Results tagged “stevezahn”

       

How is it that every Pixar film is an absolute gem, yet every other animated movie from every other large American studio is just okay? Oh right -- John Lasseter. I watched The Wizard of Oz plenty of times when I was a kid, and I admire it as an important film in the American film canon...but...would I ever watch it again? Probably not. Man, Jennifer Aniston just can't seem to pick good movies in which to star, huh? Management was a dud despite the presence of the great Steve Zahn (see him in Rescue Dawn and Safe Men). Away We Go has more of an Eggers feel to it than a Mendes stamp, huh? Does anyone not like John Krasinski?

                     

Paramount refused to screen G.I. Joe: The Rise of Cobra for critics which is usually a huge, obvious warning that the film is an unmitigated disaster. Then again, maybe the studio is still just chafing from the deserved reaming given to Transformers 2: Racist CGI Porn by reviewers. In any case, G.I. Joe is obviously on the "skip" list. The consensus on Julie & Julia (LAist review here) appears to be that the movie would have benefited from more Julia and less Julie. To get a true grasp of what an amazing actress Meryl Streep is, Netflix the following movies and watch them in this order: Doubt, Silkwood, Sophie's Choice, Stuck on You.

             

How did a movie called A Perfect Getaway get away with having a script so manipulative, so self-aware as to be cloying and so bad in terms of its dialogue?

       

While it didn't approach the monstrous financial heights of the poorly-conceived The Da Vinci Code, Thomas de Hanks' Angels & Demons ($48M) tricked enough Americans into theaters to hold off the sturdy Star Trek ($43M/$143.6M) to capture the weekend box-office crown. X-Men Origins: Wolverine had a reasonably good third weekend to place, uh, third ($14.8M/$151M) while Ghosts of Matthew McConaughey's Bangbus Girlfriends ($6.8M/$40M) and Obsessed with White Chicks ($4.5M/$40M) rounded out the top five.

      

Dan Brown's quickly-paced novels seem tailor-made for the big screen, but The Da Vinci Code was a lumbering dud. Here's hoping that Angels & Demons is edited at a much brisker pace (with less exposition). At least they fixed Tom Hanks' weird hairdo from Da Vinci. If you want to see something that will just fill you with joy, try The Brothers Bloom. Rian Johnson's superb debut Brick was clearly not a fluke. In fact, he may have the best cinematic style since Wes Anderson. Management continues Jennifer Aniston's slow descent into irrelevance. How did such a once-cheery actress become so damn sour? At least the great Steve Zahn is in it.

How GOOD is Steve Zahn?! LET'S TALK ABOUT IT. Photo courtesy Magnolia Pictures. Showmanship in the long-held traditional sense just keeps getting moved more and more to the fringes of contemporary entertainment. Circuses, for all of the revelry and majestical wonder they inspired only a decade ago, are in serious decline. David Blaine and Criss Angel are the magicians and mentalists of our day. Indeed the horizon looks bleak. That is, unless you ask the Great Buck Howard. Or, rather, see the film.

Not since 1992 when Billy Ray Cyrus sparked an ill-advised cultural revolution with his tuneless "Achy Breaky Heart" has the Cyrus family experienced a moment of such undeserved triumph. Defying all logic and good taste, finished a distant second with $13M, further solidying her status as an actress with middling taste and few passionate fans.

This weekend's new movie offererings are so spectacularly awful that I felt compelled to lead with the dreamy 1961 French classic, Last Year At Mariendbad, which opens this weekend at the Nuart. You'll probably walk out of the theater wondering what in the hell you just saw (it's trippy and plotless), but at least you'll be challenged a little bit. That certainly won't be the case with Jessica Alba's latest snoozer, The Eye. This "horror" movie is, of course, a re-make of a better Japanese film. Please Jesus, make this trend and this actress go away.