It blows.
It blows, big time.
Um, Waiter? There’s some Robocop in my Star Trek
Moviehole provides the news that Peter Weller is the latest to sign up for J.J. Abrams’ Star Trek sequel! The actor, who played the iconic Robotic Police Officer Man in two films, is on board for an unknown role. Other new-to-the-series-stars that recently signed on were Alice Eve and Benicio Del Toro!
So… Before we get a Robocop remake starring the actor in the prequel to the X-Men franchise, the original Robocop is going to star in the sequel to the re-imagining of the original Star Trek? …I’m so excited/confused!
Quick question...what movie is this??
Bradley Cooper Plans to Drink Heavily in 2012
So who didn’t see this coming? Bradley Cooper has confirmed, as reported by The National Ledger, that there will indeed be a Hangover 3 (or as I like to think of it: Hangover Part One Again For The Second Time).
The previous sequel got its fair share of criticism for perhaps sticking TOO close to the formula of the first Hangover. Seemingly addressing this directly, Cooper did mention that the new film will “not adhere to the structure” that we have seen.
The story this time is looking like it will bet set in Los Angeles, which I assume means that 80% of the film will be the Wolfpack sitting in traffic on the 101 freeway.
Here we go again...Again!
For Your Consideration: The Descendants
The Descendants is a film that should not work. From the outset, the audience is told that rich people have feelings too. That pain felt is pain felt. In addition, it takes place in Hawaii and yes, we’re then told that people who live in paradise have the same hardships as everyone else. While this is obviously true, the fact that the director felt the need to make explaining this the first order of business is essentially acknowledging the inherent problems with film. Making an audience care about rich people is a tall order. Misery set against the backdrop of such overwhelming geographical beauty is even taller.
In the hands of lesser filmmakers this film should have crumbled under the weight of its own pretentiousness. The film is directed by Alexander Payne (About Schmidt, Sideways), who is no stranger to toeing that thin line between drama and melodrama, between comedy and farce. He hasn’t always produced the best results but he seems comfortable pushing the tone of his films in one direction or another, trying to create a delicate balance between laughter and tears. That task is made a lot easier when you have a big goddamn ace in the hole: George Clooney.
Clooney plays Matt King. To say Matt has a lot on his plate would be an understatement. He’s a husband, father and a practicing attorney. He is also the sole heir of his family’s very large estate and decision needs to made in regards to large parcel of land he is responsible for. In addition to that, his wife is currently on life support having suffered a devastating injury in a boat accident. The situation is further complicated when his eldest daughter confides to her Dad that his wife was having an affair.
The film plays out like a high wire act on the shoulders of Clooney’s performance. In a career full of winning, charismatic characters, this is his most fully realized portrayal to date. He effortlessly and in the end triumphantly travails the emotional minefields of this movie, taking it perilously close to edge of an all out disaster, but never going over it. In the end, the film is about the messiness of life. The sheer unpredictability of it. In hindsight, I suppose it makes sense that the film is a bit sloppy. In a film that’s about life itself, what’s the point of making it neat?
Some Minor Cinema Recon Site Tweaks!
For your listening/reading pleasure, we here at Cinema Recon are constantly tinkering with our formats and trying to come up with new ideas. Most recently there have been two tweaks to the site that will hopefully make your Cinema Recon experience all the more betters.
1) The Review Section – See that clickable word at the top of your screen that says “Reviews”? That is where you (yeah, YOU) can go to discover all of the movies we have reviewed on the show. Where once they were simply listed (booooo, Boring!), they are now in the form of pretty, clickable posters (Yay! Not boring at all!) which will take you directly to the show containing that particular and hilarious review.
2) Time Stamps – Here on Cinema Recon, we try to provide as much quality content as possible. Shows are typically 2-3 hours long so that you can spread them across your week like warm, delicious, buttery butter across a piece of toast that you already buttered, so its extra buttery. We understand that finding your favorite jokes/topics/dumb-things-that-Jake-says can be daunting, so we have included these little guys —> (0:00:00).
