movies don't: a hero more interesting than his villains. And I love the villains in the Iron Man movies, even Jeff Bridges' Obadiah Stane (don't know why people didn't, I thought he was incredible). It's not that the bad guys are boring. It's that this is a superhero franchise that's actually about the title character! Crazy, novel idea, that! No Kevin Spacey chewing scenery, no Heath Ledger or Jack Nicholson getting awards, no Thomas Haden Church getting the better underscore, no William Hurt; we paid for Iron Man, and that's what we're going to get!
(This is not true, of course, for the Fantastic Four movies, which have no one of interest, anywhere.)
You have to give credit to director Jon Favreau and scribe Justin Theroux for remaining fun while still developing a story and characters. They've managed to find a perfect balance for this film, assisted by the effective score by John Debney. I don't remember any music of note in the first one, but Debney's opening piece is still ringing in my ears, a haunting track that's going to get a lot of play on my iTunes. And by the way, Mary Zophres' costume designs are just as fun, from Whiplash's outfits to Stark's smoking jacket to Hammer's suits. Not to mention the catsuit worn by Tony Award Nominee Scarlett Johansson.
She's fun, by the way. Not distracting, and actually plays a real role in the film's proceedings. I was afraid it would be a glorified cameo, but she's quite effective here. Seems unfair to the male population that she shares so many scenes with Gwyneth Paltrow in which both wear skirts and heels. If we have heart attacks now, how will we buy tickets for the Thor? And furthermore, once scene has them conferring in a room, and Christiane Amanpour appears on one of the television screens. Where was I, Heaven?
OK, typical hetero male rant over. It's a great movie and a fun ride. Been too long since I wrote a completely positive review. Really, there hasn't been a movie this good since Kick-Ass, and that was almost a month ago. I can't recommend Iron Man 2 highly enough.
Showing posts with label Mickey Rourke. Show all posts
Showing posts with label Mickey Rourke. Show all posts
Friday, May 7, 2010
Sunday, May 3, 2009
One Man's Trash is My Treasure. And Also, Trash.
I don't know how to sell you on <span style="font-style:italic;">The Informers</span>. I could tell you not to believe the 14% rating on Rotten Tomatoes, but I would be lying. I could tell you it's the awesomest movie I have ever seen, but that, too, would just not be right (The Wicker Man remake will always have that place). I could tell you it's just as good as it is bad; while true, it's just too vague for you to really get the idea.
Also, I have no clue what version of The Informers this poster is selling. Not the one I saw, that's for sure.
Perhaps this is just evidence of my youth, but I don't think I've seen a movie as trashy as <span style="font-style:italic;">The Informers</span>. And yet it's also too tame for it's own good. It's wild and exciting, but also subdued and dull. Winona Ryder is in a heightened comedy; Billy Bob Thornton is falling asleep; Jon Foster is in The Most Serious Drama Ever; Chris Isaak and Amber Heard are in a clever satire of the 1980s, which is probably closest to what Brett Easton Ellis (co-adapting his own source material with Nicholas Jarecki) intended. Green screen effects: awful. CG fly effects: laughable. Score: at odds with its surroundings.
And yet I loved it. I mean, I really, really loved it. It wasn't good by any means, but I could see myself buying the DVD and holding parties at my house to watch this. It is so lovably awful, you must see it to believe it.
Consider:
-A pederastic rock star punches out a girl from Nebraska...because he can.
-Everyone sleeps with Austin Nichols and his stupid hair, including some of the men.
-Amber Heard does not put on clothes until her last two scenes.
-Brad Renfro's final, terrible performance, which I am convinced is what killed him.
-Winona Ryder playing every scene like she just snorted coke, drank a pot of coffee, and shot adrenaline into her eyeballs.
-We get two (2 [TWO!!!]) music video sequences, one of which features Amber Heard dancing topless
-AIDS as a deus ex machina
-No attempt to connect or develop tenuous plot threads
-Three characters that get whole scenes to themselves in the first half are promptly dropped and never mentioned again
-Did I mention Chris Isaak as a pervy dad trying to get his son laid in Hawaii?
-Lines like, "I need someone to tell me what's good....and what's bad."
-This dialogue:
AMBER HEARD: I wanna stay.
JON FOSTER: But it's cold.
AMBER HEARD: Mm. I want to stay in the sun.
JON FOSTER: (Dramatic pause, whisper) But the sun is gone.
-------
Oh, I could go on and on. Did I mention Mickey Rourke kidnaps and sells children? Or that there's a scene where an amateur glam band gets Winona Ryder's autograph while giggling madly? Or that all the under-forties have nude scenes at the beginning? Or how everyone mentions The Big Concert, then no one goes?
