So why won’t this appeal to the masses? Very simply because of the script, which goes off the rails midway through the picture. Screenwriter Peter Straughan has some interesting ideas at work here, he just doesn’t know where to end it. Nor does he know where to take these ideas to turn them into a coherent story. Straughan likely read the book by Jon Ronson and came away so super excited over the material he decided to use it to write a script. Somewhere along the way someone forgot to tell him to go back and rewrite the film. It strives to be satirical, and many times almost gets to that point.

Director Grant Heslov doesn’t fail in making sure the movie stays entertaining at least during its brief runtime. He’s aided by a goofy-as-can-be George Clooney who acts like a kid on a roller coaster ride. It’s unclear what his Lyn Cassidy was written as, but Clooney takes him for an overconfident buffoon who feels he’s superhuman. The result is pure comedy, and a performance that guides one through the picture when it begins to get too outlandish for its own good. Clooney’s counterbalanced by a moody and glum Ewan McGregor who does a fine job as Bob Wilton, and plays off of his mustached partner elegantly. McGregor needs a film like this to get him back out there and this is a good jumping point.

Both are supported by Jeff Bridges who’s coasting by on his ‘Dude’ persona from The Big Lebowski. Obviously, that’s not a bad thing as he’s particularly great at it but he doesn’t really do anything we haven’t seen before. Kevin Spacey’s Larry Hooper is in a battle with Cassidy but not because they’re rivals like the story tells us. Spacey seems to be trying to one-up Clooney for “Goofiest Person In A Film”. While the edge might go to Spacey by the end, it never feels like Verbal Kint takes it too far. Stephen Lang also pops up, although it’s never clear why he’s there… but no matter. Lang’s always a joy to watch, as is Glenn Morshower, who’s in Transformers mode here. Again, never a bad thing.

Heslov does deserve credit for keeping all of these elements reigned in. He’s daunted with the task of trying to tell a coherent story amongst all the chaos, and he just goes with it. Heslov doesn’t hold anything back and doesn’t let any of his actors feel restrained by their roles. Instead of taking the “how can I save this?” attitude that directors sometimes  leave on their pictures, Heslov’s attitude toward this material is laid-back and fun. He’s perfectly aware things have gone up in smoke once the third act has arrived and does nothing to stop it from doing so. Maybe he’s smiling and laughing along with Cassidy and Hooper as they run rampant through an outpost.

This is what The Men Who Stare At Goats asks you to do. It cares if you like it, but at the same time it’s not afraid to just gleefully throw everything it can at you. Truth is, you’re either with this film from the opening frame, and just accept it in spite of itself when the later acts come, or you’re weary and far gone by the time said acts arrive. With that said, this film is tough to recommend to those on the fence. People interested should definitely give it a try, but the film isn’t for everyone and knows it. And sometimes, we need films like this that play by their own rules and offer up mildly entertaining exploits.

 ★★★☆☆ 

Boston Legal Giveaway: Send an email to contests@atomicpopcorn.net with the subject of:"Boston Legal" and tell me what you would spend your 50 dollars on.

No related posts.

Get ready for some smurfy action on December 17, 2010 when Columbia and Sony Pictures Animation team-up to bring nostalgic audiences a dose of the little blue people.

'nuff said.

Columbia will develop the CG/Live-action family film, The Smurfs, based on the creation from Belgian cartoonist Pierre Culliford. As if seeing Smurfs in CGI wasn’t enough, the movie will also be shown in 3-D. On board to write the adventure is Shrek 2 and Shrek the Third scribes David Stem and David Weiss.

The Columbia/Sony partnership is possible after Columbia agreed to co-finance the flick after Smurf rights were obtained by Sony through producer Jordan Kerner. Kerner secured the rights in 2002.

After speaking with Sony Pictures Entertainment chairman, Michael Lynton, Kerner revealed, “He relished them as I do and suggested that it should be a live-action/CG film. Amy [Pascal] felt equally that there was potentially a series of films in the making.”

No word if Kevin Spacey will play Smurf arch-nemesis Gargamel.

Boston Legal Giveaway: Send an email to contests@atomicpopcorn.net with the subject of:"Boston Legal" and tell me what you would spend your 50 dollars on.

No related posts.

The technology in Moon isn’t flashy or chic. Instead it sticks to something George Lucas lost with his prequels and creates believable gizmos, gadgets and space stations. Where most might have made GERTY (the on board robot) a giant floating sphere with a flashing eye, Jones chooses to make it a bulky machine that runs on a track. GERTY also is equipped with an on-board camera and keyboard with post it notes stuck on his front and back. The space station itself appears as one that’s seen many years and shows subtle signs of wear and tear. The screens, keyboards and other gear inside the station aren’t tables you tap your fingers on but tactile keyboards and widescreen displays still present. Moon is set in our future yes, but it’s a future that could be very real. In any case, you have to appreciate the level of detail and thinking Jones and his crew went with the production design. Bottom line, Lunar Industries is only one or two steps away from being a very real company thanks in large part to this film crew’s attention to detail and thought.

Of course Moon wouldn’t be anything without an outstanding lead and Sam Rockwell more than answers the call. Granted this phrase gets tossed around a lot, but Rockwell deserves a nomination for Best Actor at the Oscars, more so than a certain clown-clad actor did. It’s a challenging role that demands not only the actor to be several different emotions but the film literally rests on his shoulders. Rockwell makes it seamless as if this is just another day at the office for him. Literally he is the film as he basically interacts with only television screens. Yet there’s emotion in his eyes that most actors would have fumbled if given the chance. Rockwell’s performance and Jones’ direction are accompanied by a brilliant score from Clint Mansell. Mansell engulfs you into this world with a catchy tune that will stay with you long after you’ve left the theater. The tunes hit the right beats and are never overused or overblown.

Moon is a film that you’ll need a day or two to think on after you’ve seen it which isn’t a bad thing. Upon reflecting on Jones’ piece, one should discover what a brilliant, unique, and terrific film they were treated to. The film is influenced by many a sci-fi films, even the one everyone takes from 2001: A Space Odyssey. However it is coy about it’s references and doesn’t feel like Jones just watched Kubrick’s masterpiece and said “Let’s make a movie!” Moon is a prime example of what happens when all the great elements of filmmaking stitch together a truly great picture. Moon unfortunately won’t have the wide appeal of a dumber “science fiction” film but those remotely interested should give it a chance and experience it’s greatness.

 ★★★★½ 

Boston Legal Giveaway: Send an email to contests@atomicpopcorn.net with the subject of:"Boston Legal" and tell me what you would spend your 50 dollars on.

No related posts.