Affleck vs. Cavell in the Batman/Superman movie –and the backlash begins

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I say “vs.” because I am assuming, based on earlier reports, that this next Superman film will play with the caped heroes in conflict formula run through comic books of the ’80s and 90s.

The Dark Knight is really dark, the Man of Steel is dark, and something comes between them.

In that regard, casting Ben Affleck as Batman opposite Henry Cavell’s Superman makes perfect sense. It’s a short term commitment, maybe even a terminal one. Though the comics I remember had the overmatched Dark Knight outwitting and ending Super Dooper Man.

In any event, they have the same director on board — Zach Snyder — the same Superman, and Warners and Ben Affleck are so much in each other’s business these days that this makes absolute sense. This doesn’t seem like a “He’s the new ‘Batman'” moment that some fans are making it out to be. He’s a supporting player, as realized by Affleck and this project.

Affleck, as I have said several times, is WB’s replacement for Clint Eastwood, a prestige director and go-to guy in the actor-director ranks. Affleck played the late TV “Superman” George Reeve, remember, in “Hollywoodland,” the movie that started his “comeback” — at least as far as critics were concerned. Audiences re-discovered him with “The Town.”

It’s probably the one move that perks up my interest in this movie, not caring for “Man of Steel” all that much.

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Dueling Lance Armstrong movies — who will win the yellow jersey?

Bradley Cooper will produce and certainly could (if that’s his intention) star in a Lance Armstrong: PHD Star cycling bio-pic. He’s fit and dashing and could manage the look.

Will the Cooper produced film beat the planned Stephen Frears/Julian Fellowes project that has Ben Foster as the cancer-battling/bike race cheating Texan into theaters?

Foster is a LOT more intense than Cooper, who has an easygoing charm that doesn’t necessarily fit the Armstrong intimidating image that he earned on the Tour de France.

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“The Book Thief” rolls out in November, just in time for Oscar consideration?

It’s a Holocaust drama based on an acclaimed best seller. It stars Oscar winner Geoffrey Rush and Emily Watson, has adorable kids, life-and-death consequences and a love of books.
Might this be an Oscar contender? Nov. 15, when “The Book Thief” comes out, we’ll see.

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Movie Review: “Cutie and the Boxer”

ImageAn old man strips off his shirt and dons goggles and boxing gloves with foam pads taped over the fists. He plunges those fists into tubs of paint and proceeds to go three vigorous rounds, pounding his paint-fists onto a huge canvas.
The blows all land at shoulder level, creating explosive splotches, all in a row, 25-30 feet across. The goggles are covered with paint so he can barely see whatever it is he’s painting. He’s 80 years old and the “boxing painter” has been doing this for decades.
The result? “Like a field of poppies,” a helpful art acquisitions specialist for the Guggenheim suggests. Ukio Shinohara shrugs and smiles, as if to say, “Sure, why not?”
Whatever its other virtues, “Cutie and the Boxer” can be appreciated for exposing, just a bit, the whole “Emperor’s New Clothes” nature of the New York art scene. Shinohara is the living embodiment of that song from “Gypsy,” “You’ve Gotta Have a Gimmick.” His gimmick took him from Japan, where he was a young star of the avant garde, to New York city, where he wasn’t.
That’s a second subtext of “Cutie and the Boxer.” Shinohara lives check to check, sale to sale. The rent is late, he has to unload his boxing paintings and other canvases, his scruffy, scrunchy cardboard fish and motorcycle sculptures, at whatever price he can get.
And his wife, Noriko, is the one who barely keeps him and this suffer-for-my-art enterprise afloat. She met him and married him when he was in his 40s and she was an aspiring artist, all of 19 years old. Forty years later, the man she calls “Bullie” treats her as “just an assistant.” He lectures her that “The average one needs to support the genius.”
And Noriko, who paints elaborate, nude confessional comic book images under the guise of “Cutie” (her nickname) is coming into her own. Now in her 50s, she needs the fame that he once had. She’s tired of being “the assistant.”
“Cutie and the Boxer” is an 82 minute exploration of a co-dependent marriage that functions, after a fashion.  Noriko cooks and organizes and makes sure the bills are paid. She enjoyed the good times, when they were younger ex-pats, drinking and smoking to the wee hours with fellow artists (glimpsed in revealing home movies) when she admits she should have been paying more attention to their son. The kid grew up to be an alcoholic, and Ukio only recently got off the booze himself.
Ukio starts on a rant about how an artist makes his greatest work when he’s young, using Spielberg as an example. Noriko raises an eyebrow, perhaps at the youth she gave up for him, perhaps suggesting that the 80 year old might want to shut up on that subject.
The need for acceptance is strong in each of them, and director Zachary Heinzerling lets us see the disappointments and rejection each feels when works don’t sell, gallery openings don’t give them momentum and the Guggenheim is slow to bestow its imprimatur on Uriko.
The ego and the passion of creation pop up in this film, along with the struggle. Quite aside from the arc of Noriko coming out of her shell and asserting herself, “Cutie and the Boxer” can be appreciated for showing that “the starving artist” is no mere cliche. Sometimes, the fame and fortune come. And sometimes they don’t.
But no true artist creates as a means to an end. The Boxer and his long-suffering wife Cutie both do it because they must.
 3stars
MPAA Rating: R for nude art images
Cast: Noriko Shinohara, Ukio Shinohara
Credits: Directed by Zachary Heinzerling. A Radius/Weinstein Co.  release.
Running time: 1:22
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Next screening: Bana, Rebecca Hall and Ciaran Hinds in “Closed Circuit”

