Tag Archives: badass-digest

Early Reviews: Is Cloud Atlas A Triumph Or A Disaster (Or Both)?

“Everything is connected,” reads the tagline for Cloud Atlas . As it is with life and the history of time and humanity, so it is with film reviews; sharply divided reactions have been coming out of Toronto, where the ambitious, history-spanning epic had its world premiere. Seldom do movies garner such polarizing critical reads: Is Cloud Atlas a triumph of ambition or, as one critic spat, ” a unique and totally unparalleled disaster ?” [ PHOTOS: First Images From The Wachowskis’ Cloud Atlas ] That biting reaction comes courtesy of The House Next Door ‘s Calum Marsh ( full review here ), whose beefs — and there are many — range from technical shortcomings to wider structural issues… which, in the case of a film about human interconnectivity and spirit, which interweaves six disparate storylines set in different eras that are filmed in varying tones and genres and feature the same actors in multiple characters (and, sometimes, in yellow- and white- and whatever-face), can be a problem: “‘What is an ocean,’ one character asks smugly, ‘if not a multitude of drops?’ And what’s Cloud Atlas if not a multitude of terrible details and unwatchable moments? The problem isn’t that this is one of the worst films I’ve ever seen in my life; the problem is that it’s seven of the worst films I’ve ever seen in my life glued together haphazardly, their inexorable badness amplified by their awkward juxtaposition. Tom Tykwer and Andy and Lana Wachowski wanted to make a movie unlike any other, and they certainly did: Cloud Atlas is a unique and totally unparalleled disaster.” But one critic’s disaster is another’s transcendent cinematic opus. Devin Faraci, reviewing in Badass Digest ( full review here ), gives high marks to Lana Wachowski, Andy Wachowski, and Tom Tykwer’s reach as scripters and co-directors, arguing that while imperfect, Cloud Atlas is “one of the great pictures of the 21st century so far”: ” Cloud Atlas is sometimes silly, and it’s sometimes pretentious and it’s sometimes overstuffed. But every single one of those things, to me, is a positive. It’s an exceptional piece of filmmaking, one of the bravest works I have ever seen. The Wachowskis have followed the poorly received final two Matrix films and the bomb of Speed Racer with a three hour meditation on the nature of human interaction, featuring a few actors in many make-ups. Some may see that as self-destructive, but I see it as incredibly heroic.” Most early reviews thus far fall at various points between Marsh and Faraci ( Cloud Atlas is currently at 60 percent on Rotten Tomatoes with 10 reviews counted * ). That’s not too surprising, given the difficulty of the undertaking at hand; adapting David Mitchell’s 500+ page novel into their own structure, no less, can be a tricky feat; doing so while pushing a sentimental theme, even moreso. Critics may agree on how the parts fit, but whether or not they see the larger picture congealing is another story. Cloud Atlas jumps around from narrative to narrative, from an 18th century sea voyage to 1970s San Francisco to the dystopian “Neo Soul” future and beyond. At least it has stars Tom Hanks and Halle Berry, who appear in multiple characters throughout, to lend some star wattage. (Jim Broadbent, Jim Sturgess, Hugh Jackman, Ben Whishaw, Doona Bae, Susan Sarandon, and Hugo Weaving fill out the cast.) Did I mention it’s three hours long? The strange thing about these early reviews is that I’m inclined to believe them all. Both sides of the coin: Triumph and, perhaps, disaster. (Then again, I loved Speed Racer . That turned out to be both at once.) * The film’s Tomatometer rating is now up to 73 percent with 15 total reviews, 11 fresh and 4 rotten. Goes to show how quickly the tide can shift so early on. We’ll be keeping an eye on the critical reaction as it builds toward week of release . Stay tuned for more on Cloud Atlas , in theaters October 26, and catch up on Movieline’s coverage of the Toronto Film Festival. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

Read the original:
Early Reviews: Is Cloud Atlas A Triumph Or A Disaster (Or Both)?

Thank Prometheus For the Most Disgusting Animated GIF Ever

I’m not going to belabor this: A batch of new media from Prometheus has emerged, including what some mad genius has repurposed as arguably the most revolting — if weirdly entrancing — animated GIF in the history of animated GIFs. No blood or other bodily fluids/waste are involved, but if you are squeamish at all about eyes, do not keep reading . Via Badass Digest and some outer circle of hell, here goes: Worm, meet eye! Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

More:
Thank Prometheus For the Most Disgusting Animated GIF Ever

Breaking Nudes from Sundance: Midnight Movie Madness

The Sundance Film Festival’ s midnight movies have quite a reputation, what with (sk)incidents of festival-goers passing out, freaking out, throwing up, and being carried away by EMTs during screenings every single year . It’s probably just clueless filmgoers woozy from the high altitude, as Devin Faraci points out in a recent Badass Digest article , but as the filmmakers behind The Killer Inside Me (2010) and The Woman (2011) (both of which had contentious Sundance screenings) will tell you, there’s no such thing as bad publicity when your goal is to shock. So which nude, crude flicks made Sundance spew this year? Get the skinny from our Skin Skout after the jump!

