REVIEW: ‘Elysium’ Kicks Ass, Then Sits on It

There were a couple of interesting films for me to review this week — Lovelace, which nearly starred Lindsay Lohan, and David Gordon Green’s Prince Avalanche — but I succumbed to the mighty blockbuster and saw Neill Blomkamp’s Elysium instead. (Side note: Am I the only one who thinks the past tense of succumb should be succame?)

I have a lot of time for writer-director Blomkamp ever since his inventive, hyperkinetic District 9 stomped onto the screen and blew everyone away,

Bradley Cooper Details Magazine

OSCARS 2013: ‘Promised Land’ and ‘Silver Linings Playbook’ As a Duet of Americana

As we barrel towards the Oscar nominations on January 10, I wanted to get as many of these reviews and essays about the possible contenders out of the way, which is why I’m stacking these two together.  They also happen to be companion pieces in many respects: both figure American men in early middle age struggling with both internal and external issues; they are directed by indie stalwarts; both are macro examinations and celebrations of non-urban America, one rural the other suburban; they are love stories.  I’m sure I can build other flimsy bridges between them, but I’ll leave those four themes as reason enough for this twin review.

While trying to persuade a friend who wanted to see Les Misérables to see Gus Van Sant’s Promised Land instead, he asked, “What sort of a Van Sant film is it?”

“The Good Will Hunting/Milk kind,” I replied.  In other words, the more mainstream social-issues-driven variety, rather than Gus’ own private Idaho of pretty male teens and the trouble they get into, which is the sort of film he prefers making, but can’t make a living on.

The production back story with Promised Land is this was meant to be Matt Damon’s directorial debut, from a script he wrote with John Krasinski, based on a story by Dave Eggers.  Damon had to step down as director due to scheduling conflicts, and asked Gus to step in, which explains why the film has so little of the auteur director’s imprimatur on it.

Rent.  Ain’t it a bitch?

This Gwyneth Paltrow Has Been Sanitized for Your Protection

BAKER STREEET | REVIEW

by Eric J Baker

Think back. You’ve touched your face within the past minute or two, haven’t you? You’re probably doing it now, after running your hands over that bacteria farm of a keyboard no less. Bad move. Oh, and take that finger out of your ear. You don’t know where that finger’s been!

Those last two lines belong to a scene from the movie Airplane! (1980) in which a man offers that sage advice to another character who is using his ear for a nose. Yes, you know the sequence, but I bet you don’t know who that man was. He was acclaimed movie director Steven Soderbergh.

"Call Ryan Murphy, tell him I'm sorry I fucked up the Prince "Kiss" number in 'Glee.' And don't let that screeching harridan Madonna sing 'Like a Prayer' at my funeral."

That’s actually not true at all. I made it up. I’m sorry. But you’ll excuse me for getting confused, because Soderbergh’s new film, Contagion, dispenses the same message as Airplane! did 31 years ago: Take that finger out of your ear! It’s dirty.

Matt Damon Gets Religion

Matt Damon and Emily Blunt think they are about to meet God and are appropriately slack-jawed at the prospect, as I would be. Actually, I'd be snickering while pretending to go along with the prank.

I take movies way too seriously.  I don’t mean the business of filmmaking, that’s too much of a surreal farce, like a performance of Ubu Roi in a never-ending loop with Harvey Weinstein, Scott Rudin and Steven Spielberg alternating in the role of Père Ubu.  I mean the movies themselves.  I’m constantly relating real life to cinematic reality, a sure sign of not-so-latent mental illness.  For instance, I might be in an animated conversation about my landlady, the Wicked Blais, gesticulating like a Roman trying to wiggle out of blame for a traffic accident, and I’ll say something like, “I’m just like Burt Reynolds in that scene in Deliverance when he’s down, his leg is broken, bone jutting out, and the rabid hillbillies are coming after him and he picks up his crossbow and …”  All of this is to say that while I know Matt Damon is only engaged in an extended game of adult Let’s Pretend when he makes a movie, I’m a bit concerned about two of his recent choices, The Adjustment Bureau and Hereafter.

I really loved the first twenty minutes of TAB. And I mean that: I more than enjoyed it, I loved it. I was smiling. I thought, Hmmm, this might shape up to be the intellectual challenge that Inception wasn’t.  Then they brought God into it, and I started fiddling with my Blackberry, itching for a game of poker. (I am way down right now, over a million dollars at the World Series tables, but that’s nothing compared to the fiasco a month ago when the damned thing reset and I lost thirty-one million in a nanosecond.)

Let me jump off the rails a second to talk about Inception.  I was expecting too much from a major summer release, I think.  My expectations were raised even more when I had a brief scene with a showcase Cali couple just outside the Arclight Cinerama Dome in Hollywood.

“Are you going to chain your bike right there?” the She of the couple asked.

“Uh, yes, that’s right,” I replied, resisting a retort like, No, I’m just practicing public displays of light bondage with my buddy Schwinn, here.  You know these Germans, so kinky.