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Monday, Aug 20, 2012
In essence, Hit and Run is arguing that (a) it is a great comedy, because (b) it has an awesome villain. While the precedent may be easy to prove, it is also racked with complications and contradictions.

Is that even true? Every “great”...Wait, let’s backtrack for a moment. Over the last few weeks, Lionsgate has been advertising its Dax Shepard vanity project Hit and Run with the unusual tagline “Every great comedy has an awesome villain.” The campaign, which focuses on the criminal character played by a dreadlocked Bradley Cooper, has the charismatic thug kissing his gal pal, roughing up a man in a tank top, and stumbling upon a group of over the hill swingers. In between the quips and gunfire, we see a bit of Shepard and his co-star/real life lady love Kristin Bell. The plot gets a cursory nod (guy who gave up his criminal co-defendant gets a reprisal visit from same) and we see some chase/action beats.


Yet it’s the broad pronouncement about comedy and villains that plays as the sales pitch. In essence, Hit and Run is arguing that (a) it is a great comedy, because (b) it has an awesome villain. The statement also implies three other ancillary theorems: (1) that a villain is mandatory for a comedy, (2) that a bad villain makes for a bad comedy, and (3) that by logical extension, a bad comedy can’t have an awesome villain and a great comedy cannot have a bad/non-existent villain. On first glance, they’re right. What would Animal House be without Dean Wormer, Greg Marmalard, and Douglas Neidermeyer? M*A*S*H* without Frank Burns and Hot Lips? Blazing Saddles without Mongo and Headley Lamar? Or how about Ken Jeong in the Hangover films?


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Monday, Aug 6, 2012
While clearly calculated from Sight & Sound contributor's own Top 10 selections, the end result is really nothing more than a popularity contest.

As they have done every ten years now for the last six decades, Britain’s Sight & Sound magazine has released its usually dependable and considered definitive Best of All Time film list. A massive undertaking, involving the polling of filmmakers, critics, scholars, and other influential figures, the breakdown of cinema’s 100-plus years of existence always causes celebration, and consternation. It’s a debate point, a “told ya” tenet of where we think we are culturally as well as a primer for those who need some schooling in their appreciation of the artform. This year, the social network topic of conversation was the displacement of Orson Welles’ seminal and highly influential masterpiece Citizen Kane from the number one slot. In its place - the equally transcendent work of celluloid art, Alfred Hitchcock’s Vertigo.


For some, the selection was a scandal. Kane, which had held the top spot for more than 50 years, is often considered the blueprint for modern moviemaking. From its meaningless mystery core (who or what ‘Rosebud’ is becomes less important than the vignettes of the man who mumbled said famous last word) to the stunning using of various aesthetic flourishes and tricks, Welles turned the populist entertainment format into something akin to a canvas, taking everything he had in his creative paintbox and placing it square within his carefully created framing. The same can easily be said for Vertigo. Hitchcock, at the height of his popularity and powers, poured his personal obsessions and fetishes into a film which, again, offers a pointless whodunit design shrouded in sublime craftsmanship.


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Wednesday, Jul 25, 2012
Even if Christopher Nolan wanted to go in a completely different direction, making something outside his frame of reference or comfort level, he would more than likely meet with near universal approval from within the industry.

It may seem like an unfair question, given the recent events associated with The Dark Knight Rises, but like all short cycle entertainment news feeds, the inquiries are already happening. With the release of the upcoming Man of Steel Superman reboot (in which he plays the role of producer) and the continuing saga of the Batman franchise reconfiguration (Who will handle the eventual redux? Will he participate at all?) figuring out Christopher Nolan’s next move is tough. You’d assume that the man behind one of the most amazing cinematic experiences in the last decade would have a plate full of possibilities. If the past is any indication, the next installment in the Nolan legacy will be very special indeed.


The pattern in place begins with Nolan’s leap into mainstream acceptance. After the independent feature Following, he rewrote the rulebook on standard cinematic narration with Memento. A huge hit with critics and film fans, the mystery in reverse announced Nolan as a director to watch. Still, it was two years before he landed his next gig, the professional if placeholding Hollywood adaptation of the Norwegian thriller Insomnia. Oddly enough, of all the Nolan films, it remains an entertaining enigma. While it offers the same sort of epic emotional balancing act that the filmmaker would follow for the next several years, it plays more like a starring vehicle for Oscar winners Al Pacino, Robin Williams, and Hilary Swank. Still, it was a commercial success, which opened the doors to more opportunities.


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Monday, Jul 23, 2012
For many, the lack of an 'official' box office result will mean very little this week. Considering what it does and does not represent, it should have never really mattered in the first place.

It was stunning news. In light of the horrible events that played out at Midnight, 20 July, in a crowded Colorado movie theater, Warner Brothers made the decision to not report box office totals for its Summer tentpole release, The Dark Knight Rises. While many believed the final installment in Christopher Nolan’s Batman franchise would easily come close or match the huge returns of May’s The Avengers, the studio felt it would be insensitive and inappropriate to discuss earnings with so many dead and hurting. It was a smart move for a company concerned about both the safety of the public and its own bottom line. Without numbers to toss around (though some outlets are playing the estimate game), the tragedy in Aurora is sparred another senseless media scar (Warners will, on second thought, release some information today, Monday).


Indeed, over the last few days, both Nolan and his work of cinematic art have been the subject of so much pointless speculation that the truth—one crazy young man committed a horrific act of mass murder—is getting lost… or at the very least, micromanaged for maximum ratings points. Websites post science fair video of the alleged killer, trying to read something into his button down nerd persona. The ‘Net goes even further, investigating his life to the point where profiles on Match.com and some pseudo-swingers site have become some manner of anecdotal evidence. As the police dismantle an apartment full of booby traps and families begin the difficult process of healing, Warners wants none of the attention marketing success might bring. The Dark Knight Rises will be fine, financially. No need to celebrate such a triumph at this time.


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Monday, Jul 9, 2012
Considering where he came from and how long he remained important, Ernest Borgnine's death at 95 represents the loss of one of his industry's most important links to the past.

In the world of the slick and suave, he was dumpy and direct. To quote his most famous role, he was a ‘fat, ugly man’ in an arena which tended to devalue same. Still, with his warm warts and all persona and beaming gap-toothed grin, Ernest Borgnine was a trendsetter. Moving from character to lead actor is no small feat, and yet within four years of beginning his career in film, the man had an Oscar, the respect of his peers, and a sensational start to what would be another six decades in show business.


Born to first wave immigrant Italian parents, it would take a while before Borgnine’s star would start to shine. In school, he was more interested in sports than performing, and by the age of 18 he had begun a 10 year career in the Navy. After World War II, he took his mother’s advice and headed toward the stage, securing some minor work before hitting Broadway in the classic Harvey (where he played a nurse). Hoping to advance his opportunities, he moved to Hollywood. Soon, he was cast as villains, and in the classic character roles of the day.


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