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If you’re not sure why it’s so awesome to see Helen Mirren unapologetically kicking ass in Red — and to see her doing so without getting grief for it from the guys — then perhaps you’ve never seen Prime Suspect, the British cop series she starred in through most of the past two decades.
James Franco’s elucidation of Allen Ginsberg is soaring in its warmth and sincerity. The words are (mostly) the writer’s, but the vitality and the passion are all Franco’s: he makes the poet breathe for us today in a way that feels entirely modern and relevant.
No, wait: lemme guess what we’re meant to take from this turgid drama of small lives and smaller ambitions. ‘Some people do bad things and go to prison, and some people do bad things and live their lives out in the wide world as if they’re in prison anyway’? ‘Crazy, quietly desperate men are sad and sympathetic, and crazy, aggressively desperate women are slutty objects of derision’?
I’ve come to realize recently that there’s something more chilling, more eerie than a fictional dystopian world: a fictional dystopian world in which no one understands they’re living in a dystopia.
The Social Network isn’t overly concerned with the obvious irony: ha ha, an antisocial nerd invented the most popular social-networking Web site on the planet. As Fincher frames it, Zuckerberg’s loneliness is hardly ironic. It is, in fact, inherent in the mindset that got him to where he is…
I come to you with all honest sincerity and humility to say that I cannot, for the life of me, tell you what the hell this damn movie is about.
He is Jack’s self-conscious heart. The title, you see, is a metaphor, for oddball Jack deciding it’s time to open up and experience something of the world, such as learning to swim and going on dates.
It’s sort of adorable and sort of terrifying to look at Wall Street: Money Never Sleeps and see the ultimate 80s icon of sharky, sociopathic greed — Gordon Gekko — reduced to an object of quaint amusement, for both the characters onscreen and for us in the viewing audience.
Affleck could do for Boston what Martin Scorsese did for New York in the 1970s…
Everything that is wrong with The Movies today in America is beautifully encapsulated in how this lovely little movie cannot find an audience in the current movie environment.
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