post

Out in Theaters: THE WOLF OF WALL STREET

“The Wolf of Wall Street”
Directed by Martin Scorsese
Starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jean Dujardin, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Bernthal, Jon Favreau, Cristin Milioti 
Biography, Comedy, Crime
180 Mins
R

The-Wolf-of-Wall-Street-4.jpg
Martin Scorsese
‘s The Wolf of Wall Street is a bombastic raunchfest spilling over with feverish humor and held in place by vibrant direction from Martin Scorsese and unhinged performances from its gifted cast. Sprawling and episodic, this “greed is great” epic is not only the funniest movie of the year, not only has one of the most outstanding performances in recent history, and not only is one of the most explicit films to hit the theaters under the guise of an R-rating, but, like icing on the proverbial cake, it offers a colossally poignant and timely cultural deconstruction of the financial institutions on which our country depends. And though it runs for exactly three hours, I’d watch this strung-out saga again in a second. A messy masterpiece on all fronts, The Wolf of Wall Street is a towering achievement.

We know that reality is often stranger than fiction but Scorsese’s encapsulation of the world of Jordan Belfort and his scurrying dervishes is like lifting a rock to find a thriving hive of ants equipped with Tony Montana-worthy piles of cocaine and strippers decked out in ever-fashionable neon beneath. Their iniquitous ways the stuff of adolescent male fantasies and their drug-fueled, deranged shenanigans straight from a Hunter S. Thompson memoir, Belfort is a modern day Dionysus. Taking the mantle of this larger-than-life imp of an investment banker, Leonardo DiCaprio is unholy goodness.

The-Wolf-of-Wall-Street-5.jpg
It’s no secret that I’m a massive fan of DiCaprio’s and a performance like this proves my continued faith in the multifarious thespian. Ranging from manic to disturbed, possessed to contemptible, his commanding performance scraps subtly for an off-the-walls buffet of theatrics. And though he never quite swallows the pill of reality, Belfort’s arc is splattered in sober doubt and drug-fueled confidence, always anchored by a megalomaniac’s grip on the destiny of those in his company. Twisting what it means to be generous, he takes from the rich and poor alike and distributes the riches amongst his legions of fanboy-like employees.

But for his however ethically corrupt he is, he’s got his own twisted sense of morality, at once misanthropic towards the world at large and a gentle guardian of his own flock of flunky stock pushers. His minions, led by a brilliantly toothy Jonah Hill, see him as the God he wants so badly to be.

The-Wolf-of-Wall-Street-3.jpg

Around the workplace, they call Belfort Wolfie; a nickname derived from his bullying brokering and his pick-up-the-scraps mentality. And as penny-stock pushers, Belfort and his henchmen turn scraps into millions, spinning gold from floss. Their office a carousal, Wolfie and Co.’s imperious rise to power is just too heinous to make up.

Beneath DiCaprio’s frantic and telescopic work as Belfort is a man feeding off his own energy. No matter how deluded Belfort can be, he’s a guy caught up in the moment, too high to not ride the waves of his own self-invented success. As an audience, we feed off the surge of energy too and let it drive us from scene to scene, always the intrigued voyeur.

The-Wolf-of-Wall-Street-1.jpg
And like a pitch-perfect backup singer, Hill’s Donnie Azoff (based on over-the-counter stock broker Danny Porush, who threatened to sue if they didn’t change his name) is the wind beneath DiCaprio’s wings. From the first time he steps onscreen, he demands our attention with his mammoth chompers and sleazy Long Island accent. He’s got sidekick so down pat that he may as well be the piggy Robin to Belfort’s wicked Batman. And no matter how brief his appearance is here, Matthew McConaughey is once again on fire. As a steadfast FBI agent, Kyle Chandler also breaks out of his comfort zone and puts in a performance worthy of such an accomplished cast.

Though lots of names have been tossed around for award recognition, Hill will assuredly be seeing his second (and here, more deserved) nomination for his work. His unique blend of drama and comedy is a staggering success and has knocked any skeptics off the fence in one fell, chompy swoop. And while DiCaprio’s performance here is a show for the ages, it may again go overlooked by the notoriously antiquated Academy. Regardless, he is the king of Hollywood and has proved it in spades with his astonishing work in Wolf.

The-Wolf-of-Wall-Street-2.jpg

But it’s not the performances alone that shine, as the movie flows smooth as butter. Looking at it as a whole, I wouldn’t want a single scene cut and that’s a testament to the seductive power of Scorsese’s film. With well over 500 counts of the f-bomb and enough female and male genitalia to perturb the most hip of parents, do be sure that you’re attending The Wolf of Wall Street with the right parties. This ain’t your grandma’s Scorsese.

