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items tagged with Vincent D Onofrio

Dino Might: "Jurassic World" and "D-Day: Normandy 1944"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2015-06-14 16:46:30

Chris Pratt and Bryce Dallas Howard in Jurassic WorldJURASSIC WORLD

Hopefully it won’t happen for many, many years. But when Steven Spielberg eventually passes away, will any of us be allowed to notice?


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Hawaiian Punch: "Aloha," "San Andreas," and "Far from the Madding Crowd"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2015-05-31 20:59:32

Bradley Cooper and Emma Stone in AlohaALOHA

On three separate occasions this past weekend, after mentioning that I’d seen Cameron Crowe’s Aloha, I had friends or family members reply with some variant on “Ugh, how bad was it?” That’s usually the response I get after telling people I just came back from the latest Happy Madison flick or Paranormal Activity: Yup, We’re Still Churning These Out. But to hear that kind of pitying condolence regarding a new Crowe endeavor was troubling. Sure, the reviews were largely dreadful, and the previews leaned toward the achingly twee, and the movie’s reputation in the hacked Sony e-mails (“the script is ridiculous”) didn’t help matters. Beyond all that, though, is the collective disappointment of Vanilla Sky, Elizabethtown, and We Bought a Zoo so pervasive and infuriating that it overwhelms the memory of Say Anything ... , Jerry Maguire, and Almost Famous?


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Bibbidy-Bobbidi Boon: "Cinderella" and "Run All Night"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2015-03-14 22:04:07

Richard Madden and Lily James in CinderellaCINDERELLA

Given its sumptuous production design and its array of multi-hued gowns so breathtaking that costumer Sandy Powell should just be sent her inevitable Oscar via express mail, Disney’s new, live-action Cinderella has to be the most opulent deeply unnecessary movie ever made. Somewhat unexpectedly, it’s also one of the more satisfying deeply unnecessary movies ever made. Director Kenneth Branagh’s fairytale adaptation, with its script by Chris Weitz, may have no reason to exist beyond the obvious mercenary one, but it’s strong and heartfelt and quite beautifully acted – proof that even in the revisionist age of Maleficent, it’s not always necessary to re-invent the wheel.


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Period Piece: "Carrie," "The Fifth Estate," and "Escape Plan"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2013-10-20 22:31:31

Chloe Grace Moretz in CarrieCARRIE

(Author’s note: Spoilers will abound. Given that the movie under consideration is an oftentimes word-for-word updating of a 37-year-old work, I hope I’ll be forgiven for them.)

As remakes of beloved genre classics go, I suppose there’s little point in being bothered by the new Carrie. Director Kimberly Peirce’s outing, after all, is easy to sit through, smartly staged, generally well-acted, and, in most regards, incredibly faithful to Brian De Palma’s 1976 original (which was, itself, reasonably faithful to Stephen King’s debut novel of 1974). The CGI effects are pretty weak, and the movie isn’t even slightly scary, and considering that nearly all sentient beings know what happens to poor Carrie White at the prom – with the movie’s entire advertising campaign based on post-prom imagery – there’s almost nothing in the way of storyline surprise, but whatever. It’s fine.


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Rescue Mission Impossible: "Argo," "Seven Psychopaths," "The Perks of Being a Wallflower," and "Sinister"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2012-10-15 05:28:26

John Goodman, Alan Arkin, and Ben Affleck in ArgoARGO

It sounds like an all-too-Hollywood idea for a high-concept suspense thriller: A sextet of State Department employees are trapped in Iran, and their only hope for escape lies with an ingenious CIA official who plans to free the Americans by having them pose as a location-scouting team for a Canadian science-fiction movie. Yet within its first minutes, director/star Ben Affleck’s Argo – based on a recently declassified chapter of the Iranian hostage crisis of 1979-80 – registers as terrifically, nerve-rackingly authentic, even if the film’s most enjoyable elements are, in truth, as Hollywood as they come.


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