Film Review: Cars 2 (dir. by John Lasseter & Brad Lewis)


There was once a rumor that the major heads of Pixar – John Lasseter, Pete Docter, Andrew Stanton, and Lee Unkrich (I don’t count Brad Bird because he came later) were afraid to let any of their staff take on directing any of their films. With such an illustrious track record, it’s understandable. Pixar has picked up quite a reputation as being one of the few production companies one can count on to have Supposedly, they felt that the quality wouldn’t be as great.

So, I’m certain that the Pixar Heads are eating their own pie when they realize how Cars 2 turned out. It’s a fun film that the kids will adore, but it really lacks the heart that many of the other Pixar films are known for. Mind you, I’m not blasting the movie and saying it should be avoided. Not at all. It’s just that this is more of a movie for the kids and less of one for the adults. I feel that’s the problem everyone’s having with it. This is a good thing. It reminds Pixar of what they need to do to keep winning Oscars, while still being entertaining for the kids. Hopefully, because one of the head honchos made a mistake, maybe the company may consider letting some of the new kids try a hand at it.

In short, the Kid in me loved Cars 2. The Adult in me felt “Well, at least the Kid enjoyed it.” It suffers from two problems – a great story that would have been better set in the world of The Incredibles and a forced moral to the story. This may be the first Pixar film since A Bug’s Life where I haven’t teared up, this coming from someone who couldn’t make it out of the first 15 minutes of Up without tissues.

Previously on Cars, Lightning McQueen (Owen Wilson) won his very first Piston Cup after a pit stop in the small town of Radiator Springs, where he learned to slow down and relax. He also met up with Tow Mater (Larry the Cable Guy), who may not be the brightest spark plug in the engine, but means well and manages to help when he can. Now, we find that McQueen has earned a number of Piston Cups and is one of the best racers in the world. After returning to Radiator Springs, he finds himself greeted by Mater – who’s been anxiously waiting for his best friend. Mater, being who he is, can’t help but be a little overboard in his fun, which ends up getting McQueen involved in a brand new race that’s sponsored by a clean fuel magnate.

Finn McMissile (Michael Caine) and Holly Shiftwell (Emily Mortimer) are also investigating what could be a dangerous situation. While meeting with one of their American contacts (a great cameo by Bruce Campbell), the contact passes on some special information to Mater. Mater, not realizing what he’s been tagged with, is mistaken for a spy by the duo and brought into the investigation. That’s basically what Cars 2 is. It’s “Mater becomes a Spy”, and for the most part it works, but only if you really like the character. Mater is finally given his time to shine and he pulls it off well. I myself don’t mind Larry the Cable Guy, so it’s okay for me. For the grown ups, it could be a Mater overload. The kids will eat it up. The parents may actually get a little annoyed at how clueless Mater can be at times.

I have to admit that both Michael Caine and John Tuturro (Francesco Bernoulli) were two of the strongest character voices in the film. Owen Wilson’s okay, but the story really is only about him in terms of his relationship to Mater. I really didn’t care too much about Lightning this time around. We know his story, he’s grown about as much as he can in my eyes. More or less, he’s playing second or third fiddle. Seeing Caine in this made me want to watch Harry Brown again, or The Fourth Protocol. The fact that he’s also playing an Aston Martin DB5 type Vehicle is a sweet touch for me. He ’s smooth with his lines and pulls off the British Agent role pretty well. Mortimer is also relaxed in her role. Tuturro’s Bernoulli is as over the top as he was in The Big Lebowski, and he was a treat here as McQueen’s main rival. He may have had more fun than the others working on this, from the way he sounds.

Visually, Cars 2 is as beautiful as the other Pixar films, but doesn’t really seem to break that much new ground. Toyko looks nice, Paris is perfect (right down to the Ratatouille reference, if you catch it) and Italy looks sweet, but we know Pixar can do that. The 3D, however is downright magical, and I’m one who honestly believes the medium is best served with Animated films rather than filmed ones. It’s not exactly How to Train Your Dragon, but it’s still good in it’s own right.

