UPDATE: Ben Stiller's Tropic Thunder comfortably edged out Vin Diesel's Babylon A.D. for the top spot this past weekend, bringing in $14.3 million and $12 million respectively. Disaster Movie opened at $6.9 million.
Bolstered by the upcoming Criterion release of Wes Anderson’s Bottle Rocket, I finally took the time to check out the film, and discovered a classic effort that Martin Scorsese has labeled as one of the top-ten films of the 1990s.
The Skinny: As Anderson’s first full length feature, 1996’s Bottle Rocket is an immensely enjoyable and entertaining farce of a heist movie that demonstrates many of the trademarks and quirks that have come to define the Anderson’s films. It features brothers Luke, Owen, and yes even the phantom Andrew Wilson, alongside actors Robert Musgrave and James Caan. The film opens as Owen Wilson’s character Dignan helps Luke Wilson’s Anthony to “break out” of a voluntary-stay mental care facility. After meeting up with mutual friend Bob, played by Musgrave, the threesome proceed to set out on a series of misadventures in their efforts to become big-time criminals. The film deals with a number of themes ranging from brotherhood and love, to depression, and carries on with the same innocent sense of humor that shines throughout all of Wes Anderson’s writing. Bottle Rocket is easily the most accessible of any of Anderson’s films, and can therefore serve as both a perfect introduction for Anderson neophytes, or as a refreshing change of pace for dedicated fans.
+/- Full Review
To say that the character Ant-Man is obscure in the minds of the general public is an understatement. In a recent interview with Wizard Universe director Edgar Wright reaffirmed his commitment to bringing his "A-game" for one of marvel's "D-list" heroes.
Currently working on the film's second draft, the Hot Fuzz and Shaun of the Dead director admits, "The whole raison d'etre of the piece for me and my thing has always been to take something that would seem to be uncool and make it really cool and that's certainly the case with British cops in Hot Fuzz. To take the most seemingly kind of underwhelming concept and make something really cool out of it—I always liked that premise." His pedigree speaks for itself, but I'd say he's got his work cut out for him.
There have been three Ant-men in the history of Marvel's cannon and Wright's script purports to include all three of them via a series of flashes between the 60s and 80s. Ant-man is tentatively set for a 2011 release.
Sony pictures has announced that a big screen adaptation of Wildstorm comics' The Boys is in the works. The super-violent series follows the exploits of a squad of superhero CIA agents who are charged with the duty of keeping watch on other superheroes, and using deadly force whenever necessary.As interesting as this property sounds, I'm very nervous as to whether or not the pro-PG13 Dark Knight copycat machine will allow it to be made in the horrifically R-rated fashion that the materials calls for. And second, writers Matt Manfredi and Phil Hay of Aeon Flux and The Tuxedo are handling the adaptation, which doesn't bode well for my confidence either. No director has been attached the project.
All misgivings aside, this will be an interesting one to follow as it progresses. Here's hoping for a pleasant surprise.
Hot on the tales of seeing Watchmen and Star Trek, the director/actor/producer extraorinare Kevin Smith confirmed yesterday that he has seen a cut of Peter Jackson and Guillermo del Toro's The Hobbit.Speaking of del Toro's directing Kevin said, "to say that it was masterfully done would be a gross understatement. This is the film of the fucking century. Somewhere J.R.R. Tolkien just blew a load in his grave!"
Smith had this to say about his early viewing of the film:
"You know, it just goes to show that great films really make themselves. Even though the script hasn't been written and the thing doesn't even launch for three more years, it's already a masterpiece. It's just a shame that hollywood has to operate on such bullshit bloated production schedules you know? Just let the people see the goddamn movie already!"
UPDATE: Mr. Smith has since been hospitalized after suffering a major stroke. Doctors report discovering an inoperable brain tumor and his family has confirmed that he's been suffering severe hallucinations for weeks.
"We'd like to find a common ground that represents Spike's vision but still offers a film that really delivers for a broad-based audience. We obviously still have a challenge on our hands. But I wouldn't call it a problem, simply a challenge. No one wants to turn this into a bland, sanitized studio movie. This is a very special piece of material and we're just trying to get it right."He went on to say that the live-action animatronic wild things that Jonze had intended on using had just not worked in context of filming in the Australian jungle and that the film was being redone with CGI. "CG can always look right," he said.
Jonze and Where the Wild Things Are has always struck me as an odd couple. It's a bit confusing that any studio would expect the director of movies like Adaptation (2002) and Being John Malkovich (1999) to pump out a family movie with wide-spread appeal. The worst part is, while the original vision might not have been for everyone, I think I might have really liked it. I'm hopeful for a positive ending the this whole debacle, but lamenting the fact that I'll never get to see it in its original form.
I think I have a relatively open and accepting view of most movies. I like my fair share and hate quite a few as well. It takes a truly unique film for me to just flat out refuse to acknowledge its existence. I begrudgingly open long-closed wounds and have assembled a list of the films that I simply refuse to acknowledge. I am, and the world is, better off just forgetting these films.
9) Batman and Robin
The more Christopher Nolan Batman films that come out, the more I want to forget this movie. The casting is abysmal, the script is preposterous, the sets look like shitty amusement park rides, and we are subjected to the Governor of California uttering such famous lines such as these. (Youtube video) . I think you can all see why I like to forget this movie.
8) GodFather Pt 3
The crippling end to an epic movie franchise. This is the theatrical equivalent to Cooper Manning. You know, the Manning brother without a super bowl ring.
