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items tagged with Martin Scorsese

He Be Back: "Terminator Genisys," "Magic Mike XXL," and "Me & Earl & the Dying Girl"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2015-07-02 16:18:54

Arnold Schwarzenegger in Terminator GenisysTERMINATOR GENISYS

Following some requisite, necessary backstory, Terminator Genisys opens in 2029 Los Angeles, where resistance leader John Connor (Jason Clarke) transports fellow revolutionary Kyle Reese (Jai Courtney) to 1984, where he’s to hopefully prevent global apocalypse and protect John’s mother Sarah (Emilia Clarke) from a murderous robot (Arnold Schwarzenegger). Upon arriving, however, Kyle finds that Sarah doesn’t need saving and the robot isn’t murderous, so off they go to 2017, where the planet is still imperiled, and John Connor himself proves to be the source of the planet’s eventual ruin. After one of these whisks through the decades, Kyle says, “Time travel makes my head hurt,” and time-travel movies generally make my head hurt, too. But for a fifth installment in an increasingly confounding series, this particular time-travel movie is actually a fair bit of fun.


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Winged Crusader: "Birdman"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2014-11-16 21:51:00

Michael Keaton and Edward Norton in BirdmanBIRDMAN

Hands-down the most technically audacious backstage farce ever attempted, Alejandro González Iñárritu’s Birdman finds its director in a cheeky, playful frame of mind. The movie’s many miracles pretty much start right there, because who knew that Iñárritu was even capable of a cheeky, playful frame of mind?


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Under the Streetlamp: "Jersey Boys" and "Think Like a Man Too"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2014-06-22 20:41:03

Vincent Piazza, Erich Bergen, John Llyod Young, and Michael Lomenda in Jersey BoysJERSEY BOYS

Jersey Boys, Clint Eastwood’s film version of 2005’s still-running Broadway smash, is a big, bizarre, cornball, clever, terrible, wonderful movie. It’s hard to fathom what, beyond its inherent appeal, made Eastwood want to take on the project; this bio-musical about 1960s pop sensations the Four Seasons seems so clearly designed for Scorsese that’s it’s almost some kind of joke that it instead wound up in the hands of a man who, stylistically and temperamentally, is Scorsese’s polar opposite. Yet somehow, astonishingly, the damned thing works. Its parts may be stronger than the whole – at least if you’re allowed to cherry-pick the parts – but the film is affecting and entertaining and alive, and exudes more sheer joy than any other title on Eastwood’s 43-year directing résumé.


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Airport '14: "Non-Stop" and "Son of God"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2014-03-01 19:02:44

Liam Neeson in Non-StopNON-STOP

Every Academy Awards season, the idea of adding a Best Casting category appears to gain some traction among film journalists and professionals. (This past autumn saw the limited release of a documentary – Tom Donahue’s Casting by – devoted to the subject, and Woody Allen, whom one would’ve thought indifferent to the Oscars at best, even wrote an open letter to the Hollywood Reporter in support of a casting trophy.) I’m personally fine with restricting the ceremony to the two dozen categories we do have, but if such recognition were to be included, voters could do worse than to consider Amanda Mackey and Cathy Sandrich Galfond – casting directors for the enjoyably ludicrous Non-Stop – for the prize. To be sure, it doesn’t take much wit to suggest that Liam Neeson play a grieving alcoholic with a bad temper and a gun. But casting, as two beleaguered flight attendants, 12 Years a Slave’s abused slave Patsey opposite Downton Abbey’s rigid Lady Mary? Now that’s witty.


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Stocks and Stoned: "The Wolf of Wall Street"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2013-12-30 02:20:24

Leonardo DiCaprio in The Wolf of Wall StreetTHE WOLF OF WALL STREET

The Wolf of Wall Street is Martin Scorsese’s three-hour black comedy about the grotesquely indulgent life of felonious stock trader Jordan Belfort, and Leonardo DiCaprio gives a ferociously alert performance as the title character, even when, in a scene of perfectly executed physical slapstick, a Quaalude high gone wrong leaves him nearly, and hilariously, immobile. The movie is filled with memorable set pieces and blisteringly profane dialogue, and several supporting actors – Kyle Chandler and Matthew McConaughey especially – are in utterly spectacular form. There’s filmmaking energy, even bravado, on display in just about every scene. And after dozens of releases in a career spanning more than four decades, it’s the first Scorsese picture that I’ve ever actively hated.


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