Seeing as how there's considerable bloggonet buzz about this just-released trailer -- plus some solid preliminary Rotten Tomatoes results for the film itself -- figured I might float* a few words of my own.
*Get it? Float? On the moon? Ah, whadda you know from funny, anyway?
I really have no opinion here. Just the movie has the same name as one of my former cats.
That, and that Sam Rockwell fella is pretty good. Maybe, if we're lucky, one of these days he'll join Sylvester Stallone and Tom Berenger on the list of Oscar-nominated actors.
Showing posts with label Actors. Show all posts
Showing posts with label Actors. Show all posts
Friday, April 10, 2009
Tuesday, April 7, 2009
Whither Jim Carrey?
Today's release of Yes Man (which, in full disclosure, I did not see; the whole "say YES to everything" thing is a stupid concept) brings up one major question:
How did this guy ...
... become such a joke?
OK, so he's not actually a joke ... although The Number 23 certainly was considered laughable (complete with a dubious nomination for Mr. Carrey*).
*In an attempt to class up the joint, I'm going New York Times on everyone and put titles in front of last names, every once in a while. Or maybe not.
But seriously ... was it really five whole years ago that we were gushing over his performance in Eternal Sunshine of the Spotless Mind -- and later wondering what was wrong with the Academy for not recognizing this former goofball who had so clearly become a capital-A Actor?
And that was years after Carrey won back-to-back Golden Globes (granted, in the less-competitive Musical or Comedy category), first for his surprisingly serious turn in The Truman Show, then for his spot-on work as twisted comedian Andy Kaufman in Man on the Moon.
AND, let's not forget, he already had shown range and promise with his creepy role in The Cable Guy (one I've mentioned previously), proving to us back then that he's a whole lot more than just a slapstick actor (albeit a great one).
This isn't to say Carrey -- er, Mr. Carrey -- is done or anything, because asserting such a thing would be ridiculous. Even low-talent actors* land great roles, and Carrey clearly has chops, even when he's reined in. OK, so maybe he won't be doing Hamlet**, but there's enough diversity of film out there that the man once known as Ace can find at least one more great role that doesn't involve facial contortions.
*Kidding!
**Which is fine, because the whole Shakespeare thing is played*** anyway.
***Get it? Shakespeare? Played? Hahahahaha.
What's next, then, for Carrey? This one, which reportedly is having release troubles ... then a turn as the one-and-only Curly of The Three Stooges.
Yes. As Curly -- alongside Benicio Del Toro (Moe) and Sean Penn (Larry), as directed by the Farrelly Brothers.
What was that I said about facial contortions?
So, as oddly intriguing as the Benny/Sean/Jimmy trio sounds, I guess we'll have to wait a little longer for another Joel Barish.
Let's just hope that if such an offer surfaces, Carrey will give that script an immediate, emphatic "YES!"
How did this guy ...
... become such a joke?
OK, so he's not actually a joke ... although The Number 23 certainly was considered laughable (complete with a dubious nomination for Mr. Carrey*).
*In an attempt to class up the joint, I'm going New York Times on everyone and put titles in front of last names, every once in a while. Or maybe not.
But seriously ... was it really five whole years ago that we were gushing over his performance in Eternal Sunshine of the Spotless Mind -- and later wondering what was wrong with the Academy for not recognizing this former goofball who had so clearly become a capital-A Actor?
And that was years after Carrey won back-to-back Golden Globes (granted, in the less-competitive Musical or Comedy category), first for his surprisingly serious turn in The Truman Show, then for his spot-on work as twisted comedian Andy Kaufman in Man on the Moon.
AND, let's not forget, he already had shown range and promise with his creepy role in The Cable Guy (one I've mentioned previously), proving to us back then that he's a whole lot more than just a slapstick actor (albeit a great one).
This isn't to say Carrey -- er, Mr. Carrey -- is done or anything, because asserting such a thing would be ridiculous. Even low-talent actors* land great roles, and Carrey clearly has chops, even when he's reined in. OK, so maybe he won't be doing Hamlet**, but there's enough diversity of film out there that the man once known as Ace can find at least one more great role that doesn't involve facial contortions.
*Kidding!
**Which is fine, because the whole Shakespeare thing is played*** anyway.
***Get it? Shakespeare? Played? Hahahahaha.
What's next, then, for Carrey? This one, which reportedly is having release troubles ... then a turn as the one-and-only Curly of The Three Stooges.