A+

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter

 

post

Weekly Review 37: CANYONS, HOST, EPIC, THIEF, SIGHTSEERS, SCISSORHANDS, GRANDPA


The last of 2013 is upon us and I’ve been shoveling in just about as many films from the year as I can, building towards my awaiting best of/worst of lists and the second annual Silver Screen Riot Awards. At the theater, I closed out seeing the last films I would this year with Anchorman 2: The Legend Continues, August: Osage County, The Secret Life of Walter Mitty, and The Wolf of Wall Street. Reviews for all three to debut soon. Also check newly published reviews of Saving Mr. Banks, Inside Llewyn Davis, and American Hustle. At home though, I saw some of the worst, most unadulterated trash I’ve seen all year. Just pure garbage. But amongst the filth, I found a few hidden gems and finally watched some old classics. This might be the last installment of the year as the Holidays loom large and my time is going to be severely crunched.

THE CANYONS  (2013)

The-Canyons-FINAL-POSTER.jpg

In this utterly terribly film, Lindsay “Dead-Eyed” Logan and James “The Actual Pornstar” Deen have the chemistry of a brick and a rock. Beyond their impressively poor performer’s chops, the rest of the acting is atrocious, with each amazingly managing to be worse than the last. Paul Schrader‘s amateur porn-level direction seems like it’s trying to be different but it’s just confused and, there’s no tiptoeing around it, downright awful. Bret Easton Ellis, a reputable author dabbling for the first time in the script-writing business, loves to pen these drab, empty, trust-fund scumbags but the script here is either DOA or entirely misinterpreted by Schrader’s incompetent hand. The soulless LA landscape occupied by depraved, despicable people, who occasionally take their clothes off and bang (as if that’s any consolation for the horror that is watching this monstrosity) is signature Ellis but it lacks any irony, substituting tits for wit, meandering in his usual loose moral cesspool. Either way, he ought to probably stick to writing because there’s a reason this was rejected from both Sundance and SXSW for “quality issues”

F

THE HOST (2013)

The_Host_Poster_HD.jpg

Absent on entertainment, The Host makes Twilight look like an art film. With a script that makes fan fiction seem like Pulitzer material by comparison and features lines like “Kiss me like you want to get slapped,” it’s impossible to not scoff your way through this wildly ineffective disaster of a movie. Even if you took the grating voice-over work out (*shutters*) you’re still left with a film where absolutely nothing happens. Most certainly one of the worst movies of 2013 and probably up their amongst the worst movies of all time.

F

EPIC (2013)

epic_xlg.jpg

It’s almost amazing how flat this animated feature is. It’s got all the expensive looking animated design but Epic struggles to make you care about in the least bit about this retread story. Like Rio, the voice work is transparent and completely fails to make us forget the celebrity names behind the characters. Most importantly though, the film is boring, lazy, and just more “there” than anything. The whole good-vs.-evil conceit works fine so long as there’s something beneath them. Here, that’s just not the case. A couple of comic moments from Aziz Ansari and Chris O’Dowd help to break up the monotony but the rest of the voice performers are straight out of the vanilla convention (Amanda Seyfried, Josh Hutcherson). I’m left wondering where the hell the name Epic came from as well since there is nothing the least bit epic about this epic failure.

D

SIGHTSEERS (2013)

sightseers.jpg

An out-of-the-blue effort from deep English director Ben Wheatley, Sightseers is an untamed hologram of a vacation gone horribly wrong. Going into this blind is going to really boost your experience with it so I’m just try and skirt around any significant details. It’s easy to spot that the film was made on a paltry budget and a shame to see that it didn’t even make $50,000 dollars in US theaters but what can you expect from notoriously choosy American audiences (who would rather spend their money on Lone Ranger or another junky Hobbit flick). Although the project at first seems the work of amateurs, it really settles into its own and manages to be a fun, horrifying, thoughtful, and succinct experience.

B

IDENTITY THIEF (2013)

identity_thief_ver3_xlg.jpg

There’s hardly anything to say about this comedy entirely bereft of laughs. Identity Thief is nothing more than a totally forgettable clunker set on cruise control and left on the shoulders of the goodwill of its popular stars. Jason Bateman once again squanders his comic talent, playing a straight man to Melissa McCarthy‘s unpalatable identity thief. But rather than inject any genuine humor into the thing, all the “jokes” are culled from McCarthy letting loose a string of expletives or throwing karate chops at unexpected vocal chords. Beyond the pure laziness masquerading as humor, the third act dissolves into the saccharine melodrama that has no place in an R-rated comedy. All in all, what a waste of time.