A legal thriller about lawyers being manipulated as they defend an accused terrorist? With Eric Bana and Rebecca Hall and Jim Broadbent? Color me present.

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“Mortal Instruments” — all the reviews are bad, will fans turn up anyway?

collinsA whopping 17% positive reviews on Rotten Tomatoes.

Critic after critic pounding the derivative film that spins out of a much-beloved series of novels. Which feel for all the world like a marketing department’s idea of “How we can get in on this Potter/Percy/Twilight mania for all things fantastical and girl-friendly?”

A favorite moment, when the furry-browed beauty Lily Collins, as Clary, is dressed in her combat cocktail little black dress and accompanying knee boots to battle vampires, demons et al in style.

Will “Mortal” make a bundle this week and weekend?

Variety says it will “have a tough time” breaking $20 million.

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Olivia Wilde and Jake Johnson prove they can hold their liquor in “Drinking Buddies”

ImageA good drinking buddy, Olivia Wilde says, “has to have a sense of humor, be able to hold their alcohol and know when to say when.”
Jake Johnson suggests, too that “you have to be able to drink a lot and not get too sensitive, because that gets weird.”
Wilde, a fanboy icon since her breakout performance in “Tron: Legacy,” and Johnson, of TV’s “The New Girl” and the indie sci-fi hit “Safety Not Guaranteed,” pair up as micro-brewery colleagues who have so much in common that they really should be lovers — but aren’t — in “Drinking Buddies,” an indie dramedy from Joe “Nights and Weekends” Swanberg.
Though “Drinking Buddies” has opened to enthusiastic reviews, with the willowy Wilde in particular earning praise for going indie (no makeup) and giving “her most assertive performance to date” (Indiewire), she’s not most people’s idea of a beer drinker. Too skinny.
“Oh, she can handle her alcohol,” laughs Johnson.
And Johnson? “He’s the perfect drinking buddy,” Wilde says. “He’s hilarious, and he does great impressions. My favorite — he does his DAD. Brilliant, and I’d make him do that one every time he got a little bit wasted on the set. Which was usually by lunchtime on this movie.”
“Wasted” and “by lunchtime”?
“All of the drinking in this movie was real,” Johnson declares. “No fake beer. Joe Swanberg said ‘By agreeing to do this movie, you’re agreeing to enjoy some really great locally-brewed beers.”
They filmed in Chicago’s Revolution Brewing, a real microbrewery where Johnson’s character makes beer and Wilde’s has to market it. They may sample something, here and there, during the work day. But after hours, these “Drinking Buddies,” both living with other people, really taste the hops.
“I credit my Irish heritage,” jokes Wilde. “Yeah, I’m skinny, but I have a hollow leg. And I’m an expensive date, because of it.”
And the movie, with its wistful, suds-soaked take on workplace romance and realizing that love is as much about timing as compatibility, changed everybody on it. Wilde had to take off a bit of beer gut afterwards. And Johnson?
“It ruined me. I became a beer snob. We ALL did. All these great local breweries are popping up, beers brewed by artists. If you’re going to drink a beer, ask for what’s local.”
That’s a big hook in the movie, Wilde says, its beer brewing milieu. Craft breweries some time ago joined coffee snobbery and the products of boutique wineries as a part of the discriminating consumer’s palette.
“This craft beer world we’re a part of in this movie is not about getting drunk,” she says. “These characters really believe they’re doing this complex, rare thing that they take great pride in. They’re picky drinkers. These aren’t kids chugging Budweiser in the backyard to get wasted.”
He and Wilde fell for the product of the brewery where the movie is set — Revolution. And both Angelinos developed a taste for Three Floyds Brewery,” just across the border in Munster, Indiana,” Johnson says.
“And my absolute favorite beer is called ‘Daisy Cutter.’ from Chicago’s Half-Acre Beer Company,” Wilde says. “Really flavorful and aromatic.”
Small batch, limited appeal beers have a lot in common with indie films, the “Drinking Buddies” stars agree. Whatever mark Wilde makes in studio films (her next is Ron Howard’s big-budget Formula 1 racing picture “Rush”) and whatever Johnson gets out of his sitcom day job “New Girl”, indie films “don’t have to appeal to everyone,” Johnson says.
“The shoot is small and there’s nobody in some distant studio office making suggestions, changes, watering the movie down,” Wilde says, running with that beer analogy.
And, Johnson adds, like a good drinking buddy, “People making an indie film don’t have to get all sensitive and worry about scaring off some of the audience.”
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Movie Preview: Relive the JFK Assassination with “Parkland”

