REVIEW: Cowboys & Aliens

Cowboys & Aliens
Directed by: Jon Favreau
Written by: Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus, & Hawk Ostby (screenplay), Scott Mitchell Rosenberg (comic)
Starring: Daniel Craig, Harrison Ford, Olivia Wilde, and Sam Rockwell

You can almost see the studio meeting that birthed this movie.  I’m sure it went something likes this:

“What’s the title?”

Cowboys & Aliens.”

“We’ll sell the title, then.  It’ll be like Snakes on a Plane!  Who’s directing?”

“We’d like to get the guy from Iron Man on board.  Also, we want Harrison Ford to star.”

“Great, looks like you’ve thought of everything!  Here’s $100 million.”

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REVIEW: Source Code

Source Code
Directed by: Duncan Jones
Written by: Ben Ripley (screenplay)
Starring: Jake Gyllenhaal, Vera Farmiga, Michelle Monaghan, and Jeffrey Wright

Duncan Jones made noticeable ripples in the independent film landscape back in 2009 with Moon.  The main source of its appeal was that it was a low budget sci-fi film with idealism burning at its core instead of special effects and an actor (Sam Rockwell) that brought enough gravity to make you care.

When a filmmaker makes a splash on the indie scene they are sometimes rewarded with a mainstream money-maker.  Take a look at Marc Webb, the director of another 2009 indie film, (500) Days of Summer, who is now at the helm of the Spiderman reboot. Jones landed a less lucrative big budget enterprise, but one with a unique vision that is suited to his taste.

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REVIEW: Friends With Benefits

Friends With Benefits
Directed by: Will Gluck
Written by: Keith Merryman, David A. Newman, & Will Gluck (screenplay)
Starring: Mila Kunis, Justin Timberlake, Patricia Clarkson, and Woody Harrelson

It’s always a good thing when a modern romance reminds you of the classics, when men and women bounced snappy dialogue off each other as if they were both real people.  Most romances made today are lop-sided, usually skewering one gender role in the hopes of appealing to the other.  Friends With Benefits is straightforward in its intentions much like its two leads are with each other.  It is seeking to debunk and even satirize the myth of true love presented in the movies, and it is very successful at that until it reluctantly caves in to those same cliches.

Justin Timberlake and Mila Kunis are the perfect match for the verbal ping pong in the script and off-kilter enough to make the movie’s intentions palpable.  They are naturally funny and have exceptional chemistry, so they and the rest of the excellent cast shine even brighter in a funny screenplay.  It also helps that the director and co-writer Will Gluck knows that creating a sense of atmosphere in New York City is more important than any shot of the Empire State Building.

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ARCHIVE REVIEW: Fat Girl

Fat Girl
Directed by: Catherine Breillat
Written by: Catherine Breillat
Starring: Anaïs Reboux, Roxane Mesquida, Libero De Rienzo, and Romain Goupil

Catherine Breillat is one of the most provocative filmmakers currently working today.  Unlike Michael Bay, though, her cinema is provocative because it is endlessly interesting instead of tedious.  She creates a beautiful world in Fat Girl, though it is by no means an easy film to watch.  On the surface it is an exploration of adolescent female sexuality, but once you peel back the layers it becomes much more than that.

In interviews Breillat talks of her fascination with sisters, and how she likes to explore the idea of two bodies sharing a soul.  If that is the case than the soul in Fat Girl is very much fractured.  Anaïs (Anaïs Reboux) is the title character, a mildly but not extraordinarily obese 12-year-old.  We watch her as she watches her beautiful 15-year-old sister Elena (Roxane Mesquida) lose her innocence on a seemingly innocent vacation fling with Fernando (Libero De Rienzo).

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REVIEW: Captain America

Captain America: The First Avenger
Directed by: Joe Johnston
Written by: Christopher Markus & Stephen McFeely (screenplay), Joe Simon & Jack Kirby (comic books)
Starring: Chris Evans, Hayley Atwell, Hugo Weaving, and Tommy Lee Jones

If you’re sick of super hero or war movies, it might be wise to avoid the inevitable screen adaptation of Captain America.  Slated as the last prequel before next year’s The Avengers, Captain America: The First Avenger takes place the furthest back in time: during World War II.

What’s most curious about The Avenger prequels- Iron Man & Iron Man II, Thor, The Incredible Hulk, this movie-  is how different they are stylistically.  That’s because they were all headed by different directors with different talents.  Thor was at its best when it showed the “fish out of water” aspect of its viking, while the Iron Man movies worked best as vehicles for Robert Downey Jr.’s motormouth delivery.

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CLASSICS: Dr. Strangelove

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Directed by: Stanley Kubrick
Written by: Stanley Kubrick, Terry Southern, & Peter George (screenplay), Peter George (novel)
Starring: Peter Sellers, George C. Scott, Sterling Hayden, and Slim Pickens

Stanley Kubrick never made an original movie.  What he did was take works of literary fiction and make them his own, whether it was altering the plot altogether (most prominently in The Shining) or simply telling a story visually.

In the case of the latter, he was one of the most gifted American directors the world has ever known.  Dr. Strangelove may be his greatest film, although Kubrick devotees each have their personal favorite.  However, I’ll ask you to consider what he did with this movie.  He made a comedy, a genre that today seems stuck in visual purgatory, that is just as much a feast for the eyes as it is for the ears.  Considering Dr. Strangelove has one of the funniest screenplays every written, that is quite an achievement.