D-

EDWARD SCISSORHANDS (1990)

1990-edward-scissorhands-poster1.jpg

In the process of trying to acquaint myself with Tim Burton‘s early and much-beloved work, I’m discovering a man oozing with passion. His character and set designs are as gothic and home-grown as ever and there is undeniably heart living in this project. Furthermore, this is without a doubt a weird Johnny Depp character and yet he’s still more relatable than the slew of weird characters he’s played for the last ten years. Beyond the scars, makeup and scissored hands, he’s a gentle giant struggling with his pure-heartedness and society’s uneasy alliance with him; the Beast to Winona Ryder’s Belle. It’s a shame that Burton has since turned to cheap remakes and Depp to hackneyed characterization because these are two men who really seemed to understand each other and their audience.

B

JACKASS: BAD GRANDPA (2013)

bad-grandpa-poster1.jpg

Without the ADHD framework of bopping between segments where Johnny Knoxville and crew get charged by bulls, launched from buildings, or have their scrotums assaulted in the most heinous of ways, it’s a little harder for the Jackass crew to keep our attention. Bad Grandpa relies on sentimentality and a loose narrative structure to involve us beyond cringing reactions and uproariously laughter. And while seeing Knoxville rocking old man makeup as Irving and taking little Billy under his wing in this hidden camera comedy does show an inkling of emotional storytelling rarely present in Jackass’s finest work, the social commentary present in Bruno and Borat is largely absent here. It’s no surprise that the bits that’ll work your funny bone hardest mostly rely on the easy humor of sharts and male anatomy but seeing little Jackson Nicoll steal the show from Knoxville was definitely out of left field and a pleasant surprise.

C

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter

post

Paul Rudd Is ANT-MAN

Antman.jpg
One of the lesser known Marvel heroes is shaping up to have the most exciting movie, with Edgar Wright directing and Joe Cornish writing Ant-Man. These two’s already incredible chemistry will now be enhanced by Paul Rudd, who has reportedly taken up the title role. The distinction between good and bad superhero movies tends to be what happens when action is not on the screen. This is why Iron Man was so successful. Everyone involved in Ant-Man are people that understand this, so some optimism for this project is definitely warranted.

 

Marvel is aiming for a July 31, 2015 release, pitting it against Marvel’s own The Avengers: Age of Ultron and Zack Snyder’s Batman vs. Superman. Since they are not aiming to rush it out, so Ant-Man can appear in the new Avengers, we will probably have to wait a few more years to see Rudd appear alongside Robert Downy Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, and friends, in an inevitable third Avengers installment. Either way, the summer of 2015 is looking to be pretty stacked, when it comes to superhero blockbusters, but Ant-Man certainly has all the ingredients (besides a more popular superhero) to lead the pack.

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter

post

Out in Theaters: ANCHORMAN 2: THE LEGEND CONTINUES

“Anchorman 2”
Directed by Adam McKay
Starring Will Ferrell, Paul Rudd, Steve Carrell, Christina Applegate, Kristen Wiig, James Marsden, David Koechner, Greg Kinnear
Comedy
119 Mins
PG-13

Following up a comedy classic like Anchorman is no easy task. In order to achieve a modicum of success, this sequel was already tasked with paying tribute to its predecessor while also setting itself far enough away so that it doesn’t seem like a play-by-play rehashing of the original. In this pursuit, Anchorman 2: The Legend Continues is a success. But while the first film had me in a constant state of stitches and continues to be a go-to favorite in the comedy stable, Anchorman 2 is far more spotted. Attempts to capture the comic vibrancy of men let off the leash fizzles with some performers more than others, revealing gags sautéed in randomness that come across as definitively hit-or-miss. And while more jokes land with a thud than you’d hope for, when it shines, it shines like the sweet diamond-crusted grills of Flava Flav. Read More

post

Golden Globes Nominations Stick to the Usual Suspects

golden-globes-logo.jpg
What a crazy two months it has been, as the majority of the Golden Globes film nominees were released in the last sixth of this year. 12 Years a Slave and American Hustle earned seven nods each, leading the pack of award season favorites. Interestingly, the competition for best film has been essentially cut in half, since the Globes consider Her, American Hustle, Inside Llewyn Davis, and Nebraska comedies, which seems a bit odd, even though they are lighter dramas.

