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items tagged with David Cronenberg

Sex? Drugs? Rock ’n’ Roll!: "Get Him to the Greek" and "Splice"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2010-06-06 21:12:49

Jonah Hill and Russell Brand in Get Him to the GreekGET HIM TO THE GREEK

It probably says less about the movie than our current movie culture when I say that, for my money, Nicholas Stoller's Get Him to the Greek is the smartest, shrewdest, and overall best film I've yet seen in 2010. The competition, after all, is in no way fierce; if forced to compose a 10-best list at this admittedly early point in this regrettably weak year, I'd include Stoller's raunchy comedy, Roman Polanski's The Ghost Writer, and then respectfully plead the Fifth.


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Tit for Tats: "Eastern Promises" and "Good Luck Chuck"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2007-09-26 08:25:56

Vincent Cassel and Viggo Mortensen in Eastern PromisesEASTERN PROMISES

As I generally try to, I held off on reading reviews of David Cronenberg's Eastern Promises until I'd actually viewed the movie. (Admittedly, I occasionally fail at this task.) I was well aware of its hype - the film received the top prize at the recent Toronto International Film Festival - but also leery of it, as Cronenberg is a critics' darling whom I admire but whose works I usually don't. (Despite titles such as A History of Violence, eXistenZ, and Naked Lunch, the last movie of his I genuinely adored was 1988's Dead Ringers.)


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Pulp Friction: "A History of Violence," "Oliver Twist," and "Serenity"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2005-10-05 00:00:00

Viggo Mortensen in A History of ViolenceA HISTORY OF VIOLENCE

I was completely rapt by the austerity and dread of David Cronenberg’s A History of Violence – for the first five minutes. In the film’s beautifully sustained opening sequence, we watch as two men – one middle-aged, in a black suit, and another, younger and sporting a T-shirt and jeans – exit their motel room. They load up their car, and the older gentleman drops off the room key while the other – slowly, slowly – pulls the car up to meet him. Moments later, the older man returns, having had, he says, “a little trouble with the maid.” But before they leave, they need water. The younger man enters the motel office to replenish their supply, and as he does, we finally see the image that Cronenberg has thus far denied us, and that we in the audience have properly anticipated – the motel manager and maid lying dead in pools of blood. A frightened little girl, gently stroking the hair of her doll, enters the scene and makes eye contact with the younger killer. And the man, smiling gently, tells her not to be afraid, slowly aims his revolver at the girl’s head, and fires.


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