Yes. As Curly -- alongside Benicio Del Toro (Moe) and Sean Penn (Larry), as directed by the Farrelly Brothers.
What was that I said about facial contortions?
So, as oddly intriguing as the Benny/Sean/Jimmy trio sounds, I guess we'll have to wait a little longer for another Joel Barish.
Let's just hope that if such an offer surfaces, Carrey will give that script an immediate, emphatic "YES!"
Friday, April 3, 2009
Overlooked: Albert Brooks
So I was watching Taxi Driver back in '76, and I got a look at that guy who hits on the Cybill Shepherd character in Senator Palatine's campaign office, and I was like: "Dude, you just KNOW he's a talented comic writer waiting to happen."
And you know what? I was right!
That guy, of course, was (and still is) Albert Brooks, an actor/writer/director who has lurked in the comedy background for years, surfacing occasionally as an actor -- in Finding Nemo, The Simpsons Movie (and, more memorably, a few Simpsons episodes), and James L. Brooks' Broadcast News (the Albert version of Brooks got a Best Supporting Actor nomination for that one).
As a writer-director, Brooks appears less frequently. But when he does, it's often worth paying attention -- he's something of a more-bitter Woody Allen. He hasn't made the Complete Great Film like Allen, but he's usually good for some sharp laughs and astute observations.
Sadly, the YouTube pirates couldn't quite come up with the best clips from his two best offerings -- Lost in America and Mother -- but here's a good one from his clever, low-key 1999 film The Muse:
"I write happy, ..."
And you know what? I was right!
That guy, of course, was (and still is) Albert Brooks, an actor/writer/director who has lurked in the comedy background for years, surfacing occasionally as an actor -- in Finding Nemo, The Simpsons Movie (and, more memorably, a few Simpsons episodes), and James L. Brooks' Broadcast News (the Albert version of Brooks got a Best Supporting Actor nomination for that one).
As a writer-director, Brooks appears less frequently. But when he does, it's often worth paying attention -- he's something of a more-bitter Woody Allen. He hasn't made the Complete Great Film like Allen, but he's usually good for some sharp laughs and astute observations.
Sadly, the YouTube pirates couldn't quite come up with the best clips from his two best offerings -- Lost in America and Mother -- but here's a good one from his clever, low-key 1999 film The Muse:
"I write happy, ..."
Wednesday, April 1, 2009
The Three-Man Weav(ing)
In honor of The Matrix's 10th Anniv -- wait. I'm really not that into The Matrix. The effects were cool and all, but the rest of the movie was kind of whatever*.
*Yes! If you like that little nugget, keep checking back here for MORE insightful film critique! That's thefilmofficial.blogspot.com, everyone! And you can follow me on Twitter, too!
Anyway, hearing about the whole Matrix/10th-year thing might get you thinking about the cast, which might eventually lead you to Hugo Weaving, who was totally badass as Agent Smith in the two Matrix films I actually saw (and, presumably, the third one).
He also found himself in another popular trilogy/franchise:
... and, much earlier, in a mid-1990s Australian cult hit*.
*Bet you didn't see this one coming! ... unless you, like, knew about it already or something.
Now THAT's a diverse three-role capsule.
Bonus Oscars note: Within these three films/franchises, Weaving wore Oscar-winning costumes twice (LOTR: ROTK and Adventures of Priscilla), wore Oscar-winning makeup twice (the first and third LOTR installments), was cut together in Oscar-winning fashion twice (Best Film Editing winners LOTR: ROTK and Matrix) and was green-screened (or something like that) by four Oscar-winning visual effects teams (all three LOTRs and Matrix). Not bad for a non-household name.
*Yes! If you like that little nugget, keep checking back here for MORE insightful film critique! That's thefilmofficial.blogspot.com, everyone! And you can follow me on Twitter, too!
Anyway, hearing about the whole Matrix/10th-year thing might get you thinking about the cast, which might eventually lead you to Hugo Weaving, who was totally badass as Agent Smith in the two Matrix films I actually saw (and, presumably, the third one).
He also found himself in another popular trilogy/franchise:
... and, much earlier, in a mid-1990s Australian cult hit*.
*Bet you didn't see this one coming! ... unless you, like, knew about it already or something.
Now THAT's a diverse three-role capsule.