Of the two categories, the comedy one looks to be much more competitive, honestly. While Gravity, Captain Phillips, Philomena, and Rush were all exceptionally solid films, they are second tier to the likes of 12 Years a Slave and Dallas Buyers Club (which is curiously absent). The actor nods are in the same boat, as the competitive pool has been divided into two separate categories.

The complete list of nominees below with predictions in red.

Best Picture, Drama

“12 Years a Slave”

“Captain Phillips”

“Gravity”

“Philomena”

“Rush”

Best Picture, Musical or Comedy

“American Hustle”

“Her”

“Inside Llewyn Davis”

“Nebraska”

“The Wolf of Wall Street”


Best Director

Alfonso Cuarón, “Gravity”

Paul Greengrass, “Captain Phillips”

Steve McQueen, “12 Years a Slave”

Alexander Payne, “Nebraska”

David O. Russell, “American Hustle”

 

Best Actor, Drama

Chiwetel Ejiofor, “12 Years a Slave”

Idris Elba, “Mandela: The Long Walk to Freedom”

Tom Hanks, “Captain Phillips”

Matthew McConaughey, “Dallas Buyers Club”

Robert Redford, “All Is Lost”

 

Best Actress, Drama

Cate Blanchett, “Blue Jasmine”

Sandra Bullock, “Gravity”

Judi Dench, “Philomena”

Emma Thompson, “Saving Mr. Banks”

Kate Winslet, “Labor Day”

 

Best Actor, Musical or Comedy

Christian Bale, “American Hustle”

Bruce Dern, “Nebraska”

Leonardo DiCaprio, “The Wolf of Wall Street”

Oscar Isaac, “Inside Llewyn Davis”

Joaquin Phoenix, “Her”

 

Best Actress, Musical or Comedy

Amy Adams, “American Hustle”

Julie Delpy, “Before Midnight”

Greta Gerwig, “Frances Ha”

Julia Louis-Dreyfus, “Enough Said”

Meryl Streep, “August: Osage County”

 

Best Supporting Actor

Barkhad Abdi, “Captain Phillips”

Daniel Brühl, “Rush”

Bradley Cooper, “American Hustle”

Michael Fassbender, “12 Years a Slave”

Jared Leto, “Dallas Buyers Club”

 

Best Supporting Actress

Sally Hawkins, “Blue Jasmine

Jennifer Lawrence, “American Hustle”

Lupita Nyong’o, “12 Years a Slave”

Julia Roberts, “August: Osage County”

June Squibb, “Nebraska”

 

Best Animated Feature Film

“The Croods”

“Despicable Me 2”

“Frozen”

 

Foreign Language Film

“Blue Is the Warmest Color”

“The Great Beauty”

“The Hunt”

“The Past”

“The Wind Rises”

 

Best Screenplay

“12 Years a Slave”

“American Hustle”

“Her”

“Nebraska”

“Philomena”

 

Best Original Song

“Atlas,” performed by Coldplay — “The Hunger Games: Catching Fire”

“Let It Go,” performed by Idina Menzel — “Frozen”

“Ordinary Day,” performed by U2 — “Mandela: The Long Walk to Freedom”

“Please Mr. Kennedy,” performed by Justin Timberlake, Oscar Isaac, and Adam Driver — “Inside Llewyn Davis”

“Sweeter Than Fiction,” performed by Taylor Swift — “One Chance”

 

Best Original Score

Alex Ebert, “All Is Lost”

Alex Heffes, “Mandela: The Long Walk to Freedom”

Steven Price, “Gravity”

John Williams, “The Book Thief”

Hans Zimmer, “12 Years a Slave”

 

TELEVISION

 

Best Television Series, Drama

“Breaking Bad”

“Downton Abbey”

“The Good Wife”

“House of Cards”

“Masters of Sex”

 

Best Television Series, Comedy or Musical

“The Big Bang Theory”

“Brooklyn Nine-Nine”

“Girls”

“Modern Family”

“Parks and Recreation”

 

Best Miniseries or Television Movie

“American Horror Story: Coven”

“Behind the Candelabra”

“Dancing on the Edge”

“Top of the Lake”

“White Queen”

 

Best Actor, Television Drama

Bryan Cranston, “Breaking Bad”

Liev Schreiber, “Ray Donovan”

Michael Sheen, “Masters of Sex”

Kevin Spacey, “House of Cards”

James Spader, “The Blacklist

 

