Tag Archives: films

A Tribute To the People Who Write Excruciatingly Detailed Wikipedia Plot Summaries For Movies That Suck

There is a group of individuals whom Movieline would like to salute: The passionate, faceless people who lovingly record, in surprising detail and with confounding care, the full plot summaries for horrible movies on Wikipedia. Wikipedia movie plot historians, your day has come. I first recognized this phenomenon last month. While researching several pivotal roles in Kirsten Dunst’s career for the actresses’s 9 Milestones in the Evolution of… feature, I noticed (and greatly appreciated) that an Internet user had heroically outlined the entire plot of her long-forgotten and laughable 1998 television movie Fifteen and Pregnant . The plot summary is delivered in four straightforward paragraphs which remarkably do not acknowledge the ridiculousness of this poorly-scripted and self-righteous project. Here is just a taste… “The film opens with fourteen year old Tina having sex with Ray. A few days later Tina is sitting in the car with her mother and Tina’s mother asks her if she knows anyone who is sexually active at her age, or if she has ever been sexually active, and Tina nods her head yes, although her mother doesn’t know what she is admitting.” Granted, the person who was so moved by the melodramatic play-by-play of Fifteen and Pregnant that he/she rushed to his/her computer and tapped out a painfully accurate recap, is by no means a scholar. But skill or grasp of the English language is not the point here: The dedication is. For example, do you know how much you’d have to pay me to watch Troll 2 again and compose an entire 11 paragraph summary without a single critical inflection? (The most derogatory statement about the film in its Wikipedia entry is that it is “widely considered to be of poor quality.”) Do you know how severely you would need to threaten me before I typed out 1,000 words on the detestable Rob Reiner film North ? Do you know how many Target gift cards you would have to hire Woody Harrelson to strew onto a hotel bed Indecent Proposal -style before I agreed to not only view New Year’s Eve but to pen an earnest six-paragraph summary of this particular Garry Marshall’s holiday disaster-piece ? (The answers to these three questions are “a ton,” “very severely,” and “like, $10,000 worth.”) The heroic Wikipedia users who composed the above plot summaries may not have saved any lives. But they did save brain cells — brain cells that could have met a similar fate as the millions of those left to be swept up along with the neglected candy and self-respect on the floor of every Jack and Jill -screening multiplex auditorium in America last month. Because hopefully, some smart moviegoers elected to just read the Wikipedia plot summary of the film so that they could appropriately rag on it at the water cooler without paying for a partial Adam Sandler-performed lobotomy. Or maybe a few intelligent viewers decided against seeing the film after its detailed Wiki page informed them that the “comedy” would feature “cameos” from Bruce Jenner, Regis Philbin and Drew Carey. Or maybe that is all just wishful thinking and Wikipedia plot summary movie-going prevention is just a hope for the future. Either way, I am thankful for the bold Wiki user who dared to recount every minor plot twist in Showgirls so that I never have to re-watch the film to rediscover how much Cristal and Zach paid Nomi for a lap dance at the Cheetah ($500). So please, in honor of these Wikipedia movie plot historians, take a moment and scan through a few detailed recaps of your least favorite movies of all time. Recognize the effort, thank the faceless writers in whichever way you deem fit and maybe consider tapping out a few future plot summaries of your own. For without these loving recaps, human beings might actually have to sit through a screening of Gigli to fully recognize the film’s atrociousness. Follow Julie Miller on Twitter . Follow Movieline on Twitter .

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A Tribute To the People Who Write Excruciatingly Detailed Wikipedia Plot Summaries For Movies That Suck

