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SEVEN PSYCHOPATHS: An Amusingly Meta-Minded Dog Napping Caper

SEVEN PSYCHOPATHS (Dir. Martin McDonagh, 2012)

It’s not often that a film lives up to the potential of its cast and premise, but SEVEN PSYCHOPATHS does both, and it does something even rarer - it does the “meta” thing right.

Martin McDonagh’s first full length feature, 2008’s IN BRUGES, leaned a little towards meta with lines like “This is the Shootout” and it’s finale taking place on a film set, but here, in his bloody brilliant second film, the Irish writer/director really goes for the gusto in narrative deconstruction.

Colin Farrell, who also starred in IN BRUGES, plays an alcoholic Los Angeles-based writer living working on a screenplay called, you guessed it, “Seven Psychopaths.” Farrell happens to have a few questionable friends including the not-playing-with-a-full-deck Sam Rockwell who’s in the dognapping business with the eccentric ascot-wearing Christopher Walken.

Rockwell, whose fearlessly unhinged and hilarious performance steals the movie, makes the mistake of kidnapping the beloved shih tzu belonging to a ruthless gangster (Woody Harrelson), and this sets off a series of murders, conversations, and stories told through flashbacks – all of which Farrell is considering to add to his script.

If you find yourself thinking that the females in the cast (Abbie Cornish, Olga Kurylenko, and Gabourey Sidibe) are given short shrift, don’t worry, the folks in the film agree as we witness them discuss how Farrell’s female characters are weak.

The finale in the desert (at Joshua Tree National Park) may seem equally as obvious (someone even calls it “the perfect place for a shootout”), but the playful tone doesn’t feel forced and the winks at the audience didn’t make me cringe like in, say, Shane Black’s lesser equally meta-minded KISS KISS BANG BANG (2005).

In the best way possible, there are shades of Tarantino in the hitman banter and comic use of violence, and the Coen Brothers in the increasing absurdity of the situations as they pile on top of each other.

Great grizzled appearances by Harry Dean Stanton and Tom Waits, mostly appearing in the moody recollections that are intertwined with the film’s ongoing scenarios, give “Seven Psychopaths” a bit of gravitas that elevates the material above what usually passes for edgy comedy at the multiplexes these days.

Sometimes it seems as if SEVEN PSYCHOPATHS may be too much in its own comfort zone, but when it’s as cozily clever, and enjoyably in the know as it often is, McDonagh’s movie plays to its strengths more than it reveals its limitations. Or maybe, I was laughing too much to notice them.

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Tricks Not Treats In The Non-Scary SINISTER

SINISTER (Dir. Scott Derrickson, 2012)

Halloween is right around the corner, so how about an Ethan Hawke horror movie?

In Scott Derrickson’s SINISTER, which is being billed as “from the producer of PARANORMAL ACTIVITY and INSIDIOUS,” Hawke plays one of my favorite film character archetypes: the writer whose first book was a smash, but a decade or so later is struggling with the follow-up.

Here, Hawke’s genre is true crime, and he’s just moved with his wife (Juliet Rylance) and kids (Michael Hall D’Addario and Clare Foley) into a house where a family of four was found hanged from a tree in the backyard. Hawke’s plan is to re-ignite his fame by writing a book about the previous occupants’ murders, and solve the mystery of a missing fifth family member, a young girl named Stephanie.

“Sinister” opens with grainy Super 8 footage of the hanging, and Hawke finds that very film in a box of home movies in the attic, in a canister labeled “family hanging out.” Late at night, drinking whiskey, in his office covered with photos, maps, and newspaper clippings, Hawke watches the movies (other reels contain footage of the killings of other families) over and over looking for clues. His writing process mainly consists of jotting down questions on Post-it notes like “Where is Stephanie?” and “Who took the film?”

Strange, possibly supernatural, things start happening, some which are explained - the 12 year old D’Addario has night terrors and will scream for no reason, a big menacing neighborhood dog in the yard; some which are undoubtedly from a dark realm - ghosts of kids appearing here and there, images of an evil Pagan deity lurking in both Super 8 frames and around Hawke’s house.

Christopher Young’s none-too-subtle score tells us well ahead of time when the next scare is scheduled. With its constant swelling up to each attempted in-your-face jolt, it calls attention to some of the most forced instances of creepiness I’ve ever seen in a horror movie.

One ridiculous sequence has Hawke, wielding a baseball bat while scoping out his dark house, because his projector keeps coming on showing the same film of the family being hanged. Man, I got so sick of seeing that sick footage. Anyway, Hawke’s worried eyes work over time as he searches the shadows, but he misses the apparitions of dead kids that keep appearing around him, but disappear the second he turns around - you know, like in a cartoon.

A couple more clichés are present in the two local cops that show up to Hawke’s property. Fred Thompson (long-time character actor and former U.S. Senator) plays the gruff Sheriff, who’s not a fan of Hawke’s work, and James Ransone as the bumbling Deputy, who turns out to be smarter than expected. At least, there’s a welcome un-credited cameo by Vincent D'Onofrio as a professor of the occult, or some such, even if he only appears on a computer screen.