Best Actress, Television Drama

Juliana Margulies, “The Good Wife”

Tatiana Maslany, “Orphan Black”

Taylor Schilling, “Orange Is the New Black”

Kerry Washington, “Scandal”

Robin Wright, “House of Cards”

 

Best Actor, Television Comedy or Musical

Jason Bateman, “Arrested Development”

Don Cheadle, “House of Lies”

Michael J. Fox, “The Michael J. Fox Show”

Jim Parsons, “The Big Bang Theory”

Andy Samberg, “Brooklyn Nine-Nine”

 

Best Actress, Television Comedy or Musical

Zooey Deschanel, “New Girl”

Lena Dunham, “Girls”

Edie Falco, “Nurse Jackie”

Julia Louis-Dreyfus, “Veep”

Amy Poehler, “Parks and Recreation”

 

Best Actor, Television Movie or Mini-Series

Matt Damon, “Behind the Candelabra”

Michael Douglas, “Behind the Candelabra”

Chiwetel Ejiofor, “Dancing on the Edge”

Idris Elba, “Luthor”

Al Pacino, “Phil Specter”

 

Best Actress, Television Movie or Mini-Series

Helena Bonham Carter, “Burton and Taylor”

Rebecca Ferguson, “White Queen”

Jessica Lange, “American Horror Story: Coven”

Helen Mirren, “Phil Specter”

Elisabeth Moss, “Top of the Lake”

 

Best Supporting Actor

Josh Charles, “The Good Wife”

Rob Lowe, “Behind the Candelabra”

Aaron Paul, “Breaking Bad”

Corey Stoll, “House of Cards”

Jon Voight, “Ray Donovan”

 

Best Supporting Actress

Jacqueline Bisset, “Dancing on the Edge”

Janet McTeer, “White Queen”

Hayden Panettiere, “Nashville”

Monica Potter, “Parenthood”

Sofia Vergara, “Modern Family”

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter

Golden Globe Nominations Nothing New

What a crazy two months it has been, as the majority of the Golden Globes film nominees were released. 12 Years a Slave and American Hustle earned seven nods each, leading the pack of award season favorites. Interestingly, the competition for best film has been essentially cut in half, since they consider her, American Hustle, Inside Llewyn Davis, and Nebraska comedies, which seems a bit odd, even though they are lighter dramas. Of the two categories, the comedy one looks to be much more competitive, honestly. While Gravity, Captain Phillips, Philomena, and Rush were all exceptionally solid films, they are second tier to the likes of 12 Years a Slave and Dallas Buyers Club (which is curiously absent). The actor nods are in the same boat, as the competitive pool has been divided into two separate categories.

The complete list of nominees below

Best Picture, Drama:

“12 Years a Slave”

“Captain Phillips”

“Gravity”

“Philomena”

“Rush”

 

Best Picture, Musical or Comedy:

“American Hustle”

“Her”

“Inside Llewyn Davis”

“Nebraska”

“The Wolf of Wall Street”

 

Best Director:

Alfonso Cuarón, “Gravity”

Paul Greengrass, “Captain Phillips”

Steve McQueen, “12 Years a Slave”

Alexander Payne, “Nebraska”

David O. Russell, “American Hustle”

 

Best Actor, Drama:

Chiwetel Ejiofor, “12 Years a Slave”

Idris Elba, “Mandela: The Long Walk to Freedom”

Tom Hanks, “Captain Phillips”

Matthew McConaughey, “Dallas Buyers Club”

Robert Redford, “All Is Lost”

 

Best Actress, Drama:

Cate Blanchett, “Blue Jasmine”

Sandra Bullock, “Gravity”

Judi Dench, “Philomena”

Emma Thompson, “Saving Mr. Banks”

Kate Winslet, “Labor Day”

 

Best Actor, Musical or Comedy:

Christian Bale, “American Hustle”

Bruce Dern, “Nebraska”

Leonardo DiCaprio, “The Wolf of Wall Street”

Oscar Isaac, “Inside Llewyn Davis”

Joaquin Phoenix, “Her”

 

Best Actress, Musical or Comedy:

Amy Adams, “American Hustle”

Julie Delpy, “Before Midnight”

Greta Gerwig, “Frances Ha”

Julia Louis-Dreyfus, “Enough Said”

Meryl Streep, “August: Osage County”

 

Best Supporting Actor:

Barkhad Abdi, “Captain Phillips”

Daniel Brühl, “Rush”

Bradley Cooper, “American Hustle”

Michael Fassbender, “12 Years a Slave”

