Movie Review: Frank Miller's Sin City: A Dame to Kill For (2014)

by Tony Dayoub

Less dense than its already thin predecessor, Sin City: A Dame to Kill For feels like a vast improvement nonetheless. Almost a decade ago, Sin City seemed almost revolutionary in the way it capitalized on then innovative digital technology that allowed directors Robert Rodriguez and Frank Miller to shoot their movie on virtual, green-screen sets. Based on Miller's own graphic novel series, the film carried a certain irony. It was a black-and-white film noir homage with a stripped down, DIY sensibility despite hosting a cast of hip actors and utilizing cutting edge filmmaking techniques.

Movie Review: The Expendables (2010)

by Tony Dayoub

The finale of The Expendables, which I won't reveal here, is as foregone as the fact that I was going to like the film. As I warned some friends early on, director/star Sylvester Stallone would have to jump off the screen and spit in my face for me to give this one a bad review. And even then... well, that's my attempt at a full disclosure regarding what kind of review this is. Regardless of the major missteps he has taken with some frequency in his career, I can't help but admire the man.

Movie Review: Iron Man 2

by Tony Dayoub

Fulfilling the commercial objectives set by its preceding film, Iron Man 2 makes good on its aim to spearhead an entire Marvel Universe of film franchises. But at what cost? All of the goodwill engendered by its endearingly brash predecessor completely evaporates before this film reaches its denouement. Iron Man 2 doesn't play within any established dramatic constructs in existence. And it betrays the fine character work of its cast by limiting their appearances in order to tease fanboys with the promise of future entries in the tapestry it is intent on weaving.

Movie Review: The Wrestler, or Jesus, the Other Anti-Hero

by Lissette Decos I had very little time for movie-watching in 2008. A minor detail I should have thought long and hard about before seeing The Curious Case of Benjamin Button. Not only did it suck, but it was so long that it left no time for any other movies. I did manage to see Slumdog Millionaire, which was good - but in the way that vanilla ice cream is good. And I prefer my vanilla ice cream with chocolate chips. But now that the Oscars have come and gone my movie dance card is clear once again, and I could finally go see The Wrestler. This movie is great - great in the way that a trip to Italy with enough money that you don’t have to stay in hostels and actually eat at restaurants is great. I saw it two days ago, and I can’t stop thinking about it. And I love movies that make you think. When the titular wrestler, Randy the Ram (Mickey Rourke), is preparing for his big fight it made me think about Rocky and how unlike Rocky he is. When the wrestler has his “pump up/getting ready” montage he doesn’t find the biggest set of stairs in town and run up them. As far as I can see, he doesn’t even own a jump rope. And there are no raw eggs in his diet. Instead, the Ram self-tans, dyes his roots, and injects himself with some sort of steroid. He lifts a few small barbells just to pump up the muscles on his arms. Oh yeah, at one point he stretches his legs a little. Rocky Balboa may have had his faults, but the Ram makes Rocky look like a standup citizen. Randy is a self-absorbed, deadbeat dad with a drug addiction. But that’s where the Rocky comparisons and contrasts ended for me because really the Ram’s more like Jesus or Jesus Christ Superstar. I’m not sure which. I would need to see the latter to be sure. His stripper friend, Cassidy (Marisa Tomei), mentions it early in the film and from that point on it was clear to me. There’s a virgin, a prostitute, and he’s a Ram - which let’s face it, sounds a lot like lamb (as in sacrificial). And the clincher is the major (what I like to call) crucifixion scene, where a crazy nut that looks a lot like Pontius Pilate staples him to the cross. At one point they even go up a ladder as if trying to hang him on a cross, the barbed wire they crash onto looking a lot like a crown of thorns. When he comes out of that bout he has a huge gash on his side, and a medic puts his finger in it. Remember when Judas did that to make sure that was really Jesus? Isn’t there a famous painting depicting this scene? I loved The Wrestler in the way that makes you feel like why in the @$%# did this movie not win an Oscar... or five Oscars!? I loved it in the way that I wish Randy the Ram could beat up Benjamin Button. Put Randy in the ring and have his way with Button. I don’t care if it’s old-but-really-young Button or young-but-actually-old Button! Just get whichever Button you want, throw him in the ring, and have your way with him Ram!

Not That Anyone Cares, But Why I'm Not Writing About the Oscars This Year

Meh. Not since 1995's ceremony - where, after winning 5 other awards, Forrest Gump won the Best Picture award competing against both Pulp Fiction and The Shawshank Redemption - have I been so unexcited about an Oscars show. I mean, somehow Gump is back again... er, wait... I mean Benjamin Button... competing against some equally slight films. And it seems like it's a foregone conclusion that one of my least favorite movies of the year, the extremely overrated Slumdog Millionaire, will win a slew of awards (probably even the Best Picture award). So what's in it for me this year? Why bother picking any of the races, if I can't even muster the interest in the proceedings this year? Like I said... meh! So I'll skip the races I'm bored with and just bring up a couple of points of interest, so to speak. Best Actor looks like the most interesting one with Sean Penn and Mickey Rourke being the front-runners. While personally, my heart's with fellow Miami boy, Mickey Rourke, I fear that his overexposure this awards season may have worked against this man of mystique. So Sean Penn may run out with this one, which wouldn't be all bad since he gave a hell of a performance in Milk. And karmically speaking, maybe this is a reward for being one of the few directors to keep Rourke working during his low period in 2001's The Pledge. Kate Winslet should win for The Reader, only who knows why she was even nominated for that. Penelope Cruz and Viola Davis are another interesting race to look at for Best Supporting Actress (Taraji P. Henson, I loved you in Hustle and Flow, but I don't see what merited the nomination this year). Wall·E is a shoo-in for Best Animated feature. But honestly, it should have competed in the Best Picture category where it could have, and should have, easily won. The only upset of the night would occur if for some mysterious Academy-related reason, Heath Ledger would lose the Supporting Actor award. Posthumous nominations have a bad record at the Oscars. The technical awards this year? This one gets a "Who REALLY cares?" from me. When you have The Dark Knight - a movie that has a near-unintelligible third act - up for Film Editing, and Benjamin Button up for Best Makeup - when in fact, most of its makeup achievements are perked up by CGI - then what really comes to mind is how much the nomination process, and even the categories, are in need of an overhaul. With Bill Condon (Dreamgirls) named executive producer this year, the actual Oscar ceremony might prove to be the most interesting aspect of the evening. Hugh Jackman (X-Men Origins: Wolverine), a pretty talented showman when performing live, is the evening's host. Michael Giacchino (Lost) is conducting the orchestra. And they've even tried to spice things up a bit by keeping its roster of presenters secret. I'm hoping this all adds up to a surprisingly exciting evening. I usually make a day of this. Despite disagreeing with most of what is usually awarded, as a movie lover it still excites me to see a day in which my passion for movies is shared in celebration by others. But expect Slumdog Millionaire to sweep most of its nominations, and The Curious Case of Benjamin Button - though slight, still a bit of an underrated film - to lose most of its noms. If this happens, then predictability will still reign on another stale awards night. The 81st Academy Awards airs Sunday night on ABC at 5 p.m. PT/8 p.m. ET.

Movie Review: The Wrestler - An Ode to Mickey Rourke

Mickey Rourke triumphantly returns to the screen in the best role he's played since... Marv in Sin City (2005)? Well, that wasn't so long ago. Yet it seems that every time Rourke continues to impress us with a tour-de-force performance, as he does in Darren Aronofsky's The Wrestler, he is hailed as the "Comeback Kid," when in fact, he's never gone anywhere. One look at his filmography confirms this, as he has had at least one film, if not more, released every year since his debut in 1979, except for the years 1993 and 2007. True, they frequently aren't movies you would see in the year-end top ten lists. But like Marlon Brando, the quirky and mumbling Rourke is a performer that never fails to fascinate in any number of variations on the tough guy persona he usually imbues with the soul of a child. In The Wrestler, he plays fading superstar Randy "The Ram" Robinson, a veteran of the sport that though filled with showboat antics, may actually be more punishing than similar gladiatorial displays out there. Robinson moves through his humble life, struggling to collect his cut of the gate; having trouble making ends meet; and deluding himself into thinking he is actually connecting with a stripper, Cassidy (Marisa Tomei), which he frequents. Oblivious to the destructive toll the matches take on his aging body, it is only after a particularly brutal rematch with the Ayatollah (Ernest Miller) that he gets a warning sign. Suffering a major heart attack, he is forced to retire, and it is then that we see what few prospects Robinson has. He lives alone in a trailer park. He has no family save for his now grown daughter, Stephanie (Evan Rachel Wood), who won't talk to him. Is it only a matter of time before he has to risk returning to the ring? Aronofsky's skill as a storyteller continues to grow. Gone is the film-school vibe of his first film, π (1998). The visual gimmickry of his overrated Requiem for a Dream (2000) is harnessed to better use here, as in one scene where he crosscuts between Robinson as he prepares for a match, and Cassidy psyching herself up for her next dance. Both self-destructively chase down the money no matter what the physical or psychological cost to each. The Wrestler expands on the promise the director displayed in the misunderstood The Fountain (2006). Like in that film, Robinson risks all to sustain the connection to someone he loves, despite the inevitability of his self-destruction in doing so. But here the emotional core is not lost in the sci-fi pyrotechnics of the earlier film. The Wrestler is a variation on the film noir subgenre, the fight movie, which only serves to underscore the parallels between Robinson and Rourke. A rising star in the eighties, Rourke's bad decisions, like interrupting his career to venture into the world of boxing, interrupted his ascent. Noxious behavior in his personal life, which included arrests for spousal abuse, and a DUI further illustrate his penchant for masochism. His newfound vigor in returning to acting is evident in his portrayal of Robinson's climactic attempt to recapture the glory he once garnered in the ring. Rourke's iconic performance is both powerful and touching. Like Brando, who was always ill at ease with his handsome looks, Rourke has shown signs of the same. The onetime pretty boy now has a face scarred by reconstructive surgeries after the beatings inflicted in boxing. And Robinson's bloodied visage evokes previous roles in which Rourke has taken safe harbor, away from his looks, like Marv in Sin City, or John Sedley in Johnny Handsome (1989). These ugly bruisers both hid a secret child-like soul, the same way Robinson does. In one scene, Robinson's loneliness prompts him to step outside his trailer home, and invite a neighbor kid to play a wrestling game on an outdated Nintendo. When the child loses and politely decides to leave, Robinson is embarrassed that not even a rematch can entice the boy to stay. The Wrestler should go down as one of this actor's landmark roles, but don't call it a comeback. He's always been around, even if we haven't always been looking. Darren Aronofsky will discuss The Wrestler at 1:30 p.m., Saturday, October 11th, at the Stanley H. Kaplan Penthouse, located on the tenth floor of the Samuel B. and David Rose Building, 70 Lincoln Center Plaza, New York, New York, 10023; $16 The Wrestler is the Closing Night film at the 46th New York Film Festival, and is playing at 8:30 p.m. Sunday, October 12th, at the Avery Fisher Hall, 70 Lincoln Center Plaza, New York, New York, 10023; $40 This entry first appeared on Blogcritics on 10/9/2008. Photo Credit: Fox Searchlight / Wild Bunch / Film Society of Lincoln Center

