Welcome to Land of The Nerds, where I, Lisa Laman, use my love of cinema to explore, review and talk about every genre of film imaginable!
Wednesday, January 31, 2018
Mermaids! Monstrous Murder! Musical Numbers! It's All Here In The Lure!
Posted by Lisa Laman at 11:34 AM No comments:
Labels: 2017, Agnieszka Smoczynska, February 2017, Hansel And Gretel: Witch Hunters, Jack The Giant Slayer, Marta Mazurek, Michalina Olszanska, Movie Review, Musical, Poland, Snow White & The Huntsman, The Lure
Tuesday, January 30, 2018
Kogonada Makes an Impressive Debut Effort As A Writer/Director With Columbus
Monday, January 29, 2018
Hostiles Tries To Be A Woke Western But It Can't Quite Get It's Eyes Open
Posted by Lisa Laman at 12:10 PM No comments:
Labels: 2017, A Million Ways To Die In The West, Ben Foster, Christian Bale, December 2017, Hostiles, Jesse Plemons, Movie Review, Out Of The Furnace, Rosamund Pike, Scott Cooper, Wes Studi, Western
Sunday, January 28, 2018
A Movie As Well-Made As The Passionate Friends Has Got A Friend In Me
Magnolia (which itself was quoting a passage from the book The Natural History of Nonsense): "We might be through with the past but the past ain't through with us." That's true under any circumstances but it's especially true in regards to the lead characters of The Passionate Friends, who are all entangled in how Mary (Ann Todd) is becoming heavily infatuated with a figure from her past much to the detriment of her present circumstances. Even when seemingly important people and events fade into the best, they can still manage to be impactful well into the present.
Posted by Lisa Laman at 1:09 PM No comments:
Labels: 1949, Ann Todd, Casablanca, Classic Write-Up, Claude Rains, David Lean, Geoffrey Foot, H.G. Wells, January 1949, Magnolia, Movie Review, Notorious, The Passionate Friends, Trevor Howard
Maze Runner Ends It's Franchise With Solid Box Office, Hostiles And Padmaavat Exceeds Expectations
Get Grooving To Those Thoughtful And Transfixing Boogie Nights
The porn industry is a ubiquitous presence in the media landscape, especially during the 1970's when the medium went through an era marked by financial prosperity that would later get it named The Golden Age of Porn. But how often do we think about the people behind these X-rated movies, the human beings who brought the smut to the big screen back in the day and your laptop screen in the modern-day world? For only his second feature-length movie ever, Paul Thomas Anderson decided to expand on both an idea and a name (Dirk Diggler) that originated in an earlier short film he helmed to create Boogie Nights, which may just be his peak as a filmmaker and God knows that's a high compliment given how many great movies Anderson has made.
Eddie Adams (Mark Wahlberg), on the surface, seems like a protagonist you've seen many times before, the scrappy kid everyone undervalues who dreams of doing something great with his life and ends up heading off to show business to prove he's something special. For Eddie's journey though, some key differences have been made from the typical depiction of this storyline. For one thing, Eddie's struggles at home stemming from an abusive mother are more realistically rendered, which makes Eddie's tearful proclamation to his mother (who repeatedly yells at her son that he's stupid and won't amount to anything) that he will make a name for himself all the more heartbreaking to watch. After that kind of experience, there's no going back to his old life and considering how troubled it was, that's very much a good thing.
Where exactly will Eddie make a name for himself though? Why, in the world of XXX cinema! Prolific director Jack Horner (Burt Reynolds), who has dreams of making an adult movie so captivating on a storytelling level that people watch it for more than just self-pleasure, has asked Eddie to come act in some of his movies and now Eddie decides to take up his offer. Eddie, now donning the name Dirk Diggler for the silver screen, is introduced to the various members of Jack Horner's gaggle of actors & technicians, including Horner's wife Maggie A.K.A. Amber Waves (Julianne Moore), Eddie's soon-to-be best bud Reed Rothchild (John C. Reilly) and Rollergirl (Heather Graham).