Jared Leto, “Dallas Buyers Club”

 

Best Supporting Actress:

Sally Hawkins, “Blue Jasmine

Jennifer Lawrence, “American Hustle”

Lupita Nyong’o, “12 Years a Slave”

Julia Roberts, “August: Osage County”

June Squibb, “Nebraska”

 

Best Animated Feature Film:

“The Croods”

“Despicable Me 2”

“Frozen”

 

Foreign Language Film:

“Blue Is the Warmest Color”

“The Great Beauty”

“The Hunt”

“The Past”

“The Wind Rises”

 

Best Screenplay:

“12 Years a Slave”

“American Hustle”

“Her”

“Nebraska”

“Philomena”

 

Best Original Song:

“Atlas,” performed by Coldplay — “The Hunger Games: Catching Fire”

“Let It Go,” performed by Idina Menzel — “Frozen”

“Ordinary Day,” performed by U2 — “Mandela: The Long Walk to Freedom”

“Please Mr. Kennedy,” performed by Justin Timberlake, Oscar Isaac, and Adam Driver — “Inside Llewyn Davis”

“Sweeter Than Fiction,” performed by Taylor Swift — “One Chance”

 

Best Original Score:

Alex Ebert, “All Is Lost”

Alex Heffes, “Mandela: The Long Walk to Freedom”

Steven Price, “Gravity”

John Williams, “The Book Thief”

Hans Zimmer, “12 Years a Slave”

 

TELEVISION

 

Best Television Series, Drama:

“Breaking Bad”

“Downton Abbey”

“The Good Wife”

“House of Cards”

“Masters of Sex”

 

Best Television Series, Comedy or Musical:

“The Big Bang Theory”

“Brooklyn Nine-Nine”

“Girls”

“Modern Family”

“Parks and Recreation”

 

Best Miniseries or Television Movie:

“American Horror Story: Coven”

“Beyond the Candelabra”

“Dancing on the Edge”

“Top of the Lake”

“White Queen”

 

Best Actor, Television Drama:

Bryan Cranston, “Breaking Bad”

Liev Schreiber, “Ray Donovan”

Michael Sheen, “Masters of Sex”

Kevin Spacey, “House of Cards”

James Spader, “The Blacklist

 

Best Actress, Television Drama:

Juliana Margulies, “The Good Wife”

Tatiana Maslany, “Orphan Black”

Taylor Schilling, “Orange Is the New Black”

Kerry Washington, “Scandal”

Robin Wright, “House of Cards”

 

Best Actor, Television Comedy or Musical:

Jason Bateman, “Arrested Development”

Don Cheadle, “House of Lies”

Michael J. Fox, “The Michael J. Fox Show”

Jim Parsons, “The Big Bang Theory”

Andy Samberg, “Brooklyn Nine-Nine”

 

Best Actress, Television Comedy or Musical:

Zooey Deschanel, “New Girl”

Lena Dunham, “Girls”

Edie Falco, “Nurse Jackie”

Julia Louis-Dreyfus, “Veep”

Amy Poehler, “Parks and Recreation”

 

Best Actor, Television Movie or Mini-Series:

Matt Damon, “Behind the Candelabra”

Michael Douglas, “Behind the Candelabra”

Chiwetel Ejiofor, “Top of the Lake”

Idris Elba, “Luthor”

Al Pacino, “Phil Specter”

 

Best Actress, Television Movie or Mini-Series:

Helena Bonham Carter, “Burton and Taylor”

Rebecca Ferguson, “White Queen”

Jessica Lange, “American Horror Story: Coven”

Helen Mirren, “Phil Specter”

Elisabeth Moss, “Top of the Lake”

 

Best Supporting Actor:

Josh Charles, “The Good Wife”

Rob Lowe, “Behind the Candelabra”

Aaron Paul, “Breaking Bad”

Corey Stoll, “House of Cards”

Jon Voight, “Ray Donovan”

 

Best Supporting Actress:

Jacqueline Bisset, “Dancing on the Edge”

Janet McTeer, “White Queen”

Hayden Panettiere, “Nashville”

Monica Potter, “Parenthood”

Sofia Vergara, “Modern Family”

 

 Follow Silver Screen Riot on Facebook 
Follow Silver Screen Riot on Twitter

post

Emilia Clarke Joins TERMINATOR Reboot

Emilia-Clarke.jpg
Emilia Clarke of HBO’s Game of Thrones has been tapped to join the cast of the new Terminator reboot as franchise mainstay Sarah Conner. Helming the project will be GoT alum and Thor: The Dark World director Alan Taylor. Other casting rumors include Zero Dark Thirty’s Jason Clarke as John Connor and, of course, Arnold Schwarzenegger, who seems to do just about anything these days. Will she will play the naïve Sarah Conner of the original or carry some of the tough-as-nails insanity of Linda Hamilton in the sequel? Either way, versatility will be the key to a solid performance by Clarke.