Bonus Oscars note: Within these three films/franchises, Weaving wore Oscar-winning costumes twice (LOTR: ROTK and Adventures of Priscilla), wore Oscar-winning makeup twice (the first and third LOTR installments), was cut together in Oscar-winning fashion twice (Best Film Editing winners LOTR: ROTK and Matrix) and was green-screened (or something like that) by four Oscar-winning visual effects teams (all three LOTRs and Matrix). Not bad for a non-household name.
Thursday, March 26, 2009
One degree of Blazing Saddles
Watching Mel Brooks' legendary 1974 comedy Blazing Saddles today, something struck me like a punch to the horse's mouth: The number of bit players who had memorable roles elsewhere.
Consider ...
-David Huddleston as Olson Johnson ...
... and, later, as The Big Lebowski himself.
-Or John Hillerman as Howard Johnson ...
... and, in the same year, as a shady executive in Chinatown:
-George Furth as Van Johnson ...
... the year after he played, uh, this guy in Sleeper:
-And then there's Alex Karras, as Mongo ...
... and, of course, as a four-time Pro Bowl defensive tackle with the Detroit Lions.
Consider ...
-David Huddleston as Olson Johnson ...
... and, later, as The Big Lebowski himself.
-Or John Hillerman as Howard Johnson ...
... and, in the same year, as a shady executive in Chinatown:
-George Furth as Van Johnson ...
... the year after he played, uh, this guy in Sleeper:
-And then there's Alex Karras, as Mongo ...
... and, of course, as a four-time Pro Bowl defensive tackle with the Detroit Lions.
Monday, March 23, 2009
The Curious Career of Nicolas Cage
Ah, what do I know?
This was supposed to be a post questioning why Nicolas Cage still gets hired to play smart guys or action heroes or both in big movies. But apparently people still watch his flicks. So, again, what do I know?
This: It doesn't work. Not in terms of, like, making good movies. Sure, everyone does bad ones. But when they hire Vin Diesel for the Fast and the Furious remake (now with ampersand; articles not included), you go: "Yeah, sounds about right." Cage, though -- he just fits badly in bad movies. And it's not like this idea is new. It's been going on since at least, like, 1997*.
*Con Air actually owns, despite Cage's awful accent. "Or as they say in Ebonics, 'We be f*****.'"
Now, we could further rail on Cage, complaining about why the actor makes such choices. But that would be like badgering baseball players for saying "yes" to the multimillion-dollar contracts offered by billionaire owners. Nope, not gonna happen. Not here.
Instead, we'll just offer yet another string of "whywhywhy?" -- as in, why does Cage keep getting these roles? It hurts to watch. Mostly it hurts because there's a place (there's a place) where Cage can go (where Cage can go) to find perfect roles for his persona.
Cage did, in fact, flat-out nail the lead roles in three of The Film Official's all-time favorites:
(Pretty much NSFW...)
(Most def NSFW...)
This was supposed to be a post questioning why Nicolas Cage still gets hired to play smart guys or action heroes or both in big movies. But apparently people still watch his flicks. So, again, what do I know?
This: It doesn't work. Not in terms of, like, making good movies. Sure, everyone does bad ones. But when they hire Vin Diesel for the Fast and the Furious remake (now with ampersand; articles not included), you go: "Yeah, sounds about right." Cage, though -- he just fits badly in bad movies. And it's not like this idea is new. It's been going on since at least, like, 1997*.
*Con Air actually owns, despite Cage's awful accent. "Or as they say in Ebonics, 'We be f*****.'"
Now, we could further rail on Cage, complaining about why the actor makes such choices. But that would be like badgering baseball players for saying "yes" to the multimillion-dollar contracts offered by billionaire owners. Nope, not gonna happen. Not here.
Instead, we'll just offer yet another string of "whywhywhy?" -- as in, why does Cage keep getting these roles? It hurts to watch. Mostly it hurts because there's a place (there's a place) where Cage can go (where Cage can go) to find perfect roles for his persona.
Cage did, in fact, flat-out nail the lead roles in three of The Film Official's all-time favorites:
(Pretty much NSFW...)
(Most def NSFW...)
Sunday, March 15, 2009
Woody Allen
The incomparable auteur ...
And finally...
-Crimes and Misdemeanors: This 1989 film is dark. Funny. Tragic. Pretty much bleak. Moralistic, but far from annoying about it. Two story strands are at play here, linked only by a mutual acquaintance of both protagonists.