The 20 Most Anticipated Moviegoing Dates of 2012

Who’s excited for 2012? I said, Who’s excited for 2012? Oh. Well, it’s coming whether you want it or not, and Mayan doomsday predictions and a U.S. presidential election aside, there is stuff to look forward to. Get your calendars ready and read on for 20 dates worth saving at the movies alone. Jan. 6 : The Devil Inside becomes the millionth exorcist movie to open in theaters, thus netting a $3 million cash prize and earning the producers and 20 of their closest friends a free party and Dave and Buster’s. Jan. 15 : In a craven, ruinous grab for ratings, the Hollywood Foreign Press Association invites a suicide bomber to host the Golden Globe Awards. Jan. 20 : Coriolanus makes its official post-Oscar-qualifying debut in theaters. Take Stephanie and Louis and my words for it: You really should see it. Feb. 10 : Watch a Michael Caine paycheck role come alive as you’ve never seen it before — in the eye-popping 3-D family adventure Journey 2: The Mysterious Island . Feb. 26 : “Ziss ees for you, Uggie”: Jean Dujardin dedicates his Best Actor prize at the 84th Academy Awards to his criminally underrecognized canine co-star . March 2 : Holy shit, they really made Hansel and Gretel: Witch Hunters ? With Jeremy Renner, Gemma Arterton and Famke Janssen? Wow. OK. Anyway, this opens today. March 9 : Disney commences counting how much money it lost on the ultra expensive, roundly buzzless John Carter . March 23 : Fangirl civil war erupts as The Hunger Games makes its first incursion against the creaky, sparkly Twilight empire. The rest of us, faced only with the sad counterprogramming spectacle of A Thousand Words , flee to art-house refugee camps nationwide. April 27 : The crackerjack comic duo of Jason Segel and Emily Blunt Alison Brie and Jacki Weaver co-star in The Five-Year Engagement June 22 — Abraham Lincoln: Vampire Hunter winds up a distressing month of predatorily-titled blockbusters including Snow White and the Huntsman , Jack the Giant Killer and Madagascar 3: Europe’s Most Wanted . Which is fine, because you’re going to be watching the awesome-looking , June 8-opening Prometheus for the fifth time this weekend, anyway. July 20 — The Dark Knight Rises opens! To quote Bane, the film’s excited villain: “ Fghrlkdjhafskdfbldkbsj .” July 27 : Tyler Perry’s The Marriage Counselor reaches theaters, finally exposing audiences everywhere to the subtle dramatic charms of Kim Kardashian. I smell a Verge ! Or maybe it’s just Valtrex. Aug. 17 : Boldly leaping to the front of the Oscar-season line, the Los Angeles Film Critics Association moves up its awards-voting date to Aug. 20 after seeing The Expendables 2 . Sept. 28 : The year of Taylor Kitsch — previously comprising John Carter and Battleship — concludes with the only one of his films any grown-ass adult wants to actually see: The Oliver Stone pot-cartel thriller Savages , co-starring Beinicio Del Toro, Salma Hayek, Uma Thurman, John Travolta, Blake Lively and Emile Hirsch. Oct. 12 : From Kevin James and his Zookeeper director Frank Coraci comes the teacher-turned-MMA moonlighter comedy Here Comes the Boom . I only bring it up because Jesus will weep so copiously that you might start filling and stacking sandbags now . Oct. 19 : Ryan Gosling. Emma Stone. Josh Brolin. Sean Penn. Gangster Squad . That is all. Nov. 16 : The Twilight Saga: Breaking Dawn – Part 2 concludes the billion-dollar franchise, instantly prompting millions of prodigious sobbing binges. But enough about Taylor Lautner’s management team. Nov. 21 : The visionary filmmaker Alfonso Cuaron returns with Gravity , which draws a robust opening-weekend crowd with its promise of showing Sandra Bullock shot into space. Dec. 19 : Kathryn Bigelow’s as-yet-unnamed Osama bin Laden movie — working title: Banned in Pakistan — reaches theaters. Dec. 25 : A very DiCaprio Christmas gets underway with Django Unchained and The Great Gatsby . Enjoy 2012, everyone! Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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The 20 Most Anticipated Moviegoing Dates of 2012

The 20 Most Anticipated Moviegoing Dates of 2012

Who’s excited for 2012? I said, Who’s excited for 2012? Oh. Well, it’s coming whether you want it or not, and Mayan doomsday predictions and a U.S. presidential election aside, there is stuff to look forward to. Get your calendars ready and read on for 20 dates worth saving at the movies alone. Jan. 6 : The Devil Inside becomes the millionth exorcist movie to open in theaters, thus netting a $3 million cash prize and earning the producers and 20 of their closest friends a free party and Dave and Buster’s. Jan. 15 : In a craven, ruinous grab for ratings, the Hollywood Foreign Press Association invites a suicide bomber to host the Golden Globe Awards. Jan. 20 : Coriolanus makes its official post-Oscar-qualifying debut in theaters. Take Stephanie and Louis and my words for it: You really should see it. Feb. 10 : Watch a Michael Caine paycheck role come alive as you’ve never seen it before — in the eye-popping 3-D family adventure Journey 2: The Mysterious Island . Feb. 26 : “Ziss ees for you, Uggie”: Jean Dujardin dedicates his Best Actor prize at the 84th Academy Awards to his criminally underrecognized canine co-star . March 2 : Holy shit, they really made Hansel and Gretel: Witch Hunters ? With Jeremy Renner, Gemma Arterton and Famke Janssen? Wow. OK. Anyway, this opens today. March 9 : Disney commences counting how much money it lost on the ultra expensive, roundly buzzless John Carter . March 23 : Fangirl civil war erupts as The Hunger Games makes its first incursion against the creaky, sparkly Twilight empire. The rest of us, faced only with the sad counterprogramming spectacle of A Thousand Words , flee to art-house refugee camps nationwide. April 27 : The crackerjack comic duo of Jason Segel and Emily Blunt Alison Brie and Jacki Weaver co-star in The Five-Year Engagement June 22 — Abraham Lincoln: Vampire Hunter winds up a distressing month of predatorily-titled blockbusters including Snow White and the Huntsman , Jack the Giant Killer and Madagascar 3: Europe’s Most Wanted . Which is fine, because you’re going to be watching the awesome-looking , June 8-opening Prometheus for the fifth time this weekend, anyway. July 20 — The Dark Knight Rises opens! To quote Bane, the film’s excited villain: “ Fghrlkdjhafskdfbldkbsj .” July 27 : Tyler Perry’s The Marriage Counselor reaches theaters, finally exposing audiences everywhere to the subtle dramatic charms of Kim Kardashian. I smell a Verge ! Or maybe it’s just Valtrex. Aug. 17 : Boldly leaping to the front of the Oscar-season line, the Los Angeles Film Critics Association moves up its awards-voting date to Aug. 20 after seeing The Expendables 2 . Sept. 28 : The year of Taylor Kitsch — previously comprising John Carter and Battleship — concludes with the only one of his films any grown-ass adult wants to actually see: The Oliver Stone pot-cartel thriller Savages , co-starring Beinicio Del Toro, Salma Hayek, Uma Thurman, John Travolta, Blake Lively and Emile Hirsch. Oct. 12 : From Kevin James and his Zookeeper director Frank Coraci comes the teacher-turned-MMA moonlighter comedy Here Comes the Boom . I only bring it up because Jesus will weep so copiously that you might start filling and stacking sandbags now . Oct. 19 : Ryan Gosling. Emma Stone. Josh Brolin. Sean Penn. Gangster Squad . That is all. Nov. 16 : The Twilight Saga: Breaking Dawn – Part 2 concludes the billion-dollar franchise, instantly prompting millions of prodigious sobbing binges. But enough about Taylor Lautner’s management team. Nov. 21 : The visionary filmmaker Alfonso Cuaron returns with Gravity , which draws a robust opening-weekend crowd with its promise of showing Sandra Bullock shot into space. Dec. 19 : Kathryn Bigelow’s as-yet-unnamed Osama bin Laden movie — working title: Banned in Pakistan — reaches theaters. Dec. 25 : A very DiCaprio Christmas gets underway with Django Unchained and The Great Gatsby . Enjoy 2012, everyone! Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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The 20 Most Anticipated Moviegoing Dates of 2012