But the concept of a reboot that has the original star (Schwarzenegger) is a little unnerving. It shows that the higher ups on this project are unwilling to take a big enough risk in order to distance this from the original franchise. Terminator has quite frankly been beaten to death, especially with the sequels at the box office, but still: the originals hold up incredibly well. This reboot will have to rely on the curiosity of an audience that still isn’t quite over the novelty of Schwarzenegger’s return to acting.

When the story tries to explain why they chose to use such an old, clearly past his prime, man as a blueprint for their mega death robot, eyes may roll. 

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter

post

Tatum and Hill Return for 22 JUMP STREET Trailer

22-Jump-Street.jpg

Coming from someone who has never seen 21 Jump Street, the new red band trailer for its sequel 22 Jump Street kind of makes me want to watch it. Starting off with a very self-aware speech by their captain, played by Nick Offerman, which winks at the audience, as if to say, “We know comedy sequels are a little ridiculous,” the trailer explains the arbitrary reason for the new title. This time they have to infiltrate a college, instead of a high school, but the premise is more-or-less the same as the first.

Jonah Hill and Channing Tatum are set to return, accompanied by Ice Cube, to relive their glory days and search out a drug dealer of sorts. The intriguing thing about the perspective these films take is looking at the college or high school film genre, through the eye of someone older. It serves as a deconstruction that we take part in, as people who have been through those institutions and know that their Hollywood representations are mostly bullshit. A fish out of water story, mixed with action, mixed with a meta-genre commentary, will hopefully make this an enjoyable sequel, as long as they don’t fall into the Hangover trap.

http://www.youtube.com/watch?v=06rvPK8ydZo

22 Jump Street is directed by Phil Lord and Chris Miller and stars Channing Tatum, Nick Offerman, Jonah Hill, and Ice Cube. It hits theaters on June 13, 2014

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter

post

Christopher Nolan Teases With INTERSTELLAR Trailer

Interstellar.jpg
Few directors garner as much hype as Christopher Nolan these days. His skill at straddling the line between being interesting enough for thoughtful film-goers and stupid enough to make everyone else feel smart, has garnered him a great reputation with audiences and made him a safe bet for studios. For roughly the past year, the only info on his upcoming project, aside from some casting news, has been the name. After watching the first teaser for Interstellar, we don’t know much more.  The synopsis reveals that it will have something to do with space travel and wormholes. Thank you, Chris, for not showing us the whole movie yet.

Showing footage of some of humanities greatest achievements, Matthew McConaughey narrates, implying that we have lost the ambition that drove us to such great heights. He is shown driving through a field at the end, looking determined.

It is nice to see Nolan breaking away from his usual suspects here, casting McConaughey (who has been nothing but fantastic for the past few years), Anne Hathaway, Casey Affleck, John Lithgow, and Ellen Burstyn. Michael Caine is the only Nolan regular here. Look forward to likely seeing another Nolan hit next November. 

Interstellar is directed by Christopher Nolan and stars Matthew McConaughey, Anne Hathaway, and Casey Affleck. It hits theaters November 7th 2014.

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter

post

Out in Theaters: AMERICAN HUSTLE

“American Hustle”
Directed by David O. Russell
Starring Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence, Jeremy Renner, Louis C.K., Michael Pena, Robert De Niro
Crime, Drama
138 Mins
R
American-Hustle-4.jpg

However great all of the performances in American Hustle are, great performances do not a great movie make. This kooky tale of maladjusted thieves, sleezy politicians and unscrupulous government employees is rich with standout performances – particularly from proven powerhouses Christian Bale and Jennifer Lawrence – but director David O. Russell‘s identity as an “actor’s director” has taken precedence over his being an effective storyteller.

The film opens with a telling long shot in which Bale’s Irving Rosenfeld is going about the delicate process of putting together his elaborate comb-over. He’s got little hair to work with – and the thatched mop he’s got to work with is straggly and thin – so he glues clumps of hair-like substance to rake the real hair over. The final product isn’t pretty but it’s better than before. This strange but captivating opening scene is an unintentional metaphor for the movie at large – a little bit of story, padded with movie-like substance, and combed over with the icing that is these great performances. It may look passable when all is said and done but you have to know that inside, it’s a bit hollow.

