Former The Distillers frontwoman Brody Dalle has turned her new solo album into a star-studded affair by recruiting Shirley Manson and The Strokes' Nick Valensi to join her in the studio. Her husband Josh Homme's Queens of the Stone Age bandmate Michael Shuman also appears on Diploid Love, as does AWOLNATION's drummer Hayden Scott. Garbage star Manson appears alongside Dalle on the album's first single Meet The Foetus.
Universal via Everett Collection
Lone Survivor isn't a film for the faint of heart. It's a film that beats you down and only lets you up for a few precious moments before the credits roll, but that emotional throttling is what helps make the film such a powerful experience.
Peter Berg's Lone Survivor tells the story of Operation Red Wings, primarily focusing on a group of four Navy SEALs who are sent to the mountains of Afganistan to capture or kill a member of the Taliban. The plan goes wrong, and the team has to fight for their lives to escape the enemy-infested area. The film does a marvelous job of ratcheting up the tension before collapsing into its main action sequence, one that is as thrilling as it is unsettling. The long sequence brings forth memories of the infamous D-Day opening of Saving Private Ryan, except this film's fire-fight stretches out the violence like a medieval torture device. The langourous scene is, at times, hard to sit through. Each moment slips by in coiled tension. It's undoubtedly uncomfortable, and the film makes a point to never make the violence fun or enticing. The action isn't consequence-free, and every bullet fired carries weight, making the scenes brutal and unrelenting because of it. The film takes on the aura of a horror movie that wants you to feel every second that ticks by, and director Berg makes sure that a pressing hopelessness starts to weigh on the viewer just as it does on the soldiers.
Mark Wahlberg is plenty capable as Marcus Lutrell, a member of the SEAL unit that is sent on the mission. The supporting cast plays its parts admirably by believably infusing a diverse set of personalities and values into the soldiers, while still keeping them in tune with the same military culture that governs much of their thoughts and actions. There's a great scene where a difficult decision has to be made, and the viewer gets to see the different directions to which some of the character's moral compasses are tuned. Sometimes the right thing can mean different things to different people when the risk of death is on the table. The real standout in the cast is Ben Foster, whose SO2 Matthew Alexson swirls with barely contained fury. He is darkly intense and has electric screen presence that really starts to manifest when the bullets star flying and things become dire.
Universal via Everett Collection
For all the good will that the film builds up in its first and second act, the final third of the film hits some snags as history demands that the story take itself to a different location, sacrificing some of the tension that it has built up. In the last 30 minutes of the film, there are some odd tonal choices that don't gel with the tension brimming in the first half. A comedic scene involving a language barrier stands out in particular.
The movie makes a point to steer clear of any political judgment, and it doesn't try to lay blame for the botched mission on any one head. And while the film never outwardly states and opinion on the conflicts that America found itself embroiled in during this time period, the searing brutality depicted in the movie highlight that no one should be subjected to the pain that these men were faced with. Made abundantly clear is the soldiers' willingness to drop everything and serve their country the best way they know how. Lone Survivor tries to honor the soldier, but not glorify war.
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Lone Survivor is at its best when it makes you feel the worst. It gives soldiers their due reverence by showcasing the true terror of the battlefield, and while the film does start to sag a bit in its third act, it's still more than worth the experience in order understand the consequences of war, and its toll on the people in the trenches.