Early on, we get introduced to the various members of Jack Horner's social circle at a big pool party and one can already see there are issues with how these various people interact with each other. Everyone is trying to score something from another person, whether it be drugs, a role or sex or some combination of all three. There is no concern for anyone beyond themselves and this mindset has been so ingrained into everyone's psyches that it's not even a malicious act at this point, it's just how they act. Even a young woman overdosing on cocaine isn't enough to get people to exert empathy, only the prospect of cleaning up this mess quickly and quietly is on the minds of the people who find this dying person. It's clear from the get-go that, underneath all the girls, glitz and glamor, is a self-absorbed atmosphere that can only lead to ruin.
Laying that atmosphere out in the open from the get-go doesn't make the heavily flawed characters a pain to watch though. On the contrary, Paul Thomas Anderson's screenplay hopscotches between a wide array of figures that Eddie meets as he enters the porn biz who are thoroughly engaging to watch. Reed Rothchild (who has been told he looks just like Han Solo don'tcha know) is a total hoot thanks to John C. Reilly's committed and frequently intentionally oblivious performance while Julianne Moore is totally transfixing as the quietly tragic Maggie. Her character is a phenomenal representation of the sense of tragedy that makes the characters of Boogie Nights thoroughly entertaining even in their most unsavory moments.
Each of the characters in Boogie Nights want to upend the odds and get themselves a better life. Whether it's Reed's desire to be a magician, Horner wanting to imbue real cinematic craft into his pornographic movies or especially Maggie's desire to be reunited with her son, these characters are all people who wish to exceed expectations and lead top-caliber lives. But their own self-destructive tendencies (namely drug addiction) keep getting in their own way. They've got the will to change their lives, but not the drive. Though it's got tons of humor to its name and a lively pace, the best moments in Boogie Nights are the quietly tragic ones where characters realize their ambitions can't fit into reality, most notably Scott J. (Phillip Seymour Hoffman) breaking down after his romantic advances on Eddie are rejected and a separate scene showing Rollergirl and Maggie bonding over their personal familiar woes while doing cocaine.
Nestling the combination of tragic pathos and well-realized characters underneath a feel-good partying exterior is a move Paul Thomas Anderson pulls off with grace as both a writer & a director. He's especially good with working with his incredibly well-casted actors, who make the ensemble cast of characters work like gangbusters. There really isn't a dud performance to be found here from leading man Mark Wahlberg, in the role that put him on the map as a leading man, being dynamite as Eddie to character actors Luis Guzman & Alfred Molina doing memorable work in supporting roles. It's Julianne Moore who walks away with handily the best performance here though as she portrays Maggie's internal pain in such subtly masterful ways that emotionally devastate you. A scene where she fights for custody of her son serves as ample demonstration of this as just a facial expression from Moore proves to be as powerful as her depiction of her character breaking down in tears immediately after the custody battle.
Similarly memorable from Boogie Nights is the soundtrack which is littered with memorable 1970's/1980's tunes. Movies heavily utilizing pop tracks from those two decades are a dime-a-dozen, but Boogie Nights make some great unique choices for which songs to use (Sister Christian is an especially good example of this) and the way they're utilized is also key to why the soundtrack works so well. For instance, I would have never ever imagined Fooled Around And Fell In Love being set to the type of scene Boogie Nights sets it against, but it's a brilliant and hilarious move, just one of many remarkably crafty moves this 1997 feature makes that help make it as entertaining as it is. Another one of those moves is ending the story on a melancholy note for the characters, with a few members of the cast making progress as people, but others (like Maggie, her final moment in the film showing her just staring into a mirror in resigned sadness is thoroughly haunting) still left stranded in their own unfulfilled ambitions. What a perfectly realistic somber note to end the story on. Frequently cafard character introspections have rarely been as compulsively riveting as they are in Boogie Nights.