I mentioned earlier that the story could have been better set in the world of The Incredibles. It’s an interesting spy story (the reasoning behind why what’s happening was funny in the sense of cars and the like), but the idea that cars are actually doing all of this action kind of pulls away from the story. At least, the adult in me comes off with this thought. For kids, it’s cars doing cool stuff, and I doubt it’ll come across as boring. The other problem is that the moral of the story – accepting your friends for who they are, despite their quirks (because we all have them) – feels a little forced. It’s like someone concentrated so hard on trying to do it that when it does occur, you go..”Okay, I get it.”, But I didn’t walk away feeling anything. Ratatouille’s Remy had a passion for cooking, one so great that he even made the most wicked food critic believe that “Anyone Can Cook”. In Up, Carl Fredricksen learned to let go of what he was holding on to and found new adventures. Mater undergoes a change, but it isn’t quite a big or a substantial. Actually it doesn’t even last long. It’s just clean fun.

Overall, looking at Cars 2, it’s not the greatest Pixar film they’ve done – far, far from it, but it’s a kid’s film. It’s quite enjoyable, but it sacrifices heart for action, something that Kung Fu Panda 2 managed to hold onto this year. Your kids will love it and you’ll enjoy that they’ll love it, but just don’t bring any tissues. They’re not necessary. You really wont find your heartstrings pulled here too much.

6 Trailers To Go On The Road With


This weekend, I’m busy getting ready to go on a road trip with Jeff.  I’ll be away from home for two whole weeks!  However, fear not!  With the help of WordPress and my wonderful, beautiful older sister Erin, I will still be updating and posting even while we’re on the road.  I might even be able to convince my fellow Shattered Lens writer to spend the next two weeks watching the Lifetime Movie Channel and posting “What Lisa Would Have Watched Last Night.”  How about it, guys? *wink wink*

Anyway, while I deal with shopping and packing, why not enjoy the latest entry of Lisa Marie’s Favorite Grindhouse And Exploitation Trailers.

(And by the way, just because I’m going to be out of town next weekend won’t stop me from posting six more trailers next Saturday.  Why?  Because I love you, silly!)

1) The Klansman (1974)

In this infamous little film from the 1970s, Richard Burton, Lee Marvin, and O.J. Simpson fight the Ku Klux Klan in Alabama.  Believe it or not, I’ve actually seen this movie though the copy I saw was one of those public domain DVDs that I think was actually a copy of the edited-for-TV version of this movie.  (I say that because every time someone cursed, there was an awkward silence on the soundtrack.)  Even more odd is the fact that I’ve actually read the old novel that this movie is based on.  Anyway, this movie is pretty bad but the book is okay.  The film was directed by the same guy who directed the first James Bond films.

2) Beyond the Door (1975)

Okay, so this is pretty obviously an Exorcist rip-off but wow, this trailer freaks me out.  Needless to say this is an Italian film.  My favorite part of the trailer, to be honest, is the use of the Ryder truck.  It’s a moment that epitomizes Italian exploitation in that you can tell that the filmmakers really thought that displaying the one word — “Ryder” — would convince viewers that they were watching an American-made film.

3) 2020 Texas Gladiators (1985)

Speaking of Italian exploitation cinema, here we have another example.  I pretty much had to include this trailer because I live in Dallas and 2020 is just 9 years away.  That said, I’m not sure what part of Texas this film is supposed to be taking place in.  I’m guessing by all the shots of boots marching through grass that this is supposed to be up in North Texas but if you can find mountains like that around here then you’ve got far better eyesight than I do.  Add to that, the sudden indian attack seems more like an Oklahoma thing.  Not surprisingly, according to Amazon, this film was not only directed by Joe D’Amato but features both George Eastman and Al Cliver.

4) 1990: The Bronx Warriors (1982)

Apparently, it didn’t start in Texas.  This is also an Italian film.  It was directed by Enzo Castellari and, not surprisingly, George Eastman is in this one as well.

