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items tagged with Peter Dinklage

McCarthyism ... the Good Kind: "Win Win," "Fast Five," and "Hoodwinked Too! Hood Vs. Evil"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2011-05-02 13:33:21

Paul Giamatti and Alex Shaffer in Win WinWIN WIN

When I say that writer/director Tom McCarthy’s Win Win could easily serve as the inspiration for a long-running TV series, I don’t mean it in any way insultingly, partly because our current small-screen options are, in general, vastly superior to our big-screen ones. Mostly, though, it’s because this serious-minded comedy is so teeming with nuanced, empathetic characters and complicated yet wholly plausible situations and circumstances that you want to luxuriate in Win Win’s universe for far longer than the movie’s too-brief 100 minutes – like, for an hour a week over several seasons.


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Not So Much, No: “Kick-Ass” and “Death at a Funeral”
Written By: Mike Schulz
Section: Movies

Category: Reviews

2010-04-19 13:48:01

Aaron Johnson in Kick-AssKICK-ASS

Considering that its climax finds 46-year-old actor Mark Strong beating the holy hell out of 13-year-old Chloë Grace Moretz - who was 11 during filming - I didn't hate the comic-book adaptation Kick-Ass the way I thought I would. I actually hated it in a completely different way.
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Battle of the Blands: "The Chronicles of Narnia: Prince Caspian" and the IMAX "Sea Monsters"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2008-05-21 08:24:40

The Chronicles of Narnia: Prince CaspianTHE CHRONICLES OF NARNIA: PRINCE CASPIAN

All things considered, The Chronicles of Narnia: Prince Caspian is pretty good, and on a purely technical level, it's more than pretty impressive. In his second stab at C.S. Lewis, director Andrew Adamson has fashioned a continuation that's both darker and lighter than 2005's The Lion, the Witch, & the Wardrobe - the film is admirably grim for a Disney outing, and unlike its predecessor, it maintains a sense of humor throughout - and most of its visuals are extraordinary. Yet I still can't build up much enthusiasm for it, because like many recent works of its kind (including The Golden Compass and the last two Harry Potters), the movie wows you with everything except personality. Prince Caspian is epically scaled, gorgeous, and hollow - a Pirates of the Caribbean without Johnny Depp.


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Mike’s Online-Only Movie Reviews - 2008
Written By: Mike Schulz
Section: Movies

Category: Reviews

2008-05-01 11:06:16

The AlpsThe Alps (not rated) - The people have chosen, and the people chose good. Last fall's winner of the Putnam Museum's "Everyone's a Critic" series - which follows climber John Harlin's attempts to scale the north face of the Eiger mountain, where his father perished in 1966 - is such a breathtaking spectacle that watching it makes you a little dizzy; not from the Eiger's treacherous inclines and precipitous drops, which are (enjoyably) vertigo-inducing enough, but from the dazzling visual rush provided by director Steve Judson and his remarkable team of camera operators. Judson re-creates Harlin's ascent with jaw-dropping skill - you'll fight the urge to blurt out "How on earth did they film that?!" repeatedly during The Alps' 45-minute running length - and he and his crew photograph the Swiss mountain ranges with crystalline perfection; I'm not sure any movie has ever looked better in IMAX format. When the film turns to matters of geology and the historic make-up of the mountains, things get a little stodgy, but you're quickly returned to the awe-inspiring vistas, an unexpectedly touching human element courtesy of Harlin and his understandably worried wife and daughter, and, believe it or not, a series of marvelously employed Queen tunes that - in this format, at least - suggest what the elevator ride to heaven would sound like.


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The 2004 Alternate Oscars
Written By: Mike Schulz
Section: Movies

Category: Feature Stories

2004-02-25 00:00:00
For the past couple of years, as a prelude to the Academy Awards presentation (scheduled to air on ABC at 7 p.m. on Sunday, February 29), I’ve devoted an article to re-constructing the top six Oscar categories, replacing what I felt were unworthy contenders with my own personal preferences; this enabled me to extoll the virtues of the deserving while also allowing me to whine, “Why the hell didn’t Naomi Watts get noticed for Mulholland Dr.?” And before this year’s contenders were announced in late January, I was already writing my annual article in my head: “Where’s Johnny Depp’s nomination? And what about Keisha Castle-Hughes? And how about Marcia Gay Harden and Shohreh Aghdashloo and Fernando Meirelles?” And then what did the Academy go and do? They nominated them all.
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