Posted by Lisa Laman at 9:51 AM No comments:
Labels: 1970's, 1980's, 1997, Boogie Nights, Burt Reynolds, Classic Write-Up, Heather Graham, John C. Reilly, Julianne Moore, Mark Wahlberg, Movie Review, October 1997, Paul Thomas Anderson, Phillip Seymour Hoffman
Saturday, January 27, 2018
12 Strong Goes to The Front Lines of Forgettable Cinema
Posted by Lisa Laman at 5:11 PM No comments:
Labels: 12 Strong, 13 Hours, American Sniper, Chris Hemsworth, January 2018, Lone Survivor, Michael Pena, Michael Shannon, Movie Review, Navid Negahban, Said Taghmaoui, Saving Private Ryan, The Expendables
Friday, January 26, 2018
Call Me By Your Name Starts Off Slow Before Focusing On An Absorbing Romance That's Just Peachy
Thursday, January 25, 2018
Paul Thomas Anderson's Sprawling Magnolia Is Incredibly Engrossing And Unique Cinema
Posted by Lisa Laman at 10:21 AM No comments:
Labels: 1999, Boogie Nights, Classic Write-Up, December 1999, Inherent Vice, John C. Reilly, Julianne Moore, Magnolia, Melora Walters, Movie Review, Paul Thomas Anderson, Phillip Seymour Hoffman, Tom Cruise
Wednesday, January 24, 2018
Phantom Thread Is Clothed In Delightfully Off-Kilter Material
Tuesday, January 23, 2018
The Documentary Spielberg Looks At An Iconic Career In An Engaging Manner
Mark Harris on Twitter, that Spielberg has now had eleven of his movies nominated for Best Picture, the second highest amount of movies a single director has ever had nominated in Best Picture (William Wyler has the most with 13 of his features scoring Best Picture nominations). That's an astonishing accomplishment and it's far from the only place where Spielberg's career has been marked with great success as anyone who's been to a movie theater in the last four decades can attest.
Posted by Lisa Laman at 10:48 AM No comments:
Labels: 2017, Brian De Palma, Documentary, E.T., Francis Ford Coppola, George Lucas, HBO, Jaws, Martin Scorsese, Movie Review, October 2017, Raider of The Lost Ark, Spielberg, Steven Spielberg, Susan Lacy, The Color Purple
Monday, January 22, 2018
Bet On The Actors Excelling And The Camerawork Underwhelming In Molly's Game
Douglas Laman's 90th Academy Awards Nominees Predictions (PART TWO)
Part One back on Saturday, now it's time for the second part of my predictions for who gets nominated for what at this year's Academy Awards ceremony!
Sunday, January 21, 2018
For The Third Weekend In A Row, Jumanji Tops The Box Office While 12 Strong Starts Out Decently And Den Of Thieves "YAWK! YAWK! YAWK! YAWK!"'s It's Way Past Expectations
Steven Spielberg Kicked Off His Career In Thrilling Style With Duel
Saturday, January 20, 2018
Douglas Laman's 90th Academy Awards Nominees Predictions (PART ONE)
Friday, January 19, 2018
Prepare For Oodles of Laughs And Kindness, Paddington 2 Is Here!
Posted by Lisa Laman at 12:51 PM No comments:
Labels: 2018, Ben Whishaw, Brendan Gleeson, British, Hugh Bonneville, Hugh Grant, Imelda Staunton, January 2018, Movie Review, Paddington, Paddington 2, Paul King, Sally Hawkins, Simon Farnaby
Thursday, January 18, 2018
Dean Works Better As A Contemplation of Coping With Grief Than As A Comedy
Wednesday, January 17, 2018
In Laman's Terms: The Queer of The Dawn of Cinema
|An image from the pivotal 1919 feature Different From The Others|
"Somebody, your father or mine, should have told us that not many people have ever died of love. But multitudes have perished, and are perishing every hour--and in the oddest places!--for the lack of it." - James Baldwin
Have you seen the new trailer for Love, Simon? If not, check it out below cuz it's all kinds of sweet and heartwarming, really makes me hope the movie itself is awesome!
Monday, January 15, 2018
Menashe Provides A Thoughtful And Charming Character Study
Steven Spielberg Created A Phenomenally Impactful Motion Picture With Schindler's List
Posted by Lisa Laman at 11:43 AM No comments:
Labels: 1993, Ben Kingsley, Classic Write-Up, December 1993, Holocaust, Liam Neeson, Movie Review, Oskar Schindler, Ralph Fiennes, Schindler's List, Shoah, Steven Spielberg, Steven Zallian, World War II
Hot Off The Presses Is Steven Spielberg's Entertaining New Drama The Post
Posted by Lisa Laman at 10:19 AM No comments:
Labels: 2017, A.I.: Artificial Intelligence, Bob Odenkirk, Bridge of Spies, December 2017, John Williams, Lincoln, Meryl Streep, Movie Review, Steven Spielberg, The Deer Hunter, The Post, The Washington Post, Tom Hanks
Sunday, January 14, 2018
As Jumanji Leads The Box Office Again, The Post Has Solid Debut While A Trio of Newcomers, Including Paddington 2, Underwhelm
Friday, January 12, 2018
I Can Handle The Nastiness In Brawl In Cell Block 99 But Did It Have To Be So Meandering?