It's just histrionic fun for Basinger and Renfro; bored ennui for the rest of the cast. And the director! Oh man, he must come from the "meh" school of film, because it looks like nobody was on the same page. The cinematography is all back-lighting, and a lot of scenes have that hazy look that you get when you first wake up and turn on the bathroom lights. You know what I mean.
I can't wait to buy this on DVD and have a party for it. It can last the whole weekend, and we can watch this alongside Mae West's <span style="font-style:italic;">Sextette</span>, as a sort of marathon of excessive final films. Yeah, it's kind of on that level. One complaint: They should have kept the vampire storyline with Brandon Routh. That just would have completed the outrageous-thon that was happening.
Do I give it one star? Four stars? No stars? The answer is a resounding yes!
Also, I have no clue what version of The Informers this poster is selling. Not the one I saw, that's for sure.
Perhaps this is just evidence of my youth, but I don't think I've seen a movie as trashy as <span style="font-style:italic;">The Informers</span>. And yet it's also too tame for it's own good. It's wild and exciting, but also subdued and dull. Winona Ryder is in a heightened comedy; Billy Bob Thornton is falling asleep; Jon Foster is in The Most Serious Drama Ever; Chris Isaak and Amber Heard are in a clever satire of the 1980s, which is probably closest to what Brett Easton Ellis (co-adapting his own source material with Nicholas Jarecki) intended. Green screen effects: awful. CG fly effects: laughable. Score: at odds with its surroundings.
And yet I loved it. I mean, I really, really loved it. It wasn't good by any means, but I could see myself buying the DVD and holding parties at my house to watch this. It is so lovably awful, you must see it to believe it.
Consider:
-A pederastic rock star punches out a girl from Nebraska...because he can.
-Everyone sleeps with Austin Nichols and his stupid hair, including some of the men.
-Amber Heard does not put on clothes until her last two scenes.
-Brad Renfro's final, terrible performance, which I am convinced is what killed him.
-Winona Ryder playing every scene like she just snorted coke, drank a pot of coffee, and shot adrenaline into her eyeballs.
-We get two (2 [TWO!!!]) music video sequences, one of which features Amber Heard dancing topless
-AIDS as a deus ex machina
-No attempt to connect or develop tenuous plot threads
-Three characters that get whole scenes to themselves in the first half are promptly dropped and never mentioned again
-Did I mention Chris Isaak as a pervy dad trying to get his son laid in Hawaii?
-Lines like, "I need someone to tell me what's good....and what's bad."
-This dialogue:
AMBER HEARD: I wanna stay.
JON FOSTER: But it's cold.
AMBER HEARD: Mm. I want to stay in the sun.
JON FOSTER: (Dramatic pause, whisper) But the sun is gone.
-------
Oh, I could go on and on. Did I mention Mickey Rourke kidnaps and sells children? Or that there's a scene where an amateur glam band gets Winona Ryder's autograph while giggling madly? Or that all the under-forties have nude scenes at the beginning? Or how everyone mentions The Big Concert, then no one goes?
It's just histrionic fun for Basinger and Renfro; bored ennui for the rest of the cast. And the director! Oh man, he must come from the "meh" school of film, because it looks like nobody was on the same page. The cinematography is all back-lighting, and a lot of scenes have that hazy look that you get when you first wake up and turn on the bathroom lights. You know what I mean.
I can't wait to buy this on DVD and have a party for it. It can last the whole weekend, and we can watch this alongside Mae West's <span style="font-style:italic;">Sextette</span>, as a sort of marathon of excessive final films. Yeah, it's kind of on that level. One complaint: They should have kept the vampire storyline with Brandon Routh. That just would have completed the outrageous-thon that was happening.
Do I give it one star? Four stars? No stars? The answer is a resounding yes!
Sunday, February 8, 2009
Award Weekend
The WGA and BAFTA gave out their awards this weekend. I am sorry to report that there were very few surprising results. What surprises were in store, though, were quite rewarding.
WGA
ADAPTED SCREENPLAY: Simon Beaufoy, Slumdog Millionaire (based upon the novel Q&A by Vikas Swarup)
Beat out Eric Roth's Benjamin Button, Peter Morgan's Frost/Nixon, John Patrick Shanley's Doubt, and The Nolans' The Dark Knight. Of course, it's the only nominated screenplay I haven't read. I haven't read the novel either, and that's also the one exception here. I need to read the damn script already. 'Twould be nice to know what the fuss is about.
