Tag Archives: Sofia Coppola

Weekend Preview: “Much Ado” About Brad, “Bling,” Brit, and “Monsters”

much ado still

Last weekend was pretty special, with “Before Midnight,” “This is the End,” and “Man of Steel” all opening, but guess what? This Friday is just as solid.

The biggies, of course, are “Monsters University” and “World War Z,” and we can expect these to land 1-and-2 (unless “Man of Steel” trumps Brad Pitt — more on that below) at the box office. How high will each go? That’s the question. It has been a shockingly quiet summer so far for straight family fare, so Pixar’s “Monsters, Inc.” sequel is dropping at the right time. It does seem that there has been less and less buzz with each new Pixar release since “Toy Story 3” in 2010 — “Cars 2” and “Brave” both did well enough, to be sure, but neither captured the zeitgeist as strongly as some other Pixar releases. I expect “Monsters” to make more dough than either “Cars 2” or “Brave,” and to play well into July.

Ahh yes, “World War Z,” that embattled, bloated, ending-challenged franchise-to-be. I’m not sure all that talk has hurt the film much, but then again, I never felt it necessarily had franchise written all over it. Reviews have been mixed so far, but the trailer look good, Brad Pitt is promoting the hell out of it, and it is rather unique in the summer lineup. I have not read Max Brooks’s book, but the changes Marc Forster and company made seem to make it a less interesting product. But there is nothing else quite like it this season, and you have to respect its ambition. I could see “Monsters” doing anywhere from $70 to $90 million, with “Z” ringing up $40 to $50 mill.

Where will “Man of Steel” fit into this equation? Zack Snyder’s reimagining of Superman opened so large — wayyy more than I predicted — that it could certainly beat “World War Z” to the number two spot. This second weekend will really determine if the film has “Dark Knight” legs, or “Amazing Spider-Man” legs. I expect the former.

Indie alert: This weekend sees the Buffalo release of three fascinating, unique films. I’ve seen two of them, and loved one.

First is the long-awaited release of a film I’ve prattled on about too often (for obvious reasons), Joss Whedon’s “Much Ado About Nothing.” I am anxious to see if the film will play as well to me now as it did on a Sunday morning at TIFF; I believe it will. It is exciting to see the smart, funny film make it to Buffalo. It’s showing at the Dipson Eastern Hills.

Brit Marling is near the top on my list of favorite young actresses, but her latest, “The East,” was a stunning disappointment, surprisingly. Its plot, about a former FBI agent going undercover with an eco-anarchist group, held great promise, but the execution is all wrong. It feels childish, horribly unsubtle, and worst of all, just plain phony. It will play, to some, and there are certainly successful elements, not the least of which is Marling’s performance. She, and director Zal Batmanglij, who last collaborated on one of my favorite films of 2012, “The Sound of My Voice” — will be back.

Lastly comes Sofia Coppola’s “The Bling Ring,” a glossy, stylized take on the real-life robbers who shocked Beverly Hills. As I mentioned yesterday, I’m a Coppola fan, and her aesthetic seems an ideal fit with this material. Even if the film as a whole seems iffy, it stars the increasingly wonderful Emma Watson and a WTF-supporting cast: Gavin Rossdale, Paris Hilton as herself.

A couple other quick screening notes: The Screening Room is showing Hitchcock’s “To Catch a Thief” at 7:30 p.m. on Saturday and Sunday; it is followed at 9:20 on Saturday with the noir classic “D.O.A.”

And in the outdoor series world, Bacchus screens the iconic “Big Lebowski” on Wednesday (June 26); the UB North Campus shows “Oz the Great and Powerful” on Friday and “Monsters, Inc.” on Tuesday (June 25), both at 9:15; and the UB South Campus offers “Despicable Me” at 9:15 on Wednesday (June 26.)