5) Empire of the Ants (1977)

The is the trailer that  dares to ask — who are you going to listen to?  Common sense or H.G. Wells?  I’ll tell you, nothing freaks me out more than when I see  one of those ant lines carrying a dead cricket back to the anthill.  Ants are one thing that I will not allow in the house.  However, I kinda admire them.  They’re so neat and organized.  Plus, males in ant society know their place.

6) Mr. Billion (1977)

“20th Century Fox presents Mr. Billion …. starring Terence Hill, the 5th biggest star in the  world…”  I haven’t seen very many Terence Hill films but I always enjoy seeing him in trailers.  I can’t really say whether he’s a good actor or not because every time I’ve seen him, he’s been dubbed.  But he definitely had a very likable presence.  You wanted him to be a good actor whether he was or wasn’t.  That said, even if I had been alive at the height of Mr. Hill’s fame, it never would have worked out for us as I’m Southern Italian and Hill is quite clearly from the north.  That’s just the way it is.  Anyway, back to Mr. Billion — I’m including two trailers for this one.  The first is the “Prestige” trailer.  The second one is much shorter and features one of those odd little songs that gets stuck in your head.

Song of the Day: The Breaking of the Fellowship (by Howard Shore)


With my favorite scene from The Fellowship of the Ring chosen and posted it’s now time to pick my favorite piece of music from that film’s orchestral soundtrack. This was a soundtrack that I consider just one-third of a massive 12-hour symphony. The song I’ve chosen is actually a re-edited version of this film’s “Complete Recordings” release: “The Breaking of the Fellowship”.

Howard Shore’s work as composer for Peter Jackson’s monumental and epic (if there was ever a subject deserving of that overused word it would be Jackson’s fantasy trilogy) has been hailed by critics and fans alike as one of the best, if not the best, film score of the new millennium. Shore doesn’t go for the typical overly bombastic score that’s become the go-to style for epic films of any stripe. His work on this first third of the total Lord of the Rings score even manages to outdo John Williams’ own compositions for the other major fantasy series to come out the same year in Harry Potter and The Sorcerer Stone.

Where Williams’ had begun to partially cannibalize his own past film scores for his recent ones, Shore was able to look at what Jackson was creating and decided to base the entire score for The Fellowship of the Ring on three motifs which were airy, subtle with the loud and expressive brass section only appearing in one of these three. “The Breaking of the Fellowship” ends the film on a mixture of triumph and sadness as the track’s title describes. Shore takes the peaceful “hobbit theme” from the beginning of the film and combines it with the more rousing “Fellowship theme” then topped with as bonus with sections from the “Rivendell theme”. These three themes combine to highlight not just the breaking of the fellowship in the end of the film, but some sense of loss of innocence of the hobbits in the group as heard by a more somber and pensive rendition of the “hobbit theme”.

Of all the musical cues in The Fellowship of the Ring it’s the one which makes up “The Breaking of the Fellowship” that fully expresses the overall thematic and narrative themes of the film. It’s a song that tells the audience that the peaceful nature of the hobbits have now been tempered by their complete understanding of the exact nature of their fellowship’s quest. It also underscores how even in triumph the fellowship will encounter heartbreak and tragedy. These two themes will continue to be explore in the next two films and their respective score, but it’s in this first one that it truly shines.

Scenes I Love: The Lord of the Rings: The Fellowship of the Ring


“I would have would have followed you, my brother… my captain… my king.” – Boromir, Captain and High Warden of the White Tower

It’s been five days since the season finale of the first season of Game of Thrones and the withdrawal symptoms are definitely starting to kick in. Season two of this fabolous series won’t be back for at least ten months. To help alleviate some of the withdrawal symptoms I decided to go on The Lord of the Rings Trilogy marathon all weekend. Tonight will be The Fellowship of the Ring (Extended Edition). It’s from this first leg of the trilogy that I choose today’s scene that I love.