ORIGINAL SCREENPLAY: Dustin Lance Black, Milk
Beat out Woody Allen's Vicky Cristina Barcelona, Robert Siegel's The Wrestler, Thomas McCarthy's The Visitor, The Coens' Burn After Reading. I've not read Siegel's script, but the rest I have. This is a good choice, I have no qualms. It seems the Screenplay race is decided. Dammit, when even these categories get dull and predictable....
BAFTA
The BAFTAs announced today, and that's always interesting. They allow double nominees in acting categories, say "FUCK YOU" to category fraud, and have the tendency to surprise us all. Even if they have the same movies, they nominate them in unfamiliar categories. Let's just look.
BEST FILM: Slumdog Millionaire
Same nominees as the Oscars. It's getting to be a dull affair, isn't it? What's worse, I keep reading how it's the "under dog". Really? Do people not know what that word means?
BEST DIRECTOR: Danny Boyle, Slumdog Millionaire
Defeated Stephen Daldry (The Reader), Clint Eastwood (Changeling), David Fincher (Benjamin Button), and Ron Howard (Frost/Nixon). It makes sense. He's the front-runner, one of two Brits nominated. Plus, Boyle's done a lot for British cinema. And he's the front-runner.
BEST ORIGINAL SCREENPLAY: Martin McDonagh, In Bruges
Also-rans: Dustin Lance Black's Milk, Philippe Claudel's I've Loved You So Long, The Coens' Burn After Reading, J. Michael Straczynski's Changeling. I was right. It really is All Awesome on the McDonagh Front. Much admiration for this pick.
BEST ADAPTED SCREENPLAY: Simon Beaufoy, Slumdog Millionaire
Beat out David Hare for The Reader, Justin Haythe for Revolutionary Road, Peter Morgan for Frost/Nixon, Eric Roth for The Curious Case of Benjamin Button. So, now he's won everything. And he'll get the Oscar, too. Beaufoy, by the way, also wrote Miss Pettigrew Lives for a Day, a film deeply admired here (Hollmann Award Nominee for Best Actress, Frances McDormand). So now that I know that, awesome!
BEST FILM NOT IN THE ENGLISH LANGUAGE: I've Loved You So Long
Defeated The Baader Meinhof Complex, Gomorrah, Persepolis, Waltz with Bashir. This movie wasn't even in contention for this category at the Oscars. Of these, I've only seen Persepolis. Last year. So...why am I commenting on this at all?
BEST ANIMATED FILM: WALL-E
Beating out Persepolis and Waltz with Bashir. Obv. WALL-E is so going to own this category.
BEST LEADING ACTOR: Mickey Rourke, The Wrestler
Also nominated: Frank Langella (Frost/Nixon), Dev Patel (Slumdog Millionaire), Sean Penn (Milk), and Brad Pitt (Benjamin Button). Last year, BAFTA matched Oscar's acting categories four-for-four, so this may bode well for Rourke. The idea of a split between him and Penn for a win by Langella or Jenkins or Pitt is an interesting one, though. Like when Adrien Brody beat out Daniel Day-Lewis and Jack Nicholson in 2002.
BEST LEADING ACTRESS: Kate Winslet, The Reader
Not only did she win against herself for Revolutionary Road, but Meryl Streep (Doubt), Angelina Jolie (Changeling) and Kristin Scott Thomas (I've Loved You So Long) are also bridesmaids. After last year, this could bode well for Winslet, who always wins for The Reader when it's nominated. I'm still not completely convinced, of course, but that's because I like suspense.
BEST SUPPORTING ACTOR: Heath Ledger, The Dark Knight
The Losers: Robert Downey, Jr. (Tropic Thunder), Brendan Gleeson (In Bruges), Philip Seymour Hoffman (Doubt), Brad Pitt (Burn After Reading). What an awesome lineup this was. That posthumous Oscar is looking like a done deal for Heath. Bring it, says I.
BEST SUPPORTING ACTRESS: Penelope Cruz, Vicky Cristina Barcelona
Nommies: Amy Adams in Doubt, Freida Pinto in Slumdog Millionaire, Tilda Swinton in Burn After Reading and Marisa Tomei in The Wrestler. BAFTA and I remain the only ones to nomainte Adams without Viola Davis. A Cruz win here is awesome, and a Cruz win at the Oscars would mean a spiritual win for Woody Allen. Which is, of course, amazing.
For complete results, check this out.
WGA
ADAPTED SCREENPLAY: Simon Beaufoy, Slumdog Millionaire (based upon the novel Q&A by Vikas Swarup)
Beat out Eric Roth's Benjamin Button, Peter Morgan's Frost/Nixon, John Patrick Shanley's Doubt, and The Nolans' The Dark Knight. Of course, it's the only nominated screenplay I haven't read. I haven't read the novel either, and that's also the one exception here. I need to read the damn script already. 'Twould be nice to know what the fuss is about.
