Showing posts with label Robert de Niro. Show all posts
Showing posts with label Robert de Niro. Show all posts

Wednesday, December 21, 2011

Short Take: New Year's Eve

New Year's Resolutions for the Cast and Crew of New Year's Eve

Sarah Jessica Parker: quit romantic comedies where you aren't playing Carrie Bradshaw.

Ashton Kutcher: quit playing the know-it-all slacker.

Lea Michele: quit using your wonderful voice as an excuse to portray shrill control freaks.

Jessica Biel and Katherine Heigl: just quit.

Michelle Pfeiffer: stop hitting on younger men who aren't half as hot, or talented, as you (i.e. Zac Efron, Rupert Friend in Cheri etc.)

Halle Berry: prove what an amazing actress you can be! Your little scenes were the most touching in the entire movie!

Robert de Niro: stop playing possessive fathers who die, get sick or are related to Ben Stiller.

Abigail Breslin: please stop growing up *sad face*

Seth Meyers: keep your day, err night job.

Sarah Paulson: get someone to hire you in an awesome indie where you're the lead. You've got the chops ma'am! (this year you were fantastic in American Horror Story and Martha Marcy May Marlene)

Héctor Elizondo: since Garry Marshall loves you and listens to you, threaten not to be in his next movie unless it's as brilliant as Pretty Woman or as entertaining as The Princess Diaries.

Hollywood: make it your new year's resolution to stop making movies like New Year's Eve!

Grade: *

Friday, October 14, 2011

Short Takes (Haiku Edition)

Due to some taxing personal events during the past few weeks, my writing is something I've been neglecting. The movies - as always - have remained a beacon of hope amidst these dark times and needless to say so, I've been sucking on to them like a unicellular creature would to some more advanced life-form. I apologize for not having been as friendly in the blog-o-sphere as usual and I apologize for not writing. Both you and this medium keep me alive, and today felt like a good day to resurrect. I give you reviews for some of the latest films I've seen in haiku form (Today also felt like a good time to try out some new literary techniques...)

Limitless (dir. Burger, 2011) **

Magic pill powers
don't explain why Bradley
is a movie star.



Bad Teacher (dir. Kasdan, 2011) *

Cam as rotten fruit
punches Lucy out of
comedic classroom.


L'amour fou (Thoretton, 2011) ***

Legacy of style
sold in heartbreaking auction
fashionable tears.


Larry Crowne (Hanks, 2011) **

Old school charm abounds
but Julia and Hanks feel like
our folks making out.



 What have all of you been watching?

Thursday, October 28, 2010

Machete **


Director: Robert Rodriguez, Ethan Maniquis
Cast: Danny Trejo, Michelle Rodriguez, Jessica Alba
Jeff Fahey, Steven Seagal, Cheech Marin, Lindsay Lohan
Shea Wigham, Don Johnson, Robert de Niro

For a movie that has Jessica Alba playing a U.S. Immigration officer, Cheech Marin as a gun toting priest and Danny Trejo as a sex symbol, Machete sure is less fun than it promises.
Adapted from the faux trailer that came with 2007's Grindhouse, the film expands the basic premise of "man seeking revenge" and turns it into a full on blood and guts extravaganza with a message.
The film follows Machete (Trejo), a Mexican Federal betrayed by the force and hunted by the evil druglord Torrez (Seagal) who also killed his family.
Years later, while working illegally in the States, he's approached by a mysterious man (Fahey) who blackmails him to have him kill anti-immigration US Senator John McLaughlin (De Niro). He's betrayed once again and realizes that getting payback might get him closer to avenging his family.
If the basic plot is essentially the exploitative premise from the trailer, the film itself is a convoluted mess of cinematic references, more subplots than it can handle and a distasteful social message.
It doesn't take much to realize that the whole idea of this Machete is to make a comment on the preposterous position some American government officials have taken towards immigration.
The film grabs these, mostly Republican, beings and turns them into monsters like Sen. McLaughlin who enjoys shooting "wetbacks", taping it and then getting donations from people who get a kick out of watching this.
Yet for every monster cliché he can get, Rodríguez also delivers a heroic counterpart. Therefore we have She (pronounced Che and played by Rodríguez) a humble young woman who runs a taco stand by day and leads a resistance movement by night.
The idea of her counterrevolutionary methods isn't as out of place as the fact that she is shaped after one of the most controversial figures in history. Throughout the whole movie the director can't help but wink at us letting us know almost everything is referencing something else.
Hence we have Lohan playing a drug addict gone good, Johnson as the kind of corrupt creature he would've been fighting against in Miami Vice and Alba as a police officer who's both capable of beating the crap out of a gang but also has time to strike sexy poses while she showers.
If the idea behind Machete was to pay homage to the B movies that shaped it, Rodríguez seems to have forgotten that these movies were usually happy accidents and never strategically manufactured products.
These movies became legendary because they eventually came to represent something for people; whether it was female liberation, anti war movements or just plain old fashioned anti-establishment agendas, these movies originally were made just for fun.
Yet everything here is winking at something, recurring to cheap stunt casting or trying to preach about immigration.
It's here when the movie gets confusing, because when you try to deliver an important message about society it's risky to say the only people who can get it solved are murderous, vengeance-seeking outlaws. This could result hilarious to people in on the joke but might easily shock those who oppose the ideas the movie's against.
Rodríguez can't have his social message cake and eat it too!
This is why Machete often feels dull as a butter knife even when it pretends to be completely sharp.

Monday, September 7, 2009

A Century of Brilliance.


Elia Kazan (1909-2003) would've turned one hundred years old today. Born Elia Kazanjoglous in Istanbul in 1909 to Greek parents, he migrated to the United States where he became one of the greatest, most versatile, theatrical and film directors that ever lived (that slight bias you're detecting must be because he's one of my Holy Trinity of movie directors).
Despite his infamous involvement in the HUAAC name-naming which made him a polarizing figure in Hollywood (yet inspired "On the Waterfront"...) his contributions to the craft are undeniable.
He practically discovered Marlon Brando and James Dean. Both of them received Best Actor Oscar nominations for their very first movies with Elia-which also happened to be their debuts of sorts-and Brando was nominated for every movie he did with him (he led 21 actors and actresses to Oscar nominations and 9 of them won the award).
He also funded the Actors Studio in 1947 which revolutionized the way movie acting was conceived.
His ability to use the Studio System to treat such diverse, and controversial, topics as racism, rape, antisemitism, sexual disorders and homosexuality brought him acclaim and made him a unique voice in Hollywood.
Somehow though his legacy has been a bit muddled not only by that HUAAC mess but also because his subtle directorial efforts are seen by today's audiences more as actors' achievements.
Yes, Brando and Vivien Leigh were extraordinary in "A Streetcar Named Desire" and nobody
can forget Dean in "East of Eden", but their performances would've stayed at a base level if it wasn't for Kazan.
His latter filmography is also a vault of hidden treasures including a definitive Robert de Niro performance in the all-star adaptation of "The Last Tycoon".
But don't take my word for it, go out and watch how with a mere camera Kazan could create enchantment.