Sunday, November 18, 2018

The Coen Brothers Return To Westerns In Successful Fashion With The Ballad of Buster Scruggs

The anthology film refers to movies that are comprised of individual, typically stand-alone, short segments instead of one grander story. Modern examples of this trend are few-and-far-between, but they've been most common in the horror genre which has produced the various V/H/S movies and The ABC's of Death. I guess the wretched 2013 abomination Movie 43 would count as an anthology movie? Easily the most high-profile modern example of this type of feature has to be the newest motion picture from Joel and Ethan Coen, The Ballad of Buster Scruggs, which sees the iconic duo weaving six separate stories each inhabiting the Western genre they previously explored with 2010 directorial effort True Grit. 

A Trio of Newcomers, Including Fantastic Beasts 2 And Widows, Underperform At The Pre-Thanksgiving Box Office

Some Warner Bros. executives may be experiencing some Wizard Angst right now given that Fantastic Beasts: The Crimes of Grindelwald only debuted to $62.2 million domestically, or at least, they'd be experiencing that until they saw the massive $191 million it took in overseas, giving it a $253 million worldwide haul to date, the 38th biggest worldwide box office opening weekend in history. In the U.S. though, the newest Fantastic Beasts films didn't fare so well, scoring the lowest opening weekend for a movie topping the pre-Thanksgiving weekend frame since 2007 and having a 17% lower domestic opening weekend than its predecessor despite costing 11% more to produce. Good thing they hired Johnny Depp for this project or else it might have come in shy of expectations domestically!

Saturday, November 17, 2018

Miller's Crossing Is Another Early Coen Brothers Winner

For their third directorial effort, The Coen Brothers (though only Joel Coen is credited as a director) returned to the crime genre that has served them well so many times in their expansive careers. For this particular take on the crime movie formula, they decided to go in the direction of a period piece, setting the tale in the 1920's specifically. Despite being set in the era where the sale of alcohol was banned, the film, entitled Miller's Crossing, was actually taking more cues in its tone and style from 1940's noir features, particularly ones like The Big Sleep involving a single lead character trying to use their wits to make a whole bunch of other peoples agendas work in his favor.

Fantastic Beasts: The Crime of Grindelwald Leans Heavily On Poorly Developed Characters To Dismal Results


One of my favorite childhood memories is when I read Harry Potter and the Sorcerer's Stone for the very first time as a nine-year-old boy. I'd heard so much praise regarding about The Boy Who Lived from my friends and family members but it was a whole other experience to actually read it and get enveloped into this world of wizardry and wonder populated by well-realized characters I could relate to so easily. There was so much vivid humanity that informed Harry Potter, his friends and his enemies, it just made that world so compelling. With the newest entry in this sprawling Harry Potter universe, clumsily entitled, Fantastic Beasts: The Crimes of Grindelwald, the world, specifically all kinds of extended mythology that takes place in it, has taken precedence over the characters and that results in a total mess of a movie that would be wretched even if it wasn’t connected to an infinitely superior series of books & films.

Wednesday, November 14, 2018

Can You Ever Forgive Me? Is A Skillfully Subdued Triumph

Like the boys (A.K.A. Zac Efron and Corbin Bleau) in High School Musical 3: Senior Year, writer/director Marielle Heller is back after her outstanding 2015 directorial effort The Diary of a Teenage Girl. A movie bursting at the seams with authentic portrayals of all the complexities of a specific teenagers angst, anything she did as a follow-up to that excellent motion picture was gonna grab my attention. But the fact that such a sophomore directorial effort, entitled Can You Ever Forgive Me?, would also serve as a chance for Melissa McCarthy to flex her dramatic acting muscles meant this was a movie that's been very much on my radar for ages now (it probably would have been on my radar anyway though given how many times I've seen the trailer over the past seven months).