One of those protagonists is Judah (played by the ever-outstanding Martin Landau, known to Entourage-ophiles as Bob Ryan). He's upstanding and upstandingly married, but an affair with a woman (Angelica Huston) is coming back to haunt him. Meanwhile there's Cliff, played by Allen as sort of a less-successful version of himself (he's a low-level documentary filmmaker). Cliff is stuck in a loveless marriage and falls for a TV producer (Mia Farrow). Cliff's story is tragically funny. Judah's story is tragically not.
A lot is made about how Do the Right Thing wasn't nominated for Best Picture in '89, and I can't argue with that. But let's not forget that Crimes and Misdemeanors -- one of the few exceptional films made in the disappointing 1980s -- also didn't make the cut. Not even for offering this profound ending (spoiler alert) or a joke for the One-Liner Hall of Fame*.
*"Last time I was inside a woman was when I visited the Statue of Liberty."
Comcast's On-Demand lineup has offered a lot of Woody (no snickering!) lately. And watching some of his works again, it's pretty hard to argue* with the career of everyone's favorite nebbishy comic/philosopher. He's won all sorts of awards for all sorts of films -- from the most serious of dramas to the most ridiculously stupid** of comedies.
*Unless you're one of those types who holds someone's personal life -- like Allen's -- against them when it comes to assessing their work; better stop being a sports fan while you're at it, too.
**Stupid in a very, very good way.
Lately there have been lamentations about how his work is slipping, not nearly up to his standards and blah blah blah*. Here's hoping the teaming of Allen with the angrier, taller, 21st-century version of him breaks that trend. But even if it doesn't ... so? That's what Netflix is for. Or cable, if the On-Demand Library gods feel like being kind.
*Reminds me of a quote from author Joseph Heller, when told he had never written anything as good as Catch-22 after releasing that legendary novel. He retorted: "Who has?"
Not that Woody is inarguably the best ever or anything. But even if he never makes another masterpiece, he's near the top.
Here's why (note -- these aren't all of Allen's good films, but they're among his greatest):
-Annie Hall: The Best Picture winner isn't his best, IMO. Still, it's up there, offering Allen's typical mid-career mix of hilarious lines and interesting life (and, especially, relationship) insights. Extra points for the scenes where Allen's character interacts imaginarily with people in his flashbacks or with strangers out in public, and for the line "Everything that our parents told us is good is actually bad -- like the sun, milk, red meat, and college," and for hilarious early appearances by Christopher Walken and Jeff Goldblum*.
*"I forgot my mantra."
-Bullets Over Broadway: John Cusack is a blocked playwright and Chazz Palminteri a gangster with an unusual gift -- play writing. Palminteri, Dianne Wiest (who won) and Jennifer Tilly grabbed Oscar nominations; extra points for a great role for one of The Film Official's favorites, Jim Broadbent, as a gluttonous actor smitten with Tilly.
-The Stupid Comedies: Again, "stupid" is a compliment here, a word meant only to separate the likes of Take the Money and Run (1969), Bananas (1971), Sleeper (1973) and Love and Death (1975) from Allen's more "serious" later works, or at least the ones that don't involve Woody beating a man insensible with a strawberry.
These are the closest to Allen's hilarious books. Personally, it's hard to pick a favorite among the first three I listed, which are slightly superior to Love and Death. Let's go with some favorite scenes, instead:
Remember when Miller beer, um, "came up with" the term "traveshamockery"? Well ...
It's beyond me why the bit at about 1:20 of this clip isn't more well-known.
Oh, the social commentary:
And finally...
-Crimes and Misdemeanors: This 1989 film is dark. Funny. Tragic. Pretty much bleak. Moralistic, but far from annoying about it. Two story strands are at play here, linked only by a mutual acquaintance of both protagonists.
One of those protagonists is Judah (played by the ever-outstanding Martin Landau, known to Entourage-ophiles as Bob Ryan). He's upstanding and upstandingly married, but an affair with a woman (Angelica Huston) is coming back to haunt him. Meanwhile there's Cliff, played by Allen as sort of a less-successful version of himself (he's a low-level documentary filmmaker). Cliff is stuck in a loveless marriage and falls for a TV producer (Mia Farrow). Cliff's story is tragically funny. Judah's story is tragically not.
A lot is made about how Do the Right Thing wasn't nominated for Best Picture in '89, and I can't argue with that. But let's not forget that Crimes and Misdemeanors -- one of the few exceptional films made in the disappointing 1980s -- also didn't make the cut. Not even for offering this profound ending (spoiler alert) or a joke for the One-Liner Hall of Fame*.
*"Last time I was inside a woman was when I visited the Statue of Liberty."
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