That is a Time Stamp, and they are in every show description, appearing right next to a corresponding topic. Just go to that (hour:minute:second) in your audio player and BAM! Your ears are teleported to whatever specific sweet, sweet CR sound you were craving. Give it a try!
If you have any improvements you’d like to recommend for the show/site, comment below, or write to us at CinemaRecon@gmail.com!
Currently under production in the CR Labs: 3D Audio Podcasts! Stay Tuned!
-CR
For Your Consideration: Melancholia
The films of Lars von Trier are a mixed bag. The majority of his cannon are exercises in provocation that are hindered by an exuberance of ideas or needless restrictions he would impose on himself. Whether it’s his hyper stylized early works (The Element of Crime, Europa) or his “Golden Heart” Trilogy (Breaking the Waves, The Idiots, Dancer in the Dark) or the abandoned trilogy on the American Condition (Dogville, Manderlay) von Trier has a knack for making films that beg to be pondered and discussed, if not necessarily enjoyed. Relentless in pursuit of his vision, the director is both talented and infuriating. His last film, Antichrist, was a muddled, unsettling dissertation on grief, marriage, psycho-analysis and feminism all shrouded under the veil of a horror film.
His latest, Melancholia, brings us no closer to answering that question, but that’s not saying that the film is unsuccessful. In fact, this may be von Trier’s most controlled effort to date. It has been said that von Trier has on occasion suffered from debilitating bouts of depression. If Antichrist was the filmmaker at war with himself, Melancholia is his catharsis. It’s the story of two sisters (Kirsten Dunst and Charlotte Gainsbourg) that plays out in two parts.
The first half of the film takes place during the wedding reception of Michael (Alexander Skarsgard) and Justine (Dunst). The reception is being held at the palatial estate of her sister Claire, her young son and her husband John (Keifer Sutherland.) They play hosts to a cavalcade of friends and family, of which include the sisters’ bitter, outspoken mother and their aloof father. Justine, who we quickly learn suffers from depression, lays to waste her own marriage, leaving the entire procession, especially her long-suffering sister in her wake.
The tone shifts in the second half of the film as we learn that a rogue planet, aptly named Melancholia, is possibly on a collision course with earth. The end of the world is coming and while there is hope that the planet will simply pass Earth by, the inevitable questions of hope and reason, of faith and science, of our very existence are pondered. Melancholia is disguised as many things. It is at times a family drama, a comedy of manners or a science-fiction film. At its core, this is a film about depression. The planet, a metaphor for the affliction, bears down on everyone in the film.
Kirsten Dunst, a minor annoyance in many of her roles, a major one in her others, gives a fearless, emotionally naked performance worthy of the promise she showed over a decade ago. Never has the impact of depression, both on one’s self and on their surroundings been so clearly personified on film. Equal praise should be given to Gainsbourg and Sutherland, as a couple tasked with dealing with Justine’s depression and the end of the world.
In the end, Melancholia is more of what we’ve come to expect from von Trier – A film that is full of ideas, some of them explored with great depth, others merely skimmed over. What the film lacks in clarity, it more than makes up with beauty and passion. This is clearly a subject that von Trier has given a lot of thought to and it shows, particularly in its second half. Von Trier is excellent at asking questions, one only hopes that one day he will have some answers.
Off The Mic: The Muppets
Upon waking from my turkey coma this holiday weekend, I rallied my family to go see The Muppets. It was not too difficult. After all, we are a family that watches The Muppet Christmas Carol without fail each and every Christmas. We also own all of the original Muppet movies on VHS, which have been worn thin from countless viewings (This does not include Muppets in Space or that weird pirate Muppet movie with Tim Curry).
I was particularly excited because, not only am I obviously a Muppet fan, but I knew that I would otherwise not get to see this movie. Jake had no particular interest, which makes me think either 1) he is not a Muppet fan, 2) he is not fun, or 3) both.
But I can’t really blame him. I mean, who really cares about the Muppets anymore? Long gone are the days of hit movies and successful TV shows. It is not profitable for movies today to have witty, zany humor that doesn’t rely on lazy pop culture references or bad CGI. So there is no room for the Muppets in today’s remake/reboot/ADD society, right?