Margaret, Melancholia and More: Alison’s Top 10 Movies of 2011

I found 2011 to be a great, overstuffed year in film, though the sweeping trend of nostalgia that peaked during this awards season left me a little cold. Hugo , War Horse , The Artist , The Adventures of Tintin , The Help , even the self-aware looking back of Midnight in Paris — when it’s been such a turbulent 12 months beyond the movies, the comfort of evoking the past, especially the cinephilic past, is understandable, particularly with attendance down once again. But the features I really loved tended to be more prickly, vital affairs, about tragedy and life messily, stubbornly going on in its aftermath — ones that reminded us that film can not only be a great escape, but can also engage and reflect the outside world. 10. Shame Steve McQueen’s sophomore effort took flack from some who found it moralizing in its portrayal of sex addiction, but it’s not a film about a condition, it’s a film about damage. Michael Fassbender plays a man who’s left a traumatic childhood behind and has shored himself up in the city that never sleeps with an immaculate condo and a high-powered job that almost hide his underlying desperation and his inability to connect or open up to anyone on anything other than a physical level. It’s one of the loneliest portraits of urban living I’ve ever seen. 9. Warrior The neglected blockbuster of our Occupy Wall Street era, Warrior drapes Rocky trappings over characters and settings more immediate than you’d ever expect at a multiplex. Its two brothers, in what should have been star-making turns from Tom Hardy and Joel Edgerton, head to the cage after taking beatings elsewhere — one’s left the Marines on less than ideal terms after the death of colleague, the other’s upside down on his mortgage and unable to support his family on a teacher’s salary. Add to that the fact that the tournament in which they both compete was started by a former Wall Street type putting up the money to see “who the toughest man on the planet is,” and you have a rousing, violent fight film with a seriously bittersweet edge. 8. The Arbor Andrea Dunbar grew up in run-down Bradford council estates, drank heavily, had three kids by different fathers, wrote a trio of acclaimed plays about the life she knew and died at age 29. Clio Barnard’s documentary about the playwright brilliantly stages its interviews as their own performance, lip-synched by actors in the settings in which Dunbar and her children grew up and lived, and offering a piercing glimpse of how tragedy is taken up — her second work Rita, Sue and Bob Too was made into a film directed by Alan Clarke — and passed down, to her heroin-addicted eldest Lorraine. 7. Certified Copy It’s never clear which part of Juliette Binoche’s antiques dealer and William Shimell’s writer’s relationship is the pretense — are they strangers who play at being married, or a married couple playing at meeting as strangers? The thesis of Shimell’s book may or may not line up with that of Abbas Kiarostami’s film — the relationship between art and reproduction, original and copy — but the figuring out, and the slippery nature of the connection the pair on screen, is delicious. 6. The Tree of Life It’s a film about a family that stretches from the beginning of the universe to a possible vision of the afterlife — if it may not be wholly lovable, its ambition alone should earn respect. But it’s the evocative immersion on childhood that lingered with me after Terrence Malick’s more grandiose imagery had faded, the tactile sense of that Texas street, the house, the endless possibility, uncertainty and wonder of being young and new to the world, the flashes of memory — the offering of a drink to a prisoner, the caress of a baby’s foot, the goading of a younger sibling to touch a light socket — that break up the more iconic moments with startling specificity. 5. Margaret Messy, vivid and wonderful, Kenneth Lonergan’s difficult production has become a critics’ cause, in part because of how tough it’s been to actually see. It’s worth the trouble, and in some ways better because of the long wait in reaching the few theaters it did — it now looks less like a movie about post-9/11 New York and more one about the city in all of its anonymous, chaotic glory, about a teenage girl’s first horrific brush with mortality and about the strange places that life leads us. 4. Take Shelter Few films have attempted to capture our age of anxiety like Jeff Nichols’s drama, about catastrophic dreams that may be caused by mental illness, but seem just as much to spring from the sense of uncertainty with which we’ve all been infected. Anchored by a stunning performance from Michael Shannon, Take Shelter presents a look at quiet breakdown spurred on by a desire to protect one’s loved ones, and pairs it with frightening scenes of monstrous storms and shadowy attackers that rival any of this year’s horror movies. 3. Into the Abyss Trust Werner Herzog to find stories so strange and moving in a terrible small-town triple murder over an automobile. The Texas of this film is recognizable, but it’s also near-mythic — a place of universally broken families, sudden violence, prison reunions and hard-earned redemption. Taken alone, the interviews with Melyssa Burkett or Jared Tolbert would be enough to make the film. As part of a kaleidoscope of suffering and hope, they’re highlights in something dark, funny and expressly moving about the persistence of human nature in the face of loss. 2. A Separation A marriage falls apart over the decision of whether or not to leave Iran in Asghar Farhadi’s magnificent drama, and encompasses in its disintegration a snapshot of the fractured nation that’s so nuanced, empathetic and complex it quickens the heart. Certainly the smartest film of the year, both as a self-contained work and in the respect it offers the audience, A Separation is unadorned by a score or flashy camera tricks — it doesn’t need them. 1. Melancholia The opposite of love isn’t hate, it’s indifference, and in Lars von Trier’s film it’s the awesome force of Kirsten Dunst’s depression-fueled disinterest that exudes a gravitational drag on everyone around here even before the arrival of the destructive planet of the title. Before the breathtaking apocalyptic imagery appears — the object looming closer in the sky, the static sparking from fingertips — Melancholia is already a devastating look at an illness that leaves you unable to connect to what life has to offer, even on an extravagant wedding day that seems to compress half a lifetime into a night. But it’s that the film turns to offer a sympathetic eye to Charlotte Gainsbourg’s anxious sibling in the second half that makes it great, and that gives it a soul. As she struggles to hold everything together in the face of approaching disaster, even Dunst’s depressive is moved to offer her a conciliatory gesture as the world ends. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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Margaret, Melancholia and More: Alison’s Top 10 Movies of 2011