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REVIEW: 13 Assassins

13 Assassins
Directed by: Takashi Miike
Written by: Daisuke Tengan (screenplay)
Starring: Kôji Yakusho, Garô Inagaki, Masachika Ichimura, and Takayuki Yamada

It turns out the man behind the gruesome yet oddly beautiful Japanese horror film Audition has the blood for hard-boiled samurai action. 13 Assassins has perhaps the most gloriously choreographed battle sequence since Helm’s Deep from Lord of the Rings.  Yes, it is that good.

Outside of that nearly 45 minute slice of cinematic glory is a fairly standard if beautifully shot good vs. evil story.  The aging samurai Shinzaemon (Kôji Yakusho) is taken from his quiet days of fishing and secretly tasked by an official in the Japanese Shogun regime to kill the tyrant Naritsugu (Garô Inagaki), who will take a spot on the council and inevitably disrupt the peace with his war-craving lunacy.

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REVIEW: Harry Potter and the Deathly Hallows: Part 2

Harry Potter and the Deathly Hallows: Part 2
Directed by: David Yates
Written by: Steve Kloves (screenplay), J.K. Rowling (novel)
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, and Ralph Fiennes

The cheers and tears of millions of fans around the world will signify the end of the era of Potter.  Though the books ended in 2007 (when the fifth film came out), this eighth film installment truly marks the end of J.K. Rowling’s wizard phenomenon.

Harry Potter and the Deathly Hallows: Part 2 abandons much of the atmospheric dread of the past two films in favor of full-on confrontation.  The initial scenes carry that “Calm before the storm” not only narratively but aesthetically as well.  We watch as Snape (Alan Rickman) precedes over fascistic-looking marches at Hogwarts School of Witchcraft and Wizardry with a troubled calm settling on his face.

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REVIEW: Horrible Bosses

Horrible Bosses
Directed by: Seth Gordon
Written by: Michael Markowitz, John Francis Daley, & Jonathan Goldstein (screenplay)
Starring: Jason Bateman, Jason Sudeikis, Charlie Day, and Kevin Spacey

Horrible Bosses is the kind of movie that many critics salivate at the mouth for.  Not because it’s new or groundbreaking, but because it is ripe for potential with title comparisons if it’s awful.

Thankfully,  it is not horrible or even close to it.  Horrible Bosses is an enjoyable but hopelessly flawed comedic exercise.  It is the first feature-length screenwriting effort by its three writers, Michael Markowitz, John Francis Daley, and Jonathan Goldstein.  The movie is very funny, but the story itself is flawed; you feel like the three main actors (Jason Bateman, Jason Sudeikis and Charlie Day) are trying desperately to sell their characters’ reasons for going forward with a drunken idea to kill their bosses.

When you meet their bosses, played by Kevin Spacey, Jennifer Aniston and Colin Farrell, you understand why any employee would be in hell.  They represent different archetypes of awfulness; Spacey is a paranoid power-tripper, Aniston an aggressive nympho, and Farrell a coke-headed buffoon.

Surprisingly, Aniston inhabits her vulgar role so fully that fans of her work in Friends and other movies where she plays Rachel may have to pick their jaws up off the floor.  Spacey also slips into the skin of Dave Harken comfortably, but Farrell struggles to find his footing.  Thankfully he doesn’t have too much time onscreen to really hurt the movie.

Bateman, Sudeikis and Day are a diverse comedic trio that are hit and miss.  Thankfully, most of the gags lie on Day’s shoulders and he gives the movie a much needed punch of energy during scenes like the ones where the group canvass their bosses’ homes.  His energy and the fact that you really can’t see where the movie is going really help divert from its narrative absurdity.

In an American economy faced with uncertainty, a wild ride that has three disgruntled employees throwing up their arms and preparing for the ultimate revenge is an appealing premise for a comedy.  If Horrible Bosses took to the dramatic waters or went the route of a horror movie, it would be troubling.  Director Seth Gordon and the writers wisely stray away from giving any legitimate reason to actually commit murder and make everyone involved a little too incompetent to be taken seriously.

That being said, Horrible Bosses is laced with a wicked sense of humor.  Many will find the ending satisfying because it doesn’t go overboard, which is the goal of any raunchy comedy walking on the edge.

Grade: C+

CLASSICS: The Godfather

When we first started this site, Luke and I decided to only review movies that were newer and try to stick with the 21st century without  going further back than 1999.  Of course we watch dozens of movies each year that go as far back as the Silent Era, so we decided to create a segment of CyniCritics where we don’t necessarily review “older” movies, but instead pick out the best ones and then talk about them from a modern standpoint.  Think of it as Roger Ebert’s “Great Movies” series written by college students.  We’re starting with The Godfather, which is probably the best place to start next to Citizen Kane.  As always, we appreciate you taking the time to read our work and we like reading yours, so comment with feedback!

The Godfather
Directed by: Francis Ford Coppola
Written by: Francis Ford Coppola & Mario Puzo (screenplay), Mario Puzo (novel)
Starring: Marlon Brando, Al Pacino, James Caan, and Robert Duvall

On the surface, The Godfather will always be about America by way of the Italian Mafia.  The organization is structured less like the American government and more like a corporation; a captain of industry on top and the chain of command that goes all the way down to soldiers, drivers, and errand boys.

Digging deeper, though, Francis Ford Coppola’s epic should be examined from a more basic, primal standpoint.  Because yes, Don Vito Corleone (Marlon Brando), his three sons (Al Pacino, James Caan, and John Cazale) are part of a massive criminal empire, but this story is told on a very personal level.  There’s a reason why we’re allowed to see the inner workings of all the characters.  Their traits, most specifically how they react to violence and being wronged, are what bring to light what I think is this movie’s real purpose: to show the fight between human nature and experience and animalistic instinct.

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