The scene I have chosen is very close to the end of the film and it’s a scene between Viggo Mortensen’s Aragorn and Sean Bean’s Boromir. It’s soon after the attack of Saruman’s Uruk-Hai on the group. Boromir valiantly tries to protect and save Merry and Pippin from the Lurtz and his band of Uruk-Hai. It’s the scene which arrives after that really hits home for me just how great Peter Jackson’s adaptation of the first part of Tolkien’s massive tome.

This quiet and heartbreaking scene between Aragorn and Boromir cements Viggo’s performance as the reluctant hero moving towards embracing his legacy and destiny while at the same adding complexities to Sean Bean’s performance as Boromir being a flawed and tragic hero in his own right. It is a scene that will cause more than just a few tears to be shed.

Trailer: Captain America: The First Avenger (Theatrical)


The summer of 2011 has been called the Summer of Superhero Films. In early May we had Marvel Studios’ Thor film premiere to good reviews and it has had a certain level of success (though not the level of The Dark Knight success rabid fanboys and jaded film bloggers think every comic book-based film should be doing). Then next up was the fourth X-Men film from Twentieth Century Fox by Matthew Vaughn that seem to reboot the franchise from it’s downward spiral begun by the third film and the Wolverine origins film. This film garnered even higher praise than Thor and many saw it as equaling or surpassing the X2. While it’s box-office success has been good it didn’t make the sort of money previous films in the franchise have made in years past. Then we come to the recently released Green Lantern from Warner Brothers and DC Entertainment.

This film was to be the next crown jewel to join DC’s successful Batman film franchise and iconic Superman series which seems to be the only DC properties to have had a successful live-action adaptation. While the film did very good in it’s first weekend the reviews of the film range from “ok and fun” at best to “downright awful” at its worst. All three films have huge budgets and, most likely, all three will be a profit for their studios, but not runaway hits.

Maybe the public has begun to tire of superhero films as a cause for the less than cosmic box-office returns. One other reason could be that too many people have been blinded by the massive box-office success of Christopher Nolan’s The Dark Knight that every superhero film must now be compared to that one fair or not. This makes the job much harder for Marvel Studios’ second film of the summer, Captain America: The First Avenger, as that film looks to cement the foundation for next summer’s major blockbuster ensemble superhero film, The Avengers.

I don’t see Captain America doing TDK level money, but early screenings of the film has earned it some major positive buzz that had been missing from Thor. That early positive buzz and this latest trailer which really showcases the action of this period piece of a superhero film should help push Captain America to be a success no matter if it makes 200million dollars domestic or more.

One thing I’m sure of is that this latest trailer should be more people excited for Captain America: The First Avenger when it comes out on July 22, 2011.

A Quickie With Lisa Marie: Green Lantern (dir. by Martin Campbell)


So, earlier tonight, I was sitting in a dark theater watching the latest super hero film, Green Lantern.  Now, Green Lantern is getting some terrible reviews right now and having seen it, I can understand why.  That said, Green Lantern is not an offensively terrible movie in the way that Priest, The Beaver, or The Conspirator were terrible films.  Instead, Green Lantern’s main problem is that it’s just so freaking forgettable.  To be honest, I found myself forgetting about it while I was watching it.  So, this isn’t going to be an easy review to write.

(This is also why this is a quickie review.  I mean, I’ll make some noise for a few minutes and I’ll try to come up with something halfway neat for the end of it but don’t ask me if I really felt anything.)

Since I realized I was forgetting about the movie even as I was watching it, I decided to use social media to help me out.  Blatantly ignoring the rules (but that’s why you love me, baby), I spent most of the film texting and tweeting.  I’m pretty sure I heard the people sitting behind me whining about it but who cares?  I did what I had to do.

Anyway, checking my texts, I find the following conversation:

Text from LMB (that’s me) to ENB (that’s my sister, Erin): Hey bitch where you at?

ENB to LMB: WTF, bitch?  I’m sitting next to you in the theater.

LMB to ENB: Hi, Erin!  lol. : )

Okay, so that’s not much help but it does tell you just how engaging this film is.  I had the choice of either watching Green Lantern or sending text messages to my sister who was sitting right next to me and I chose to send text messages.

