Andrew Palladino

Batwoman Movie Announced, Will Be R-Rated

Posted on 14 Hours Ago by Andrew Palladino

Warner Bros. has just announced the latest addition to the DC film universe: Batwoamn.

Not to be confused with Batgirl, Batwoman first appeared in Detective Comics #233 (1956). Real name Katherine Kane, she is an heiress who takes inspiration from Batman to start fighting crime in Gotham City. The character received a significant rejuvenation in 2006, when being Jewish and a lesbian were made part of her characterization.

“We’re really proud to be doing this,” said associate producer Filip Starr. “Batwoman is a hero that means so much to readers and bringing her to life will be a highly rewarding project.”

No castings have been made, but Starr insists that Yvonne Strahovski, who voiced the character in the animated film Batman: Bad Blood, “is a strong possibility.”

What’s more, the production will be designed with an R rating in mind, for featuring not only brutal violence, but also erotic sex scenes.

“After Blue is the Warmest Color and Carol, this is the next big step,” Starr said. “It’s time to go mainstream in a big way.”

Zack Snyder is “heavily interested” in directing the film according to Starr, but not confirmed as of yet.

Stay tuned for further updates.

Remembering Ken Howard

Posted on 7 Days Ago by Andrew Palladino

Ken Howard, major award-winning actor and current president of the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), died yesterday of a heart attack at the age of 71.

Born Kenneth Joseph Howard Jr. on March 28, 1944 in El Centro, California, he was accomplished varsity basketball player before becoming interested in acting. He graduated from Amherst College and then attended the Yale School of Drama.

Making his television debut in an episode of N.Y.P.D. in 1969 and his film debut in Tell Me That You Love Me, Junie Moon the following year, he soon established an impressive stage career. He starred in Promises, Promises; 1776 (and would also play the part in the film version); and Child’s Play, for which he was awarded the Tony for Best Featured Actor. Other theatre work he’s done include Equus, 1600 Pennsylvania Avenue, The Glass Menagerie, and the one-man show According to Tip.

On television, he starred on the shows Adam’s Rib and The Manhunter before landing the lead in The White Shadow, where he played a basketball coach. That shows ran for three seasons from 1978 to 1981. It was also in 1981 that Howard would win his first Emmy, for The Body Human: Facts for Boys in the Outstanding Individual Achievement in Children’s Programming – Performers category. And in 2009, he won his second Emmy, this time as Outstanding Supporting Actor in a Miniseries or a Movie for Grey Gardens.

That same year, he was elected president of SAG and reelected to another term in 2011. When it merged with AFTRA, he became the first president of the new organization and was reelected again last year.

Additional television work includes recurring and multi-episode roles on Crossing Jordan; The Thorn Birds; Dynasty and its spinoff The Colbys; Melrose Place; Murder, She Wrote; 30 Rock; and Cane. He also guest starred on shows such as The Golden Girls, Bonanza, The West Wing, Law & Order: Special Victims Unit, Boston Legal, The Hitchhiker, Batman: The Animated Series, George Lopez, The Office, Cold Case, Ghost Whisperer, and Blue Bloods.

Other films of his include Such Good Friends, Clear and Present Danger, Michael Clayton, In Her Shoes, Rambo, J. Edgar, The Judge, The Wedding Ringer, and Joy, his final performance.

Howard is also the author of the book Act Natural: How to Speak for Any Audience, and has performed for various audiobooks such as The Run by Stuart Woods, Up Country by Nelson DeMille, and Four Past Midnight by Stephen King.

He is survived by Linda Fetters, his wife of 24 years.

Review: ‘Hot Pursuit’

Posted on September 7 by Andrew Palladino

Hot Pursuit is thornier to review than I had anticipated. It is highly flawed, but hard to hold in extreme contempt thanks to an angle that casts it in a different light.

Legacy policewoman Rose Cooper (Reese Witherspoon), stuck in the purgatory of the property clerk’s office after making a very wrong judgment call in the field, is assigned to work with Deputy U.S. Marshal Jackson (Richard T. Jones) on a special mission. The trial of drug lord Vincente Cortez (Joaquin Cosio) is about to begin and two witnesses need to be placed into protective custody, former henchman Felipe Riva (Vincent Laresca) and his wife Daniella (Sofía Vergara), which necessitates a woman’s presence.

