‘Enough Said,’ ‘Rush’ and other new movies, reviewed
Night of the Living Dead his first film is another great choice but Dawn of the Dead has a soft spot with me and is a film I have seen no less then 30 times. I encourage those who have not seen it to check it out especially if you are a younger film fan who has only seen the recent remake by Zach Snyder which was a quite polished take on the original but still not the movie that started it all. Pontypool Go Canada! As a Canadian it warms my heart when a really great film comes out of the great white north. Pontypool is not for everyone as it leans more to wards a more intellectual horror fan but its the story of an apocalyptic event in a small town in Ontario that unfolds as a radio DJ is on air. There was a terrible American version starring Bill Moseley called Dead Air do not confuse the two. Pontypool plays out like a stage play and is a truly monumental apocalyptic movie with so many fine points from its script to its cast and its overall look and feel. Planet of the Apes What is scarier then the world coming to an end? Mark Wahlberg saving it? Ok I joke! I am not talking about Tim Burtons remake or even the most recent one starring James Franco which was a fun twist. I am talking about the original 1968 Planet of the Apes starring the original big screen bad ass Charlton Heston.
sniper shootings, though the film doesn’t dig deep enough, according to Hornaday. Divorced parents Albert (James Gandolfini) and Eva (Julia Louis-Dreyfus) explore middle-age romance in Enough Said. (Photo by Lacey Terrell/Fox Searchlight via Associated Press) Enough Said (PG-13) Like the best romantic comedies of Hollywoods Golden Age, Holofceners film zings and pops with hilarious dialogue (‘What the hell is chervil?’ Eva snorts after Marianne lovingly gives her fresh herbs from her perfectly un-manicured garden), but also gets to the heart of human nature: in this case, the lengths people go to in order to fill their empty spaces, and how lovable foibles become intolerable flaws. Ann Hornaday Rush (R) As much escapist fun as ‘Rush’ is as an adrenaline-juiced car-race movie, its most interesting as a rare depiction of male vanity, how physical attractiveness informs self-worth and potency, and the role beauty so often the sole purview of women on screen plays in mens relationships and personal insecurities. Ann Hornaday Inequality for All (PG) this film avoids the familiar impartial-arbiter mode of documentary filmmaking and adopts a single perspective as its own. (Viewers will not, in other words, hear from any Gordon Gekko types arguing that wealth belongs to those who can take it.) Both films pair bits of biographical color with footage of well-polished lectures, bringing in just enough outside material to make them feel like real movies. John DeFore Blue Caprice (R) As admirable as Moorss oblique style is, though, Blue Caprice doesnt offer the sense of catharsis or closure, let alone new information, that makes it more than a cold, if disciplined, directorial exercise. Muhammad, who was executed in 2009 , and Malvo, who is serving a series of consecutive life sentences , remain enigmatic, remorseless figures, their depravity never deeply examined past their emotional problems and psychological ills. Ann Hornaday Don Jon (R) The only real down side of Don Jon is the extreme vulgarity, especially early on. Its easy to imagine that some of Jons audacious admissions could alienate certain audience members, and it would be a shame if the outrageousness overshadowed the movies thoughtful revelations and surprisingly sweet heart. Stephanie Merry Baggage Claim (PG-13) Theres so much wrong with Baggage Claim from its outdated story line and similarities to the dreadful Whats Your Number to Talberts clumsy, flat-screen directing that its all the more surprising when things go right. But it would be unfair to deny that it doesnt provide its own modest, sometimes outright hilarious, pleasures. Ann Hornaday Cloudy With a Chance of Meatballs 2 (PG) But instead of upping the ante, as so many sequels do, Cloudy 2 merely gets the band back together including perky weather girl Sam Sparks (Anna Faris), immature bully Brent (Andy Samberg) and Flints level-headed father (James Caan) for a repetitive mission that calls to mind multiple beats from the first movie. Sean OConnell Metallica Through the Never (R) Thanks to wireless instruments, guitarists James Hetfield and Kirk Hammett and bassist Robert Trujillo are highly mobile, and even drummer Lars Ulrich moves around a lot. They interact with other performers in scenarios that appeal to some metalheads taste for carnage and destruction. The last staged catastrophe seems rather tasteless, but it turns out to be a clever setup for the back-to-basics finale. Mark Jenkins Haute Cuisine (PG-13) Frot manages the tough trick of playing someone whos both standoffish and likable. Hortense isnt easily amused or benevolently quirky, the way so many female characters can be. Shes serious, but her passion for recipes and fresh produce proves appealing. “Haute Cuisine” also strays from the typical formula because its devoid of a romantic subplot. Stephanie Merry The Trials of Muhammad Ali (Unrated) Bill Siegels The Trials of Muhammad Ali reminds us, though, that the boxer fought significant battles outside of the ring, as well. And in doing so, Trials educates casual boxing fans about the unexpected political, religious and social strife Ali encountered and largely brought upon himself during a tumultuous time in our nations racially divided past. Sean OConnell You Will Be My Son (R) It would be easy to make a movie pitting Paul, the deadbeat dad, against Martin, the long-suffering descendant who deserves his multimillion-dollar inheritance. But director Gilles Legrand, who co-wrote the script, opts for a more difficult and satisfying approach. Paul is unabashedly cruel, but Martin acts insufferably childish. Stephanie Merry Zaytoun (Unrated) As the most immediate dangers subside, the film addresses increasingly sentimental concerns: Yonis pregnant wife awaits his rescue; Fahed carries an olive sapling his father dreamed of planting near their old house. John DeFore Newlyweeds (R) The audience Newlyweeds will appeal to most is film buffs who are always on the lookout for bright young things because this movie has them.
