by Gabe Valdez
Diving straight in:
We’ve all been waiting for a return to form by Tim Burton for quite some time. His best film is an argument that will never be solved, but many cinephiles – myself included – will make the case for his kooky, emotive biography of the legendary B-movie director, Ed Wood.
Burton can go off the rails sometimes. It’s the emotion that can’t help but shine through in his most restrained moments that gives his best films their heart. So when Burton finally returns for another biography, let alone one centered on painter Margaret Keane and starring Amy Adams and Christoph Waltz, it’s cause to pay attention.
That and, if you know me at all, you know I’ll watch anything starring Krysten Ritter, one of our most unappreciated screen comedians.
Elle Fanning. Peter Dinklage. John Hawkes. Glenn Close. Lena Headey.
You simply don’t get better casts than this. What’s it like to grow up under a drug abusing, drunkard jazz legend? That’s the premise, and while that’s a stellar cast, this looks like Fanning’s movie. She’s been moving further and further out from older sister Dakota’s shadow and at this point may be the better actress – or at least the one choosing more interesting projects (I’m sure Dakota is crying into her Twilight money as I write this).
A MOST VIOLENT YEAR
Jessica Chastain is one of the most fearsomely commanding actors we have. She’s worked a career’s worth of roles in just a few short years. In 2011, she starred in seven films, including Take Shelter, Tree of Life, and The Help. In 2012, she starred in four films, including Zero Dark Thirty. 2013 saw two more films, and this year, she’s in another five or, depending on how you count The Disappearance of Eleanor Rigby‘s different his and her variations of a troubled romance, six. Or seven. It’s complicated.
The point is, since her performances announced to the cinema world in 2011 that she’s the kind of force we may not have seen since Meryl Streep first brought her talents to bear, Chastain’s starred in at least 18 films, garnering two Oscar nominations. Anything she does is must-see because across those 18 films, she’s unfailingly created unique and compelling characters. Yeah, Oscar Isaac’s great, too, and J.C. Chandor is the very definition of an up-and-coming director (he helmed last year’s All Is Lost), but Chastain is the reason to see this.
MEN, WOMEN & CHILDREN
And, of course, the latest Men, Women & Children trailer. This is looking incredibly good. I featured an earlier trailer a few weeks ago and, aside from championing Jennifer Garner and Judy Greer as under-utilized actors, I stand by the idea that this could echo Adam Sandler’s touching and scary dramatic break in Punch Drunk Love several years back.
And it doesn’t fit the theme, but all the trailers rarely do, so feast your eyes on this beautiful preview for The Liberator. We aren’t offered many Latin American heroes, let alone in a film that looks so sumptuous and epic.
Worst Trailer of the Week (Tie) –
THE HOUSES THAT OCTOBER BUILT
Oh dear. Normally, I don’t include films made on the cheap. That’s why Bigfoot’s film debut in Exists was excused from Worst Trailer a few weeks ago. But this is from some pretty major found footage talent and it manages to look profoundly atrocious inside of two minutes.
Worst Trailer of the Week (Tie) –
I also don’t normally feature straight-to-DVD in this section, but Kite was a groundbreaking anime. Why? Not so much for its cliché storyline, but rather for how stylishly it delivered such an incredible amount of violence in so short a time. Centering on an assassin who gets close to her targets using methods of distraction that sometimes involve her underage sexuality, it either bordered on the tasteless or took Japan’s silent cultural endorsement of child sexuality to task. Depends on who you ask. Certainly the imagery in the movie was deeply controversial.
This live-action, English language adaptation? Well, it stars Samuel L. Jackson, who does a film like this every year just to keep his B-movie cred shiny. It otherwise presents itself as a wannabe Hitgirl movie. Will it contain the confrontational gore of the original, or present action free of consequence and saturated in American-style one liners? Will it use the disturbing sexuality of the anime to hammer home a real social commentary, or will it use the premise as an excuse for cheap titillation and provocation? I have my worries.
I haven’t seen the original in so long, I don’t think I could give an accurate opinion. I remember liking the cinematic techniques in the action scenes, but that’s about it. You don’t adapt this project as a cheap cash-in free from addressing in some way what made it so controversial in the first place, and that’s what this trailer reeks of.