Already this rings false. Why isn’t someone more qualified chosen for this? Are there really no other female law enforcement officials in the area? Or, since this is a high-profile case that warrants the involvement of the U.S, Marshals, the entire country?

Anyway, they arrive at the Riva residence. Cooper is with her charge as she packs up (those items of course being clothes, clothes, and, what else, clothes) when things go pear-shaped. Hitmen show up and in the shootout Jackson and Mr. Riva are killed. The women flee, but news about the shooting soon spreads and both are blamed for it.

It’s all not very funny. The running gag of news reports gradually decreasing Cooper’s height and increasing Riva’s age is really the best it has to offer, and that was already in the trailer. Add to that poor direction, a wasted supporting cast, and slapdash plotting.

But what throws in wrench into coming down hard on it is that the featured heroine is a type rarely if ever depicted in film. With her vast knowledge of police regulations that she can recite instantaneously and difficulty in picking up on social cues (among other such traits), Cooper is clearly coded as having Autism or Asperger’s. And as one of the scant few high-functioning characters in a story where the condition is not a defining aspect (and the main character at that), it’s an admirable development, especially when one keeps in mind that the other half of the team is also from a marginalized group.

It is therefore highly unfortunate that this movie is meant to be comedy, and as such a lot of the supposed humor is made at this character’s expense. Many audience members are going to simply see her as stupid and not have any understanding or sympathy. Not helping matters is the script going back and forth on her level of job proficiency. In one scene she’ll be making a Columbo-level detective observation, and in the next unable to interpret a simple drawing that she herself made.

Had this been a straight action thriller, it would’ve turned out much better and perhaps quite solid. Witherspoon has extraordinary dramatic prowess and did recently return to form quite nicely with Wild. For a long time I’ve wanted to her play a cop; she is certainly credible in the role and could really have brought something were it with more serious substance.

Vergara on the other hand is just playing Gloria Pritchett again. That’s not anything in reference to her acting, but the character is written the same way, complete with the Colombian criminal “jokes.” There’s some attempt to give her character greater depth and motivations, but it’s all too forced.

“What could have been…” can apply to most any disappointing film, but Hot Pursuit screams it much more than most. Those interested in the portrayal of individuals with Autism/Asperger’s might want to look into it to evaluate, but those interested in comedy should keep looking.

Remembering Roddy Piper

Posted on August 3 by Andrew Palladino

“Rowdy” Roddy Piper, professional wrestler turned leading actor who paved the way for others, has died of cardiac arrest at the age of 61.

Piper was born Roderick George Toombs in Saskatoon, Saskatchewan on April 17, 1954. Leaving home as a teenager, he became a Golden Gloves boxing champion and earned a black belt in Judo before rising to prominence in professional wrestling in the mid-1970s. He wrestled for the AWA, NWA, WCW, and of course the WWF/E. It was there that his reputation as one of the greatest villains in the sport took off.

He won numerous titles and honors throughout his career and always maintained a presence in the wrestling world. Over the years he has made many appearances on wrestling programs, and would become known for his Piper’s Pit interviews. In 2005, he was inducted into the WWE Hall of Fame

His transition into acting began in 1978 with his debut in Carl Reiner’s The One and Only. His next role was a leading part in Body Slam by Hal Needham. But it was his starring role in John Carpenter’s 1988 film They Live for which he is most celebrated. Amassing a huge fan base, it has become an iconic work that has provided inspiration for many works. It is regarded as one of, if not the, greatest films to have starred a pro wrestler.

In the years following, he had roles in countless films (particularly specializing in action). Some of these are Hell Comes to Frogtown, Jungleground, Sci-fighters, The Love Boat: A Valentine Voyage, Hard Time, Terminal Rush, Immortal Combat, Jack of Hearts, Kickin’ It Old School, The Mystical Adventures of Billy Owens and its sequel Billy Owens and the Secret of the Runes, Green Lantern: Emerald Knights, Super Sweet 16: The Movie, Ghosts of Goldfield, Pro Wrestlers vs Zombies, Other Plans, and The Masked Saint, which is set for release in early 2016. He was also in the video game Saints Row IV, reuniting with his They Live costar Keith David.