How to Talk to Girls at Parties Is An Exceptionally Fun Ode To Punk Rock And Cosmic Weirdness

One of the movies A24 brought to premiere at last year's Cannes Film Festival was the new John Cameron Mitchell directorial effort How to Talk to Girls at Parties. Arriving with oodles of hype, the feature debuted to mixed reviews, which shouldn't have been a surprise to anyone involved in the production considering it was such a strange entity that wasn't going to be for everyone's tastes. Unfortunately, A24 really seemed to have been taken aback by this response and it caused the films domestic theatrical release to constantly get delayed until it got dumped at the end of May 2018 in a blink-and-you'll-miss-it theatrical release.

Monday, November 12, 2018

The Magnificent Ambersons Are The Centerpiece of A Well-Done Orson Welles Directorial Effort

For any director, doing a follow-up directorial project to a particularly acclaimed piece of work is a daunting prospect, one that some filmmakers have exceled in (like Marielle Heller) while other filmmakers (like Dan Gilroy) found more mixed results in the same scenario. For Orson Welles, this was a particularly tricky scenario for him back in the early 1940's as he was preparing his directorial follow-up to a little-known movie called Citizen Kane. Though plagued by controversy in its initial release, Citizen Kane was still garnering acclaim and had set the bar high for whatever he did next, which turned out to be a motion picture adaptation of The Magnificent Ambersons.

Sunday, November 11, 2018

Back In The Mid90s, A Solid Coming of Age Story Occurred Just As Bojack Horseman Was On A Very Famous TV Show

First Jordan Peele, then Bo Burnham, now Jonah Hill, there are so many comedians getting into the business of directing dramatic pieces of cinema these days! At this pace, I expect Horatio Sanz to have an acclaimed indie feature out by Summer 2020 at the latest. Hill's contribution to this trend is a coming-of-age story called Mid90s taking place in the middle of the (when else?) 1990's. Serving as Hill's first time directing or writing a movie (though he has received a Story By credit on a number of past movies), Mid90s isn't as good as the directorial debuts from the aforementioned likes of Peele or Burnham, but it is good enough to make me curious about where Hill goes as a filmmaker from here, he's certainly got a distinctive creative voice that has real potential.

The Grinch Has The Strength of Ten Grinches (Plus Two!) In Impressive Opening Weekend As Overlord And Girl In Spider's Web Underwhelm At The Box Office

And now, a look at Universal sharheolders after this strong opening weekend for The Grinch
The holiday season appears to be well underway if the opening weekend for The Grinch is any indication. This animated feature became the newest box office hit for Illumination Entertainment, which just keeps producing one box office sensation after another. Opening to $66 million, The Grinch scored the biggest opening weekend ever for a Christmas movie, the third-biggest opening weekend for an animated movie in November (only the $67 million bow of Frozen and the $70 million bow of The Incredibles were higher). This opening is 5% below the opening weekend of the last Illumination Dr. Seuss film The Lorax, but given that Christmas movies tend to have excellent legs, that's no biggie, The Grinch should be well on its way to, at the very least, a $220 million final domestic total, above the final domestic gross of The Lorax.

Friday, November 9, 2018

Outlaw King Impresses With Its Production Value But Underwhelms With Its Characters

The Hollywood epic was a common sight in the 1950's and 1960's as Hollywood tried to combat the rise of television programming with a horde of movies that used gargantuan budgets to bring to life massive-in-scale stories that usually took place in ancient periods of history. How funny then to consider that the newest Netflix original movie Outlaw King, which reunites director David Mackenzie with his Hell or High Water leading man Chris Pine, is an obvious homage to those types of movies, complete with a $120 million budget that makes it the most expensive Netflix movie yet (Martin Scorsese's The Irishman is waiting in the wings for its chance to turn to Outlaw King and say "Hold my beer!"), yet it'll be seen by the vast majority of people on...televisions!

Everybody's Talking About Midnight Cowboy, Though I Can't Hear A Word They Say

The end of the 1960's saw American cinema getting to really strut its stuff as the Hayes Code, which put restrictions on what kind of material American films could cover, collapsed and the floodgates opened in terms of major American films suddenly being able to deal with aspects of reality that had previously been off-limits. One movie that certainly would never have been allowed to exist in the days of the Hayes Code existing was Midnight Cowboy, a John Schlesinger directorial effort whose content was so explicit that it was given an X-rating (the equivalent in that day and age for the modern-day NC-17 rating) from the MPAA.