I also resorted to posting a few cryptic messages to twitter, with the hope that they would serve to remind  me of what I was watching.  Here they are:

Tweet #1: About to see Green Lantern. : ) — See, I didn’t start this film out with a bad attitude.  I was looking forward to it.

Tweet #2: Old ppl always take forever buying tickets — What’s up with that?  I would think they would be in a hurry seeing as how they’ve got less time to see a movie than I do.  Just saying.

Tweet #3: We need a super hero named Red Herring — I sent this tweet just 15 minutes into the film but it shows that I had already picked up on the main problem with this film.  There’s a lot going on but it all feels like it’s just been spit out by some script-o-matic sitting hidden behind the Hollywood sign.  It just doesn’t ever really add up to anything beyond a sinking feeling of been there, done that. 

Ryan Reynolds is haunted by flashbacks of his father dying.  Why?  Because Scriptwriting 101 says that the hero has to have some sort of self-doubt to overcome. 

When we first see Ryan Reynolds, he’s lying in bed with a naked blonde.  Who is she?  What happens to her?  Why does Reynolds, at no other point in the film, seem to be the type who would have a one night stand with some anonymous blonde?

Reynolds joins the Green Lantern Corp. when he gets a glowing green ring.  All the other members of the Corp. doubt him because he’s human but then they say that the ring never makes a mistake.  Okay, so if the ring is incapable of making a mistake and the ring chose Reynolds than why is everyone so convinced that Reynolds can’t cut it as the Green Lantern?

Seriously, it’s as if someone just wrote out a list of plot points and some anonymous script doctor just went down the list, checking off everything as he tossed it into the mix.

Plus, I think Red Herring would be a cool super hero.  He could have the power of creating mass distraction and he could be the sidekick of my super heroine alter ego, Lady Verbose.

Tweet #4: Lol, cockpit is a funny word — I believe the exact line that inspired this tweet was something like: “And I still get into a cockpit occasionally.”  It just made me laugh because cockpit is a funny word, largely because it’s a combination of cock and pit.  Anyway, that is honestly the only line of dialogue that I actually remember from the film.  As action and comic book movies tend to live and die on the basis of the quotable one-liner, that’s not a good sign.

Tweet #5: Green Lantern kinda bleh but Ryan Reynolds is mancandy — And you know what?  He is.  Green Lantern may have been forgettable but Ryan Reynolds made a likable hero and he brought some much-needed humor to the role.  To be honest, as I look back at the various Green super hero movies, I can’t help but wonder how much better Green Hornet would have been if it had starred Ryan Reynolds as opposed to Seth Rogen.  (I love you, Seth, but the super hero thing just isn’t for you.)

Also, Peter Sarsgaard did a pretty good job playing a surprisingly sympathetic villain.  Both he and Reynolds deserved a better film. 

Other than Sarsgaard and Reynolds, the cast was pretty forgettable but then again, it’s not like they really had much to work with.  I have to be honest, though, that I am now officially bored with Tim Robbins.  He shows up here playing yet another insensitive rich white guy.  As usual, you don’t really buy him as the character because he’s just too obviously Tim Robbins.

Tweet 6: Lets not go to Camelot. Its a silly place. — I think this was inspired by all the scenes that were set on the home planet of the Green Lantern Corps.  (That’s the group that Reynolds becomes a member of.)  These scenes were obviously meant to inspire awe but they just felt silly.  In the film’s defense, some of the special effects — particularly the evil entity known as Parallax — are impressive but, for almost every impressive special effect, there was another that just fell flat (which is never a good thing for a 3-D film).

Tweet #7: Sinestro is a silly name. — Sinestro, played by Mark Strong, is the leader of the Green Lantern Corp.  And Sinestro is a really silly name.

Tweet #8: Why not just call him Eviltro? — Well, why not?