American-Hustle-2.jpg
Post-comb job scene, we discover we’re in media res con, somewhere halfway down the line where Irving has teamed with  Bradley Cooper‘s Richie DiMaso and Amy Adams‘ Sydney Prosser. They’re on their way to bribe a pompadoured Jeremy Renner‘s Mayor Carmine Polito because… well we find out later. But rather than set us on the edge of our seats with this choice to begin in the midst of things, we’re only slightly intrigued and are hardly left anticipating what the hell is gonna happen next. This isn’t Fight Club. There isn’t a gun in anyone’s mouth. So why bother starting somewhere down the line at all if that moment is just arbitrary? While this hardly creates a huge issue story or structure-wise, it is a symptom of the larger issues at play.  

Since American Hustle is a story about con men told through the lens of various con men (Bale, Adams and Cooper each provide voice-over narration), we’re never really sure who is and who isn’t reliable narrator. While this worked wonders for the likes of The Usual Suspects (although I personally was never won over by that film), the effect here is exaggeratedly diminished and feels like a last-minute attempt to pull the rug from beneath the audience’s feet rather than an astonishing story turn.

American-Hustle-6.jpg
As for the variety of voice-over work that seeks to fill in the blanks on character’s histories, backstories, relationships and anything else that passes for pertinent information, there is definitely far too much on the table. Having one narrator is fine (in the right circumstances) but having three is plain overkill. If anything, it’s an indication that O. Russell needed to patch up the narrative and beef up scenes shared between characters. Infamous as a story crutch, voice over is very hit or miss and here, it’s mostly a miss. Show, don’t tell. It’s filmmaking 101.

Even with all the disappointment found in the story’s patchiness, American Hustle does have one thing in spades: fantastic performances. Everybody in the cast shines in their distinctive roles, each throbbing with eccentricity and lighting up the scenes beyond anything going on behind the camera. Assured yet another nomination at this year’s ceremonies, Lawrence proves that her Academy Award was no fluke. Her haphazard Rosalyn is a revelation and whenever she pops up she steals the scene. Her riotous “science oven” scene is sure to be the talk of the town come Christmas.

American-Hustle-3.jpg
Bale too is on his A-game, offering another performance in which he not only completely changes his body-type but his persona entire. Character-wise, he’s painted with complexity and jostles back and forth between empirical confidence and shady anxiety with the effortlessness of an acrobat. Physically, his swinty eyes and schlubby build is a whole new ballpark for the usually hunky Bale. Although he’s gained quite the reputation for his physical transformations, there’s always something more to his embodying his characters that goes far beyond physicality. The man is a chameleon and, once more, he’s able to convince us of that he is someone else entirely.

Cooper’s zany FBI agent Richie DiMago also steals scenes like its his job. His manic behavior and shotgun psyche are built for an actor’s showcase and Cooper doesn’t fail the character. While DiMago lacks the roundedness of Cooper’s Silver Linings Playbook headliner, Pat, he is truly an actor coming into his own, proving that he can be oh so much more than just a comic actor. For her part, Adams  also shows off why she is so valued in the thespian community even though the script doesn’t provide her with as many flashy moments as her co-stars. So though she tends to fall to the back of the pack in terms of wowing performances, she is still as solid as ever.

american-hustle.jpg
Smaller bit roles from Renner, Louis C.K.Michael Peña, and a quick, uncredited pit stop with Robert De Niro all have their moment in the sun and help to shape American Hustle into what could confidently be called the best ensemble performance of the year. As I mentioned earlier though, great performances are only one faction of a film’s impact and although the acting is this movie is grade-A stuff, the story lingers around a C.

You could probably also say that my expectations were too high going into American Hustle (I was ready to jam it in my top ten before even seeing it) but I don’t think that really accounts for all the disappointment found here. Just writing this review and finding out that the movie was over two-hours long shocked me. I hardly remember it being nearing two-hours and there was surely no need for the length in a movie that already felt light on story. Then again, maybe that fact that I didn’t notice how long it was is an indication of my enjoying the film. And don’t get me wrong, the performances are inspired, fine-tuned, and just plain lovely and the film itself is a lot of fun. Unfortunately though, it stops there. Instead of reaching for the stars, it settles with being fun and stuffed with great acting. Next time, I hope O. Russell pushes for that extra mile.

B-

Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter