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Archives For November 30, 1999

Scream 4: "One generation’s tragedy is the next one’s joke"

Ashley Walton —  June 3, 2011 — Leave a comment
I know I haven’t blogged in forever, and this review is less than relevant, since the movie is no longer in theaters, but I feel it is my duty to make this report (and this is the last film I’ve seen in theaters that I’ve been truly impressed by… I’m looking at you, Bridesmaids and Hangover II… okay Thor was pretty good– nobody kill me). I really enjoyed Scream 4 (and I don’t appreciate any pretentious eye-rolling at the suggestion that the third sequel in a horror franchise might have some artistic merit). This film echoed back to the self-aware genre witticisms of the first film, but this one took the meaning of meta to a whole new level, and I laughed out loud at a lot of jokes pointed at itself. This was the smartest horror film I’ve seen since Jennifer’s Body, and I urge you to not be turned off by the “4” in the title. It was well-paced and well-written, and I look forward to seeing it again, which is a rare thing for me to say in the horror genre. I dare say I will purchase the DVD, and I hope others will be motivated to give it a rent.
In film, horror , , , ,
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The Whole Bloody Affair: A Roaring Rampage of Revenge

Ashley Walton —  April 12, 2011 — 2 Comments

A couple of weeks ago I traveled to Los Angeles to see The Whole Bloody Affair in all its glory. There is a special place in my geek heart for Kill Bill. The cruel tutelage of Pai Mei. Kiddo’s slaughter of Yakuza minions. The Five Point Palm Exploding Heart Technique.  The films offer a cinematic feast of fun. I’ve watched each film more times than I can count, I can recite passages of dialogue before characters say them, and I own a replica of Kiddo’s yellow jumpsuit. So, I’m pretty serious about my devotion to this fun film.

Walking into the New Beverly Cinema was like rewinding the clock 50 years. The cinema had a brightly-lit vintage marquee out front, which on the night I went exclaimed happy birthday to our dear Quentin Tarantino. Walking inside, the foyer was tiny, the snack counter was barely existent (but had refreshingly reasonable prices), and the two restrooms combined would have fit into a small broom closet. The one theater housed about 200 seats and the screen was much smaller than most we see nowadays. In short, it was charming. I snagged a front-row seat, which was perfect for the screen distance and size.

Before the feature presentation, in typical Tarantino flair, several previews of coming attractions for ‘70s and ‘80s grindhouse genre films were shown, including Coffy, The Million Eyes of Sumuru, and Shogun Assasin (the film that BeBe watches with Beatrix at the end of Kill Bill volume 2). The pre-show reel also included an animated sing-along of dancing concessions urging us to get snacks and Dr. Pepper in retro style and a panther warning us that the film was Restricted. Then the glowing seal of the Cannes Film Festival appeared, affirming that this was the original, personal print from Tarantino’s first screening of this version of the film.

With the volume turned way up, the action sequences of Beatrix Kiddo’s roaring rampage of revenge physically reverberated in the audience. You could literally feel the tension. The cinematography looked beautifully visceral on a “big” screen.

Now, to answer the question everyone keeps asking me about the film: “So, what’s different?” Actually, several things, some small and others not-so-small. All the action sequences were a little longer and a little more satisfying (if that’s even possible). For example, in the famous scene where Beatrix harpoons the Crazy 88’s, the carnage radiates in technicolor instead of shifting to  muted censor-friendly black-and-white. This may not seem like a huge change until you see the difference in stunning color and detail, red blood splattering every frame. There were other differences in the Crazy 88 sequence. My favorite difference occurs after Beatrix plucks an unsuspecting warrior’s eye out; in this version, she promptly shoves the veiny eyeball into another guy’s mouth and he gulps it down in surprise. It can only be described as awesome.

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In film, tarantino , , , , , ,
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Paul: "He’s not dangerous. He’s kinda rude."

Ashley Walton —  March 26, 2011 — Leave a comment

Okay, I know I’m a total dork, but I really enjoyed this movie. This alien-comedy by Nick Frost and Simon Pegg (the blokes who brought you Shawn of the Dead and Hot Fuzz) was self-aware, self-referential, and packed full of geeky goodness. References to Star Wars, E.T., Close Encounters of the Third Kind, The X-Files,and Star Trek (and I’m sure many others that I missed) were plentiful and fun to spot, and believe it or not, they didn’t feel trite. In fact, the writing was clever, simultaneously making fun of and paying homage to the genre stereotypes. The overall plot was simple, but it allowed for hilarious and endearing character development and interaction.

Although my geek goggles might be skewing my vision, I laughed heartily and obnoxiously throughout the film, and I give it a heartfelt recommendation.

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The Whole Bloody Affair

Ashley Walton —  March 3, 2011 — 1 Comment
Today I bought a plane ticket to fly to LA to see The Whole Bloody Affair– the Kill Bill movies edited into one glorious cinematic experience. And the cherry on top is that the screening takes place at Tarantino’s theater, The New Beverly. I’ll probably be so overwhelmed with happiness that I’ll laugh and cry at the same time (kind of like Beatrix at the end of Kill Bill vol 2).
For those of you who aren’t aware of my unabashed adoration of Master Quinten Tarantino, he’s my favorite screenwriter and probably my favorite director. Let it be written. And while I love many of his films, I have a very special kind of love for the Kill Bill movies, which probably borders on rivaling Tarantino’s love for feet. I’ve watched vol 1 and 2 so many times that I have them memorized, frame for frame, and I still enjoy watching them every time. So the thought of seeing these two films mashed together and edited as my love had originally intended is practically enough to make my head explode.
I will take note of every detail of my experience for future generations and fellow film freaks who will be unable to attend. (The week’s worth of screenings sold out in a day.) The only question remaining: do I wear my Beatrix Kiddo jumpsuit?
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Rental Release: Mary & Max

Ashley Walton —  January 31, 2011 — 1 Comment

Mary & Max, a beautiful claymation film from Australia, is the right mixture of sweet, hilarious, and bleak. The film is about two lonely hearts— a young girl and a troubled older man who become strange and awkward pen-pals. Both characters lead pretty depressing lives, but the film shows the charm and hope that shines through simple human interaction.

Max and Mary are voiced by Philip Seymour Hoffman and Toni Collette (both Academy Award winners) who deliver their deadpan lines with perfect cadence. As much as I loved the claymation, the writing was my favorite part this film, chuck full of fresh, interesting, and (cautiously) playful dialogue. I definitely think it’s worth watching. However, you may want to watch it with a comforting pint of Ben and Jerry’s—it’s not exactly cheery.

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Rental Release: Exit Through the Gift Shop

Ashley Walton —  January 22, 2011 — Leave a comment
This film was much more intelligent and complicated than I initially gave it credit for. As usual, I don’t want to give too much away, because this film unwraps itself deliberately and poignantly. I do want to make it clear that this film is not about Banksy. And it’s not even a film about graffiti/street art. Rather, this is a film about what art means and how people interact with it, and the vehicle through which it explores these questions is so interesting and so grounded in a terrifying reality that it took me by surprise. Halfway through the film I thought, “Why is it lingering on these odd moments?” but it made sense as the film progressed (as does the film’s title), and it ended up being one of the most thought-provoking films I’ve seen in a while. It was clever, funny, and earnest, leaving me satisfied and smiling. I recommend this film to anyone who is remotely interested in art and its relationship with the public.
In design, film , , , , , , , ,
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True Grit: "Looking back is a bad habit."

Ashley Walton —  December 26, 2010 — 1 Comment

If you haven’t seen True Grit, you need to stop reading and buy a ticket right now. I mean it. If you’re reading on, I’ll be upset if you haven’t bought a ticket already. Hands down, this is one of the best films of the year– really fun and really well done: well-paced, well-written, and well-acted.