ORIGINAL SCREENPLAY: Dustin Lance Black, Milk
Beat out Woody Allen's Vicky Cristina Barcelona, Robert Siegel's The Wrestler, Thomas McCarthy's The Visitor, The Coens' Burn After Reading. I've not read Siegel's script, but the rest I have. This is a good choice, I have no qualms. It seems the Screenplay race is decided. Dammit, when even these categories get dull and predictable....
BAFTA
The BAFTAs announced today, and that's always interesting. They allow double nominees in acting categories, say "FUCK YOU" to category fraud, and have the tendency to surprise us all. Even if they have the same movies, they nominate them in unfamiliar categories. Let's just look.
BEST FILM: Slumdog Millionaire
Same nominees as the Oscars. It's getting to be a dull affair, isn't it? What's worse, I keep reading how it's the "under dog". Really? Do people not know what that word means?
BEST DIRECTOR: Danny Boyle, Slumdog Millionaire
Defeated Stephen Daldry (The Reader), Clint Eastwood (Changeling), David Fincher (Benjamin Button), and Ron Howard (Frost/Nixon). It makes sense. He's the front-runner, one of two Brits nominated. Plus, Boyle's done a lot for British cinema. And he's the front-runner.
BEST ORIGINAL SCREENPLAY: Martin McDonagh, In Bruges
Also-rans: Dustin Lance Black's Milk, Philippe Claudel's I've Loved You So Long, The Coens' Burn After Reading, J. Michael Straczynski's Changeling. I was right. It really is All Awesome on the McDonagh Front. Much admiration for this pick.
BEST ADAPTED SCREENPLAY: Simon Beaufoy, Slumdog Millionaire
Beat out David Hare for The Reader, Justin Haythe for Revolutionary Road, Peter Morgan for Frost/Nixon, Eric Roth for The Curious Case of Benjamin Button. So, now he's won everything. And he'll get the Oscar, too. Beaufoy, by the way, also wrote Miss Pettigrew Lives for a Day, a film deeply admired here (Hollmann Award Nominee for Best Actress, Frances McDormand). So now that I know that, awesome!
BEST FILM NOT IN THE ENGLISH LANGUAGE: I've Loved You So Long
Defeated The Baader Meinhof Complex, Gomorrah, Persepolis, Waltz with Bashir. This movie wasn't even in contention for this category at the Oscars. Of these, I've only seen Persepolis. Last year. So...why am I commenting on this at all?
BEST ANIMATED FILM: WALL-E
Beating out Persepolis and Waltz with Bashir. Obv. WALL-E is so going to own this category.
BEST LEADING ACTOR: Mickey Rourke, The Wrestler
Also nominated: Frank Langella (Frost/Nixon), Dev Patel (Slumdog Millionaire), Sean Penn (Milk), and Brad Pitt (Benjamin Button). Last year, BAFTA matched Oscar's acting categories four-for-four, so this may bode well for Rourke. The idea of a split between him and Penn for a win by Langella or Jenkins or Pitt is an interesting one, though. Like when Adrien Brody beat out Daniel Day-Lewis and Jack Nicholson in 2002.
BEST LEADING ACTRESS: Kate Winslet, The Reader
Not only did she win against herself for Revolutionary Road, but Meryl Streep (Doubt), Angelina Jolie (Changeling) and Kristin Scott Thomas (I've Loved You So Long) are also bridesmaids. After last year, this could bode well for Winslet, who always wins for The Reader when it's nominated. I'm still not completely convinced, of course, but that's because I like suspense.
BEST SUPPORTING ACTOR: Heath Ledger, The Dark Knight
The Losers: Robert Downey, Jr. (Tropic Thunder), Brendan Gleeson (In Bruges), Philip Seymour Hoffman (Doubt), Brad Pitt (Burn After Reading). What an awesome lineup this was. That posthumous Oscar is looking like a done deal for Heath. Bring it, says I.
BEST SUPPORTING ACTRESS: Penelope Cruz, Vicky Cristina Barcelona
Nommies: Amy Adams in Doubt, Freida Pinto in Slumdog Millionaire, Tilda Swinton in Burn After Reading and Marisa Tomei in The Wrestler. BAFTA and I remain the only ones to nomainte Adams without Viola Davis. A Cruz win here is awesome, and a Cruz win at the Oscars would mean a spiritual win for Woody Allen. Which is, of course, amazing.
For complete results, check this out.
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