The Dark Knight Rises (2012)

by Tony Dayoub

Given the tragedy in Aurora, CO, running a review of The Dark Knight Rises (TDKR) on Friday morning just didn't seem right. It's the start of a new week, however, and many of you have had a chance to see the new film. I don't normally go in for spoiler warnings, but given the nature of this beloved franchise, here it goes: if you haven't seen the movie yet, READ AT YOUR OWN PERIL...

The Many Faces of George Smiley

by Tony Dayoub

Though Gary Oldman came up empty at the BAFTAs this past weekend, he still stands a slim chance of being recognized at the upcoming Academy Awards for his career-best turn as graying spymaster George Smiley in Tomas Alfredson’s Tinker Tailor Soldier Spy. His first nomination, it is perhaps the most deserved one of all the performances nominated for Best Actor this year. For Oldman – usually a kinetic and, at times, even bombastic performer – the role of Smiley offered the challenge of playing a spy accustomed to fading into the background. Projecting a facial expression so passive it could almost be labeled a mask, Oldman allows a glimpse into Smiley’s inner life through his aqueous eyes which betray volatility more in line with the rest of the actor’s notable roles. Tinker Tailor Soldier Spy is about a Secret Service in which aging lonely spies fight for dominance in the landscape of the Cold War, a field of battle over which they long ago chose to sacrifice any kind of private lives. Oldman’s Smiley is, then, a perfect distillation of director Tomas Alfredson’s rethink of John le Carré’s 1974 novel. But Oldman is following in the footsteps of many famed British actors who’ve assayed the role before him. Sir Alec Guinness’ depiction of Smiley is the most well-known, but many will be surprised to discover there were others.

CONTINUE READING AT PRESS PLAY

Tinker Tailor Soldier Spy is a Worthy Remake Filled With Lonely Characters

by Tony Dayoub

The tall, athletic man introduced earlier in Tinker Tailor Soldier Spy as British Intelligence officer Jim Prideaux (Mark Strong) walks into a class room and begins to write his name on the chalkboard. Only he does not write the name we’ve come to know him by. The typically garrulous young males attending the tony prep school remain blissfully unaware of their new teacher’s identity as he starts handing out the class assignment. But the viewer is all too keenly aware of who Prideaux is if only for the fact that we saw him shot in the back at the start of Tomas Alfredson’s film adaptation of the John le Carré novel. Is this a flashback? Or did Prideaux somehow survive the shooting? Prideaux’s mild demeanor belies his efficiency, a fact his students become aware of when a bird trapped in the chimney suddenly flies into the classroom in confusion. Prideaux rapidly pulls out a club from his desk drawer and swats the bird down to the ground where it continues to squeal in pain. As Alfredson directs the camera to capture the students’ horrified reaction, the sound of Prideaux beating the bird to death comes from off-screen...

CONTINUE READING AT PRESS PLAY

Movie Review: Red Riding Hood (2011)

by Tony Dayoub

Red Riding Hood, Catherine Hardwicke's uninspired take on the traditional werewolf tale (by way of the Brothers Grimm and Twilight) reminds me of those Syfy Original Movies which play round the clock on Saturdays. They are usually designed to capitalize on something familiar, like the recent Tin Man miniseries, a sci-fi twist on The Wizard of Oz. Their cast is usually an odd mix of fresh faces, has-beens, and character actors culled from Syfy's own original series. And the movies are often set in one barely adequate-looking studio set made to look even cheaper by the inclusion of horrible CGI effects work.

Blu-ray Roundup: Unreliable Protagonists

by Tony Dayoub

Three very recent releases on Blu-ray span the range of genres—from post-apocalyptic action to creepy psychothriller to historical "how"-dunnit. However, they do have one thing in common. Though they might have their flaws, each is still able to draw its viewers in by delivering a skillful shell game at the hands of a distrustful and unreliable protagonist.

Movie Review: Bram Stoker's Dracula (1992)

by Tony Dayoub



The very Catholic director, Francis Ford Coppola (The Godfather), clearly approaches Bram Stoker's Dracula with an eye towards religious iconography, as photos below make the case. But I guess the point escaped me—until my recent viewing of it on Blu-ray—that Coppola views Dracula (Gary Oldman), not just as rebelling against God, but as Christ's antithesis in both action and appearance. Not necessarily an alien concept, that; but it is so blatantly obvious when one watches it silently (without the secondary romantic plotline there to distract), that I feel a bit foolish not having caught it before. So in honor of today's festivities, and anticipating tomorrow's holy day, a look at Dracula as the Antichrist.