Double Vision: Tony Scott's Spirit Possesses Ridley Scott's The Counselor (2013)

by Tony Dayoub

The rumblings of a critical debate (or is it grumblings?) have already surrounded Ridley Scott's The Counselor. A script by Cormac McCarthy (The Road) helmed by the director of Thelma and Louise should have been a sufficient enough marketing opportunity for 20th Century Fox to capitalize on as they rolled it out during awards season. And yet the studio held a press-only screening Tuesday night before its opening, a move which signals they're likely as mystified about how to handle the film as critics are in trying to build a consensus around it. Given how peculiar it is, this is not surprising. The Counselor is in many ways an anomaly for Ridley Scott.

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NYFF09 CLOSING NIGHT Movie Review: Los abrazos rotos (Broken Embraces)

by Tony Dayoub



Forgive me for dropping names for a moment here, but sitting behind me at the press screening for Pedro Almodóvar's Los abrazos rotos (Broken Embraces) were directors Mira Nair and—if memory serves—Jonathan Demme. I say, If memory serves, because sometimes the mind can play tricks on you, especially when you start building associations. I had heard Demme's name being bandied about by colleagues just prior to the screening, and I did see him at another film, so maybe... ah, well. I digress. But the reason I brought these two filmmakers up, were because each of their cinematic sensibilities overlap. They all have a weakness for heightened drama, colorful backdrops, and moments that border on camp. As Los abrazos rotos wrapped up, and the last credit rolled offscreen, the critic next to me (who shall remain nameless) asked that loaded question I always hate, "So... what'd you think?" I gave her a non-answer, as I usually do. I wouldn't expect you to give me the answers to your "pop quiz," why should I give you mine? But she offered, "I thought it was a little too telenovela."

Well, that's sort of the point, isn't it?

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.

DVD Roundup: Two New Releases

One of the Oscar nominated performances now available to watch at home is the one from Best Supporting Actress nominee, Penelope Cruz, in Vicky Cristina Barcelona. Cruz (Volver) has never really demonstrated the full range of her talent in English-speaking roles like she has when acting in her native tongue. But Woody Allen's latest comedy finally allows her to steal the show. Here, Cruz plays Maria Elena, the volatile ex-wife to Javier Bardem's Juan Antonio. Juan Antonio has approached two young Americans, Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), to join him in a threesome while the women summer in Barcelona. Strait-laced Vicky is taken aback while the flighty Cristina jumps at the chance for a summer romance. While things get dicey when Maria Elena returns into her ex's life, eventually a threesome is formed between Cristina and the two Spaniards, leaving Vicky full of regret at the lost opportunity for adventurous romance. Maybe because much of the film allows Cruz to speak in her native tongue often, she is at her least self-conscious. Though her character's manic depression enlivens the film's story, Allen (Match Point) wisely restrains her from overpowering the film. Her presence is always felt, though, as Juan Antonio constantly compares the titular American women to his ex-wife, or more precisely, the spectre of her that still haunts him. In a handful of scenes, we realize the destructive cycle that she and Juan Antonio are locked in, and sympathize with her for putting up with the irresponsible Lothario. Cristina, who's been living with Juan Antonio, is now forced to be gracious to their new houseguest, Maria Elena, who is recovering from a suicide attempt. In an exchange that best sums up Maria Elena, the three of them discuss Cristina's hobby, photography, while on a picnic:

Maria Elena: You take beautiful photographs. Juan Antonio: That's true. She always takes pictures that she hides from me. Cristina: That's... no... that's... that's because they're nothing. How do you know I take pictures? Maria Elena: I found them in your luggage. Cristina: You went through my luggage? Maria Elena: Of course I went through your luggage. The first night I was in the house I didn't trust you. I didn't believe you were who you said you were. I wanted to know who was really sharing the bed of my ex-husband. Cristina: What? Maria Elena: Who knew what I would find there? How could I be sure you were not going to hurt me? After all, I have thoughts of killing you.

Allen guides the rest of his cast to some charming and realistic performances, especially Bardem (No Country for Old Men) as the masochistic artist at the center of all the jealous fireworks, and Hall (Frost/Nixon) playing the typical Woody Allen stand-in (usually reserved for male actors), making Vicky one of the most enjoyable works from the director in years. If Woody Allen is a little too high-brow for your taste, then consider this next one for the geek in you. Hulk vs. is a direct-to-video trifle from Marvel Studios. The surprise is how fun and entertaining it actually is. While DC Comics has had more success capturing the feel of their comic books in their home video offerings [Justice League: The New Frontier (2008) and Batman: Gotham Knight (2008)], Marvel's attempts at the same have been hampered by their obvious goal of cashing in on upcoming live-action tie-ins. Hulk vs. is actually two movies in one. One is Hulk vs. Wolverine, and the other is Hulk vs. Thor. And while both may still be trying to lay the foundation for upcoming movies, they are both true to the Marvel books each is based on. Both movies capture the pure child-like excitement young and old fanboys look forward to when their favorite superheros are pitted in hand-to-hand combat against each other. And with little character development to slow things down, this pair of films has room to be creative in the visual arena. While neither will ever be mistaken for theatrical quality animation, the short movies are a cut above the typical Saturday morning fare. Hulk vs. and Vicky Cristina Barcelona are available today on standard DVD and Blu-ray.