Excerpt from:
Breaking Nudes from Sundance: Midnight Movie Madness

‘Drive Angry’: The Reviews Are In!

Should you hit the road with Nicolas Cage? See what the critics have to say. By Eric Ditzian David Morse and Nicolas Cage in “Drive Angry” Photo: Summit Publicity “Drive Angry” marks three-straight supernatural films for Nicolas Cage, though each could not be more different. “The Sorcerer’s Apprentice” was a Disney-driven tale of magical realism. “Season of the Witch” dove into the intersection of medieval black magic and campy B-movie wackiness. And “Drive Angry” literally begins with Cage driving a muscle car straight outta hell with the devil’s henchman fast on his heels and doesn’t slow down as it splashes blood and fire across the screen. All three flicks share something else in common: below-average reviews. “Sorcerer’s” and “Season” each went on to conjure up lukewarm box-office receipts. Can “Drive Angry” break the spell? Check out what the critics are saying and decide if the new 3-D film is the right choice for you this weekend. The Story “[It] may be a bit too slickly self-aware for its own good, but it’s also rivetingly paced, outrageously funny and makes retina-scorching use of the new 3D technology. Nicolas Cage is on teeth-baring, eye-rolling form as John Milton (nice), the deceased felon who busts out of hell to track down the Southern death cult who kidnapped his baby granddaughter. Hooking up with mouthy muscle-car-driving white-trash waitress Piper (Amber Heard), Milton sets off in pursuit, all the while attempting to avoid the attentions of Satan’s right-hand man, The Accountant (a majestically arch William Fichtner).” — Tom Huddleston, Time Out Crazy Nic Cage “A little respect, if you please, for His Satanic Majesty Nicolas Cage. Nobody goes off the deep end like Nic. Nobody gives better value in bad movies than the sleepy-eyed Oscar winner with a gift for picking bad movies. ‘Drive Angry’ is a very entertaining B, C or D-movie, an over-the-top and in-your-face grindhouse gore, guns and ‘Gun it’ picture that’s about epic shootouts, bone-snapping brawls, bare breasts and muscle cars. The gunplay is funny and the sex hilarious in this ‘Ghost Rider is Gone in 60 Seconds’ mashup.” — Roger Moore, Orlando Sentinel The 3-D ” ‘Drive Angry’ is intensely bloody, violent and carries quite a few payoffs that are well delivered. It’s also a movie you’d actually want to see in 3-D, unlike so many frauds in the marketplace these days. In fact, Lussier, who directed ‘My Bloody Valentine 3D,’ shows his growth as a 3-dimensional director by taking ‘Drive Angry’ to new heights. Seeing it in Real D, the depth was astounding, and Lussier throws a few CGI tricks right in the viewer’s face. Even more impressive was his flashback sequence that could easily become one of the most influential in the 3-D age (the way he layers three ‘thoughts’ at once is mind-blowing visually). In short, it’s worth the extra few bucks.” — Brad Miska, Bloody Disgusting Going Grindhouse ” ‘Drive Angry’ is loud and busy, and it’s rarely boring. But it’s also never really good. ‘Drive Angry’ comes at the tail end of the grindhouse revival trend, and while it’s better made than films like ‘Machete’ or the scores of indie films that followed in Quentin Tarantino’s wake, it succumbs to the same problem so many of those movies do: it’s a movie about the things that the filmmakers think are cool, and that’s never cool. ‘Drive Angry’ isn’t about anything, it’s just a series of ideas that struck Lussier and Farmer as awesome, strung together at feature length. There’s a lot of balls in Drive Angry, and even some brains, but no heart.” — Devin Faraci, Badass Digest The Final Word ” ‘Drive Angry’ is, in the end, a genre romp. It’s not aiming any higher than that. But it is made with real skill and style, and there’s such knowledge of genre in the way they have built the script and both embraced and avoided certain conventions that it makes me feel like we’re just seeing Farmer and Lussier warm up. Hopefully they’ll keep working with collaborators as game as their partners in this particular crime, because ‘Drive Angry’ is a white-knuckle ride worth taking.” — Drew McWeeny, HitFix Check out everything we’ve got on “Drive Angry.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .

Link:
‘Drive Angry’: The Reviews Are In!