Alfonso Cuarón and son Jonás bound by words in ‘Gravity’
The Goonies Looking for the perfect movie for a movie night with a group of boys? Goonies (Amazon Prime, $4) is your movie! In fact, your husband is probably still quoting Goonies from the last time he watched it… 20 years ago. Sit in on this one, Mom and Dad. He’ll love reliving his boyhood and you’ll love swooning over a young Corey Feldman just like you were 12 years old again. Labrynth Because, really… what is better than family movie night? How about family movie night with David Bowie? If you remember the ’80s movie Labrynth (Amazon Prime, $6), you get major bonus points. This rock meets fantasy meets crazy ’80s hair movie was actually directed by Muppets creator, Jim Henson, making it an instant hit for kids of all ages. Escape to Witch Mountain If your kids are Harry Potter fans, they’re sure to think that Escape to Witch Mountain (Amazon Prime, $9), an old Disney classic from the 1970s, is a hoot. There’s a little bit of magic, a little bit of sci-fi adventure, a little bit of animals who know more than they should…
What did you expect?'” Still, neither could have expected that this would lead eventually to a vital and unusual collaboration. Jonas is the 30-year-old co-writer of “Gravity,” which he penned in concert with his 51-year-old father, the filmmaker with a rich career on such disparate movies as “Y Tu Mama Tambien,” “Children of Men” and “Harry Potter and the Prisoner of Azkaban.” “Gravity,” which opens Oct. 4, marks the second pairing for the two but the first to be produced. After years of painstaking work, Alfonso and Jonas have come together at the Chateau Marmont in West Hollywood to talk about their collaboration on one of the season’s most anticipated films. The fruit of their labor is a film that is at once action-packed and meditative, tracking the journey of two wayward astronauts (Sandra Bullock and George Clooney) set adrift in space. Warner Bros.’ “Gravity” combines Alfonso’s grand, creative visuals with Jonas’ minimalist screenwriting style that prefers to ground emotion in action rather than dialogue. The film evolved from some of the duo’s favorite movies: Steven Spielberg’s 1971 television movie “Duel,” 1985’s “Runaway Train” starring Jon Voight and Eric Roberts, and Robert Bresson’s 1956 film “A Man Escaped” movies the two discussed during Jonas’ formative years. “We wanted to do something where you are in a constant ride, but it’s a ride that’s emotional with adrenaline on one hand but on the other a simple narrative where we can still juggle thematics without stopping to develop them,” said Jonas, who resembles his father physically but is more reserved in his demeanor. Those simple principles could have produced a simple, straightforward project, yet it was a long and winding route before “Gravity” finally took off. Try, try again Both Cuarons were in London in 2009 prepping for their initial collaboration, a small indie European road trip movie called “A Boy and His Shoe” that Alfonso was to direct with Charlotte Gainsbourg and Daniel Auteuil starring. But in a matter of days the financing fell apart and the duo realized that unless they dramatically changed the entire conceit of the film, it was time to move on. “It became clear that at that point in the marketplace, to put together a small movie was very difficult,” said Alfonso. “So we thought, ‘OK, let’s change the canvas.'” Cuaron’s longtime cinematographer and friend Emmanuel Lubezki (“The Tree of Life,” “Children of Men”) remembers how frustrated everyone was at the time.