Margaret, Melancholia and More: Alison’s Top 10 Movies of 2011

I found 2011 to be a great, overstuffed year in film, though the sweeping trend of nostalgia that peaked during this awards season left me a little cold. Hugo , War Horse , The Artist , The Adventures of Tintin , The Help , even the self-aware looking back of Midnight in Paris — when it’s been such a turbulent 12 months beyond the movies, the comfort of evoking the past, especially the cinephilic past, is understandable, particularly with attendance down once again. But the features I really loved tended to be more prickly, vital affairs, about tragedy and life messily, stubbornly going on in its aftermath — ones that reminded us that film can not only be a great escape, but can also engage and reflect the outside world. 10. Shame Steve McQueen’s sophomore effort took flack from some who found it moralizing in its portrayal of sex addiction, but it’s not a film about a condition, it’s a film about damage. Michael Fassbender plays a man who’s left a traumatic childhood behind and has shored himself up in the city that never sleeps with an immaculate condo and a high-powered job that almost hide his underlying desperation and his inability to connect or open up to anyone on anything other than a physical level. It’s one of the loneliest portraits of urban living I’ve ever seen. 9. Warrior The neglected blockbuster of our Occupy Wall Street era, Warrior drapes Rocky trappings over characters and settings more immediate than you’d ever expect at a multiplex. Its two brothers, in what should have been star-making turns from Tom Hardy and Joel Edgerton, head to the cage after taking beatings elsewhere — one’s left the Marines on less than ideal terms after the death of colleague, the other’s upside down on his mortgage and unable to support his family on a teacher’s salary. Add to that the fact that the tournament in which they both compete was started by a former Wall Street type putting up the money to see “who the toughest man on the planet is,” and you have a rousing, violent fight film with a seriously bittersweet edge. 8. The Arbor Andrea Dunbar grew up in run-down Bradford council estates, drank heavily, had three kids by different fathers, wrote a trio of acclaimed plays about the life she knew and died at age 29. Clio Barnard’s documentary about the playwright brilliantly stages its interviews as their own performance, lip-synched by actors in the settings in which Dunbar and her children grew up and lived, and offering a piercing glimpse of how tragedy is taken up — her second work Rita, Sue and Bob Too was made into a film directed by Alan Clarke — and passed down, to her heroin-addicted eldest Lorraine. 7. Certified Copy It’s never clear which part of Juliette Binoche’s antiques dealer and William Shimell’s writer’s relationship is the pretense — are they strangers who play at being married, or a married couple playing at meeting as strangers? The thesis of Shimell’s book may or may not line up with that of Abbas Kiarostami’s film — the relationship between art and reproduction, original and copy — but the figuring out, and the slippery nature of the connection the pair on screen, is delicious. 6. The Tree of Life It’s a film about a family that stretches from the beginning of the universe to a possible vision of the afterlife — if it may not be wholly lovable, its ambition alone should earn respect. But it’s the evocative immersion on childhood that lingered with me after Terrence Malick’s more grandiose imagery had faded, the tactile sense of that Texas street, the house, the endless possibility, uncertainty and wonder of being young and new to the world, the flashes of memory — the offering of a drink to a prisoner, the caress of a baby’s foot, the goading of a younger sibling to touch a light socket — that break up the more iconic moments with startling specificity. 5. Margaret Messy, vivid and wonderful, Kenneth Lonergan’s difficult production has become a critics’ cause, in part because of how tough it’s been to actually see. It’s worth the trouble, and in some ways better because of the long wait in reaching the few theaters it did — it now looks less like a movie about post-9/11 New York and more one about the city in all of its anonymous, chaotic glory, about a teenage girl’s first horrific brush with mortality and about the strange places that life leads us. 4. Take Shelter Few films have attempted to capture our age of anxiety like Jeff Nichols’s drama, about catastrophic dreams that may be caused by mental illness, but seem just as much to spring from the sense of uncertainty with which we’ve all been infected. Anchored by a stunning performance from Michael Shannon, Take Shelter presents a look at quiet breakdown spurred on by a desire to protect one’s loved ones, and pairs it with frightening scenes of monstrous storms and shadowy attackers that rival any of this year’s horror movies. 3. Into the Abyss Trust Werner Herzog to find stories so strange and moving in a terrible small-town triple murder over an automobile. The Texas of this film is recognizable, but it’s also near-mythic — a place of universally broken families, sudden violence, prison reunions and hard-earned redemption. Taken alone, the interviews with Melyssa Burkett or Jared Tolbert would be enough to make the film. As part of a kaleidoscope of suffering and hope, they’re highlights in something dark, funny and expressly moving about the persistence of human nature in the face of loss. 2. A Separation A marriage falls apart over the decision of whether or not to leave Iran in Asghar Farhadi’s magnificent drama, and encompasses in its disintegration a snapshot of the fractured nation that’s so nuanced, empathetic and complex it quickens the heart. Certainly the smartest film of the year, both as a self-contained work and in the respect it offers the audience, A Separation is unadorned by a score or flashy camera tricks — it doesn’t need them. 1. Melancholia The opposite of love isn’t hate, it’s indifference, and in Lars von Trier’s film it’s the awesome force of Kirsten Dunst’s depression-fueled disinterest that exudes a gravitational drag on everyone around here even before the arrival of the destructive planet of the title. Before the breathtaking apocalyptic imagery appears — the object looming closer in the sky, the static sparking from fingertips — Melancholia is already a devastating look at an illness that leaves you unable to connect to what life has to offer, even on an extravagant wedding day that seems to compress half a lifetime into a night. But it’s that the film turns to offer a sympathetic eye to Charlotte Gainsbourg’s anxious sibling in the second half that makes it great, and that gives it a soul. As she struggles to hold everything together in the face of approaching disaster, even Dunst’s depressive is moved to offer her a conciliatory gesture as the world ends. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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Margaret, Melancholia and More: Alison’s Top 10 Movies of 2011