All in all, a unique weekend. But sadly, there are some grim weeks of blockbuster releases ahead …

 

Photo courtesy of Roadside Attractions

Wednesday Round-Up: Defending “Marie Antoinette,” Debating “Man of Steel,” and Keeping Up With Patrick Bateman

Marie Antoinette

The middle of the week means it is time for my usual round-up of some of the articles I’ve been digging this week, including a handy list of “movies to see” at the mid-point of 2013. I’ve seen my share, but I have plenty of catching up to do …

First: I’m not sure what it is about Sofia Coppola’s films that seems to garner such strong reactions. I’ve met few folks who are in the middle about her work — it’s a love/hate thing, it seems. Her latest, “The Bling Ring,” starring Emma Watson, appears to open Friday in Buffalo (there is some confusion, but it is listed on Fandango), and it seems to be as glossy and surface-oriented as the rest of her films. But I have actually liked that about them. “Marie Antoinette” seems to be the most love-it-or-hate-it of the Coppola filmography, and on the occasion of “Bling”‘s release, New York Magazine’s Vulture website is mounting a spirited defense.

As author Amanda Dobbins puts it:

To be fair, not everyone hated Sofia Coppola’s “Marie Antoinette.” New York’s David Edelstein called it “one of the most immediate, personal costume dramas ever made”; 55 percent of the critics on Rotten Tomatoes sided with him, to varying degrees. But seven years later, “Marie Antoinette,” loosely based on the best-selling Antonia Fraser biography, is probably Coppola’s least-loved film. It’s the one that got booed at Cannes (though of course it did, Cannes is in France); it is the one that didn’t live up to “Lost in Translation.” And if you are anti-Sofia, then it is probably the most obvious example of her worst tendencies: style over substance, minimal plot, overprivileged young women who refuse to speak in full sentences or really at all.

But I think I’m with Ms. Dobbins here: “I happen to love ‘Marie Antoinette’; it’s probably my second favorite of Coppola’s films, right behind ‘Lost in Translation.’ And while I understand some of the criticisms (specifically the part about no one using words, ever), most of its so-called weaknesses — even that famous pair of Chuck Taylors — are the reasons I enjoy it. For all its historical trappings, ‘Marie Antoinette’ is just a painfully hip period film about how annoying and fun and terrifying it is to be a teenage girl. It is a high-school movie transplanted to Versailles.”

And the rest:

  • Speaking of Sofia Coppola, Movie City News has posted her debut short from 1998, “Lick the Star.”
  • Bret Easton Ellis himself said “Keeping Up With the Kardashians” “star” Scott Disick would be an ideal Patrick Bateman in an “American Psycho” remake, but it took Kanye West to make it so.
  • I finally saw “Man of Steel” last night, and I’ll share some thoughts soon. (Let’s say I enjoyed it, with reservations.) The Playlist offers a solid breakdown of the best and worst of Zack Snyder’s Superman epic, and there are lots of good points here.
  • Roger Ebert’s birthday was yesterday, and his website offered up a nice list of films for which his review “made the difference,” including “Hoop Dreams” and “Dark Skies.”
  • Pitchfork’s new movie website, The Dissolve, has not launched yet, but its Tumblr site has, and the great Scott Tobias has posted the aforementioned “movies to see” so far in 2013 list, along with DVD and Blu-ray release dates for some.
  • Now the Rob Ford scandal is impacting the Toronto International Film Festival.
  • Will Brad Pitt’s “World War Z” flop? This writer seems to think so, and offers some convincing reasons why.
  • Yet another trailer for Nicholas Winding Refn’s “Only God Forgives,” starring Ryan Gosling.
  • Interestingly, after a mixed — well, mostly negative — response at Cannes, the filmmanaged to beat “Stories We Tell” and “The Act of Killing” for top honors at the Sydney Film Festival.
  • Lastly, Joss Whedon’s “Much Ado About Nothing” is finally set to open in Buffalo this weekend. Here is a nice Guardian interview about that film, “The Avengers,” his career, and more.