Hawke does his best to carry this macabre mess, and pulls off a few great hysterical moments, but the vain douchey nature of the character he’s embodying doesn’t cut it as one we should care about. The movie itself isn’t visually interesting - it’s too dark and dreary aesthetically, and there’s not much imagination in shot set-ups.

Derrickson’s (best known for THE EXORCISM OF EMILY ROSE I guess) film fails to frighten so much that when its’ supposed-to-be shocking ending arrives, it pathetically falls flat.

It may be slim pickings for quality horror movies this Halloween, what with a fourth PARANORMAL ACTIVITY, and something called SILENT HILL: REVELATION 3D coming out, but that doesn’t mean one should settle for the embarrassingly non-scary SINISTER.

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Ben Affleck's Über-Arresting ARGO

ARGO (Dir. Ben Affleck, 2012)

Actor/director Ben Affleck more than tops THE TOWN (which topped GONE BABY GONE) in his splendid third thriller, ARGO, a sure-fire Oscar contender that boasts a stellar cast, and an über-arresting story.

Based on a previously little known story about the rescue of six Americans from Tehran during the Iran hostage crisis in 1979, Affleck’s film casts its way back machine spell in the first few minutes starting with the use of Saul Bass’s classic ‘70s Warner Brothers logo (also used this year in Steven Soderbergh’s MAGIC MIKE). A few minutes later, we see authentic looking footage of the storming of the American Embassy in Tehran.

After burning and shredding every document they can, a group of U.S. Diplomats flea the embassy and take shelter at the Canadian ambassador's home nearby.

As CIA technical operations officer Tony Mendez, Affleck brainstorms a plan involving disguising the escapees as a film crew visiting Iran to scout locations for a sci-fi flick named “Argo” so they leave the country under cover.

It’s a plan so crazy, it just might work, or as Breaking Bad’s Bryan Cranston as a CIA higher-up says to an even higher-up Philip Baker Hall (see what I mean by a stellar cast?): “This is the best bad idea we have, sir. By far.”

To make a fake movie, they need a real producer so Affleck gets Alan Arkin as the fictional Hollywood mogul Lester Siegel, who has some of the best lines as well as the film’s catch-phrase, if you will. John Goodman as make-up artist John Chambers (not fictional) is also on hand, and also good for a few choice lines.

We spend a little quality time with the frightened Americans (Tate Donovan, Scoot McNairy, Clea DuVall, Rory Cochrane, Kerry Bishé, and Christopher Denham) holed up at the Canuck’s makeshift safehouse hoping to avoid detection. They understandably are skeptical of Affleck’s idea, but what choice do they have?

Chris Terrio’s no-nonsense screenplay, based in part on Joshuah Bearman’s 2007 Wired article “How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran,” doesn’t strain as it keeps each point of the well-crafted narrative in check.

At first, it might amusingly look like ANCHORMAN, with the Jimmy Carter-era hairstyles and fashions, but that quickly fades into the great grainy look of the film in which cinematographer Rodrigo Prieto (BROKEBACK MOUNTAIN, BABEL) suitably evokes ‘70s cinema.

Affleck’s film only falters when the mission is almost aborted before the third act, and our leading man sulks until he gets his mojo back. Throughout ARGO, close-ups of Affleck’s bearded mug dominate the screen, but during this bit they are overly omnipresent.

Otherwise, Affleck has made a great movie that could be seen as a salute to the American can-do spirit, as cheesy as that sounds. But primarily it's a movie made by a guy who really loves movies, and really knows how to sell a story. 

Watching this guy, with his cast and crew succeeding in selling this story makes for one of the most intensely entertaining movies of the year. And not only is ARGO is Ben Affleck's best movie as director, it's his best work as an actor. By far.

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Eksi Yedi – Seven Below 2012

Eksi Yedi – Seven Below 2012

Açıklama:Eski yedi filmi seven below izle 2012 izle burdan izle full izle hd izle eski yedi izle seven below 2012 ingilizce yazılışı bu eski yedi filmi seven below 2012 izle burdan izle ayrılmadan izle hd izle full izle.. 1-2-3-4-5-6-7-8-9-10-11-12-13-14-15-16-17-18-19-20-21-22-23-24-25-26-28-29-30-31-32-33-34-35-36-37-38-39-40-41-42-43-44-45-46-47-48-49-50-51-52-53-54-55-56-57-58-59-60-61-62-63-64-65-66-67-68-69-70-71-72-73-74-75-76-77-78-79-80-81-82-83-84-85-86-87-88-89-90-91-92-93-94-95-96-97-98-99-100...  

