Posts Tagged ‘kevin spacey’

Hashtag: Explain A Film Plot Badly

Posted 08 Sep 2014 — by Ezra Stead
Category Movies I Didn't Get

By Ezra Stead

Hashtag: Explain A Film Plot BadlyIn case you missed it, there was a fun little game trending on Twitter over the weekend, with the hashtag “Explain A Film Plot Badly.” It’s kind of similar to this old thing I wrote. Here are the ones I came up with, in order of when they were tweeted (answers can be found in the tags for this article, but I think you’ll get ’em all):

Kevin Spacey has a nice time drinking coffee and telling stories to a grumpy policeman.

Sigourney Weaver risks her life to save a cat.

Sam Neill learns to like children after being forced to keep two of them from being eaten. Read More

Horrible Bosses

Posted 05 Sep 2011 — by Ezra Stead
Category Film Reviews, Movies I Got

By Ezra Stead

Horrible Bosses is a hilarious new film from King of Kong director Seth Gordon. Horrible Bosses, USA, 2011

Directed by Seth Gordon

Cheap and (especially) predictable as they sometimes are, the jokes in Seth Gordon’s Horrible Bosses work, and at its best, it made me laugh harder than any movie I’ve seen so far this year. A good example is a scene early on in which Nick Hendricks (Jason Bateman), who has been working so hard to get a promotion that the only thing still in his home refrigerator when he actually has a moment to check is an old lime (“Could have been a kiwi; no way to tell”), has said promotion brutally ripped out of his hands by his evil boss, Dave Harken (Kevin Spacey) so that Harken can take the position for himself, along with its attendant salary boost and the office Nick has been coveting. When Nick screams a profanity and drags Harken across the floor by his own necktie, any halfway-educated film viewer will immediately realize that this is a fantasy sequence, but the sheer brutality and enthusiasm of its execution manages to garner laughs despite the cliche. Read More

Spoiler Alert! Some Thoughts On Twist Endings

By Ezra Stead

The Sixth Sense ruined twist endings for quite sometime after its 1999 release. Since M. Night Shyamalan’s much-ballyhooed 1999 feature The Sixth Sense, twist endings have gotten something of a bad rap, and usually with good reason. After all, in many cases they are a cheap way to add excitement to the climax of an otherwise dull story; sometimes they are a cop-out, negating all emotional involvement that may have been invested in a film up until that point; others seem to be the sole reason for a story’s existence, without which the whole thing crumbles. On the other hand, when they work, twist endings can make a good film great, and they occasionally even reward repeat viewings by revealing previously unseen layers that can only be recognized once the conclusion of the story is known.

As rightly reviled as are many recent examples of the technique, especially many of Shyamalan’s subsequent efforts, there are also many laudable examples to be found among some of history’s greatest cinematic achievements, old and new. Widely respected filmmakers from Alfred Hitchcock to David Fincher and Christopher Nolan have successfully employed the well-placed twist to wonderful effect, and even Orson Welles’s immortal classic Citizen Kane, considered by many to be the greatest American film ever made, concludes with what can only be deemed an elegant, emotionally rich twist ending. Read More

Casino Jack

Posted 05 Jan 2011 — by contributor
Category Film Reviews, Member Movie Reviews, Movies I Didn't Get

By Scott Martin

Casino Jack, Canada, 2010

Directed by George Hickenlooper

casino jack George Hickenlooper movies i didnt getThe most unfortunate thing about this film isn’t that it degrades the importance of Jack Abramoff’s crimes down to a heist flick along the lines of 21 (2008), nor is it that its screenplay has all of the emotional depth and latitude of Shrink (2009). It’s that this is the late, yet formidable as ever, Maury Chaykin’s last film. Thankfully, his role let him go out in style, and with this film, style is just about all there is. Director George Hickenlooper passed on after filming this project as well.

Where the film’s complete failure begins is with its screenplay, though writer Norman Snider got a couple of things right. Everything he wrote about is ridiculous and, from an outsider’s perspective, kind of funny, if not incomprehensible. What he left out, though, was the weight of Abramoff’s actions, and just how important and destructive they were. He creates one-sided characters and injects them into a 3D labyrinth of movie quotes, political disdain, and Kevin Spacey doing impressions. So. Many. Damn. Impressions. I felt like I was watching another one of Kevin Costner’s movies that “just happened to involve baseball.” It got tiresome, and it wasn’t amusing the first time. Read More

Se7en – Oh, What A Sick World

Posted 31 Aug 2009 — by Jason A. Hill
Category Film Reviews, Movies I Didn't Get

By Jason A. Hill

Se7en, USA, 1995

Directed by David Fincher

brad pitt and morgan freemanSpoiler Alert

David Fincher’s Se7en is a crime thriller set in what appears to be urban Chicago. Two detectives on two different paths and at different stages in their careers track a methodical serial killer who leaves his victims with symbolic clues to the reasons for their murders based on the “seven deadly sins.”

Throughout the film, we are given a bleak view of the world, where it literally seems to never stop raining. William Somerset (Morgan Freeman), a detective close to retirement, and David Mills (Brad Pitt), a detective just starting his career, pursue John Doe (Kevin Spacey), a psychopathic serial killer who, apparently bored with the ease and randomness of killing the old-fashioned way, needs to channel Dante, Milton and Chaucer to find inspiration for his killings. Very early on it’s clear that the detectives aren’t going to catch this killer; otherwise the film would be called Three or Four. Nope, we are going to see all seven deadly sins, and the only questions are why is John Doe doing this, and how is he going to pull it off?

The tone of the film also takes an overly sympathetic view of the killer. Every victim is discovered with more of their death focusing on their “sin,” or why, rather than how, leaving out any need for detective work. Not that super genius “Yoda” killer John Doe would leave any unintended evidence behind, anyway. And I can accept that the film is more about the killer than the cops chasing him, but why then is his motive so elusive? Is he just a sick psychotic with an irresistible flare for irony, or is he a religious nut, hell-bent on re-making the world in the biblical sense?

Even up to this point, the film can still work, but as with most films that leave me so unfulfilled, its ending is as meaningless as it is memorable. As John Doe turns his foolish police pursuers every which way but loose, he completes his murder opus and turns himself in, but only does so in order to let the full impact of his deeds be felt by Detective Mills.

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