By Robin E. Simmons
GONE GIRL
David Fincher’s meticulous take on Gillian Flynn’s global best seller (nearly nine million copies!) will not disappoint fans of the book and those who have not read it. This dark thriller is war of the sexes on steroids. Fincher is a proven master of style and intelligence and he welcomes dark, nasty themes that compel and disturb and he is very much at home with this material that centers around beautiful Amy Dunne (Pike), who goes missing on her fifth anniversary. Naturally, her handsome husband Nick slowly becomes the primary suspect. Soon, the media frenzy forces new revelations about the seemingly blissful marriage. Lies and deception raise damning questions about Nick’s innocence. Did he – could he – kill his wife?
Flynn wrote her book in alternating journal entries from both Nick and Amy. Structurally, it appeared to be a difficult book to adapt for a movie, but Flynn herself wrote a screenplay that brilliantly reflects her book. It would not be fair to discuss the plot in any more detail. In fact, the less you know the better the film experience. It’s nice to have a compelling adult film that not only has something to say about modern marriage, but also grabs you and does not let go until final fade out.
Starts October 2, Thursday, 6:30 with a special Q&A screening at Cinemas Palme d’Or. Pick of the week.
THIS IS WHERE I LEAVE YOU
A great cast does its best to bring life this moribund drama that allegedly has comedic moments. But I never believed for a moment anything I saw on screen as a family is forced to sit Shiva (the first week of mourning after a Jewish funeral) by mom (Jane Fonda — with huge fake breasts). The family arguments and revelations are forced and ho-hum. It was fun to see Tina Fey in a more dramatic role and Justin Bateman is almost always a likeable and sympathetic character. It’s really his story. He’s the one who must determine when it’s time to leave his former wife and life. (But I kept checking my watch to see when I could leave the theater!) Director Shawn Levy does his best but there’s not much life in this dysfunctional family’s coming together to honor dead dad. It’s neither a black comedy nor is it a heart warming, life-affirming interlude. Now showing.
CULTURE HIGH
With the ever wider medicinal or recreational marijuana initiatives, and more communities allowing pot shops in the CV, Brett Harvey’s enlightening and provocative documentary ears into the very fibre of the ongoing marijuana debate to reveal the truth behind the arguments and motives behind both those who support and oppose the existing pot laws. With billion dollar budgets available for law enforcement to fight the so-called “drug war” and nearly a million persons arrested annually for simple marijuana possession, maybe it’s time to consider one more time the in depth arguments from both sides of the spectrum. There’s more at stake than first meets the eye. Pointed observations are made by a wide spectrum of unexpected individuals including: Sir Richard Branson, Wiz Khalifa, Al Jazeera’s TechKnow host Carla Maria among many others. Look for it in theaters and video on demand Friday, October 17.
NEW FOR THE HOME THEATER:
EDGE OF TOMORROW
There’s no question it looks great — special effects have reached an astonishing level of craftsmanship, we all know that. But the derivative story leaves an awful lot to be desired. I kept thinking how it all looks somehow familiar and worse, I didn’t really care that much about the characters’ dilemmas and goals. Good action and tight direction cannot make up for weak plotting. And there’s another thing. I am aware that Tom Cruise gets his screenplays approved by Scientology’s head honcho before production is OK’d. So, naturally while watching this convoluted time-shift movie about fighting aliens in the near future, I kept thinking what kind of Scientology propaganda am I absorbing – perhaps unconsciously. Laugh if you must, but I am serious here. It must be noted that a buff Emily Blunt is terrific as warrior Rita Vrataski who help’s Cruise’s William Cage better fight the enemy each time he returns from the dead. That’s right, he keeps coming back until he learns how to better his combat skills, but it’s finally not a clever, Buddhist moral lesson as in GROUNDHOG DAY — even if you keep thinking of that iconic film like I did. The home video version has box art that says, in big letters, “LIVE DIE REPEAT.” At first glance, it looks like a new movie. It’s also in a retro-fitted 3D that adds very little to the film experience. Warner bros. Blu-ray 3D.
UNIVERSAL CLASSIC MONSTERS
Get an early start on Halloween with this terrific thirty-film collection of Universal’s best and cheesiest monster film from 1931 (the truly great artistic achievement FRANKENSTEIN) to 1956 (THE CREATURE WALKS AMONG US).
Included is a 48-Page collectible book and hours of bonus features, among the treasure trove of cool extras are, Behind the Scenes Documentaries, the 1931 Spanish Version of DRACULA, featurettes on Boris Lugosi, Boris Karloff, Lon Chaney Jr. and Jack Pierce, 13 full length commentaries that are actually worth listening to, cool archival footage, rare production photos, seldom seen trailers and more. The feature films include: DRACULA (1931), FRANKENSTEIN (1931), THE MUMMY (1932), THE INVISIBLE MAN (1933), THE BRIDE OF FRANKENSTEIN (1935), WEREWOLF OF LONDON (1935), DRACULA’S DAUGHTER (1936), SON OF FRANKENSTEIN (1939), THE INVISIBLE MAN RETURNS (1940), THE INVISIBLE WOMAN (1940), THE MUMMY’S HAND (1940), THE WOLF MAN (1941), THE GHOST OF FRANKENSTEIN (1942), THE MUMMY’S GHOST (1942), THE MUMMY’S TOMB (1942), INVISIBLE AGENT (1942), PHANTOM OF THE OPERA (1943), FRANKENSTEIN MEETS THE WOLF MAN (1943), SON OF DRACULA (1943), HOUSE OF FRANKENSTEIN (1944), THE MUMMY’S CURSE (1944), THE INVISIBLE MAN’S REVENGE (1944), HOUSE OF DRACULA (1945), SHE-WOLF OF LONDON (1946), ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948), ABBOTT AND COSTELLO MEET THE INVISIBLE MAN (1951), CREATURE FROM THE BLACK LAGOON (1954), ABBOTT AND COSTELLO MEET THE MUMMY (1955), REVENGE OF THE CREATURE (1955).
Not bad, huh?
These movies defined the monster and horror genre in the first half of the 20th Century and are still regarded among the more memorable of cinematic characters. Universal. DVD.
robinesimmons@aol.com