 

Photo Credit: Sofia Coppola
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The Summer Movies of 1995 and 2013: It Was the Best of Times, it Was the Blurst of Times

die-hard-with-a-vengeance-bruce-willis-samuel-l-jackson

A friend recently pointed out that this seems to be a pretty awful summer for big-studio blockbusters, and I think that’s a reasonable argument. Behold this list of some of the biggies:

“Iron Man 3,” “The Great Gatsby,” “Star Trek: Into Darkness,” “The Hangover Part III,” “Fast & Furious 6,” “Epic,” “After Earth,” “The Internship,” “This is the End,” “Man of Steel,” “World War Z,” “Monsters University,” “White House Down,” “Despicable Me 2,” “The Lone Ranger,” “Pacific Rim,” “Grown Ups 2,” “Turbo,” “Red 2,” “R.I.P.D.,” “The Wolverine,” “Elysium,” “Disney’s Planes,” “Kick-Ass 2”

Lots of sequels. Lots of star power. Lots of possible flops. (I’m looking at you, “R.I.P.D.”) It is not to say there is no imagination or ingenuity here, and even monsters like “World War Z” and “Pacific Rim” represent atypical attempts at the genre film. But there is little here to get overly excited about. And that’s too bad.

I have so many fond memories of seeing big summer movies, some I’m ashamed to admit I paid for — “City Slickers 2: The Legend of Curly’s Gold” and “The Cowboy Way” seemed like good ideas at the time — some I still enjoy revisiting.

The year 2013 most seems to resemble, at least in terms of iffy looking blockbusters, is 1995. That was … a pretty week year. Take a gander at this rum bunch, which I’ve out on separate lines for maximum impact:

“French Kiss”

“Crimson Tide”

“Die Hard with a Vengeance”

“Forget Paris”

“Braveheart”

“Casper”

“Johnny Mnemonic”

“The Bridges of MadisonCounty”

“Congo”

“Batman Forever”

“Pocahontas”

“Apollo 13”

“Judge Dredd”

“First Knight”

“Species”

“The Indian in the Cupboard”

“Nine Months”

“Under Siege 2: DarkTerritory”

“Free Willy 2: The Adventure Home”

“Clueless”

“The Net”

“Operation Dumbo Drop”

“Waterworld”

“Babe”

“Something to Talk About”

“Virtuosity”

“Dangerous Minds”

“The Baby-Sitters Club”

“Mortal Kombat”

Pretty grim, right? I know “Braveheart” is beloved, “Apollo 13” is solid, “Die Hard With a Vengeance” was “Die Hard” when “Die Hard” was still “Die Hard,” but outside of those, “Clueless,” and “Babe,” every other film is one I never wish to watch again. Even that summer’s indie releases were rather slight: “Desperado,” “The City of Lost Children,” “Fluke,” “Smoke,” “Kids,” “Unzipped,” “The Usual Suspects,” “The Brothers McMullen.” Not a bad bunch, exactly, but not a lengthy one, either.

Yet this summer, at least, there is something else happening, something noteworthy: It’s a phenomenal season for indies. Check out this small list of independent films that have opened or are scheduled for release from May through August:

“Before Midnight,” “Frances Ha,” “Only God Forgives,” “Ain’t Them Bodies Saints,” The Grandmaster,” “The Bling Ring,” “Much Ado About Nothing,” “Prince Avalanche,” “The To-Do List,” “The Spectacular Now,” “Blue Jasmine,” “Girl Most Likely,” “Fruitvale Station,” “Byzantium,” “The Hunt,” “Berberian Sound Studio,” “The Way, Way Back”

I can’t speak to the quality of most of these — I’ve seen “Frances,” “Much Ado,” “Girl Most Likely,” and “Byzantium,” but none of the others — but I can say with confidence that it’s an eclectic, fascinating mix. Any summer that includes films from Richard Linklater, Noah Baumbach, Nicholas Winding Refn, Wong Kar-wai, Sofia Coppola, Joss Whedon, Woody Allen, and Neil Jordan is going to offer a few gems.

At the very least, we can be thankful that the travesty that was “A Good Day to Die Hard” opened in February. It would have made a bad summer even worse.

 

Photo from “Die Hard: With a Vengeance” courtesy of 20th Century Fox