Quickie Review: Black Death (dir. by Christopher Smith)


British filmmaker Christopher Smith has been flying under the radar of most of the film-going public. He’s already a filmmaker with five films to his credit of varying quality, but each showing his growth as a director with each successive release. In 2010, Christopher Smith released his sixth film in the UK with some film festival showings in the US soon thereafter. Black Death continues Smith’s work in the horror genre with this latest film a historical horror piece which tries to take a look at the subject matter of the Black Death of medieval Europe in a realistic, gritty light.

The film is set during in 1348 plague-ravaged England where a Osmund, a young monk, has a crisis of faith as he agonizes over his celibate vows to God and his love for Avrill, a young woman in town who also has feelings for Osmund. Avrill gives Osmund a week to find the answer to his dilemma and will wait for him at the marshes in that alloted time. Osmund finds his answer as templar knight Ulric (played by Sean Bean) and a group of his soldiers arrive at the monastery on a mission to find a village said to be untouched by the plague and one which might be providing a safe haven for a necromancer who has brought the dead back to life. Osmund seizes on this chance to leave the monastery and lead Ulric and his men through the marshes and to this village.

During their travel the group loses a couple men to bandit attacks and to the plague itself. They also come across a band of villagers about to burn a young woman for witchcraft. At first, Ulric seems to take pity and show compassion to this young woman, but instead kills her himself for the crime she is accused of. Ulric reminds Osmund and his men that they have no time for such distractions as they a much more important task ahead of them. A task which soon brings them to the very village which seem to be free from the plague many attribute to God punishing the sinners and other’s as the Devil tormenting the faithful.

It’s this ambiguous theme of how the Black Death was seen by villagers, soldiers and faithful which becomes an overriding theme in the film. Smith, using Dario Poloni’s screenplay, goes about exploring how those in power on both sides of the question — of whether God or the Devil was responsible for the plague — hold such a major influence on the minds of the uneducated populace. Ulric, Osmund and the group do find their necromancer, but it’s not all what they’ve expected and, for Osmund, this mission becomes a tragic one which tests his faith in God, his church and all that he’d been taught (indoctrinated some would call it) to believe. Osmund becomes the spiritual battleground from which Ulric and the necromancer fight over his eternal soul and the effect this has on the young monk turns out a surprising fashion which brings to mind Michael Reeves own historical piece and one of the greatest horror films of all-time in Witchfinder General.

Christopher Smith’s direction continues to improve and shows in Black Death as he’s able to make not just the subject of this horrific era in Europe’s medieval past, but at the same time use a deft hand to explore themes of faith, spirituality, role of religion as control and how fundamentalism doesn’t just affect those with religious conviction but also those who follow the secular path. It helps that Smith had a capable ensemble cast led by Sean Bean’s usual strong performance. Eddie Redmayne as Osmund seemed to be a one-note cipher through the first-half of the film, but once he arrives in the village his character begins to open up in complex ways that we’re never sure if he’ll fall on the side of the angels or the demons even right up to the end and even then it’s left ambiguous.

Black Death marks the latest in Christopher Smith’s tour of the horror genre and it’s many varying subjects to hone his growing craft as a filmmaker. The film ended up being entertaining despite having such an oppressive atmosphere and tone to not just the story, but to the very setting. There’s enough blood and gore spilled (using practical effects and not a sign of CGI to be seen) during scenes of fighting and torture to satisfy gorehounds who might come across the film. It also should work the mind of those also looking not just for the grue but also something to stimulate the mind. It’ll be interesting to see what Christopher Smith has next to follow-up this well-done and executed historical horror film.

AMV of the Day: Devil’s Game


madokamagica

The latest “AMV of the Day” is another one which is based on the mahou shoujo series, Puella Magi Madoka Magica. It’s become one of my favorite anime series of late and with each repeat viewing just increases my love for it. This latest anime music video takes that “magical girl” anime series and combines it with a symphonic rock song to create an AMV titled, “Devil’s Game”.