Meet Wheeler (Scott ) and Danny (Rudd) -- two salesmen who get to hawk a blue sugary caffeine-filled energy drink called Minotaur. Wheeler is a swingin’ KISS-lovin’ single guy who loves his job playing THE Minotaur while depressed Danny has settled into a nice mid-life crisis loathing just about anything and everyone. These two are just destined to become role models. And so after some very bad circumstances Wheeler and Danny do just that forced into 150 community service hours at a mentorship program. It’s either play big brother to a couple of kids or go to jail. Danny gets assigned to Augie (Christopher Mintz-Plasse) a 16-year-old obsessed with Dungeons and Dragons medieval role play while Wheeler gets a 10-year-old foul-mouthed troublemaker named Ronnie (Bobb'e J Thompson). After one day jail isn’t looking half-bad. For a premise that sounds a bit shaky the cast of Role Models simply sell it. Thanks to the likes of Anchorman and 40 Year-Old Virgin Paul Rudd has found his niche as the go-to guy for deadpan humor. Seann William Scott too seems more mature this time finally shedding that American Pie smug arrogance he’s had to live with for so many years. Virgin’s Jane Lynch is hysterical as the head of the mentorship program Sturdy Wings an ex-addict who takes no crap. Elizabeth Banks (she’s in everything lately) also does a nice job as Danny’s girlfriend who has had it with his behavior. And the kids add to the flavor: Mintz-Plasse aka McLovin’ from Superbad gets to try something different as the geeky Lord of the Rings wannabe while newcomer Thompson plays the smartass kid who curses with a certain panache. Can you believe producer/writer/director Judd Apatow had nothing to do with Role Models? It seems to have many of his signature touches including a pretty hard R rating for a movie with kids in it. But actually Role Models comes from the minds of ex-The State members David Wain and Ken Marino along with Paul Rudd and a few other writers. And for once a long list of writers doesn’t spell trouble for the film; it seems to have only enhanced the comedy. The best part of Role Models has to be the medieval role-playing festival where all known D&D and LOTR enthusiasts come out in droves dressed in full gear ready to wage battle and clash rubber swords for their made-up countries’ supreme dominance. It really happens folks and to have front-row seats to this world is quite a comedic treat.
Any marriage is going to have its ups and downs. But what if those "downs" start happening the minute you step off the altar? Such is the premise of Just Married as blue-collar radio traffic announcer Tom Leezak (Ashton Kutcher) meets rich free-spirited writer Sarah McNerney (Brittany Murphy) and after a whirlwind romance they decide to get hitched. Oh if it could be that easy. Their course to true love has several strikes against it and the rest of the movie is spent figuring out if they are going to make it or not. Strike No. 1: Sarah's well-to-do parents (whose nicknames for each other range from "Pee-Wee" to "Pussy") are completely appalled she's marrying "beneath her." Strike No. 2: Sarah's sophisticated rich ex-boyfriend Peter (Christian Kane) the one Daddy McNerney (David Rasche) favors wants Sarah back. Strike No. 3: after they get hitched anyway the two young marrieds' honeymoon in Italy quickly turns horrific. In fact it's so unbelievably awful--from their small yellow box posing as a rental car being pushed off a mountain cliff to the cockroaches crawling over them as they try to make love in a run-down Venice shack to said ex-boyfriend showing up to thwart all that is good--your only hope is that they don't kill each other before they can get the sucker annulled. Of course we don't really believe they'll break up do we? We know better. With any good old-fashioned romantic comedy the power of love wins out. Blech.
It's not easy being relatively new faces in the film business and having a major feature film rest on your shoulders. Yet Kutcher and Murphy do their best with a formulaic script and some painful-looking physical comedy added in for good measure. It's evident the two click (so much so they became a real-life couple) so it's nice to wholeheartedly believe they are mad for one another. Their youthful appeal is about the only thing that saves the film from total drudge to be honest. Individually Kutcher gets to venture off from the one-note innocuously stupid guy he's played in movies such as Dude Where's My Car? and Fox's That '70s Show just a little to show some heartfelt moments especially when telling his new bride how much he loves her. To his credit he doesn't fail miserably at it. On the other hand Murphy who has the acting chops having handled meaty roles in dramas (Girl Interrupted) as well as comedies (Clueless) has nothing whatsoever to go on as Sarah. Clearly she must've been listening when her agent said "Do this movie! It'll be great for your career!" The rest of the cast blends in with Rasche being the only standout as Sarah's no-nonsense all-business millionaire dad.
You might feel sorry for this movie being released the second week of January just after an enormous onslaught of Oscar-touted films if it wasn't for the fact that 20th Century Fox obviously timed it to capitalize on the youth audience in a field of so-called "boring old people movies." Just Married is just the ticket for young people. Kutcher has developed a following after the surprising hit movie Dude Where's My Car? and Murphy just made a splash with Eminem in 8 Mile. The film has the age group 16-24 written all over it. But come on folks even good intentions to capture a certain market can't make up for a downright silly movie. Director Shawn Levy whose credits include 'tween flick Big Fat Liar and Disney Channel's The Famous Jett Jackson handles Just Married pretty much like his previous--broad and wacky with very little substance. The best part of the movie is the very beginning when the two newlyweds walk off the plane fuming and one-upping each other. Ah married life. The irony is duly noted but then the film goes straight into a flashback sequence lapsing periodically between pratfalls saying the wrong thing at the wrong time and gushy professions of love. Chalk it up to bad judgment.