7) Super Babies: Baby Geniuses 2
A movie about super intelligent babies that can talk. This is the sequel. It makes me uncomfortable to think of the people that thought this was a good idea, and oddly enough it stares Jon Voight.
6) Indiana Jones and Kingdom of the Crystal Skull
From CGI groundhogs to ridiculously helpful monkeys, this movie drips with absurdity. Not only does Indiana Jones survive a nuclear explosion, he does so while hiding inside a lead-lined refrigerator which is magically propelled to a safe distance, even though everything else within the blast zone, lead or otherwise, is completely vaporized. Shia LaBeouf is supposed to be a 50s greaser a la Rebel Without a Cause, but he comes off as a bi-curious punk while Cate Blanchett portrays one of the most boring villains ever, who may have psychic powers, although she never actually gets them to work. And don't even get me started on the ending.
5) Every Land before time after the first one
The dinosaurs are going extinct in the first one, they stretch that out into 13 movies. Seriously, 13 movies, I looked it up.
4) Hulk (Ang Lee)
Never has any movie ever made me yearn for a low-budget 70’s television show more. At least the TV show had good stories and at least one heart warming moment per episode. Ang Lee is quite possible the only man of earth that can make a movie based on a giant green monster wreaking havoc and blowing stuff up so utterly boring. He failed to make the most destructive superhero at all exciting. Impressive in its own regard I suppose. I am just happy I can replace this image of the hulk with the 2008 Edward Norton reboot. Norton’s portrayal may not be perfect but it's enough to get me to forget this monstrosity.
3) Charlie and the Chocolate Factory (remake)
What a cinematic cluster fuck. Spiderman 3 took a compelling narrative that had been building over two fairly good installments and completely tore it to shreds for the sake of a toy line that needed as many villains as possible. Not only did this movie take the Goblin plot line, which had been set up for a dramatic conclusion, and turn Harry Osbourne into a big douche bag on a flying snow board, but it absolutely gutted the venom story line, painfully forcing venom into the movie at the last minute via studio intervention. Also, Peter Parker has a dance scene.
This movie does not exist
Friends Anthony and Dignan, played by brothers Luke and Owen Wilson respectively, serve as the central characters of the film, while third friend Bob exists on the periphery of their three-man “team”. Anthony is a twenty-something who checked himself into a mental facility upon the realization that he was completely miserable with the state of his life and utterly hopeless. His character is recovering gradually from his bout with depression, but is actually a closet idealist, as illustrated by his love-at-first-sight affection for Inez, the Paraguayan maid of a hotel where the three stay. Dignan is a fundamentally insecure guy who is prone to jealousy and covers up for it by being extremely energetic and over-the-top. He desperately wants to be the mastermind of the group, but his ridiculous schemes hold nothing but empty promises that usually end up fucking things up for one or more of the participants. Bob has been beat up and degraded by his older brother, played by Andrew Wilson, for his entire life and desperately wants to be a member of the group, but his paranoia leads him to suspect the other two of wanting to cut him out of the deal at any given opportunity. His is drafted as the group’s getaway driver, as he is the only one that owns a car.
The themes of Bottle Rocket are largely consistent with the hallmarks of Wes Anderson’s works, but with a few key differences. While the main characters are all damaged and fragile in their own way, the film lacks the sense of tragedy displayed in many of Anderson’s other films. However, sympathy for the characters is by no means diminished, as the woes that befall them are ultimately much more grounded than the extreme absurdity of later efforts like The Life Aquatic with Steve Zissou. Of course, that’s not to say that the plot doesn’t have it’s moments of delightful absurdity. As to the film’s sense of humor, Anderson’s use of understatement is masterfully intact. In one the opening sequences Luke Wilson explains to a sorority-type girl the powerful motivations and realizations that lead him to seek professional help, only for her to respond, “you’re really complicated aren’t you?” He replies, “I try not to be.” One other thematic constant of Anderson’s films that makes an appearance is the respected middle-aged male who turns out to be a complete fraud. Here the character is James Caan’s Mr Henry, who is the owner of the lawn and landscaping service that serves as the cover for the criminal organization from which Dignan draws all of his inspiration. Interestingly, one Anderson staple missing from this story is the prevalence of smoking, and an escapist embrace of drug use.
In terms of the cinematography and production style employed in Bottle Rocket, it’s much the same story in that many of the established Anderson elements are present, but not all. Anderson’s pension for unique staging was prevalent from the first scene, and he utilizes close-ups and quick cuts throughout the film in order to create a playful and dynamic rhythm to all of the sequences. This sense of rhythm and style is further buoyed by Anderson’s oddball music selection, which is just a sharp here as ever. Missing is the vivid pastel color palette of his later work, but this can be most easily explained by a comparatively small budget. However, fear not, as the use of Futura Bold font for all credits is present and accounted for. (sigh of relief)
Bottle Rocket is a refreshing look back to the Wes Anderson of yesteryear, and a satisfyingly entertaining romp to boot. Many critics of Anderson have felt that his films have become progressively more bizarre since Rushmore, and that his characters have become less and less relatable. While this criticism is probably fair, I have continued to be a fan of his work through last year’s Darjeeling Limited, and will continue to be until some point in the future when he actually goes fucking crazy. And even then I’ll probably still give him a chance. Bottle Rocket is not only Anderson at his most unfiltered, but perhaps his most human as well, and is therefore an easy recommendation to any fan of quality cinema.