It’s safe to assume that Judd Apatow has the market cornered on raunch-fest comedies with a gooey moral center. Since releasing The 40-Year-Old Virgin, Apatow’s actors have gone on to produce their own films, ranging from great (Superbad) to less-than-great (The Green Hornet). This Is the End, written and directed by Seth Rogen and Evan Goldberg, falls squarely in the middle of that spectrum. Like a comedy-version of Soderberg’s Ocean’s Eleven, the film succeeds on the chemistry of its cast, whose madcap performances liven up the mediocre material. Read more
Archive for Ricardo
THE ICEMAN (Blu-Ray Review)
There’s a danger in adapting a true story for the screen. For an audience that’s been weened on the traditional, three-act Hollywood film, it would be a frustrating, fruitless experience to watch a literal adaptation of someone’s life. Real lives don’t have neat dramatic arcs. Real people tend not to learn their lessons. Somewhere along the line, liberties must be taken. Events are shuffled and condensed. Characters are cut and composited. All in an effort to give structure to what seems like chaos. So, how much of that story stays true? It’s an intriguing question. Fortunately, The Iceman is so engrossing, you won’t have time to think of it. Read more
AT ANY PRICE (DVD Review)
There’s an old adage in the screenwriting business: “Show, don’t tell.” On that front, director Ramin Bahrani’s “At Any Price“ opens beautifully. Home movies capture the backyard barbeques and birthdays of the Whipple family, who live and work in the cornfields of Iowa. We end up seeing 20 years of exposition in a little more than two minutes. It’s a smart, effective way of handling backstory. Unfortunately, it’s about the only thing the movie does well. Read more
AMOUR (DVD Review)
Chances are, if you saunter into the local multiplex on any given weekend, you’ll find a schmaltzy romance engineered to raise the expectations of women everywhere. Films where young, good-looking couples overcome the odds to find their “happily ever after”. Of course, every now and then, a filmmaker might throw a wrinkle into the formula to keep things fresh. But sometimes, if you’re a director like Michael Haneke, you obliterate the formula, fast-forward 50 years and take a hard, unflinching look at that couple’s unhappy ending. You might even christen the film something ironically generic, like Amour. Read more