It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
When Alien was released almost a quarter of a century ago moviegoers lapped it up to the tune of $78.9 million--enough to make it the second highest grossing film of that year. Renowned film critic Pauline Kael who wrote about the Alien phenomenon in The New Yorker noted: "It was more gripping than entertaining but a lot of people didn't mind. They thought it was terrific because at least they'd felt something; they'd been brutalized." Now in an era utterly saturated with the genre the film still assaults audiences on a level that has yet to be matched. The story in Alien: The Director's Cut remains the same: seven crewmembers of the commercial ship Nostromo are awakened from their cryo-sleep capsules halfway through their journey home to investigate an S.O.S. distress call from an alien vessel. Unbeknownst to crew the distress call is actually a warning. When three crewmembers leave to investigate the abandoned ship they unsuspectingly allow an alien life to board the Nostromo a galactic horror that begins to kill the crew one by one--leaving only one exceptionally tough woman.
Ellen Ripley (a very young Sigourney Weaver) who leads the fight for survival against the alien has to date returned for three sequels: James Cameron's 1986 Aliens which earned Weaver an Oscar nomination for Best Actress David Fincher's 1992 Alien3 and Jean-Pierre Jeunet's 1997 Alien Resurrection. For fans who have followed Ripley's evolution from a by-the-book crewmember to a hybrid half-alien half-human clone it's exciting to revisit the roots of her character and understand what fuels her revenge. The rest of the ensemble including Tom Skerritt as Captain Dallas Veronica Cartwright as Lambert Harry Dean Stanton as Brett John Hurt as Kane Ian Holm as Ash and Yaphet Kotto as Parker seems just as appropriately cast today as it probably did then and even 25 years later the crew of the Nostromo doesn't look like a '70s interpretation of futuristic space workers.
To revisit the set of Alien's Nostromo director Ridley Scott (Matchstick Men) and his team of archivists sifted through hundreds of boxes of film footage discovered in a London vault. From this material unseen in almost 25 years Scott selected new footage which then underwent digital restoration matching it to Alien's newly polished negative. The result is six minutes of additional footage which goes to show how little improving the original film needed. The most palpable addition is a scene in which Ripley stumbles upon "the nest " where she discovers that her crewmates have been cocooned by the alien. But the rest of Scott's additional footage is so subtle that even diehard Alien fans will have a difficult time pinpointing the new material which consists mainly of new shots of the slimy and metallic alien. The Director's Cut also features a brand-new six-track digital stereo mix which strengthens the film's slow but intense cadence with its pulsating beats. But remastered or not the film remains as gripping today as it was when it was first released in 1979.