Before embarking on this adventure, I worried that this western (which one critic compared to Treasure Island– WTF?) would be too contrived; but my worries were put to bed within the first 10 minutes of the film. The way in which Jeff Bridges and Hailee Steinfeld delivered their lines blew me away, each snarky remark perfectly timed and full of sincerity. (I could have done with or without Matt Damon– he was clearly outshined by both his castmates.)


I was in the moment and along for the ride throughout the entire film, swept up by the story and charmed by the dialogue. However, the last 15 minutes of the film pull a flash-forward, which almost always bugs me on principle. But alas, it’s a small complaint for such a great experience. I’m already excited to own this film, so I can repeatedly rewatch and chew on the dialogue some more.

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The Social Network: "Drop the ‘the’"

Ashley Walton —  October 4, 2010 — 2 Comments

Not surprisingly, I give two thumbs up for The Social Network, which has gotten overwhelmingly positive reviews. First and foremost, Aaron Sorkin’s writing blew me away. He transformed a dialogue-heavy film into a rare treat that made me laugh and think at the same time. Aside from the writing, Jesse Eisenberg’s performance was fantastic, and I’m glad he’s been able to prove himself as something more than the poor man’s Michael Cera.

So we all agree it’s a great film, but I think it’s interesting that there’s a lot of talk about the accuracy of the film’s portrayal of Mark Zuckerberg. Certainly, I could see why this wouldn’t be Zuckerberg’s favorite film. However, I think people realize that the story is slanted for the sake of making a dialogue-heavy film exceptionally interesting. And even though Zuckerberg’s character is not particularly likable, he is still presented as a complex individual—good and bad mixed into one. The film definitely presents him as a sort of genius (even if it also presents him as a socially inept schmuck). I readily I admit that some of his comments (although definitely rude) made me feel satisfied and made me wish I were the kind of person with the guts to ask a lawyer, “Did I adequately answer your condescending question?”

The conversation at the beginning of the film serves as a summation for Zuckerberg’s character—for better or for worse. On the one hand, he’s quick, witty and has no trouble following three conversation threads at once. On the other hand, he (perhaps innocently) says some things that makes your jaw drop. And it’s this conversation that sucks you in and sets the tone for the rest of the film.

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The Town: "We’re gonna hurt some people"

Ashley Walton —  September 26, 2010 — Leave a comment

I’m gonna go ahead and jump on the bandwagon and say that you should see The Town. It’s a pretty good Boston crime film (Affleck surprised me with his ability to write) and the cinematogrpahy makes it worth seeing in theaters. It’s not jaw-dropping astounding, but it’s a good film through and through. And let’s face it: there really isn’t much else out, unless you’re planning on seeing that cartoon owl movie or that cartoon dog movie. The good news is Let Me In comes out next weekend! Eeee!

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Easy A: "A is for Awesome"

Ashley Walton —  September 26, 2010 — Leave a comment

I’ve gotta say, Easy A surprised me. I fully expected to be bored to death with another teen movie’s oversimplified dramatics and cheesy one-liners. But this was a rarity in its genre: a smart film. From the beginning, Olive Penderghast (played by the likable Emma Stone) is much more interesting than most teens portrayed in films. She’s smart, seriously witty, and she pokes fun at herself (and at the movie itself in a strange meta-narrative that surprised me with its sophistication). As a bonus, the plot took some turns that I didn’t see coming, which is a rare luxury indeed in a teen comedy, and the journey brings you to a pretty meaningful place in the end. I didn’t feel hit over the head with sentimentality, but I appreciated the film’s final message.

The last complimentary thing I’ll say about this film (I don’t want to sound too much like I’m gushing here) is that I really liked the relationship between Olive and her parents (played by Patricia Clarkson and Stanley Tucci). These parents weren’t written as typical teen-movie parents. They were full-fledged characters in themselves, and they treated Olive as they would an intelligent adult. You could also see where Olive got her intelligence and spunk, as her parents had some of the best lines in the film.

When all’s said and done, this is still a teen comedy. It has its problems, just like any film in its genre, but I think it’s above and beyond most of its competitors. The film has a lot more meat to it than the trailers imply, and it’s definitely at least worth a rent.

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