|Posted on September 23, 2011 at 3:55 AM|
Certainly a passion project by Jackie Chan (who’s name is hard to take too seriously when I see it), this is a flick I’m really looking forward to. Chan both produced and co-directed this one, and the other director is the extremely talented Li Zhang who’s last film, Red Cliff, was one of the most beautiful looking films I think I’ve ever seen.
It’s Clint Eastwood. That’s all I really need to know. It’s also one of the most controversial figures in American history, that’s another thing that’s nice to know. You also have a good actor playing him, hell even better.
It won’t surprise me when this movie starts getting some buzz. Eastwood rarely misfires, and even when he does the movies are still unique and interesting (such as Hereafter, a story about a psychic that doesn’t fall to the typical conventions of stories about psychics, and had one of the best sequences Eastwood has ever done with the Tsunami). But you have this historical setting and this figure, not to mention the screenwriter of Milk which was probably one hell of a biopic.
Well, if you ever wanted to see what looks to be a pretty damn impressive debut film, Margin Call (horrible title, I might add) is it. First time writer and director JC Chandor got one hell of cast on board, and the tone seems oddly methodical and sinister. The trailer, at least, but I get that impression from the scenes as well. Demonizing, perhaps, but who better to demonize the assholes that made the economy what it is today. Not the government. Not politicians. Though some certainly avoid mentioning the causes of it all in the rhetoric. It all boils down to greed and people like this. Spacey. Tucci. Irons. That’s a triple threat if I’ve ever seen one and shades of Glengarry Glenross seem to permeate a bit through it – asshole men doing rather asshole things that grate on their consciousness. Very interested in seeing how this one turns out.
Oranges and Sunshine
Don’t watch this trailer. Stop. Don’t.
It is, in two minutes, the entire film.
I know that, especially for a movie like this, it’s the road traveled, not the destination, but it really paints that road pretty clearly. It shows the powerful moments, it gets those upswells of music and bits of dialogue, then you see the conclusion of it all.
Well...that’s a hell of a lie. I knew he was going to say something of that nature, but I thought it would be your typical “I have cancer” or something like that. But man, that is either really dark or really genius...maybe a little bit of both. I’m more interested in seeing what the film is going to do with that idea, because it’s oddly broad for an indie comedy, but it looks like it’s going to be a road-trip, rethink our lives type of movie at the same time. By the way, if you recognize the name, Joshua Leonard played, well, Joshua Leonard in The Blair Witch Project. He’s acted a lot since then in smaller flicks, a good dose of horror too with bit-parts, but this is him writing, directing and starring...and it actually looks like it might be pretty good.
What an odd career Liam Neeson has had. His filmography is the pure definition of "variety." He's done historical epics, period pieces, moving dramas, then he would do crazy action and movies where he's punching fucking wolves. That alone sold me.
Liam is reuniting with Joe Carnahan, previously doing The A-Team which, despite most liking it apparently, I absolutely did. Oh, it's horrible, but in the same way a movie like Point Break is horrible: it's a guilty pleasure. It has entertainment value. It has camp. It has cheese. It has ludicrous scenarios and over the top action. You know, kind of like the television show. Here, we see a movie that appears a bit more restrained and Neeson, apparently, gives one hell of a performance.
Anyone see The Edge, by the way? Major vibe of that movie here, only with a wolf instead of a bear. I really liked that one, though I don't think it's aged particularly well.
Jesus, what an ugly poster.
Anyways, how many movies a year do you think Nic Cage does? I went on IMDB and checked that out, because you're probably thinking what I was thinking and wondering the same thing. 2011 he has this, Trespass, Season of the Witch and Drive Angry, next year Ghost Rider 2, Medallion, The Frozen Ground and possibly Expendables 2, 2010 had him in it. How can he keep this pace? Some of these movies I'm sure were shot long ago, but work that into any schedule and he's probably averaging, at least, shooting three flicks a year. That's nuts, and you really have to give it up to the guy even if the material isn't always the best. That Oscar seems lightyears away now, doesn't it? It's like it happened in some bizarro world.
As for this, it looks like a good concept, but I'm not entirely sure on the execution of it all. Director Roger Donaldson did give us the splendid The Bank Job a few years back, but he also gave us Dante's Peak. So...yeah, we'll wait and see.
Man on a Ledge
Now we play the gambling game. How will Man on a Ledge end up? Are we going to get a taught film like Dog Day Afternoon? A solid but pretty forgettable one like Phonebooth? A middle of the road in every category flick like The Negotiator? Or a horrible movie like Mad City or...eh, what was that other one...John Q? Something like that. There was one with Michael Keaton too, I thought. Keaton and....errr...Gene Hackman? Or was that Chris O'donnel? I get all these movies mixed up and I'm getting distracted.
Whatever, point is, it's a small-scope heist flick with cameras and reporters, negotiators trying to talk him down and blah blah blah. You know what I mean and you probably know a dozen movies just like it. So why get excited for Man on a Ledge? The trailer isn't going to do it for you, it's pretty flat for the most part.
There isn't any reason. Not that I can see, which makes me think this flick will just come and go and we'll not care by the following week. The director is pretty new, though I'm sure he's done some good stuff in whatever country he originates from, and the writers aren't anything to get excited about. Red was ok but not particularly memorable and Whiteout was abysmal. Plus, they wrote Battleship (two of them at least, there are others that probably did punch-ups on the script as well but I'm not getting into them). Either way, if I remember to see this eventually, I might, but it's not high up on the list for 2011 - maybe if I get a screener but this doesn't scream screener material and I doubt is going to be pushed for awards consideration unless one of the Eds gives us a nice supporting role.