Wrong.
Synopsis: Walter and Gary (Jason Segal) are brothers, as well as inseparable life-long pals. Gary has a beautiful girlfriend in Mary (Amy Adams), who would very much like to be a bigger part of his life. Walter is…made of fabric and has a hand up his backside (okay, the movie doesn’t quite touch on this, nor does it need to). He’s a puppet. Walter also happens to be the biggest Muppet fan on the planet. When Walter gets his chance to visit the historic Muppet Theater in LA, he stumbles upon an evil oil baron’s plot to tear down the theater and drill beneath it. Now Walter, Gary, and Amy need to find the scattered Muppet crew and reunite them in order to raise the money to buy back their theater with one final show.
What Works: Quite simply, when the Muppets are onscreen during The Muppets, the movie is at its best. Jason Segal, who also stars, cowrote the screenplay here. What comes through is a labor of love, and obvious fanboyism from Segal. The film works hard to ensure all Muppets get their face time, which is no easy feat. There are dozens upon dozens of characters in this film. Each is given the opportunity to display their trademark quirkiness, while the movie still gravitates towards the expected big names (Kermit, Fozzie, Gonzo, Ms. Piggy, Animal). The Muppets is meant to be a throwback to the Muppets we remember, and not the more recent films I briefly mentioned above. It succeeds. It was a joy and delight every time Fozzie told a bad joke or Kermit played the banjo.
The film is very conscious of what it is: a fun, lighthearted comedy with puppets as its cast. Knowing this, it is not afraid to break that pesky fourth wall to essentially look right at the audience and say “HEY! Pretty fun, eh?!” It is constantly referring to itself as a movie, talking to the audience, and poking fun at the Muppets in general. It seems to say exactly what I joked about above: “Sure, we have not been relevant in a long while, but that doesn’t mean we stopped being entertaining!” When the film does this, it really feels like you are watching the original Muppet Show.
It also does not hurt that the script is quite smart. It is such a relief to see a family film like The Muppets when we have become inundated with things like Yogi Bear, Alvin and The Chipmunks, and The Smurfs. Those films seem as if they are just cashing in on your nostalgia. The Muppets wants to take a seat amongst your most fond Muppet memories. It does this through a tight, simple story, entertaining musical numbers, and clever jokes. It also feels updated without having to rely on a million current pop culture references. Sure, the celebrity cameos are numerous, but that has always been expected and part of the fun with these guys. Jason Segal really took the time to not only give us a proper portrayal of the classic Muppets, but also to create a strong, witty script that holds up for a new generation of fans, as well as the old.
What Does Not Work: I have very little negative to say about The Muppets. Honestly, my only unhappiness came when there weren’t Muppets onscreen. Amy Adams and Jason Segal do a wonderful job in their roles as “The Humans” in this film, but I still could not be swayed from wanting more Muppets. Sure, this is not a great critique. It may be to the film’s credit that it makes me want more, but it was the one thing I remember thinking in between scenes of Muppet mayhem. I wanted more jokes, more silliness, and more puppeteering. The movie’s only slow moments are when exposition is necessary from the actual human cast.
Also, I did feel that Walter’s story was a tad forced at times. Maybe this is only because I was obviously not accustomed to the new Muppet created for this movie. Often I just thought him to be a little bit annoying…although he does have one of the best scenes in the film – his reaction upon hearing the evil baron’s oil plot. I may be nitpicking, and even as I write this, I am actually starting to like him more as I remember that scene.
Would I Recommend This Film?: Absolutely. If you have kids, then you should go see this film right now, no excuses. There should be more family films out there like this one. But even so, adults who just want a warm, intelligent comedy will be happy here too. The film is accessible to everyone. Old fans will get their jollies, while new fans are not required to have any previous exposure to the Muppets.
It may be the recent absence of the Muppets, and this film’s embracing of that concept, which is most endearing. Or it could be the witty jokes and enthusiastic portrayal of our favorite characters. Or it could just be that this is a fun, smart, family adventure that stands out amongst all-to-frequently terrible nostalgic movies today. Whatever it may be, many times I found myself not just laughing, but smiling in this movie. Unless you are not fun, you will too.