“Devil’s Game” is not just my latest pick for “AMV of the Day” but also the latest from AMV creator-extraordinaire Chiikaboom whose anime music video creations have always become instant favorites of mine. This latest really highlights the darkness that permeates throughout the anime series. For a mahou shoujo series, Puella Magi Madoka Magica get pretty dark and the subgenre as a whole uses themes of darkness to balance out the cute magical girl art design.

Within Temptation’s “A Demon’s Fate” is quite an appropriate song to use for this video. The series is all about Magi (magically-enhanced teen girls) fighting evil Witches to save the innocent people and the world. The series also includes Kyubey whose extremely cute appearance hides a secret that the song’s lyrics and title really meshes well with.

Chiikaboom’s editing of the video was not as extensive as some past ones which really comes and goes in rapid-fire fashion. For this video the editing and scene transitions matches very well with the bass drum sections in the song that it’s not noticeable at first glance, but really shows after repeat viewings. And it’s well-made AMV’s like this using scenes from this series that really should help sell Puella Magi Madoka Magica to the uninitiated whose experience with anime is from Adult Swim showings on Cartoon Network.

“Devil’s Game” is the best Puella Magi Madoka Magica AMV I’ve seen, so far, hand’s down.

Anime: Puella Magi Madoka Magica

Song:  “A Demon’s Fate” by Within Temptation

Creator: Chiikaboom

Trailer: A Dangerous Method (dir. by David Cronenberg)


To say that I am a huge fan of Canadian auteur and all-around genius filmmaker David Cronenberg would be the understatement of the decade. I count him as one of the greatest filmmakers of the last 30 years. Seen his style go from grindhouse video nasties type of horror to the sublime. He’s one filmmaker who has never had to compromise his filmmaking style to suit the audience. You either accept what he has crafted or not.

The last 5-6 years has seen his stock rise amongst the film community as films like A History of Violence and Eastern Promises has gotten him recognition from the Academy voters, Film Circles and others in the film elite community. At the same time these films have been widely regarded by film fans as some of the best of the past decade. It helps that he seems to have found a partner-in-crime in another auteur with actor Viggo Mortensen who played lead in both those films.

Now for 2011 the two partner up again for the third time for Cronenberg’s film adaptation of the stage play “The Talking Cure” which itself was adapted from the non-fiction book, A Most Dangerous Method. The film is called A Dangerous Method and stars Viggo Mortensen as Sigmund Freud, Michael Fassbender as Carl Jung and Keira Knightley as Sabina Spielrein. These three become the focal point of a sort of relationship triangle as the friendship between Freud and his younger apprentice in Jung becomes even more complicated when young Sabina get’s between the two men who would give rise to the study of psychoanalysis.

That brief synopsis doesn’t make this film very interesting at first glance, but this is Cronenberg who never picks projects and stories to tell unless it appealed to him. I wouldn’t be surprised if the film wasn’t just a story about three individuals and their relationships towards each other, but something even more abstract as Cronenberg’s bound to explore the early days of psychoanalysis itself.

Here’s to hoping A Dangerous Method delivers on everything fans of Cronenberg have come to expect from him…or not expect as the man has a tendency to surprise with each new film.

Scenes I Love: The Montage from The Parallax View


In Alan J. Pakula’s 1974 film The Parallax View, Warren Beatty plays a seedy journalist who goes undercover to investigate the links between the mysterious Parallax Corporation and a series of recent political assassinations.  The film is a masterpiece of a paranoia, the type of film that makes you want to check under your bed for listening devices before you go to sleep in the morning.  In the film’s most famous sequence, Beatty — pretending to be a job applicant (read: potential assassin) for the Parallax Corporation — is shown an orientation film that has been designed to test whether or not he’s a suitable applicant.  This film turns out to be a nightmarish montage of rage, insecurity, fear, Oedipal psychosis, and — oddly enough — comic book super heroes.  The montage is shown in its entirety, without once cutting away to show us Beatty’s reaction.  The implication, of course, is that what’s important isn’t how Beatty reacts to the film but how the viewers sitting out in the audience react.

So, at the risk of furthering the conspiracy, here’s that montage.

(By the way, Oswald acted alone.)