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| Movies Added: | TV Shows Added |
| J. Edgar | The Tripods |
| The Quiet Earth | The Trip |
| Haywire | The Event |
| Gothika | The 4400 |
| Family Guy | |
| Falling Skies | |
Friday, 20 September 2041
Thursday, 2 February 2012
J. Edgar
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
On the face of it, a biopic about J. Edgar Hoover seems about as appealing as smearing beef paste on your balls then lying, spread-eagled, before a hungry hyena.
But this is a Clint movie, so prejudgements must be tempered.
The plot:
J. Edgar Hoover, the man who brought the world the concept of modern policing through his directorship of the FBI - fingerprints used to catch villains, crime scene evidence treated with respect and collected rigorously, forensics employed to build criminal cases - was a troubled sort.
To the world, he appeared a brash, self-confident man, albeit one with the odd nervous tic but, behind closed doors, secrets permeated that would have been his ruin; the very odd relationship with his mother, his OCD tendencies and, most importantly, the unconsummated romance with his closest male friend.
The movie plays out the pivotal events of his life, from fledgling law enforcement employee, through his prolonged stint as head of the FBI, right through to the final moment of his death.
And very interesting it all is, too.
DiCaprio, as Hoover, is a study in ‘mannerism’ acting, be it the voice, the way he holds his lips or the tics and twitches that blight him. From the bad old days of Titanic, I think it’s fair to say DiCaprio has come a very long way indeed, and is now a destination actor down here at Smell the Cult HQ: with his name attached to a movie, we are almost certain to watch it.
Eastwood’s trademark laconic approach to direction is in evidence. Apparently, he uses no more than three takes before moving onto the next scene, which gives his movies that lazy feel that is so remarkable, but occasionally means a slipshod sequence or two slips through, but that’s not the case here.
Politically intriguing, with rock solid performances, the tale of a fascinating time in America’s history is well realised, save for the rather ludicrous ageing makeup which, frankly, looks bloody preposterous in places, particularly Armie Hammer as Clyde, Hoover’s ‘close friend.’
Speaking of friendship, special mention must be made of that unconsummated love affair between the two men, for it is just about as touching a relationship as you are likely to see anytime soon.
Truly, brought a lump to the throat.
An efficient piece, then, but hardly Eastwood’s most important work of recent times.
Solid.
Smell the Movies
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
 | |
| Year: | 2011 |
| Country of origin: | USA |
| Director: | Clint Eastwood |
| Genre: | Political biopic |
| Starring: | Leonardo DiCaprio, Naomi Watts, Armie Hammer |
| Rating: | 4/5 |
| IMDB link: | http://www.imdb.com/title/tt1616195/ |
| Tagline: | The Most Powerful Man in the World |
| Favourite line: | "Lower the treble, son, you didn't call this meeting, I did." |
On the face of it, a biopic about J. Edgar Hoover seems about as appealing as smearing beef paste on your balls then lying, spread-eagled, before a hungry hyena.
But this is a Clint movie, so prejudgements must be tempered.
The plot:
J. Edgar Hoover, the man who brought the world the concept of modern policing through his directorship of the FBI - fingerprints used to catch villains, crime scene evidence treated with respect and collected rigorously, forensics employed to build criminal cases - was a troubled sort.
To the world, he appeared a brash, self-confident man, albeit one with the odd nervous tic but, behind closed doors, secrets permeated that would have been his ruin; the very odd relationship with his mother, his OCD tendencies and, most importantly, the unconsummated romance with his closest male friend.
The movie plays out the pivotal events of his life, from fledgling law enforcement employee, through his prolonged stint as head of the FBI, right through to the final moment of his death.
And very interesting it all is, too.
DiCaprio, as Hoover, is a study in ‘mannerism’ acting, be it the voice, the way he holds his lips or the tics and twitches that blight him. From the bad old days of Titanic, I think it’s fair to say DiCaprio has come a very long way indeed, and is now a destination actor down here at Smell the Cult HQ: with his name attached to a movie, we are almost certain to watch it.
Eastwood’s trademark laconic approach to direction is in evidence. Apparently, he uses no more than three takes before moving onto the next scene, which gives his movies that lazy feel that is so remarkable, but occasionally means a slipshod sequence or two slips through, but that’s not the case here.
Politically intriguing, with rock solid performances, the tale of a fascinating time in America’s history is well realised, save for the rather ludicrous ageing makeup which, frankly, looks bloody preposterous in places, particularly Armie Hammer as Clyde, Hoover’s ‘close friend.’
Speaking of friendship, special mention must be made of that unconsummated love affair between the two men, for it is just about as touching a relationship as you are likely to see anytime soon.
Truly, brought a lump to the throat.
An efficient piece, then, but hardly Eastwood’s most important work of recent times.
Solid.
Wednesday, 1 February 2012
The Quiet Earth
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Underground cult sci-fi from New Zealand, here.
The plot:
Zac Hobson is a fairly normal sort.
Well, he's a scientist, but let's not hold that against him.
One day he awakens, and all is quiet. Venturing out into the street, he discovers he is alone.
Utterly alone.
Exploring further he comes to the conclusion that he is the last man left alive.
Then, a stranger.
A woman, attractive, too.
How can this be?
Are they really the last two people on the planet?
No, they’re not, for another stranger appears, a man this time, big and burly - competition for the woman’s affections.
Will Zac keep hold of the new found love?
Is the disappearance of the population connected to his scientific experimentation?
Could Zac, indeed, even be God himself?
Esoteric and existential, this is a slow, sombre affair, the budget allowing little in the way of action or adventure. Instead, a tale of unrelenting bleakness is developed, with Zac slowly going insane in a world he simply can't cope with.
Or is this insanity?
Is it not, in fact, what each and every one of us would do in his position?