Happy Thanksgiving from Cinema Recon!
We hope everyone is having a safe and delightful Thanksgiving!
CR Holiday Tip #246: Just as you begin to sense the beginnings of an awkward political debate brewing around the dinner table between opinionated family members, interrupt with an anecdote from your favorite Cinema Recon episode! Everyone will either laugh or be completely dumbfounded, but at least you will avoid the inevitable holiday F-bomb from Uncle Stanley.
Episode 11/20/11
Today on the show, we put on our monocles, ponder our own mortality, and dabble in thoughts of existentialism…Actually we are nowhere near that serious, it’s Cinema Recon’s review of Immortals! (09:15)
We also get our manny peddies, done got our hair did, and catch a bouquet thrown by the DVD release of Bridesmaids! (01:16:35)
You didn’t think we would do a show and not mention Twilight, did you?? Cinema Recon takes a long, sympathetic look at fanatical fans and some of Hollywood’s biggest franchises! (47:15)
In the news… (01:57:50)
- Tweens rejoice! The Twilight Saga: Breaking Dawn Part 1 is out, and makes boo koo (boo coo?… beau coup??..) bucks!
- The epic, hour-long trailer for Mirror Mirror has been released!
- Tyler Perry hires Kim Kardashian and is essentially printing his own money at this point
- Netflix wants you to forget about that whole price hike thing, and brings you a NEW season of Arrested Development!
- How much wood would a Woodpecker peck if he got his own feature film?!
- The Dark Knight Rises has finished filming! …Now what will we complain about??
- We watch the new trailer for Haywire and Paul falls in love with an actress who will kill him three times before he hits the floor
Listen below:
Download Here (by right clicking, then “save as”): CR: Episode 11/20/11
Awesome new posters up! (posters may not actually be posters)
It’s funny how time changes things isn’t it? Gas use to be $.99 a gallon, TV only had 10 channels, and Paul use to be funny. Movies use to have soul, depth and meaning, their titles were unique and clever, and their posters and advertisements were pieces of artwork that tried to wrap up different elements of the film into a single poster, and was something that you looked forward to seeing at the theater. They stood tall and long, draped over the side of a wall, or hanging from the ceiling. You walked in and saw a poster for a movie you had never heard of and the poster alone gave you this awesome impression and usually made us say things like, “that looks bad ass” or “…dude, so awesome.”
But times are a changing’. Gas is $4 a gallon, TV has about 6,000 channels, and Paul is… well, he’s trying ladies and gentleman, give him some credit. I am not sure if this has been going on for some time now or if it is something rather new, but the art of movie posters seems to be very different today than it used to be. I feel there use to be a lot more thought put into movie posters than there is nowadays. Take the following poster from the upcoming Expendables 2… it’s just a bunch of guns! I feel like they are dumbing down movie posters so that the average movie goer who reads at a 4th grade level can understand what the movie is all about… in this case, MACHINE GUNS! YAY! The poster just consists of people looking one way or another, and pointing machine guns. But since The Expendables 2 is pretty much all about machine guns, maybe this is a bad example.
My mustache makes me angry.
The other thing I don’t like about today’s movie posters is this… THEY ARE NOT POSTERS AT ALL! This really bothers me! All of the movie news sites across the Internets constantly have updates about the “new posters” released for such and such movie. But here is the deal, I have never once seen any of these “posters” in a local theatre or in any physical form whatsoever! So if they never get turned into actual posters, then they aren’t really posters at all but rather just digital images on your computer screen which makes me feel completely ripped off! Hollywood is taking the cheap way out and just throwing these images online without the least bit of effort put into them. They don’t pay the extra buck to actually produce a physical product to be put on display, but rather just throw something up on the Internets. And we all know, if Paul can put something on the internet, then anyone can do it! I just wish I could walk into a theater and get excited by the awesome movie posters like I use to. But instead, I guess I’ll just go on the Internets and look at a picture of this guy laying on the ground…
Classic case of guy on the ground.
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