Birdman

Michael Keaton

Edward Norton

reviewed by Tom-Tom

starstarstar

With every passing year, I wonder what really is behind the choosing of movies as Best Picture. Films like Birdman, The Artist, Chicago, and La La Land (which “won” for all of 4 minutes before the fallacy was explained) make me feel as if it is “the movie that speaks to the voters” rather than actual cinematic quality of the movies themselves that clinches the win. The struggle of actors and actresses who make it big will never ever be a foil for the American dream for me. Making travel plans to California doesn’t ensure anything will go well and the starlet/star waiting to be born is a tired tale told way too often and too poorly especially considering how close the makers are to the source material.

      Swingers executed it well without the glamour or glitz but rather with down and out actors commiserating with one another for getting turned down to play even Goofy at Disneyland. The doubt and self questioning there were universal to any job and not the main point of the movie. It’s a testament to our age of perceived entitlement in which films star people who expect to arrive fresh off the bus and then to be sent to the head of the line at auditions and lauded as the best actor ever, much, interestingly enough as the gullible ginger chump in the Sherlock Holmes mystery, The Red-Headed League. The inevitable whining and navel gazing afterwards always gets my blood up. “I’m the main character in this movie, everyone should do what I want.” Continue reading

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The Incredible Hulk

Edward Norton

Liv Tyler

reviewed by Tom-Tom

starstar

Man, it is difficult to make a decent Hulk movie. The problem, I believe lies in the character itself. Like a werewolf film or any monster movie, actually, the inevitable point of the plot is directed towards the beast or a transformation into said beast. Every part of the plot in which the party trick (as later called by the Messiah of current Bruce Banner’s Mark Ruffalo) isn’t featured unfortunately pales in comparison to the points in which it does. The original TV series, at least, had interesting plot lines and dialogue as Dr. Banner searched all over to find a cure while being hunted down by an investigative reporter. Each episode ended with his transformation into Lou Ferrigno still, in my opinion, the most impressive of the Hulks, although the most recent one introduced in the Avengers films comes close. It was impressive because it was a real guy albeit covered with green body paint and bushy eyebrows tearing things apart, someone I might very well could have grown up to be, like Mr. T, or Rocky, or the Karate Kid i.e. the product of a lot of hard work and not a little bit of coolness. But here, along with Ang Lee’s previous respectable attempt to make the green giant scientifically plausible, the Hulk is the thing people are coming to see so they can see him, to quote the late film critic Roger Ebert’s derisive take on lazy action scenes, “blow stuff up good.”

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