items tagged with Dermot Mulroney

CHRONICLE

Part superhero (and -villain) origin fable and part teen-angst melodrama, Chronicle concerns three high-schoolers who venture down a mysterious hole in the Earth and emerge with telekinetic powers, and the best thing about the movie is that its leads subsequently behave just as high-schoolers likely would in such a situation.

THE GREY

Whenever I watch a movie such as Alive or The Thing or director Joe Carnahan’s The Grey – especially in January – I ask myself the same question: Is it worth it? I know about cinematic sleight-of-hand, of course, and that the performers and crew aren’t enduring anywhere near the nightmarish conditions suffered by the characters on-screen. I also presume that a fat Hollywood paycheck instantly makes any location shooting, including The Grey’s outdoor shoot in wintry British Columbia, a lot more bearable. But still, all that ice and wind and trudging through thigh-deep snow ... . Is any movie experience worth spending three months in fear of losing your digits to frostbite?

J. EDGAR

Pretty much everything that’s bothersome about director Clint Eastwood’s biographical drama J. Edgar is only bothersome for the movie’s first half hour. That may sound like a lot of time spent bothered. But the film does run 135 minutes, even its weakest moments are by no means awful, and in the end, it emerges as a really fine work with a really fine central performance. So as a nod to J. Edgar (the movie, not the man), let's just get it out of the way and address its failings at the start.

MUNICH

He may be revered – and often reviled – for his sense of childlike wonder, but no Hollywood director shoots scenes of violence with the no-frills grimness of Steven Spielberg. In the helmer’s taut, ambitious Munich – which focuses on Israeli retribution for the murders of nine of their athletes at the 1972 Olympics – Spielberg, as he did in Schindler’s List and Saving Private Ryan, doesn’t distance himself from the carnage on the screen, and doesn’t let us distance ourselves, either. There’s nothing self-consciously “artistic” about the numerous killings we’re shown here; bullets tear through flesh with terrifying force, bombs rip limbs apart, and most of these atrocities are portrayed with an almost shocking matter-of-factness – we recoil from the violence because Spielberg’s presentation of it is so intentionally artless. (The murders in Munich come off as almost painfully realistic.) Yet although Munich is a brutal work, it isn’t brutalizing; Spielberg is too much of a natural showman – and natural entertainer – for that. The film is a riveting and intelligent political thriller, and although the director can’t fully rein in his expectedly sentimental impulses, Munich is probably Spielberg’s strongest directorial accomplishment in more than a decade. It’s a gripping and, for Spielberg especially, refreshingly tough-minded piece of work.

THE DUKES OF HAZZARD

Since there’s exactly one entertaining scene (preceded by one entertaining cutaway) in the entire film version of The Dukes of Hazzard – one sequence in this shockingly wrong-headed comedy that’s the least bit amusing – let me just save you the $10 and describe it now: For reasons I’ve gone to great lengths to forget, Bo (Seann William Scott) and Luke (Johnny Knoxville) decide to make a pilgrimage to Atlanta, so they hop in the General Lee and high-tail it out of Hazzard County, speeding along their dirt road with “Yee-haaaaw”s a-blazin’. Cut to the freeway in Atlanta, with the General Lee stuck in traffic. (A nice moment.) As they wait, vehicles pass them on both sides; half of the drivers and passengers greet the boys with hearty “Way to go! The South will rise again!” admiration, and the other half sneer at them with “You’re gonna be late for your Klan meeting, rednecks!” revulsion. It’s unclear whether the boys ever realize that the source of the travellers’ contention is the trademark Confederate flag on the General Lee’s roof.