NYFF Day 6 - Notes on The Wrestler and Waltz with Bashir

Yeah, that's Mickey Rourke up top, looking every inch the battered and beaten has-been many had written him off as. Except his fantastic performance in Darren Aronofsky' s The Wrestler, which I caught today should change all that. There is a survivor's spirit within Rourke that Aronofsky taps into which is perfectly in line with other such performances he's given in his career, whether before the abuse he received during his sojourn into boxing - as in Johnny Handsome (1989) - or after - as in Sin City (2005). Don't have time to get much deeper than this, but consider it a preview to my full post on the film, and perhaps a separate post regarding some really interesting comments he made after the screening. I'll have those up next week, when The Wrestler closes the festival. Playing tonight and tomorrow is Ari Folman's Waltz with Bashir, an imaginative and unique take on the documentary. It has real-life interviews dramatically presented in an animated format that recreates the subjective experience of the 1982 war in Lebanon as seen by Folman, and other fellow soldiers. I didn't have the time for a complete review today. One is definitely forthcoming. This film is very important in many ways and should definitely be experienced on the big screen. Below is a schedule of the events for today and tomorrow. More information can be found at the festival's web site. EVENT TITLES NYFF – Festival main slate film OSH – NYFF Sidebar: In the Realm of Oshima SCREENING LOCATIONS ZT – Ziegfeld Theatre, 54th St. between 6th and 7th Avenues WRT – Walter Reade Theater, 65th St. between Amsterdam and Broadway, upper level Wednesday, Oct. 1 6:00 A Summer Hours, with Ralph (NYFF/ZT) 6:30 FREE PANEL: The Place of Oshima (OSH/WRT) 9:00 Shiro of Amakusa, The Christian Rebel (OSH/WRT) 9:15 Waltz with Bashir, with I Don’t Feel Like Dancing (NYFF/ZT) Thursday, Oct. 2 4:30 Shiro of Amakusa, The Christian Rebel (OSH/WRT) 6:00 Waltz with Bashir, with I Don’t Feel Like Dancing (NYFF/ZT) 6:30 Pleasures of the Flesh (OSH/WRT) 8:40 Band of Ninja (OSH/WRT) 9:00 Summer Hours, with Ralph (NYFF/ZT) Waltz with Bashir is playing at the 46th New York Film Festival, at 9:15 p.m. tonight, and 6:00 p.m. tomorrow, at the Ziegfeld Theatre, 141 West 54th Street, New York, NY 10019, (212) 307-1862 The Wrestler Photo Credit: Fox Searchlight / Wild Bunch / Film Society of Lincoln Center Waltz with Bashir Photo Credit: Ari Folman and David Polonsky, © 2008, Courtesy of Sony Pictures Classics / Film Society of Lincoln Center

The 46th New York Film Festival

by Tony Dayoub



The Film Society of Lincoln Center, publisher of Film Comment, has invited me to cover the 46th New York Film Festival, one of the most prestigious film festivals in the world.


The films will be screening at the Ziegfeld Theatre, in New York City, Sept. 26th - Oct. 12th. Making its North American premiere at the festival is Clint Eastwood's The Changeling, starring Angelina Jolie, featured as Centerpiece of the Festival. The Closing Night selection is The Wrestler, a Darren Aronofsky (Requiem For a Dream) film, starring Mickey Rourke. Updates on the details regarding the films and coverage will be posted in the coming weeks.

Press accreditation is extended by invitation only, so I'm very proud of this landmark opportunity for the site. I thank all of you for supporting Cinema Viewfinder, and hope you'll keep tuned in through my coverage of these films which will likely be among the best movies of this year.