The Ides of March, The Artist and Other Moviegoing Let-Downs of 2011

The key to a list of moviegoing disappointments is the element of expectation: I am prepared to say I watched more suicidally bad films in 2011 than in any other year in my life; to be merely disappointed suggests a certain relativity. For example, I found The Ides of March to be a tremendous let down, I think partly because my hopes were inflated. George Clooney’s high political tragedy is perfectly cast, and that early, loaded exchange of glances between rival campaign managers Phillip Seymour Hoffman and Paul Giamatti goes off like a starter pistol. But The Ides of March is like that — it keeps threatening to start something interesting, right up to the point that it just… ends. I had the same issue with Good Night and Good Luck , another major disappointment and another film that played as if it were perpetually about to begin . The pleasures of Ryan Gosling’s performance as the fledgling spinmeister feel stingy — why tell us that he’s known to rock the microphone when we paid for the show? And Clooney’s Teflon governor is an empty, well-cut overcoat — perhaps the most glaring evidence of both the character and the director’s failure is that his one big scene with his golden boy star is the least exciting one in the movie. Given the improbable, stadium-rolling wave of appreciation that greeted The Artist , I expected much more than the mannered silent that Michel Hazanavicius and co. delivered. A mediocre movie with a couple of bright moments, The Artist also had too little to say about its chosen themes. Given the challenge of holding our attention across a silent film landscape, the music felt either too sparse or too sentimentally obvious, and the droopy patches felt twice as long as they needed to. The story of a silent film star left behind by the transition to sound was unconvincing when it needed to be clear and dolorous when it might have been lyrical. Similarly cranky friends have fixated on the issue of George Valentin’s (Jean Dujardin) refusal to speak on film—was it the accent? A principled stance? The fact that they were at all unsure points out a massive gap in the center of The Artist , one its title sews up too neatly. Any close follower of Werner Herzog’s career should know better than to bring expectations brewed from his last film into the next. Along with an auteurist consistency of preoccupations, Herzog shares with Woody Allen a prodigious output of wildly variable quality. The titles of this year’s Herzogian harvest — the sublime Cave of Forgotten Dreams and the slapdash Into the Abyss — seem interchangeable, but the latter felt to me like Achilles Herzog, a hot check of a documentary passed off as the real thing. Researched and assembled under extreme time constraints, Into the Abyss is an inquiry into the death penalty that gets by on artful narrative juxtapositions and moments of profound, almost invasive intimacy with its interview subjects. The reach for effect often feels more craven than considered, and the crime at the heart of the film is eventually clouded over for convenience. When a topic and a director — and a title! — of this magnitude collide, the viewer wants the Earth to shimmy; instead we had to settle for the Richter equivalent of a quick freehand sketch. I’ve watched Tinker, Tailor, Soldier, Spy twice now and I still couldn’t give you a basic plot summary. Having felt like a failure after the first viewing, after the second I’m prepared to push the better part of the blame onto director Tomas Alfredson and his Let the Right One In editor Dino Jonsäter. It’s a film that seems designed for le Carré obsessives, which means the rest of us may have to sit through all 57 hours of the 1979 BBC production just to get the facts straight. It’s a shame, because the performances and the production design knocked me out, but of all the ways to sex up a retro-procedural, I’d put mincing it into incomprehensibility second to casting Young Jeezy as George Smiley. With The Iron Lady Meryl Streep re-stamps her all-access passport to human history, and proves once again that the only thing she can’t seem to defy are superlative clichés. There are no words left to describe the kind of work Streep does — even those who dismiss her as a mere impressionist have to admit that her Margaret Thatcher is uncanny in its near-total self-effacement. But the film built around that performance is in some sense designed to disappoint: The biopic is an inefficient delivery system for dramatic tension or even, paradoxically, the human arc of a lifetime. It’s the movie equivalent of a greatest hits package, and while I’m not crazy about the appropriation of the still-living Thatcher’s dementia as a dramatic device, for me the more broadly director Phyllida Lloyd played her hand — ruining every successful visual cue by repeating it three times, leaping from one familiar milestone to the next — the farther we move away from the potential of Streep’s performance and the uneven richness of Thatcher’s story, into the straight flush of political iconography. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .

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The Ides of March, The Artist and Other Moviegoing Let-Downs of 2011

The Ides of March, The Artist and Other Moviegoing Let-Downs of 2011

The key to a list of moviegoing disappointments is the element of expectation: I am prepared to say I watched more suicidally bad films in 2011 than in any other year in my life; to be merely disappointed suggests a certain relativity. For example, I found The Ides of March to be a tremendous let down, I think partly because my hopes were inflated. George Clooney’s high political tragedy is perfectly cast, and that early, loaded exchange of glances between rival campaign managers Phillip Seymour Hoffman and Paul Giamatti goes off like a starter pistol. But The Ides of March is like that — it keeps threatening to start something interesting, right up to the point that it just… ends. I had the same issue with Good Night and Good Luck , another major disappointment and another film that played as if it were perpetually about to begin . The pleasures of Ryan Gosling’s performance as the fledgling spinmeister feel stingy — why tell us that he’s known to rock the microphone when we paid for the show? And Clooney’s Teflon governor is an empty, well-cut overcoat — perhaps the most glaring evidence of both the character and the director’s failure is that his one big scene with his golden boy star is the least exciting one in the movie. Given the improbable, stadium-rolling wave of appreciation that greeted The Artist , I expected much more than the mannered silent that Michel Hazanavicius and co. delivered. A mediocre movie with a couple of bright moments, The Artist also had too little to say about its chosen themes. Given the challenge of holding our attention across a silent film landscape, the music felt either too sparse or too sentimentally obvious, and the droopy patches felt twice as long as they needed to. The story of a silent film star left behind by the transition to sound was unconvincing when it needed to be clear and dolorous when it might have been lyrical. Similarly cranky friends have fixated on the issue of George Valentin’s (Jean Dujardin) refusal to speak on film—was it the accent? A principled stance? The fact that they were at all unsure points out a massive gap in the center of The Artist , one its title sews up too neatly. Any close follower of Werner Herzog’s career should know better than to bring expectations brewed from his last film into the next. Along with an auteurist consistency of preoccupations, Herzog shares with Woody Allen a prodigious output of wildly variable quality. The titles of this year’s Herzogian harvest — the sublime Cave of Forgotten Dreams and the slapdash Into the Abyss — seem interchangeable, but the latter felt to me like Achilles Herzog, a hot check of a documentary passed off as the real thing. Researched and assembled under extreme time constraints, Into the Abyss is an inquiry into the death penalty that gets by on artful narrative juxtapositions and moments of profound, almost invasive intimacy with its interview subjects. The reach for effect often feels more craven than considered, and the crime at the heart of the film is eventually clouded over for convenience. When a topic and a director — and a title! — of this magnitude collide, the viewer wants the Earth to shimmy; instead we had to settle for the Richter equivalent of a quick freehand sketch. I’ve watched Tinker, Tailor, Soldier, Spy twice now and I still couldn’t give you a basic plot summary. Having felt like a failure after the first viewing, after the second I’m prepared to push the better part of the blame onto director Tomas Alfredson and his Let the Right One In editor Dino Jonsäter. It’s a film that seems designed for le Carré obsessives, which means the rest of us may have to sit through all 57 hours of the 1979 BBC production just to get the facts straight. It’s a shame, because the performances and the production design knocked me out, but of all the ways to sex up a retro-procedural, I’d put mincing it into incomprehensibility second to casting Young Jeezy as George Smiley. With The Iron Lady Meryl Streep re-stamps her all-access passport to human history, and proves once again that the only thing she can’t seem to defy are superlative clichés. There are no words left to describe the kind of work Streep does — even those who dismiss her as a mere impressionist have to admit that her Margaret Thatcher is uncanny in its near-total self-effacement. But the film built around that performance is in some sense designed to disappoint: The biopic is an inefficient delivery system for dramatic tension or even, paradoxically, the human arc of a lifetime. It’s the movie equivalent of a greatest hits package, and while I’m not crazy about the appropriation of the still-living Thatcher’s dementia as a dramatic device, for me the more broadly director Phyllida Lloyd played her hand — ruining every successful visual cue by repeating it three times, leaping from one familiar milestone to the next — the farther we move away from the potential of Streep’s performance and the uneven richness of Thatcher’s story, into the straight flush of political iconography. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .

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The Ides of March, The Artist and Other Moviegoing Let-Downs of 2011

Emily Watson on War Horse, War Goose and Other Recommended Viewing

Never one to let inhibitions stand in the way of a great creative opportunity, Emily Watson put aside her equinophobia for a while to join up with Steven Spielberg’s new War Horse . Along the way, she also got to know the film’s irrepressible goose, its neophyte leading man and its legendary filmmaker’s one-of-a-kind facility with epic storytelling. Watson explained more recently in a chat with Movieline. I don’t know about you, but I am War Horse -d out, Can we talk about something else? What else is going on? What else is going on? I was interested in a comment you made in the press conference about how everyone on a set should have a T-shirt that says, “It’s not about you.” Can you elaborate on that? I just mean that as a storyteller, when you get out of the way, that’s when the magic starts. If you’re paranoid about your performance or your status or how you look, or if there’s something stopping you from giving yourself over to a story? Actors, directors, cameramen — if everybody’s just there to tell the story, then you can get some great work. And so it’s not about Spielberg on the set? No, it’s not. He is one of those rare creatures who is compelled to tell stories. He’d be like a fish with no water — he’d be deprived of air if he wasn’t telling stories. Robert Altman was the same. Paul Thomas Anderson was the same. It’s like a muscle that has to be exercised. Everything he’s saying and everything he’s about is, “How can we best deliver this moment in time?” Now, everybody has a different way of doing that, but it’s all from the utter urgency of being a storyteller. What about a guy like Lars von Trier, who’s perceived as almost inseparable from his films? [Long pause] Yeah, I’d say. I think the stories that he’s compelled to tell are quite… You know, in a way, all storytellers are philosophers. They’re searching for meaning in everything. He’s quite close to the edge and extreme, but in the same way, he’s really searching for meaning somehow. Are you really afraid of horses? Mm-hmm. [Laughs] But I didn’t let on. Yes, I am. I’m not good around animals, generally. Oh — at all? I don’t mind dogs and cats and all that, but… What is it about horses? They might kick me! They’re big, powerful creatures? I think it’s my own ignorance. I don’t know what to do, and I don’t know how to read the signs of a horse. But if I’d been on it… I love the sound of the boys’ training camp. To be able to learn to do something like that? It sounds amazing. And I love the whole cavalry charge. It’s stupendous! I love it. Have you ever had to learn a skill for a role? I had to learn the cello for Hilary and Jackie , which was a big deal. It was a difficult thing to learn. How long did it take? Well, I say I learned the cello. I was miming to playback in the film. But I did learn pretty accurate fingering and the right bowing and the sense of expression. If you actually heard what I was playing, it would be excruciating. How long did it take? Two months? Two or three months? I think I had about 20 different pieces of music that I had to play, and I sat down and meticulously learned the tune for each one. And then I learned the fingering for each piece, and then I learned the bowing. Then I put them together. It was very scientific! Back to the animals: Was the goose in this movie as bad-ass as it looked? [Laughs] Yeah, it was. You were totally afraid of the goose, right? No, not really. I did sort of a photo op with the geese at one point, and they were really sweet. I just kind of held them. They had brilliant handlers as well, the geese. They could run and hit marks. It was mindblowing what these animals could do. But the goose is from the play. Have you seen the play? I haven’t. There’s a fabulous goose puppet. It’s great. I mean, War Horse is great and everything, but I’m really holding out for War Goose . “A miraculous goose.” Right! Anyway, this is Jeremy Irvine’s first screen role . What kind of relationship did you have behind the scenes? I felt very protective towards him. Just being a proper grown-up; he’s say, “I’m fine, I’m fine,” but you could see how terrified he was — how much he was having to absorb and learn every second. But he had a great attitude. He had a great sense of humility and a great sense of wanting to learn and be as good as he could be, which is lovely to watch. Do you remember the first Spielberg film you saw? I think it was E.T. I loved it. I wept. What your relationship with Spielberg films as a viewer? Are they must-see theater viewing? Not always, but yeah — it’s an event, isn’t it? What else is out that you like? I liked Warrior very much. Have you seen that? I thought the fight sequences were absolutely brilliant — so committed, so real. You always tend to go, “Yeah, yeah — they’re faking it.” And that didn’t look like faking it. I love Tom Hardy. I think he’s wonderful. I loved Beginners . I loved it. I found it very affecting and real. When you know somebody like I know Ewan [McGregor], whom I’ve known for a while, it’s quite difficult to forget and be transported by them. And I really was. I thought he was wonderful. What else have I seen? I liked Tinker, Tailor, Soldier, Spy . It’s classy. It’s classy . Oldman’s amazing in that. Have you worked with him before? No. It’s interesting you say that about McGregor versus someone like Oldman. Does that always tend take you out of the experience? Absolutely. You know their ways of doing things; you know them as a person. Like Phil[ip Seymour] Hoffman: I’ve worked with him several times, and he’s in so many things and I just… [Pauses] Now, having said that, he’s brilliant. He’s absolutely brilliant. But it does make it harder to suspend your disbelief when you know somebody. What are you up to next? I just wrapped on a film called Little Boy , which is directed by Alejandro Monteverde; it’s about a little boy in California during the second World War who thinks he can bring his dad home from a Japanese prisoner-of-war camp using his magic powers. And I play his mom. It’s kind of a grown-up fairy tale. And I’m doing a few days on Joe Wright’s Anna Karenina . I’m playing Countess Lydia — a nasty piece of work. Ohhhh. Are you looking forward to it? I am. I’ve already done one day. Oh, yeah. You sound like a fan of the book. I am. I’ve read it a few times in my life. It’s a very interesting book, because you see it very differently when you’re young. As your age changes, you read it very differently. I was shocked when I read it the last time. What was different? Well, when I was young, I think I really identified with Anna and wanting to be that in love and the terrible tragedy of it all. I don’t know if I wanted to kill myself at the end of it. Then you read it now, and you realize the decisions she makes about her children– to leave her children — for the sake of this affair is… [Winces] I have children of my own, so… Anyway, it changes. Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Emily Watson on War Horse, War Goose and Other Recommended Viewing