He has appeared in numerous television shows across a wide range of genres. These include The Outer Limits; Walker, Texas Ranger; Adventure Time; It’s Always Sunny in Philadelphia; Cold Case; Robot Chicken; Storage Wars; Silk Stalkings; Celebrity Ghost Stories; Highlander; The Super Mario Bros. Super Show; RoboCop; Saturday Night Live; Breaking In; and Celebrity Wife Swap.

Piper is survived by his wife of over 30 years Kitty Dittrich; children Anastacia, Ariel Teal, Fallon Danica, and Colt; and four grandchildren.

Review: ‘Jurassic World’

Posted on July 3 by Andrew Palladino

In 1973, Michael Crichton gave us Westworld, a sci fi action thriller in which robots at a theme park break free of control and attack the visitors. In the story there were actually several parks similarly specialized and titled (“Romanworld,” “Medievalworld,” etc. ). There was also a follow-up a few years later, Futureworld. So it’s only fitting that when done with dinosaurs, it would be called Jurassic World.

The fourth Jurassic Park film had spent such a long time in development that it might as well have been 65 million years in the making. But here at long last, the wait was worth it.

As Richard Attenborough had passed away, so too has John Hammond. He’s bequeathed the park to billionaire Simon Masrani (Irrfan Khan), who along with operations manager Claire Dearing (Bryce Dallas Howard) revamped it into the titular place, complete with an all-new logo (with the original as being regarded as in bad taste).But even with all the wonderful attractions they have, they still aren’t happy with things. Dr. Henry Wu (BD Wong) has stuck around and with his help they develop an all-new breed of dinosaur: the Indominus Rex.

Owen Grady (Chris Pratt), a former Marine who’s on hand to train the velociraptors, is soon brought in to make sure that the exhibit will be safe. But of course, things go very wrong and the I-Rex escapes into the park. Having previously been raised in isolation and thus non-socialized, it will be a great danger to both humans and fellow dinosaurs.

Oh, and Claire’s nephews (Nick Robinson and Ty Simpkins) who she hasn’t seen for three quarters of a decade are visiting over Christmas break (yes, it’s supposed to be Christmastime but there’s oddly zero mention of it once the boys leave home). Handed off to an assistant (Kate McGrath) who gets separated from them in no time at all, they find themselves off the beaten path when the story gets serious.

Anyone who’s a big fan of the series or even just the first film is going to be very pleased. Despite the not-so-hidden subtext of improving on a predecessor, it feels very reverent of what’s come before. Actually, it can perhaps be discerned that that subtext is in fact asserting the original’s place as a well-loved institution, as the point in the story is that the efforts to outdo and replace what’s already working well lead to disaster. But the film as a whole represents the park as it was beforehand, dedicated to realizing the vision of its originator.

The action is thrilling and engaging, with the final sequence as a standout. There’s certainly no way of replicating the experience of the first movie and the awe of seeing those dinosaurs for the very first time, so World does the next best thing and brings the park itself to life. The place is quite a wonder and somewhere that you’d really want to go to if it existed (and that’s factoring in the chance you might not get out alive).

However, there are some problems at the script level. The beginning is incredibly repetitive; scenes and scenes are devoted to setting up the story, but just get regurgitated when Grady enters the picture. A plot hole comes up at the end where two characters aren’t on the same page when they really should be. And there’s comic relief at very ill-fitting moments.

Crichton died years ago and it would be impossible to speak for him even if he were alive, but I’d like to think that Jurassic World carries on the spirit of his work. His is truly a legacy that won’t go extinct.

Films in Need of a DVD Release

Posted on June 14 by Andrew Palladino

Last year, Buzzfeed ran 26 Hard-To-Find Movies That Remind Us Why VHS, DVD, And LaserDisc Still Matter. As excellent a job as this piece did, there are still tons and tons of films out there that are just as if not more forgotten.

Some companies like Mill Creek and Echo Bridge have made a name for themselves by releasing lesser-known films in value compilations, which is a good start but they’ve only been scratching the surface. And while the likes of Netflix have had some of these films, they are notorious for pulling them at any moment. Plus, it’s really no substitution for having hard copies.

So, to go one further, here are 27 entries of films that are not so readily available.

Accidental Meeting (1994) and Once You Meet a Stranger (1996)

Both of these films are gender-flipped versions of the classic Strangers on a Train story. The former stars Lindas Gray and Purl, while the latter features Jacqueline Bisset and Theresa Russell.