Thursday, January 11, 2018
Churchill Surrenders Talented Actors To Lackluster Storytelling
In Laman's Terms: How Did The Seven Major Studios Do At The Domestic Box Office In 2017?
|Pictured: A handful of Warner Bros. executives celebrating the box office success of Wonder Woman|
There are seven big movie studios and they all released a number of movies in 2017. Today, I shall use my box office savvy mind to look at their yearly grosses from 2017 and see which ones were on a financial roll and which ones are hoping to make 2018 a better year!
Let us begin with a studio I'm sure you're all shocked is on top....
Wednesday, January 10, 2018
No Wonder Audiences Have Connected With Wonder, It's A Real Heartfelt Treat
Posted by Lisa Laman at 2:19 PM No comments:
Labels: 2017, Daveed Diggs, Izabela Vidovic, Jacob Tremblay, Julia Roberts, Mandy Patinkin, Movie Review, November 2017, Owen Wilson, Peanuts, Room, Satantango, Stephen Chbosky, The Perks Of Being A Wallflower, Wonder
Tuesday, January 9, 2018
Money, Money, Money, It's Not So Funny In A Rich Man's World In All The Money In The World
Posted by Lisa Laman at 3:58 PM No comments:
Labels: 2017, All The Money In The World, Charlie Plummer, Christopher Plummer, Davis Scarpa, December 2017, Exodus: Gods And Kings, Kevin Spacey, Mark Wahlberg, Michelle Williams, Movie Review, Ridley Scott
Be Open and Vulnerable With The Work
Monday, January 8, 2018
Just Because I, Tonya Is Heavily Stylized Doesn't Mean It Can't Also Be Thoughtful
Posted by Lisa Laman at 2:54 PM No comments:
Labels: 1994, 2017, Allison Janney, Craig Ferguson, Craig Gillespie, December 2017, I Tonya, Margot Robbie, Million Dollar Arm, Movie Review, Sebastian Stan, Steven Rogers, The Finest Hours, Tonya Harding
Douglas Laman Gets A Tune Up (Entry #9): The Black Parade by My Chemical Romance
ENTRY #9: The Black Parade by My Chemical Romance
Douglas Laman Gets A Tune-Up is a series of essays wherein Douglas Laman listens to an album of music he's never fully listened to before (though he may have heard one or two songs from it) and writes up his brief thoughts on it.
Sunday, January 7, 2018
High School Musical Is Pure Musical Cheese And, Delightfully, Very Much Knows That
Posted by Lisa Laman at 12:53 PM No comments:
Labels: 2006, Ashley Tisdale, Classic Write-Up, Corbin Bleu, Disney Channel, High School Musical, January 2006, Kenny Ortega, Lucas Grabeel, Movie Review, Musical, Peter Barsocchini, TV Movie, Vanessa Hudgens, Zac Efron
Jumanji: Welcome To The Jungle Is King Of The Jungle, Er, Box Office While Insidious: The Last Key Has Scary Good Opening Weekend
Friday, January 5, 2018
Douglas Laman's Ten Worst Movies of 2017
Wednesday, January 3, 2018
Turn The Lights Out On The Dismal Netflix Blockbuster Bright
Tuesday, January 2, 2018
Downsizing Is Small On Narrative Ambitions Or Anything Really Remarkable To Speak Of
Monday, January 1, 2018
It's Thematically Messy But The Greatest Showman Does Come Through On Providing Fun Musical Numbers
Posted by Lisa Laman at 4:50 PM No comments:
Labels: 2017, December 2017, Hugh Jackman, Keala Settle, Michael Gracey, Movie Review, Musical, P.T. Barnum, Pasek and Paul, Rebecca Ferguson, The Greatest Showman, Yahya Abdul-Mateen II, Zac Efron, Zendaya
Live In The Chaotic And Gruesome Here And Now With Nocturama
Star Wars: The Last Jedi Rules Last Box Office Frame of 2017 As X-Mas 2017 Releases (Mostly) Flourish And We Look At The 2017 Box Office As A Whole
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