5 Scenes Worth Remembering From Otherwise Forgettable 2011 Films

With all this laudatory talk of the best of the year and Nelson Muntz-style “HA hah”-ing at the worst, isn’t it time to spare a thought for all the films in between, the ones that are neither remarkably good nor jaw-dropping awful? 2011 saw hundreds of films hit theaters, some only on offer for a week or two before being shunted off to other platforms, others providing an adequate or mildly disappointing few hours of entertainment at the multiplex. But just because a movie is middling doesn’t mean it can’t have some memorable, even exceptional scenes. Here are five from flicks that likely won’t be on many year-end lists, but that still deserve a second look. Paranormal Activity 3 : The babysitter in the kitchen The third installment of this lo-fi horror series took its suburban surveillance shocks back to the ’80s, but otherwise kept to the familiar formula of grainy footage, door slams, strange noises and vague demon mythology. The one exception? A camcorder mounted to the base of a rotating fan, slowly turning between the kitchen and the open living room of the haunted family’s California tract home, allowing for spooky scenarios to develop between the two places as we are kept to the automatically toggle of the unmanned camera. In the best sequence, a babysitter does her homework at the kitchen table, unaware that in the other room a figure wearing the sheet she had used to tell her charges a ghost story has appeared, the camera swings slowly away, and when it turns back the would-be specter is directly behind her. It’s an amazing example of how timing and a sense of space can make something simple into something improbably frightening.

Check Out These Amazing Drawings of Alternate Lisbeth Salander Casting Options

Since we’ve all watched The Girl with the Dragon Tattoo like good little people-who-are-trying-to-figure-out-why-the-hell-it’s-is-such-a-phenomenon-because-even-my-parents-care-about-it-now, it’s the perfect time to reflect on what would’ve happened if David Fincher ditched Rooney Mara and opted for another ingenue to play Lisbeth Salander. Carey Mulligan? Ellen Page? Anne Hathaway? If I had the MS Paint prowess, I’d whip up renderings of Barbara Stanwyck, Faye Dunaway, and 94-year-old Joan Fontaine in the nose studs and combat boots, but I’ll leave that to your imagination. After the jump, check out a bunch of very accurate, wholly hypothetical Lisbeth portraits. I’m personally in love with the Ellen Page portrait. She’s so delighted to be a traumatized Nordic hacker! The Johansson work is devastating, and not just because of the iPhone-style nudity: As Fincher pointed out, she almost stole the part from Mara. Aww. And yet, I think this drawing is more than commensurate. Actresses as Lisbeth Salander [ But You’re Like Really Pretty via Huffpost]

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Check Out These Amazing Drawings of Alternate Lisbeth Salander Casting Options