Almost Golden: The Jessica Savitch Story (1995)

Biopic of the pioneering newswoman, showing her career accomplishments but also the troubled relationships and problems with drug addiction. Sela Ward was nominated for an Emmy and won the CableACE award for her portrayal.

beansp

The Beans of Egypt, Maine (1994)

“The Beans” are the family that is centered on in this drama starring Martha Plimpton, Kelly Lynch, and Rutger Hauer. Actress Jennifer Warren directs this adaptation of the novel by Carolyn Chute.

Best Actress (2000)

The E! channel’s first original movie, based on the novel by John Kane about the Oscar race and the five actresses who may kill for it. Stars Jaime Pressly, Rachel Hunter, Jordan Ladd, Elisa Donovan, and Loretta Devine.

Betrayal (1983)

Pre-dating Memento by nearly 20 years, this adultery drama starring Ben Kingsley and Jeremy Irons tells its story in reverse. Adapted from his play by Harold Pinter, who received an Academy Award nomination.

Brave New World (1980)

Bud Cort is perfectly cast as Bernard Marx in the first film version of the landmark Aldous Huxley novel. Receiving two Emmy nominations, it is also part prequel, detailing events that set up the story.

A Bunny’s Tale (1985)

Gloria Steinem’s undercover investigation in the Playboy club. Kirstie Alley stars as Steinem alongside Cotter Smith, Joanna Kerns, Delta Burke, Mary Woronov, and Diana Scarwid.

Cosmic Slop (1994)

A collection of three sci fi tales, including adaptations of stories by Derrick Bell and Chester Himes. Starring Robert Guillaume, Nicholas Turturro, Chi McBride, Paula Jai Parker, Casey Kasem, and George Clinton as the host.

Cry Baby Lane (2000)

After hearing an urban legend, two brothers hold a séance and unleash an evil spirit. Made for the Nickelodeon channel, the movie’s cast features Frank Langella and Jim Gaffigan.

Death on the Job (1991)

A documentary about workplace safety conditions and hazards, featuring interviews with workers and accident investigators. It was nominated for an Academy Award in its category.

Escape from Iran: The Canadian Caper (1981)

One would think a more recent major film on the same subject would warrant a DVD release for this one, but no such luck. This is what really happened with the American hostages in Iran and the efforts of John Sheardown and Ken Taylor to rescue them.

The Farmer (1977)

Gary Conway stars as a war hero who takes on the mob to save his farm. There was word some years back that Code Red was working on a release, but nothing has come about.

Grim Prairie Tales (1990)

James Earl Jones and Brad Dourif star in this anthology of horror-flavored western tales. As strangers who meet camping out in the wilderness, they pass the time by telling stories to terrify one another.

Human Bomb (1998)

Kill Cruise stars Patsy Kensit and Jurgen Prochnow reunite in this fact-based story of a bomber who holds a kindergarten class and their teacher hostage. Although it can be viewed on Popcornflix, there has not been a DVD release.

Hunger Point (2003)

A woman suffering from an eating disorder and the effect it has on her family is the subject of this drama. Based on the novel by Jillian Medoff, it stars Christina Hendricks, Barbara Hershey, Susan May Pratt, and John Getz.

I’m Dangerous Tonight (1990)

Cornell Woolrich’s story of the evil red cloth comes to life. Directed by Tobe Hooper and starring Madchen Amick, Anthony Perkins, R. Lee Ermey, Dee Wallace, and Natalie Schafer in her final performance.

Masterblaster (1987)

A paintball competition turns deadly once a killer decides to strike. This has been the only film directed by longtime stuntman and actor Glenn R. Wilder.

Mr. Payback (1995)

This interactive film had a brief theatrical run where audiences were given a keypad to input the direction they wanted the story to take. Written and directed by Bob Gale and starring Billy Warlock, Holly Fields, Bruce McGill, and Christopher Lloyd.

Moment of Truth series

Throughout the 1990s, this line of movies dealt with important topics and counted among its stars Sarah Chalke, Dennis Franz, Paul Rudd, Tracee Ellis Ross, Lynda Carter, Anna Gunn, Barry Bonds, Stepfanie Kramer, and Morgan Fairchild. Of the over 20 films in the series, only Shattered Dreams starring Lindsay Wagner has had a DVD release.

