In the wake of last week’s immense tragedies, both in Hollywood and places like Ferguson, its hard to process these events properly, let alone know how to react to them. Is it wrong to lock ourselves away in (sometimes violent) fantasy while tragedy exists in the real world? Are we using our media to cope, or are we becoming more callous in doing so? Sometimes it can sedate us, desensitize us, but in the end it also can allow us to look at the world anew, to experience things in our minds without the physical ramifications. In the case of fallen figures, we can memorialize them on-screen, eulogize them through our viewership. In the case of current events, understanding the hows and whys of the events unfolding is not as easy as having it presented in a throwaway blockbuster plot. With that in mind, let us charge on into another week’s buzz, take a look at what’s on screens big and small, and let ourselves revisit the world through these diverse lenses.
Movies: At this point, a franchise like The Expendables knows what it is, and anyone going to see it should to. It always seems mystifying when magazines send critics who hated the films these actors had made in their heyday, and act at all surprised the result is another scathing review. Not only could they have written it without ever popping the screener in, its the kind of review they were destined to write, that their readers expected them to write, and that they were ready to write before the film rolled. It helps no one to publish these types of write-ups, as anyone on the fence about Expendables 3 likely enjoyed the last two, enjoy the genre, and someone for whom the review of a cynic critic will carry very little weight. Simply put, no critic who hated Die Hard will have a meaningful opinion on The Expendables 3 for any so inclined to inquire, and readers deserve to know from what vantage point any critic comes from in order to gauge the validity of the criticisms (in the same way that its better to inquire about the scariness of, say, Scream 4 from a horror junkie than your easily spooked aunt).
Thankfully, Man of the Hour has been very good in allowing this critic to select the films he reviews, and to select only those he feels informed and unbiased enough to tackle, and therefor in the interest of disclosure it should be noted that while I’ve never much cared for most “dumb” action films (the newest array of Stallone/Schwarzenegger comeback attempts yield nothing worthwhile for me), I’ve always gotten a kick from the Expendables franchise, and reading other reviews going in from some of the “critical elite” was like hearing some say how foul it was that Jonathan Swift wanted to feast on babies (imagine the boycott of Gulliver’s Travels that would have been encouraged on Twitter had A Modest Proposal been written today). It feels like being in on a joke that so many others seem to be missing.
This is not to say that the criticisms raised against The Expendables 3 (and indeed the whole franchise) aren’t valid. The characters are all shallow caricatures, with backstories crafted solely for the convenience of storytelling (just as you shouldn’t trust action-flick hating critics, also never trust your buddy who thinks any aspect of the film or its characters are “deep”. Yet such a shallowness isn’t so much symptomatic of the genre as they are central to the premise of the Expendables franchise, the idea upon which the entire series was built: we’re going to these films to see the action stars of yesteryear assemble on standard action set-pieces with the caveat that there will be countless references made to their age and other films. To criticize The Expendables for its lack of character arcs is like judging Jean-Luc Godard’s films for its ability to sustain the suspension of disbelief, or ridiculing The Wizard of Oz for its lack of plausibility. Technically, you can, but you’d be missing the point, and you’re not helping anyone really make an informed decision.
So, the big question is, if you liked the last films, is The Expendables 3 worth your money? The answer is yes, but a hesitant one. It’s worth the price of admission, and you’ll have a good time, but its hard not to feel a sinking sense of disappointment, and not just because Kelsey Grammar doesn’t dual-wield Uzi’s while discussing tossed salad and scrambled eggs. It’s hard to say whether the film doesn’t reach the highs of the other two, or if its simply that the formula has gotten tired, and infusing the cast with new blood isn’t the same as infusing the franchise with new elements. As the Expendables co-founder turned villain Conrad Stonebanks, Mel Gibson is, as always, frustratingly brilliant (he’s such a talented actor who could still be making great films if he could just take his terrible personality and bury that in the rose garden). The little in-jokes like Doctor Death (Wesley Snipes) being in jail for tax-evasion or Max Drummer (Harrison Ford) explaining that Bruce Willis’ CIA Agent Church is “out of the picture” are greatly appreciated to keep the film afloat for fans between action scenes. However, how non-fans would take the film is hard to say. Those new to the series would benefit more from watching the previous entries to gauge their interest in the third than what any reviewer can write, but for those who loved (or even vaguely enjoyed) the ride so far, this stretch may be a little bumpier, but its still worth staying onboard.