Oyuncular: Val Kilmer, Ving Rhames, Luke Goss, Bonnie Somerville, Matt Barr, Rebecca Da Costa, Brianna Lee Johnson, Tia Huelseman, Kaleigh Howland, Silvio Wolf Busch, Tia Sage, Kylie Pfingsten, Rebecca De Costa, Christian Baha, Corey Reilly, 

Yönetmen: Kevin Carraway, 

 Müzisyen : Jake Staley,

 Görüntü Y.: Harris Charalambous,

 Senaryo: Lawrence Smith, Kevin Carraway, 

 Yapımcı: Brianna Lee Johnson, Kevin Frakes, Eric Mark Fisher, Warren Ostergard, Michael Bassick,

TAKEN 2: The Film Babble Blog Review

TAKEN 2 (Dir. Olivier Megaton, 2012) 

I saw the original TAKEN (2008) for the first time last week, and I found it to be an entertaining yet typical formulaic thriller. It was like a Jason Statham movie, in which an indestructible badass takes out waves of attacking thugs on a quest to track down somebody or something, except that it has Liam Neeson in the Statham role.



In TAKEN, Neeson, as a highly-trained killing machine of a former CIA agent and an obsessively overprotective father, dealt with the kidnapping of his daughter (Maggie Grace) in Paris, France. In TAKEN 2, opening today in the Triangle at a multiplex near you, Neeson and his ex-wife (Famke Janssen reprising her role from the first one) are abducted on a trip in Istanbul, and it’s up to the daughter (Grace also returning) to save them. 

Or rather, assist her father to save the whole family via implausible cell phone instructions, and questionable directions to throw grenades at particular points.

The evil mastermind behind the kidnapping is Rade Šerbedžija, previously a Soviet villain on the popular Fox show 24, plays an Albanian Mafia Chief who wants revenge for the death of his son (killed in the first one by Neeson).

Neeson is able to escape but inexplicably leaves ex-wife Janssen behind, and we’re off to a bunch of action set-pieces sequences in which Neeson barks orders at daughter Grace, especially when she’s behind the wheel in an extended car chase that seemingly tries to jam in every single car chase cliché imaginable - even throwing in the overused oncoming train ploy. 

It’s such a cringe-worthy moment when Neeson, who just knows his daughter (who failed the driver’s test twice) can cross the tracks in time, that it feels like a cheesy parody when the bad guys’ black SUV collides with the train explosively, like we’ve seen so many times before.

Although there are unintentional laughs here and there in this badly shot, horribly edited definition of “unnecessary sequel,” they weren’t enough to keep me from yawning throughout. There are no surprises, or interesting ideas whatsoever in TAKEN 2; it exists only because the first one was a huge hit and its only goal is to try to repeat the formula and hope it pays off again.

To get an idea about how interchangeable these action movie franchise entries are, consider that the first TAKEN was directed by Pierre Morel, who was the cinematographer of THE TRANSPORTER, and worked as a first unit camera operator on TRANSPORTER 2 - actual Jason Statham movies! TAKEN 2 director Olivier Megaton (is that his real name? Awesome if it is) directed TRANSPORTER 3. See what I mean?

Even rabid fans of the first one will find TAKEN 2 to be a big fail of a followup. With hope, maybe now the 60 year old Neeson can finally get over wanting to be a big action star, and go back to, you know, acting?

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Tim Burton Gets Back To Basics In FRANKENWEENIE

FRANKENWEENIE (Dir. Tim Burton, 2012)

Tim Burton’s new full-length animated remake of one of his earliest works, the 1984 live-action short of the same name, is one of his best films in ages. I know, as many cynical cinéastes will undoubtedly think, that’s not saying much, what with all the wretched Johnny Depp re-imaginings that have been cluttering Burton’s career in the last decade, but still FRANKENWEENIE is a demented delight.



In the same black and white stop-motion style and character aesthetics as Burton’s THE NIGHTMARE BEFORE CHRISTMAS and THE CORPSE BRIDE, we get the tale of a New Holland boy named Victor Frankenstein (voiced by Charlie Tahan), whose beloved bull terrier gets hit by a car. Inspired by his intense science teacher (voiced by Martin Landau), Victor rigs his attic so that he can harness the power of lightning to bring his dog, the aptly named Sparky, back to life.



It works, except that Sparky’s stitched together body parts occasionally fall off and he leaks when he drinks water. Victor hides his walking dead dog from his parents (wonderfully voiced by Martin Short and Catherine O’Hara) and the rest of the town, but the secret gets out, and the other kids in the neighborhood start conducting their own life-regenerating experiments.



This results in a finale filled with lovingly placed and witty nods to classics like GODZILLA (a monstrous fire-breathing turtle terrorizes the town walking upright on its back legs), and GREMLINS (wild oversized sea-monkeys), all with the backdrop of the sterile suburbia of Burton’s own EDWARD SCISSORHANDS.



That’s not the only self reference to Burton’s past - Winona Ryder voices the girl next door (whose name happens to be Elsa Van Helsing), the before-mentioned Landau does what he did for Bela Lugosi in ED WOOD in his handling of the very Vincent Price-ish Mr. Rzykruski, the science teacher, and O’Hara, in her first Burton movie since 1988’s BEETLEJUICE, voices three characters, including the ginormous eyed ‘Weird Girl.’



Although I like that the funny and frightening (in a family-friendly way) FRANKENWEENIE is the first black and white (and first stop-motion film) to be released in IMAX 3D, as usual the 3D did nothing for me. But the new fangled presentation doesn’t diminish the charge I got from seeing Burton getting back to basics, and finding his old fire in the process.



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