One Potato, Two Potato (1964)

Years before Loving v. Virginia and Guess Who’s Coming to Dinner came this examination of an interracial marriage. The original screenplay was nominated for an Academy Award.

A Pig’s Tale (1994)

Of no relation to the aforementioned Bunny’s Tale, this one is about kids at summer camp. Basically a family-friendly Revenge of the Nerds, with Lisa Jakub as the female lead.

Pound (1970)

When the Eclipse Series set of Robert Downey Sr. films was released, this one was conspicuously absent. Featuring the acting debut of Jr., this story is about dogs in lock-up, though they are represented by humans.

Take Down (1979)

There are plenty of movies about high school football and basketball teams, but here’s one about wrestling. Stars Edward Hermann, Lorenzo Lamas, and Maureen McCormick.

tv toys

Television Toys (1992)

Toys commercials from the ‘50s and ‘60s are featured in this documentary. As far as it got was Laserdisc, from which it’s earned a special cult status.

Threshold (1983)

This medical-sci fi drama is about the development and subsequent transplant of an artificial heart. Donald Sutherland won the Genie award (Canadian equivalent of Oscar) for Best Actor, while co-stars Jeff Goldblum and Mare Winningham received nominations.

Willard (1971) and Ben (1972)

The story of a boy and his rats needs no introduction. Beyond unbelievable, but neither of these iconic films have made it to DVD.

Zooman (1995)

Louis Gossett Jr. stars as a cop investigating a drive-by that killed a young girl, but faces resistance from the neighborhood. Based on the play and adapted to the screen by Charles Fuller.

Review: ‘Daredevil’

Posted on May 26 by Andrew Palladino

The Defenders is easily Netflix’s most ambitious project since it took up producing original content. Four separate shows then coming together for a fifth; has anything like this even been attempted on traditional television? Daredevil is the first leg of this plan, and if it’s to serve as any indication, we’re in for something truly special.

Of course, this isn’t the first time this property has been attempted in the live action form. But if the 2003 film is Batman & Robin, the Daredevil series is The Dark Knight. To put it simply, this is the greatest superhero show ever made and the best offering yet from Marvel Studios.

Matt Murdock (Charlie Cox as an adult, Skylar Gaertner as a child) was blinded at a young age when he saved an elderly man from being hit by a truck delivering chemcicals. Said chemicals are what blinded Matt, but improved his remaining senses to extraordinary levels. This helps a great deal in his nightlife, fighting criminals as a masked vigilante (though he hasn’t yet assumed the Daredevil identity) operating primarily in the New York City neighborhood of Clinton and Midtown West. Or as it’s more commonly known (and thematically fitting), “Hell’s Kitchen.”

By day however, he’s on the other side of things as a defense attorney. He just started a practice with partner Foggy Nelson (Elden Henson) specifically to defend the innocent. Their first client is Karen Page (Deborah Ann Woll), the secretary of a construction company who stumbled upon criminal activity and was framed for murder. They manage to clear her and she goes to work for them, but they land on the radar of Wilson Fisk (Vincent D’Onofrio), the crime lord behind it all.

This is not a “villain of the week” type of show, but an ongoing plot much like The Wire. And also like that show, all sides are given nuanced portrayals. From the start we get to see our big bad at his most vulnerable, such as on dates and in quiet moments of reflection. For the hero, there is a primary focus on morality in a way that other superhero tales lack, particularly when it calls into question the proper channel through which to take action (i.e. in the courtroom or on the street). Matt’s religious identity is explored too, with numerous scenes devoted to his conversations with his priest Father Lantom (Peter McRobbie).

The main cast of characters also consists of Claire Temple (Rosario Dawson), a nurse and ally of Matt who patches him up after his battles; Ben Urich (Vondie Curtis-Hall), a reporter that helps the firm in uncovering the truth; James Wesley (Toby Leonard Moore), Fisk’s right hand man; Leland Owlsley (Bob Gunton), a white collar criminal in league with Fisk; Vanessa Marianna (Ayelet Zurer), Fisk’s love interest; and Stick (Scott Glenn), Matt’s (also blind) mentor who trained him as a child. Guest stars include reliable New York-based character actors like Peter Gerety, Domenick Lombardozzi, and Phyllis Somerville.

Though given a TV-MA rating and indeed a very mature show, it isn’t gratuitous. The profanities don’t exceed the s-word and nudity is practically non-existent. The violence is brutal and effective, but not overly gory. Still, it’s dark subject matter and treated in kind.

