by Tony Dayoub
Considering the number of movies he's been appearing in lately, it's safe to say Kevin Costner's latest comeback tour is in full swing. With the possible exception of the standout part as Superman's human foster dad in Man of Steel, which was really just that of a supernumerary, Draft Day represents his best chance at captivating audiences once again. I've always kind of rooted for Costner who seems like a down to earth actor with more than an above average measure of self-awareness. He knows his performance range is limited, but within that narrow territory, he's usually aces. Sometimes he even surprises, like he did as the retired pro baseball player part of the boyfriend in The Upside of Anger. In Draft Day he benefits from teaming up with a comedic filmmaker Ivan Reitman, another man with something to prove after years of sub-par movies and hanging back while allowing his son Jason, director of Juno, to grab the spotlight for a bit.
Showing posts with label W. Earl Brown. Show all posts
Showing posts with label W. Earl Brown. Show all posts
Wednesday, April 9, 2014
Friday, September 21, 2012
The Master (2012)
by Tony Dayoub
"Life is but a dream."
Waves ebb and flow, created by the wake a boat leaves behind. Jonny Greenwood's dissonant musical chords thunder loudly. The recurring image, and its changing relationship to the soundtrack, mark three distinct chapters in Paul Thomas Anderson's beautifully elliptical The Master. The first chapter introduces Freddie Quell (Joaquin Phoenix), a sneering, gnarly, hunchback of a man, a variation of There Will Be Blood's upright Daniel Plainview. During World War II, Quell spends his time on a naval gunboat making moonshine. The women he dreams of during his shore leaves are not human beings but objects for him to jerk off or hump to, as he does with a sand mermaid his shipmates build on some Pacific beach.
"Life is but a dream."
Waves ebb and flow, created by the wake a boat leaves behind. Jonny Greenwood's dissonant musical chords thunder loudly. The recurring image, and its changing relationship to the soundtrack, mark three distinct chapters in Paul Thomas Anderson's beautifully elliptical The Master. The first chapter introduces Freddie Quell (Joaquin Phoenix), a sneering, gnarly, hunchback of a man, a variation of There Will Be Blood's upright Daniel Plainview. During World War II, Quell spends his time on a naval gunboat making moonshine. The women he dreams of during his shore leaves are not human beings but objects for him to jerk off or hump to, as he does with a sand mermaid his shipmates build on some Pacific beach.
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