That is one of the most famous lines from one of the most famous scenes in all of cinema: Dustin Hoffman’s Benjamin trying not to be seduced by Anne Bancroft’s Mrs. Robinson, his father’s partner’s wife in 1967’s ‘The Graduate.’ The film was just the second directed by Mike Nichols, the enterprising comedian turned theater and cinema director, who died Wednesday at the age of 83.
'The Hangover' giveth and 'The Hangover' taketh away.
The first 'Hangover' made Bradley Cooper, Ed Helms, and especially Zach Galifianakis stars, and it elevated Todd Phillips from middling Hollywood director to name-brand comic auteur. But in the film industry, success that surprising and enormous demands more success; the beast must be fed. But as 'The Hangover Part II' and especially the new 'Hangover Part III' prove, it is very hard to make a good sequel to a truly original idea. 'Part II' went the rehash route, recycling the plot of the first movie so brazenly you almost had to admire its chutzpah. 'Part III' finally breaks with the formula a little (SPOILER ALERT: there is no hangover), but still doesn't produce anything even remotely worthy of the first film.
I watch a lot of 'Project Runway.' My wife likes it -- and, yeah, I like it too. A show dedicated to fashion design that features creative and powerful women is a weird thing to think about while watching a Michael Bay movie but that's exactly what I did during 'Pain and Gain.' Bay could learn a thing or two from that show about editing. Not in the cinematic, cutting shots together sense; that he's got. This is a different kind of editing.
It's the kind that is often called out by the 'Runway' judges when they tell the contestants (I'm paraphrasing), "This is too busy. You need to edit. That blue fuzzy hat that looks like a tribble distracts from the gorgeous, ornately sequined dress. The dress is enough. You don't need the tribble hat. Edit."
A Michael Bay movie -- particularly 'Pain & Gain' -- is a sequined dress with a blue tribble hat.
Dirty Harry would love 'Gangster Squad,' a movie about cops who operate so far outside the law they make Clint Eastwood's signature detective look like a pencil-pushing dweeb. Assembled by LAPD police chief Bill Parker (Nick Nolte), and supposedly inspired by a true story, the members of the so-called Gangster Squad operate as judge, jury, and executioners. They don't arrest their targets; they "wage war" against their enemy, mob boss Mickey Cohen (Sean Penn). In their quest to bust up Cohen's rackets, the Gangster Squad brandishes about a billion guns and not a single badge. Hell, even Dirty Harry waited until the end of his movie to toss his away.
Matt had just typed out the title of his 'Seven Psychopaths' review, his byline, and the rating (seven -- no, make that eight --out of ten?) when his wife Melissa walked into the room.
"How was the movie?" she asked as she flopped down on the couch and flipped on the television.
"Good. Really good," Matt replied. "Interesting."
"Interesting? Why interesting?" Melissa said. She started flipping channels.
"It's about a writer who writes himself into his work. Colin Farrell plays this struggling screenwriter named Martin -- and the movie was written and directed by this guy, Martin McDonagh, who wrote that play we saw on Broadway with Christopher Walken in it."
"Right. That was weird."
"It was," he said, nodding. "Weird but good. So, anyway, Colin Farrell plays this writer named Martin. He's come up with a title he really likes for a screenplay -- 'Seven Psychopaths.' But that's all he has, the title. He doesn't even have the seven psychopaths. But then these people in his life -- or perhaps these characters he's invented -- are all revealed to be psychopaths, and he gets caught in the middle of this elaborate gangster-slash-revenge comedy with them involving a kidnapped dog."
Melissa yawned again. "A writer writing himself into his work? That sounds like a terrible idea."
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