THE GRAND BUDAPEST HOTEL
Generally speaking, I'm not one to argue for the inclusion of more foul language and bloody violence in a director's oeuvre, and feel especially awkward doing so a mere week after being bored silly by the endless profanities and exploding squibs in the latest Schwarzenegger flick. But I'll happily make an exception in the case of Wes Anderson, at least based on his most recent outing, The Grand Budapest Hotel. Like all Anderson efforts, this one, too, could be filed in the "precious comic bauble" category, given its deliberately artificial production design and obsessively controlled compositions and overall suggestion of an improv-free zone. Yet this endlessly inventive and funny new work might boast more interior life than any of the writer/director's other live-action achievements, and for that I'm afraid we have to thank the forcible removal of Jeff Goldblum's fingers, and Ralph Fiennes' tendency to drop the F-bomb into every other sentence.
300: RISE OF AN EMPIRE
THE WOLVERINE
MAN OF STEEL
BRAVE
J. EDGAR
SUCKER PUNCH
Friday, September 24, 11:30-ish: I attend a morning screening of You Again, and pretty much know what I'm in for as soon as the Touchstone Pictures logo appears: a brightly lit, jauntily scored, aggressively manic entertainment with plenty of "heart" and no laughs whatsoever. (I half-expect a Tim Allen cameo, but instead get a Dwayne Johnson cameo, which probably should've been more expected.)








