‘the Family,’ ‘insidious: Chapter 2′ And Other New Movies, Reviewed

On September 14, 2013 by admin

10 reasons sports movies were the best in the ’90s


Jessica Forde – Married mobsters Maggie (Michelle Pfeiffer) and Giovanni (Robert De Niro) are relocated to France along with their troubled children as part of the witness protection program in the action comedy The Family. The Family (R) The Blakes think theyre vigilantes, but in most other movies theyd be the bad guys. Of course, there are worse guys, including a hit man who plans to collect the $20 million bounty on Gio and companys heads. That portion of the plot gives the story a little jolt, but mostly the film follows along aimlessly as the Blake family fails at fitting in. Stephanie Merry 1/2 Insidious: Chapter 2 (PG-13) In addition to Poltergeist, Insidious: Chapter 2 cribs from The Shining , The Exorcist , Psycho and other films. If it has to steal, at least its from some of the best. The problem is, its also reminiscent, in parts, of Mommie Dearest and, as a friend of mine pointed out, A Reflection of Fear . (Yeah, I had to look up that 1973 B movie, too. Dont Google its plot twist if you dont want a major spoiler.) Michael OSullivan Money for Nothing (Unrated) the film could benefit from a bit more laymans language. Financial expert Peter Atwater nicely describes the Feds original mission as one of alternately applying the gas pedal and brakes to the U.S. economy, through a combination of raising or lowering interest rates and increasing or decreasing the money supply. Such easy-to-understand imagery is in short supply, however, when the film gets into the minutiae of quantitative easing and puts . (If you have to ask, trust me, you dont want to know.) Michael OSullivan The Patience Stone (R) For a mostly quiet story marked by restraint, the ending comes across as artificial. Yet that doesnt temper the power of a memorable movie about one womans journey from cautious bystander to agent of her own destiny. Stephanie Merry Populaire (R) On one superficial level, its like My Fair Lady , with Louis as Henry Higgins and Rose as Eliza Doolittle. On another, shes the one schooling him.

This film is rated R for the violence that occurs with Laudas German Grand Prix crash (and others), for language and for some nudity. Its a beautifully crafted story of Lauda, who raced with his head and stopped at nothing to win and Hunt, the hedonistic and freewheeling playboy who had to throw up before he got into a racecar. Casting for this film is brilliant with Daniel Bruhl cannily playing Lauda and Chris Hemsworth channeling Hunt, who passed away of a heart attack in 1993. The two actors fulfill the duty of portraying real characters, their skills enhanced by the spare dialog and clever direction by Peter Morgan. (L to R): Alain Prost, with Niki Lauda, Mercedes Non-Executive Chairman Photo by: XPB Images For those of us entwined in motorsports, this is one of the few true renditions of the sport that tugs at our hearts and soul. The action is exceptionally good, the archival films look fabulous and, while not totally accurate, the story pretty much shows how F1 was back in that day. Hunt was the glamor boy and Lauda his rigid Austrian counterpart. Their story offers great human drama as these two immensely talented men pushed one another to the brink and back. There are some surprises in the telling and Im not about to give them away but when this film comes out in general release on September 27th, make a point to see it. Youll be riveted to the screen throughout, as was everyone in the theater where I saw this film. You expect a well-crafted film from Ron Howard and in this one sure doesnt disappoint. But heres the crux of these two films: theyre about rivalries. Great rivalries that rivet fans and pique their interest. Rivalries we just dont see today in racing and thats a damn shame.

Movies bring rivalries to the fore


7. More montages 90s sports movies knew how to do a montage. All kinds of montages. There was the bad team is really bad montage, which would inevitably lead to the bad team starts finding its groove, goofing around and having fun, and thus winning games montage, which is one of my top-five, all-time favorite types of montages. 8. Movies need to be star vehicles now Ensemble casts only happen now if every actor in the ensemble is a huge star. (SeeNew Years Eve, Valentines Day,uhhArbor Day.Did they make anArbor Dayyet?) But its just harder to make movies now if there isnt a star attached to the film. For example: an 00s attempt at a sports movie wasKicking and Screamingwith Will Ferrell. By hiring Will Ferrell, however, the movie needed to be about Will Ferrell, because he was the star and the movie needed to be about him. Thus, a potentially great ensemble movie about kids soccer turned into Will Ferrell and Robert Duvall making jokes with Mike Ditka. It was fair, but who knows what the movie could have been if they didnt have to cast (and then give plenty of screen time to) these big stars. Sometimes this star-vehicle thing works. The Blind Sidewas a star vehicle for Sandra Bullock but she knocked it out of the park and it was a great movie, even if it was more of a tearjerker than a pure sports movie.A similar thing happened inHardball, which somehow was a good-to-very-good sports movie, even though it was a star vehicle for Keanu Reeves and in some scenes you can actually see him reading the cue cards. 9. Likewise, movies need to beabout somethingnow Sports movies cant just be sports movies anymore. They need to have amessage.Moneyballwasnt about baseball, it was about independent thinking and making us see what Brad Pitt would look like with a derpy haircut.The Blind Sidewas about charity and family and race, much more so than it was about football.

Cool book alert: Leanne Shapton’s ‘Sunday Night Movies’


Sent! A link has been sent to your friend’s email address. 1 To find out more about Facebook commenting please read the Conversation Guidelines and FAQs Cool book alert: Leanne Shapton’s ‘Sunday Night Movies’ Whitney Matheson, USA TODAY 3:24 p.m. EDT September 10, 2013 The cover of Leanne Shapton’s new book, ‘Sunday Night Movies.’ (Photo: Drawn and Quarterly) SHARE 8 CONNECT 4 TWEET 1 COMMENTEMAILMORE With her new book, author, illustrator and former art director Leanne Shapton can add a new title to her resume: film preservationist. Sunday Night Movies (Drawn and Quarterly, $19.95) contains more than 75 of Shapton’s lovely watercolors inspired by her favorite black-and-white movies. I love how she chooses moments from these films that aren’t always the ones we remember; for instance, she’ll paint a shot of the credits sequence or a fleeting glance. Classics and cult faves are represented here, from Busby Berkeley’s 42nd Street to the Dylan doc Don’t Look Back to Godard’s Masculin Feminin. Originally collected by the New York Times , Drawn & Quarterly has published them in a lovely paperback. I’m including a few of the images below; before you read the captions, see if you can guess the name of the film! In this image from ‘Sunday Night Movies,’ illustrator Leanne Shapton captures an image from Woody Allen’s ‘Manhattan.’ (Photo: Drawn and Quarterly)

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