BIG BAD WOLVES
We’ve seen so many stories about grieving parents who take matters into their own hands, but nothing quite like Israeli film Big Bad Wolves. A father and a cop with a vigilante streak team up to deliver their own brand of justice in this dark comedy that’s almost like Prisoners without the solemnity, and more of Oldboy's absurdity. The film will be on limited release in the US in January 2014.
Official poster for Gareth Edwards’s Godzilla
If you were skeptical of Gareth Edwards’s Godzilla reboot, this teaser trailer should put all your concerns to bed. Starring Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Ken Watanabe, David Strathairn and Juliette Binoche, the film seeks to recapture the bleak feel of the 1954 original while updating it with the latest and greatest that modern special effects have to offer. The result is a goosebumps-inducing thriller that promises chaos, destruction, and everything a radioactive reptilian monster has to offer. Godzilla storms into theaters in May 2014.
Is this film out yet? Will you review it? I look forward to it!
Yes, Populaire is out already. I’m watching it as we speak. It’s available on Netflix Instant for those of you who are interested. So far, it’s pretty lighthearted fun. Loving the soundtrack. I may write a review of it, but it will depend on whether the film leaves much of an impression. Stay tuned!
Les Chausettes Noires • Populaire OST
Populaire (2013) - directed by Régis Roinsard. Starring Romain Duris, Déborah François and Bérénice Bejo.
Track: “Dactylo Rock" by Les Chausettes Noires (buy music)
Eh. I’m feeling pretty ambivalent about it. I’m a fan of Aronofsky’s, but I’ve never been a fan of Noah’s story. It’s one of my least favorite bible stories. Daniel and Esther had far more interesting stories that didn’t just involve elaborate carpentry and aggressive animal herding. That said, I’ll probably end up seeing it anyway, only because I’m curious to see Aronofsky’s touch on a movie that is on such a big scale like the trailer promises it’ll be.
INSIDE LLEWYN DAVIS (2013)
Llewyn Davis’s life is made up of a series of near epiphanies. The scruffy folk singer (played by Drive's Oscar Isaac), and titular character of Joel and Ethan Coen's new film Inside Llewyn Davis, wears a constant state of dishevelment like a second skin, always seeming to be on the verge of a breakthrough, yet managing to elude it due to a benign fear of rejection that is all too familiar to any artist. The Coens paint a portrait of the artist as a young and misanthropic fellow, but they also look upon him with genuine affection, a warmth that isn’t lost to audiences despite the film being set against the backdrop of a harsh New York winter. The duo behind No Country for Old Men and Fargo sing an ode to the working musician, molding Llewyn with a craft and care akin to Catch-22's seemingly hopeless and hapless Yossarian. Featuring the eccentric caricatures that usually appear in most of the Coens' films, Inside Llewyn Davis is a smart, thoughtful and entertaining character study of an ordinary but talented man stuck in a seemingly endless cycle of mistakes and missed connections. It is easily one of the best films of the year thanks to a brilliant screenplay, fantastic performances and a killer soundtrack.
The magic in any Coen film lies in the fact that their protagonists - while painfully ordinary, bumbling buffoons who get into ridiculous situations - are just so darn likable. They aren’t your typical heroes (or even antiheroes); they have none of that effortless charm or grace that we’ve grown accustomed to seeing in film. Yet there’s an endearing quality to these characters that is unmistakable. This is certainly the case for Llewyn, the epitome of the working musician, and played pitch perfectly by the multitalented Oscar Isaac. You can tell that Llewyn loves performing; there’s an obvious, fiery passion that can be seen with every strum of his guitar and every soulful tune out of his lips. But he doesn’t like being asked to do things at a drop of a hat. He has a disdain for the business side of music that prevents him from ever really getting anywhere with his talent. He never settles in any one place, shuffling in and out of his friends’ apartments like he’s playing a game of musical chairs. The traveling musician knows this nomadic lifestyle all too well. It’s a restlessness whose sole remedy is performing. And Llewyn performs as much as he can, although not necessarily to anyone willing to pay heed because he is also slow to trust (having been on the receiving end of some big disappointments).