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Looking for something less pulse-pounding and more heart-wrenching/warming? Love Is Strange is both more astounding ad more endearing than you’d expect it to be, no matter how high your hopes are. It’s premiere took it from a well-casted curio to an Oscar frontrunner, and a film that manages to be both universal and still uniquely New York and sincerely Queer in its examination of a newly married, two-score running couple Ben (John Lithgow) and George (Alfred Molina) who lose their house and have to move in with friends and relatives, coping with both separation and their individual family dramas. Love Is Strange is one of the must-see films of the year with power-house performances from both its leads and a story that will resonate for years to come.
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Emmy Catch-Up
Every week, we here at Man of the Hour will catch you up on one show in each of the major Emmy categories: Drama, Comedy, Miniseries, Movie, Variety and Animation (find our first part here). We’ll tell you what it’s about, what it’s up for, where to catch up and even pick a highlight from the season (which is of course fairly spoilerific, so perhaps avoid clicking play if you haven’t seen the show).
Drama: Downton Abbey
What is it: The beloved BBC period drama about the life of the aristocracy in early 1900’s England began its fourth season this year, and arguably its worst. Despite the infusion of new blood via guest stars like Shirley MacLaine and Paul Giamatti, the already slow show got even slower, and the daily lives of the Lady Mary (in a post-Matthew confusion), Mr. Bates and the whole lot of them began to get tedious.
What else is it up for: Downton Abbey is up for a total of 12 Emmys this year, including Best Writing, Best Directing, and acting nods for Michelle Dockery, Maggie Smith, Joanne Froggatt, Jim Carter, and Paul Giamatti.
Where to catch up: Downton Abbey is only available on DVD and Blu-Ray
Best scene: In an otherwise dull season, Paul Giamatti brought a charge to the series from the minute he set foot on the property.
Comedy: The Big Bang Theory
What is it: For those who’ve avoided the comedy behemoth, consider yourselves in luck. What was once an intellectual answer to the usual CBS Chuck Lorre line-up of low-brow, low-class laughs has now deteriorated in its growing popularity to simple sex smokes and relationship pseudo-drama. The show (continues to, without change) revolve around 4 scientists mostly unlucky in love (granted, they’ve now at least temporarily paired off every character, even the anti-social Sheldon), and their whacky science endeavors that have less and less to do with science, and more to do with “ha ha, look at the nerds”.
What else is it up for: The Big Bang Theory is up for 6 Emmys this year, including acting nods for Jim Parsons, Mayim Bialik and Bob Newhart.
Where to catch up: Episodes from this season of The Big Bang Theory are available on the CBS app.
Best scene: Admittedly, there was one highlight in an otherwise rough season, and that was bringing back comedy legend Bob Newhart as the fictional kids show host Professor Proton, a childhood idol of Sheldon and Leonard’s. After spurning Sheldon in favor of Leonard to work on an experiment with him, Prof. Proton faces Sheldon’s jealous wrath in the form of a rival science show host.
Mini-series: Fargo
What is it: Inspired by the 1996 Coen Brothers film (mostly in its dark comedy tone), Fargo’s first season takes place in Bemidji, Minnesota and follows the wickedly villainous Lorne Malvo (Billy Bob Thorton) as he works his influence on the sheepish Lester Nygaard (played by Sherlock and Hobbit alum Martin Freeman in an obvious homage to William H. Macy’s original car salesman Jerry Lundegaard).
What else is it up for: Fargo is up for a total of 18 Emmys this year, including Best Writing, two nominations for Best Directing, and acting nods for Martin Freeman, Billy Bob Thorton, Allison Tolman and Colin Hanks.
Where to catch up: The entire miniseries can be streamed on FXNow.
Best scene: {Massive Spoilers} After a full season of the despicable Lorne Malvo, it was utterly satisfying to see him get his comeuppance, especially at the hands of the somehow always endearing Colin Hanks as Officer Gus Grimly.
Variety: The Colbert Report
What is it: Taking his satirical pundit created on The Daily Show into his tenth year flying solo, Stephen Colbert’s hot-headed conservative “Stephen Colbert” has been taking Twain-esque jabs at the hypocrisy of the news media, making pseudo-self-aggrandizing gestures and all around being the grand baffoon of television. Winning the award for Variety Show last year, Colbert came back stronger than before (even more a blessing now that we know the show is ending soon) with grander stunts, more biting jokes and a new-found energy.
What else is it up for: The Colbert Report is up for a total of 6 Emmys this year, including Best Writing, Best Directing and Best Variety Series
Where to catch up: Select episodes of The Colbert Report are available on Hulu and ComedyCentral.com
Best scene: After booking Daft Punk to play their modern classic “Get Lucky” on his fake music festival “Colb-chella”, parent company Viacom pulled the plug so as to not spoil DP’s later appearance on MTV’s VMAs. Sincerely frustrated, Colbert used his character to both criticize Viacom and still gain the upper hand, creating a celebrity filled dance extravaganza to the “song of the summer” that made far more headlines than the actual performance.
