Tag: J.K. Simmons
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Ah, the socially responsible children’s movie, or: the progressive soulless capitalism of the Walt Disney Corporation, twenty-first century iteration. I went into Zootopia waiting for it to be great–I assumed the filmmakers would take responsibility for the big questions they imply–then I waited for it to be good, then I waited for it to be…
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Terminator Genisys is an inept attempt at turning the Terminator franchise into a young adult series à la The Hunger Games or Divergent or Twilight or Harry Potter. Only there’s no “literary” source material for Genisys, not even the original Terminator films. Because screenwriters Laeta Kalogridis and Patrick Lussier absolutely refuse to give Emilia Clarke…
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It’s frightening, but once 3 Geezers! gets going, it’s an entirely watchable terrible movie. The setup, which director Michelle Schumacher doesn’t even stick with, is J.K. Simmons playing an unveiled analogue of himself, stuck doing a movie about old people written by his wife’s little brother. Michelle Schumacher is Simmons’s wife. I’m assuming writer Randle…
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Ah, so the only other film Raimi directed Panavision was the unwatchable For Love of the Game. His Panavision composition here–with Bill Pope shooting it–is exquisite. Raimi and Pope correct, from the first scene in the film, the problem Raimi had with the original–Spider-Man 2 takes place in New York City. When a bunch of…
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I wonder what kind of movie Spider-Man would have been if the filmmakers hadn’t been so concerned with a “proper” film post-9/11. I know they added the New Yorkers attacking the Goblin to defend Spider-man and I’m wondering if that American flag ending was another addition… this kind of inane jingoistic nonsense ruins movies, but…
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I went into Postal expecting Boll to be like Ed Wood. He’s not. He doesn’t have any artful composition, but it’s fine. When he’s mocking American action films of the 1980s, he’s showing just as much skill as any of those directors do… it might have helped if he’d shot Panavision. Boll doesn’t seem to…
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The Coens usually write tight scripts. Burn After Reading doesn’t have a particularly tight script. Instead, it’s got a bunch of great performances and funny scenes–astoundingly good dialogue (their use of curse words for humorous effect is noteworthy)–and some great details. But the film isn’t really much of a story. Literally speaking, it’s about what…
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No kidding The Mexican has a lot of the same score as The Abyss, Alan Silvestri composed both… oddly, I didn’t even think he was working anymore (or even back when The Mexican came out). Besides the Abyss rips, he turns in a good, funny score. But anyway…. The Mexican is kind of strange and…
The Stop Button 