The actors all bring their A-game for this series, which should serve as breakthroughs for Cox and Woll. However, special attention needs to be given to D’Onofrio. It should surprise no one familiar with him that he does excellent work here, but his Fisk (not once called “Kingpin”) is the best live action realization of a comic villain yet. I just hope that award voters will give this show a fair shot and not dismiss it as basic genre fare.

With A.K.A. Jessica Jones, Luke Cage, and Iron Fist still to come before The Defenders, Netflix and Marvel have set the bar very high. For themselves and for all live action superhero works hereafter, small screen or big.

And the Oscar Doesn’t Go To: Actors, Actresses, and Directors That Have Surprisingly Never Been Nominated

Posted on February 22, 2015 by Andrew Palladino

And the Oscar Doesn’t Go To: Actors, Actresses, and Directors That Have Surprisingly Never Been Nominated

When the Oscar nominations were announced last month, the following names were not among them. Nor were they ever called in any previous year.

These are five actors, actresses, and directors that you may be very surprised to learn have never even been nominated for an Academy Award. This year might have taken Michael Keaton and Patricia Arquette off the list, but there are still more waiting for their time to shine.

The conditions for this list are that the person is still alive and active, and that they have never been nominated in any category at all.

-ACTORS-

Kevin Bacon

Yes, as in “Six Degrees of.” Bacon has been in the casts of notable Oscar contenders like Apollo 13 and Mystic River, but their nominations have never extended to him. He earned high praise for his turns playing against type in pictures such as Murder in the First and The Woodsman, but no Academy acknowledgment.

Jim Carrey

Jonathan Cane of Tailslate.net once said: “That Jim Carrey is Oscarless, is nothing short of a cinematic travesty.” His performances in Man on the Moon and The Truman Show earned him Best Actor Golden Globes, and a nomination from them for Eternal Sunshine of the Spotless Mind. That one did get a number of Oscar nominations, but not for Carrey.

Richard Gere

Days of Heaven, American Gigolo, An Officer and a Gentleman, Pretty Woman. All have stood the test of time as iconic films, most received Oscar attention, none of said attention given to Gere. Most recently, his role in Arbitrage earned him critical recognition and a Golden Globe nomination, but again no Oscar nod.

Martin Sheen

Sheen was also ignored as the lead of a ‘70s Terrence Malick touchstone, Badlands in his case. But the most surprising overlook is for Apocalypse Now, Francis Ford Coppola’s masterwork that ranks up there with the two Godfathers. He is still impressing in film however, such as in The Way, and has won a Golden Globe and an Emmy for his television work.

Donald Sutherland

While nowadays it gets slagged for being the film that bested Raging Bull, Ordinary People was the Oscar champion of its year. It’s puzzling how it could have had nominations (and eventual wins) in nearly all major fields except for its lead actor. M*A*S*H, Klute, and Threshold among others also had potential for him.

-ACTRESSES-

Claire Danes

Danes is one of the most well-renowned actresses for television work, having so far collected 4 Golden Globes and 3 Emmys for Homeland, Temple Grandin, and My So-Called Life. But she has yet to parlay that success to her big screen roles. Of those she has had some prestigious ones like Shopgirl, Little Women, The Rainmaker, and the title part in Romeo + Juliet.

Mia Farrow

Despite the lengthy partnership, it seems Woody Allen wasn’t able to do for her what he did for Diane Keaton. Farrow is a Golden Globe winner as Most Promising Newcomer in 1965 and was nominated 8 other times, including Rosemary’s Baby, John and Mary, Broadway Danny Rose, The Purple Rose of Cairo, and Alice. Most recently she worked with Todd Solondz in Dark Horse.

Isabelle Huppert

Huppert has been working steadily for decades across the globe. She holds the records for the most Cesar nominations (14, winning once for La Cérémonie) and the most films in official competition at Cannes (16; won Best Actress twice for The Piano Teacher and Violette, and is only one of four women to do so). How she’s eluded Academy attention is a mystery.

Scarlett Johansson

This is probably the most perplexing entry. Year after year she turns up in films that should net her nominations, but it never happens. Ghost World, An American Rhapsody, Lost in Translation, Girl with a Pearl Earring, Match Point, The Prestige, Vicky Cristina Barcelona, Don Jon, even all the way back to Manny & Lo.