Exploring themes touched upon in more well known fare, notably The Day of the Triffids and the mega-budget Will Smith vehicle I Am Legend, this is interestingly introspective and a real slow-burner that will, ultimately, make you question your very existence.
Liked it a lot, have to say.
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
 | |
| Year: | 1985 |
| Country of origin: | New Zealand |
| Director: | Geoff Murphy |
| Genre: | Sci-fi paranoia, Isolation |
| Starring: | Bruno Lawrence, Alison Routledge, Pete Smith |
| Rating: | 4/5 |
| IMDB link: | http://www.imdb.com/title/tt0089869/ |
| Tagline: | No tagline |
| Favourite line: | Joanne: "I wouldn't ride with you if you were the last man on Earth." Api: "I'm working on it." |
Underground cult sci-fi from New Zealand, here.
The plot:
Zac Hobson is a fairly normal sort.
Well, he's a scientist, but let's not hold that against him.
One day he awakens, and all is quiet. Venturing out into the street, he discovers he is alone.
Utterly alone.
Exploring further he comes to the conclusion that he is the last man left alive.
Then, a stranger.
A woman, attractive, too.
How can this be?
Are they really the last two people on the planet?
No, they’re not, for another stranger appears, a man this time, big and burly - competition for the woman’s affections.
Will Zac keep hold of the new found love?
Is the disappearance of the population connected to his scientific experimentation?
Could Zac, indeed, even be God himself?
Esoteric and existential, this is a slow, sombre affair, the budget allowing little in the way of action or adventure. Instead, a tale of unrelenting bleakness is developed, with Zac slowly going insane in a world he simply can't cope with.
Or is this insanity?
Is it not, in fact, what each and every one of us would do in his position?
Exploring themes touched upon in more well known fare, notably The Day of the Triffids and the mega-budget Will Smith vehicle I Am Legend, this is interestingly introspective and a real slow-burner that will, ultimately, make you question your very existence.
Liked it a lot, have to say.
Haywire
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
That Steven Soderbergh churns 'em out, doesn’t he?
Only three months ago we were treated to the really rather good Contagion - something of a departure for the Ocean's Eleven helmsman - but here he is back on more familiar territory.
The plot:
Mallory waits for Aaron in a diner, staring at the frozen world beyond the window.
Aaron arrives, seeming none too pleased, demanding she get in the car with him.
Mallory refuses, so Aaron throws scolding hot coffee in her face and, in the blink of an eye, the pair are fighting like animals.
An onlooker tries to help, but Mallory doesn't need the help, not until Aaron is incapacitated, so she asks the stranger for his car.
The pair drive off, and Mallory begins to tell her tale to the stranger, a story of betrayal, broken promises, intercontinental espionage and brutal violence.
With the feel of an older film - think something from the 70's; The French Connection, perhaps, or The Conversation - this meanders along, the director confident enough to linger on shots where other, less capable men would have inserted a cut shot, a fast edit, a montage, something, but no, Soderbergh just lets the camera gaze on, unblinking.
With a veritable posse of acting talent on display - Ewan McGregor, Antonio Banderas, Michael Douglas, Michael Fassbender - they all do just fine, but the notable talent here is Gina Carano as Mallory, in real life an ex-MMA cage fighter who has only appeared in one other movie, and that in a fairly minor part. Her acting chops are perfectly acceptable, but it is the prowess she shows in the action scenes that really grabs the headlines. No surprise, I guess, but still great to see a relative unknown outmuscling the big hitters.
Not the best movie you'll see this year - heck, maybe even this week - but if slick, accomplished action is what shakes your barley, give it a squiz.
Smell the Movies
Smell the TV
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
 | |
| Year: | 2011 |
| Country of origin: | USA / Ireland |
| Director: | Steven Soderbergh |
| Genre: | Slick actioner |
| Starring: | Gina Carano, Ewan McGregor, Antonio Banderas, Michael Douglas, Michael Fassbender |
| Rating: | 4/5 |
| IMDB link: | http://www.imdb.com/title/tt1506999/ |
| Tagline: | They left her no choice. |
| Favourite line: | "You shouldn’t think of her as being a woman. No. That would be a mistake." |
That Steven Soderbergh churns 'em out, doesn’t he?
Only three months ago we were treated to the really rather good Contagion - something of a departure for the Ocean's Eleven helmsman - but here he is back on more familiar territory.
The plot:
Mallory waits for Aaron in a diner, staring at the frozen world beyond the window.
Aaron arrives, seeming none too pleased, demanding she get in the car with him.
Mallory refuses, so Aaron throws scolding hot coffee in her face and, in the blink of an eye, the pair are fighting like animals.
An onlooker tries to help, but Mallory doesn't need the help, not until Aaron is incapacitated, so she asks the stranger for his car.
The pair drive off, and Mallory begins to tell her tale to the stranger, a story of betrayal, broken promises, intercontinental espionage and brutal violence.
With the feel of an older film - think something from the 70's; The French Connection, perhaps, or The Conversation - this meanders along, the director confident enough to linger on shots where other, less capable men would have inserted a cut shot, a fast edit, a montage, something, but no, Soderbergh just lets the camera gaze on, unblinking.
With a veritable posse of acting talent on display - Ewan McGregor, Antonio Banderas, Michael Douglas, Michael Fassbender - they all do just fine, but the notable talent here is Gina Carano as Mallory, in real life an ex-MMA cage fighter who has only appeared in one other movie, and that in a fairly minor part. Her acting chops are perfectly acceptable, but it is the prowess she shows in the action scenes that really grabs the headlines. No surprise, I guess, but still great to see a relative unknown outmuscling the big hitters.
Not the best movie you'll see this year - heck, maybe even this week - but if slick, accomplished action is what shakes your barley, give it a squiz.
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