Animation: Bob’s Burgers
What is it: From the unique mind which brought us Dr. Katz, Professional Therapist, Home Movies and the horribly underrated Lucy, Daughter of the Devil comes the newest cartoon family to go up against the Simpsons and Griffins, The Belchers. With the titular Bob voiced by the always great H. Jon Benjamin, Bob’s Burgers is back for a 4th season of awkward humor and drawn-out groans as we follow the Belcher clan as they run their restaurant down on Wonder Wharf (which featured heavily in the two-parter finale).
What else is it up for: This is the only nomination for Bob’s Burgers this year.
Where to catch up: Seasons 1 & 2 are available on Netflix, and the current season is available on Hulu Plus
Best scene: Maybe not the “best” scene in terms of hilarity, but Tina’s lament is a perfect example of the type of low-key semi-realism Bob’s employs in order to stand out from the cut away gags and guest stars of its Animation Domination roommates (neither of whom got a nod this year).
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News: It’s time for a sequel news round-up. First up, The Terminator. After a dreadful third entry and a tedious reboot-prequel, fans were jonesing for more Skynet bots actual worth fearing, and Arnold announcing a fifth film with him stepping back in the saddle wet countless sci-fi pallets eager for the film with the working title “Genesis”. Casting Doctor Who alum Matt Smith and Game of Thrones’ Emilia Clarke only set the bar higher, and even a temporary title change to just “Terminator” couldn’t deter the ardor of the fans. Everything seemed on the right track, and as much as a title shouldn’t matter, choosing to sum up your film with a nonexistent word can certainly shake people’s confidence, as the producers of the newly dubbed “Terminator Genysis” (Giving Batman vs. Superman: Dawn of Justice a run for worst title for an upcoming sequel) are likely discovering.
Of course, that’s not the only sequel on the horizon. Dimension Films, the current owners of the legendary Halloween franchise, intend to take another stab at rebooting the killer who changed cinema. After a series of missteps and misfires resulted in Busta Rhymes kung-fu kicking the franchise into oblivion, not even a “gritty reboot” from amateurish auteur Rob Zombie could save it, faltering once more after only one sequel. While little is known about the film for certain, it seems unlikely this is the once intended sequel to Zombie’s second film, originally titled Halloween 3D (because of course it was). Instead, all we know is its working title, Halloween: The Next Chapter, and that its script is expected by the fall of 2015. Now, in an era where DC Comics is already planning 99 comic book movies between now and next year, its certainly surprising to see the typically slapdash horror industry taking its time, but such a decision is refreshing. So many franchises still turn out sequel after sequel just for some quick cash (like the barely seen, direct to video ashcan copy Hellraiser sequels), its nice to see the studio (presumably) care, even if its just in the hopes of finally having a successful horror reboot.
The “Next Chapter” title seems to imply we won’t be seeing yet another origin story (the same can’t be said for the upcoming Texas Chainsaw Massacre film), but could also mean that, much like the “Chapter” films of Friday the 13th or Saw, we’re looking at an underwhelming attempt to “wrap up” the story, or even worse, revamp it like Texas Chainsaw Massacre: The Next Generation, starring Matthew McConaughey and Renee Zelwegger ad a cross-dressing Leatherface who’s actually an alien being controlled by the government to kill people and…actually, that sounds better than almost every Halloween sequel.
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Short Film: Documentaries are hard films to review, because you find yourself having to review two things, the subject (is this subject really worthy of ____ amount of time?) and the presentation. There are some brilliantly made documentaries about unworthy subjects such as 2010’s Oscar-winner Undefeated is masterfully made but its topic boring as all get out. There are also truly compelling stories told horrifically, like the divisive Dear Zachary (then there’s the factually inaccurate, blatant Oscar-bait Blackfish which ignited the rage of a thousand armchair activists, which we’ll just label “irresponsible filmmaking”. Therefor, its always nice when both come together fairly well, and such is the case with The Pixel Painter.
Telling the story of “Grandpa” (also known as Hal Lasko), a 97-year-old man who, after losing most of his eye-sight and retiring from typography found himself drawn to MS Paint as a creative outlet, The Pixel Painter packs both information and emotion into 8 minutes that both feels complete while leaving the viewer wanting more, hoping the film functions as a teaser for a feature length doc. It’s mostly due to the endearing artist himself, who is passionate while seeming humble, and the film culminating at an art show taking place at a senior center seems to perfectly sum up the sweet but brilliant man we’re introduced to. Sure, there are some sound mix issues at times, and perhaps a few moments that could have been cut a bit better, but when the biggest problem your film has is that it leaves the viewers wanting more from your subject, you’ve done something right.
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