Jennifer Jason Leigh

Leigh had a very similar career trajectory in the ‘80s and ‘90s. She received numerous awards and nominations with Last Exit to Brooklyn, Single White Female, Georgia, Short Cuts, Mrs. Parker and the Vicious Circle, Dolores Claiborne, The Machinist, and Margot at the Wedding, but zilch from the Academy. But as one of Quentin Tarantino’s Hateful Eight, she may yet get her chance.

-DIRECTORS-

Larry Clark

Clark started out as a photographer and has had his work showcased in prominent museums. His shift to filmmaking has yielded works that have been highly controversial but highly riveting and relevant such as Kids and Bully. Not to mention Ken Park, a film that’s banned in Australia and unseen in the states since a festival showing.

David Cronenberg

Be it fantasy/horror/sci fi like Videodrome, The Fly, and Naked Lunch, or provocative drama like Dead Ringers, M. Butterfly, and Crash, Cronenberg has established himself as one of a kind. Last decade he turned to gritty crime drama with A History of Violence and Eastern Promises, both of which did pick up other nominations.

Brian DePalma

DePalma has faltered quite a bit (Redacted, anyone?), but when he’s on his game, he delivers in spades. Carrie and The Untouchables were both multiple Oscar nominees (and a win for the latter) but not for direction. Other films of his such as Sisters and Blow Out that featured top-notch direction from him were similarly ignored.

Abel Ferrara

Bridging the gap between Martin Scorsese and Quentin Tarantino, Ferrara has not been as recognized. Works of his such as King of New York and especially Bad Lieutenant showcased great skill. Even his early films that seemed mere exploitation on the surface level like The Driller Killer and Ms. 45 went for deeper themes such as paranoia and insanity.

Jim Jarmusch

A favorite of the Criterion Collection, Jarmusch is one of most prominent auteurs to emerge from the ‘80s. He’s written and directed highly-regarded features like Stranger Than Paradise, Down by Law, Night on Earth, Ghost Dog: The Way of the Samurai, and Broken Flowers, as well as gotten into documentaries with Year of the Horse. No Academy notice for any of it.

Review: ‘Gone Girl’

Posted on October 26, 2014 by Andrew Palladino

Review: ‘Gone Girl’

Now that the fall movie season is underway, the hype machine has gone into overdrive. In the case of Gone Girl, it can for the most part be believed.

It doesn’t measure up to Frantic and much less to The Lady Vanishes, but Gone Girl is a very solid work and definitely superior to recent similar films like Gone and whatever’s being made for basic cable.

It is the day of the fifth anniversary for Nick (Ben Affleck) and Amy Dunne (Rosamund Pike) when the latter disappears. The house shows signs indicative of foul play and the cops (Kim Dickens and Patrick Fugit) are brought in, but then the case goes public in a big way. Amy’s parents (David Clennon and Lisa Banes) are famous for a series of children’s books in which the character is based on their daughter, so the situation garners nationwide news attention.

Intercutting are flashback scenes from Amy’s diary in her voice. We see how the two met and the dating period, through the early part of the marriage, and to their present status.
From there it’s a twist-a-thon through many turns. Some can be easily anticipated, while others are very shocking. It’s all held together well by a script from the author of the novel, Gillian Flynn. This adaptation is a very faithful one; the story remains perfectly intact but so do the bigger themes relating to the media’s effect on the public, the disparities or lack thereof between the haves and the have-nots, and the expectations for husbands and wives in American society.

Director David Fincher is fully in his element. He excellently composes the scenes for maximum effect, heightening the dread and granting levity at the right moments. Along with him here are composers Trent Reznor and Atticus Ross for their third go-round, and again deliver a great score.

Pike is extraordinary; at this stage, it would be an injustice if she doesn’t at least receive a Golden Globe nomination. This wouldn’t be half the film it is if it weren’t for her. Tyler Perry is fantastic as a Johnnie Cochran-esque lawyer who helps Nick play the talk show circuit; it’s a shame there weren’t any courtroom scenes.

Affleck is most often one of the worst things in his movies (especially true of his horrendous and very racist turn in Argo), and this one is no exception. Granted the character is supposed to be something of a bad actor – it’s practically meta when someone else remarks how wooden he is – so he is a good fit in that regard, but he is easily outshined by every other actor.

