Poseidon (review)
Who knew there was so much on a cruise ship that could explode so spectacularly? Plus: ohmigod, Josh Lucas!
Who knew there was so much on a cruise ship that could explode so spectacularly? Plus: ohmigod, Josh Lucas!
Look, I realize that it can be hard to distinguish from dry snark, but I swear to god I am being 100 percent totally and sincerely sincere when I implore you to feel Tom’s pain. Maybe.
Too soon too soon too soon. How can I bear to watch this? I don’t even know which 9/11 conspiracy theory to believe yet. Or maybe not too soon. How can I bear not to watch?

Men and women are gonna have a lot to say to one another about this movie.

I still can’t get my head around how profoundly awed and moved and overwhelmed and terrorized and rejuvenated I am by this movie.

John Cusack as a neo-noir antihero? Hell yes: he’s been building to this his whole career. And now he’s done it, yanked the rug out from under us and left us to wonder just how far over he’s gone.
I knew nothing about *A History of Violence* before I sat down to watch it, absolutely nothing except that it starred Viggo Mortensen, and that that was enough to make me want to see it. I had even managed to avoid hearing that this was a David Cronenberg film, knowledge that certainly would have colored my expectations about it, as would have the knowledge, which I did not have until just before the movie began, that this was based on a graphic novel.
It’s something close to a stroke of genius that once-wunderkind screenwriter Shane Black sought out Robert Downey Jr. to star in his directorial debut. Not because Downey is so achingly sublime an actor and so funkily charismatic a screen presence that it near to makes you want to weep with despair at what brilliance we’ve missed from him over the years during which he wasn’t able to keep his shit together — though he certainly does give us one of the most deliciously shivery-great performances so far this year in *Kiss Kiss, Bang Bang.*
It’s probably very much funnier if you’re already a bit of an Anglophile, if you drink a lot of tea and long to attend a weekend house party in the 1930s at a manor in Sussex where you take the train down from London and someone meets you at a station that’s called a ‘halt’ and you don’t think murder is all that bad as long as the mystery of it is solved by a gentleman who has his manservant dress him for dinner. Cuz the Wallace & Gromit claymation toons have always been very much about both celebrating and sending up the peculiar British character, and you have to recognize it as a bit silly and a bit of an exaggeration that was never really real anyway but still completely love and embrace it nevertheless to really get the warmth and affection with which they — the Wallace & Gromit toons, that is — are offered for your entertainment.
There’s a girl! There’s a girl on the wing of the movie!