Great cast — Oscar winners Billy Bob T. and Marcia Gay H. — Giamatti, Jackie Earl Haley, Jackie Weaver, Zac Efron, Ron Livingston AND Mark Duplass.
Do people really want to cover that ground again, fifty years later?
We’ll see in September. Some of us, anyway. Exclusive Media GRoup is distributing this Playtone (Tom Hanks’ company) production. Who knows how wide it’ll go on release?

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“Act of Valor” sets up a S.W.A.T. story as a follow-up.

DEadline.com reports that Relativity has gotten on board this Bandito Brothers project.

The genre based but ultra-realistic “Act of Valor” earned decent reviews and good coin ($70 million) when it opened. A  movie that used real Special Forces soldiers as performers, in some roles, that gimmick may be worthy of a repeat with this S.W.A.T. oriented actioner.

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Movie Review: “The World’s End”

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“The World’s End” feels like a grand last hurrah, a victory lap for those “Hot Fuzz/Shaun of the Dead/Spaced” mates Simon Pegg, Nick Frost and their writer/director-partner-in-crime, Edgar Wright.
A rollicking, drunken romp through beer, weepy co-dependency and alien pod people conspiracy theories, it allows these no-longer-lads one last chance to be lads — playing guys who have aged out of getting drunk and hitting every pub in town, but trying to recapture that past.
That’s what Gary King (Pegg) wants. We’ve met him recalling one epic pub crawl, “the Golden Mile,” from his youth — 12 pubs in Newton Haven — all in one night. Gary “The” King tells this tale at rehab.
But that gets him to thinking. He and his four mates (Frost, Martin Freeman, Paddy Considine and Eddie Marsan) never got from “The First Post” (a pub) to “The World’s End” (the twelfth). Even though they’re all 40somethings, Gary rounds them up and somehow convinces each to join him for one last shot at glory.
“It’s about closure!”
Is it? Can a car salesman, a realtor, a lawyer and contractor revive past sudsy glory? Can they forget the reasons they fell out with Gary — who hasn’t changed wardrobe, cars or drinking habits over the decades?
“I haven’t had a drink in over sixteen years!” Andy (Frost) sneers.
They can. It doesn’t matter than most of their pubs have fallen victim to “Starbucking” — turned into corporate McPubs, even if the same 1993 publican is behind the bar. Our five beer-lovers may not hold their liquor as well and have families and different lives in the present and bad memories (Gary doesn’t) of the past. But they’re in it til “the bitter end. Or the lager end.”
And just as the alcohol-as-truth-serum starts to kick in and people reveal their failings and disappointments, something sci-fi happens and they’re having to brawl their way from one pub to the next for their very survival.
Wright stages the nightmarish night of  drunken fights with not-human barflies with skill. But this is a movie that floats by on dazzlingly silly banter and well-slung slang. A legendary encounter with two blondes with a redhead in between was “a marmalade sandwich,” a random line from Shakespeare’s “A Winter’s Tale” about a bear exiting morphed into their “time to leave” catch-phrase.
“Let’s Boo Boo.”
Each character faces a moment of truth from his past, some of those moments revolving around the sister (Rosamund Pike) of real estate fussbudget Oliver (Freeman).
The energy flags, a common failing of exercises in nostalgia. But in reviving, one last time, the formula that made “Shaun of the Dead” such a blast, Pegg, Frost & Wright put an exclamation point on the truism that Douglas Adams first explored in “Hitchhiker’s Guide to the Galaxy” and that these three underlined with “Shaun” and now “The World’s End.”
When the apocalypse comes, there’s no place better to ride it out than in your friendly neighborhood pub.

3stars

(Let’s sum up the summer movies and hand out our “S’mOscars” –summer Oscars)

MPAA Rating: R for pervasive language including sexual references.
Cast: Simon Pegg, Nick Frost, Martin Freeman, Rosamund Pike, Eddie Marsan, Paddy Considine
Credits: Directed by Edgar Wright, written by Simon Pegg and Edgar Wright. A Focus Features release.
Running time: 1:47

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