Unfortunately, there are some other issues as well. Gone Girl suffers a bad case of stupid cop syndrome. As soon as the film ended, I knew of at least a half-dozen obvious clues that went overlooked, and came up with more afterwards. It would be one thing if the characters were meant to be this way, but since the story builds them as competent and driven, it’s a considerable defect.

Also the ending comes as a bit of a letdown. The film loses its thriller rhythm for slow drama, and it’s far from satisfying. This is also why the stupid cop syndrome is so problematic. Because if they were more capable, their findings would change the course of the story and the result would be all the better.

Fincher and Flynn will be working together again on an HBO series. If this effort is of any indication, it has great, great potential. And their next cinematic projects, whether alone and collaborating, can very much be looked forward to.

Review: ‘No Good Deed’

Posted on October 26, 2014 by Andrew Palladino

Review: ‘No Good Deed’

As a horror/thriller fan, I couldn’t help but groan as soon as the logo for Screen Gems appeared. While a few of their films in this genre are pretty good to okay, the rest are really, really bad. No Good Deed, for the most part, shakes out on the okay side. Despite the material being elevated by its stars, there are still a number of flaws.

Colin Evans (Idris Elba) has been incarcerated for 5 years on a manslaughter charge. Although he is suspected of numerous other murders, nothing was ever proven. In front of the parole board, he pleads his case, claiming to have reformed. One board member though doesn’t buy it, and since the decision to grant needs to be unanimous, Colin’s bid is denied. On the ride back, he takes the news as well as one reasonably can, by killing the guards and escaping.

He boosts a car of course, but when night falls and the rain comes down hard, he crashes in the woods and then goes to what’s seemingly the closest house for help. This is where Terri (Taraji P. Henson) lives with her two children, as well as husband Jeffrey (Henry Simmons) who isn’t there at the moment. Terri gives Colin the benefit of the doubt and lets him in until the tow truck that he supposedly called for arrives. However, as is apt to happen in these situations, the friendly façade isn’t kept up indefinitely.

There’s some decent suspense here and it can be brutal at times (though it would have greatly benefitted from an R rating and going all the way), but ultimately it’s too routine, right down to the clichés we should be long past. The heroine makes the same stupid mistakes as so many others before her. And seeing as how this character is established as being a former ADA, it makes no sense for her to act this way.

But that didn’t stop the actors from bringing their A game. Elba is terrific, deftly handling the sociopathic complexity of his role. Matching him at each turn is Henson, which makes it all the more disappointing that her character was shortchanged. Leslie Bibb also shows up as a friend of Terri’s; though she’s great in the part, it’s a little too stereotypical of the horror movie best friend.

Much is being made about an ending plot twist. It’s an unpredictable one, but it does not amount to very much. It doesn’t upend the trajectory of the story in any real manner; the events that play out were going to happen with or without it. Was it something I didn’t see coming? Yes. Was it a game changer? No. Was it worth cancelling screenings for? Absolutely not.

While No Good Deed is nothing exceptional and has errors that could easily have been avoided, fans of the actors owe it to themselves to check it out. As for Screen Gems, this doesn’t do much to help their average, but given how really awful their output in this genre has been, it’s a step in the right direction.

Point of Viewer

Author: Andrew Palladino

Batwoman Movie Announced, Will Be R-Rated

Remembering Ken Howard

Review: ‘Hot Pursuit’

Remembering Roddy Piper

Review: ‘Jurassic World’

Films in Need of a DVD Release

Review: ‘Daredevil’

And the Oscar Doesn’t Go To: Actors, Actresses, and Directors That Have Surprisingly Never Been Nominated

And the Oscar Doesn’t Go To: Actors, Actresses, and Directors That Have Surprisingly Never Been Nominated

-ACTORS-

Kevin Bacon

Jim Carrey

Richard Gere

Martin Sheen

Donald Sutherland

-ACTRESSES-

Claire Danes

Mia Farrow

Isabelle Huppert

Scarlett Johansson

Jennifer Jason Leigh

-DIRECTORS-

Larry Clark

David Cronenberg

Brian DePalma

Abel Ferrara

Jim Jarmusch

Review: ‘Gone Girl’

Review: ‘Gone Girl’

Review: ‘No Good Deed’

Review: ‘No Good Deed’

Follow “Point of Viewer”