Suicide Squad

SuicideSquadPosterIf “Suicide Squad” is supposed to be fun, kill me now. It’s as much of a mess as “Batman v. Superman,” the other entry in the DC Comics Cinematic Universe this year. Director David Ayer’s film has no attitude, no wit, and though it’s a movie about bad guys, does not even have the pleasure and fun of bad taste.

As the story of a team of screwball, misfit villains teaming up to save the world against their best interest, “Suicide Squad” wants to be an anti-hero remix in the vein of this year’s “Deadpool.” But it also has the irreverent, pop sensibilities of “Guardians of the Galaxy,” the overstuffed dream team burden of “The Avengers,” and why not throw in some “Fast and the Furious” or “Scarface” for good measure?

Reports have surfaced about studio meddling that resulted in a shortened writing period, expensive reshoots and versions of the film edited by a company that makes movie trailers. And it shows. “Suicide Squad” patches together story threads, cinematic styles and even a classic rock soundtrack pulled straight from a Spotify playlist, and it never comes together into something coherent or compelling. Continue reading “Suicide Squad”

2014 Oscar Winner Predictions

“12 Years a Slave” will win Best Picture, along with three other Oscars.

The Oscars are here, although maybe not soon enough. A report recently said that two thirds of Americans have not seen any of the Best Picture winners yet. That to me doesn’t add up for a movie like “Gravity” that made as much money as it did, but the point is that this awards season, while interesting, has just gone on too long. A New York Times article wondered if the average individual is generally apathetic to the whole institution of the Oscars.

I hope that isn’t true, but it’s starting to feel that way when the debate over “12 Years a Slave” versus “American Hustle” has long since past, when we’ve heard the story about Jonah Hill getting paid as little as SAG would allow to work for Martin Scorsese over and over again, and when even “Let it Go” parodies are getting old.

Anyway, here are my final predictions. You may find there’s more consensus and predictability than you’d think.

12 Years a Slave

Best Picture

Months ago I wrote an article bluntly titled “Gravity Will NOT Win Best Picture… Probably.” It was smart of me to add on that last word, because the good news is that “Gravity,” my favorite film of the year, is still here. It is still as much of a favorite to win now as it was back when it premiered at Toronto, despite all the things I said about it technically having come true.

But in the case of “Gravity,” the nitpickers have beaten the dollars, and a more “worthy” title, one that isn’t seen as just “a ride” or a movie with a “bad script” will have to take its place. That film will be “12 Years a Slave,” as many predicted long ago that it was invincible. It has now survived with wins at the BAFTAs and Golden Globes as the one to beat, and yet its tie in the Producers Guild Awards with “Gravity” confirms just how close this race is.

“American Hustle” may not be the last minute favorite after all, and it’s a shame for David O. Russell, who would now be 0-3 in a row on his current hot streak. The third time is not the charm, it seems, but I’m betting he’ll strike again, whereas Alfonso Cuaron and Steve McQueen may never make another Oscar friendly movie. The reason I feel it can’t win, and why some are predicting it might not win anything, is, what exactly is the narrative behind this movie winning? It’s a throwback, but not quite. It’s a crowd pleaser, but not entirely. It’s madcap fun, brilliant and original, but some would argue even that’s not all true.

“Gravity” and “12 Years a Slave” each have their supporters who would say otherwise about all of the above, and a win for them will mean something special.

Dallas Buyers Club

Matthew McConaughey’s performances as Ron Woodroof marries the gristle and charm found in “Dallas Buyers Club.”

Dallas Buyers Club

Throughout Matthew McConaughey’s career, he’s exerted a certain level of charisma and charm in every role he’s played. Even in this reinvented hot streak of his career where he’s played sleazy, scary and strange characters who could not be more off type from his rom-com roots, there’s a certain mark of personality that has allowed him to settle into yet another comfort zone.

His performance in “Dallas Buyers Club” is different, one that drains him of any likability and finds him at this lowest point. Doing purely lived-in and physical work, McConaughey shows his abrasive, lewd, intense and vulgar dark side before winning us over again. This may not be the showiest performance of his recent run of movies, but it’s the one that demonstrates the most range, the most compassion and the most chance at winning him an Oscar.

“Dallas Buyers Club” is the true story of Ron Woodroof, a slimy electrician and rodeo jockey in Texas in the 1980s. Despite his lanky appearance (McConaughey lost nearly 40 pounds for the role), greasy hair and scummy potty mouth, he still finds himself having sex with women and “$100 hookers” in his trailer home and in dark corners of the rodeo arena.

After being brought to the hospital due to an accident at his job, the doctors inform him that he has tested positive for HIV, that it has already become AIDS and that he has roughly 30 days to live. Woodroof is staunchly heterosexual and shockingly bigoted and refuses to believe he has a disease like “that Rock Cocksucker Hudson” until he does his own research and pleads for help from Dallas Mercy’s Dr. Eve Saks (Jennifer Garner).

She gives Woodruff two options: a support group where he can “go get a hug from a bunch of faggots” or a double blind test of a drug called AZT, in which some patients will only receive “sugar pills,” better known as placebos. Continue reading “Dallas Buyers Club”