Wednesday, November 7, 2018

It's Taken Forty-Plus Years To Get Released, But The Wait For The Other Side of the Wind Was Worth It!

This is my 1,000th movie review for Land of the Nerds! Over the course of about four-and-a-half years, I've watched and written about a ton of movies and I'm grateful to each and every one of you readers for supporting my cinematic pursuits, which include a most unique motion picture to serve as the subject of my 1,000th review!

You take the good with the bad. Yes, Netflix may finance annual Adam Sandler comedies, one of which features the sight of David Spade physically beating Paula Patton while shouting about what a good guy he is, but at least they've done good for the world of art by using their seemingly endless oceans of money to complete Orson Welles final film The Other Side of the Wind. This project started filming in the early 1970's and after a six-year-long filming process began an extensive post-production session that Orson Welles didn't finish before his passing in October 1985. In the more than three decades since then, the footage for this film has been mired in endless legal controversy that prevented it from being finished up.

Tuesday, November 6, 2018

Dance To The Gruesome & Thoughtful Rhythm of Suspiria

For his sixth narrative feature film directorial effort, Italian director Luca Guadagnino decides to go the horror remake angle by doing a new take on the seminal horror film Suspiria. Horror remakes don't have the best track record in the world but what Guadagnino has mad in his mad scientist lab is a totally off-the-wall creation that bears more in common stylistically with an Andrei Tarkovsky movie than one of those horror remakes Platinum Dunes was churning out in the mid-2000's. It's gory, it's slowly paced, it's an improvement over the original Suspiria, it's gonna alienate a lot of people who come to it expecting a routine horror film and it's also pretty darn exceptional.

Monday, November 5, 2018

The Hate U Give Is A Thoughtful Character Study Packed With Outstanding Performances

2018's been a good year for the Young-Adult novel film adaptation subgenre, hasn't it? It's nice to see this strain of American cinema having such a banner considering that I've always felt its gotten too much of a bum rap from people always associating it with Twilight and its various knock-off's rather than also considering that the high-quality likes of The Fault In Our Stars or The Spectacular Now also qualify as entries in this subgenre. Twilight isn't good (though the hate for it seems a wee bit overblown at this point), but judging the entire YA-novel film adaptation realm just by it is like judging all of superhero movies on Batman v. Superman. 

Sunday, November 4, 2018

The Nutcracker and the Four Realms Is In A Constant Battle Between Being Derivative And Being Weird

It is late in the evening. Rain comes down outside an office on the Disney lot as a group of Disney executives contemplate what their next big blockbuster should be. What public domain fantasy-IP can they turn into a motion picture next? They've already done so many, there can't possibly be any left....and then somebody remembers that The Nutcracker Suite exists, why not make a movie based on that famous piece of ballet music? Disney's adapted that material before with a Mickey Mouse short and kind of sort of in a Fantasia 2000 segment, surely a live-action adaptation is only the next logical step for the studio! Those Disney executives likely thought they had a surefire family movie hit on their hands, but what they got is The Nutcracker and the Four Realms, a movie that excels most when it's just being as odd and campy as possible.

Bohemian Rhapsody Makes The Rockin' Box Office World Go Round As The Nutcracker and the Four Realms Has Nightmarish Bow

November 2018 is the first November since 2011 to not have either a James Bond, Marvel Cinematic Universe or Christopher Nolan movie bowing in its first two weeks. That means a usual source of reliable blockbuster box office in November just isn't around this year. Luckily for the 2018 domestic box office, Bohemian Rhapsody was able to fill in nicely for those vacant titles (next weekends The Grinch should have a similarly prosperous opening) by opening to a fantastic $50 million, the second-biggest music biopic opening in history and the biggest opening weekend by a long shot for movie with an LGBTQIA+ lead, dethroning the $36.3 million opening of Interview With A Vampire, which has held the record for 24 years. That atter achievement would feel more like an impressive accomplishment if the film itself didn't treat Freddie Mercury's sexuality in such a retrograde manner, but at least this is another piece of proof that movies explicitly marketed with LGBTQIA+ leads aren't box office poison.