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Much Ado About Nothing 2012
'Much Ado About Nothing', the black-and-white film version by Joss Whedon, opens in a bedroom. It’s here that you might imagine both the ado and the nothing begin and end, as the camera observes a scene familiar from all sorts of other films: it is the morning after a night shared by Benedick (Alexis Denisof) and Beatrice (Amy Acker), and, in a series of close-ups, you see him rise, dress, and sneak out of the room, hoping not to wake his lady friend. As he exits, the shot reveals her eye, open, and so you know: she knows.
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The Kings of Summer 2013
The Kings of Summer covers familiar ground. Focused on three teenagers coming of age, this Sundance hit feels nostalgic, even with its contemporary setting, and at some points recalls Stand By Me. But first-time director Jordan Vogt-Roberts brings another sensibility to the film too, more along the lines of Moonrise Kingdom, straining at times for the quirkiness that has come to define Wes Anderson. The result is an inconsistency of tone that should sink The Kings of Summer, but doesn’t, due to the strength of the movie’s performances and humor.
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Tomorrow You're Gone 2012
Here’s a great lesson in low-budget moviemaking: if you can get an actor with as much star power and silky gravitas as Willem Dafoe to do two days of work on your set, be sure to get an opening voiceover out of him, too. Stephen Dorff’s inmate Charlie, about to be released, receives a letter from Dafoe’s character—named, gloriously, “The Buddha”—in the opening scene which, while reminding him of the debt he owes from a prison fight in which the…
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After Earth 2013
“I’ve heard stories of Earth, a paradise before we destroyed it.” So murmurs Kitai (Jaden Smith) over archival clips of rising floodwaters and roaring wildfires, belching smokestacks and rampaging tornadoes. Yes, these would be the ways we destroyed it, and yes, this would be the introduction for After Earth.
And yes, M. Night Shyamalan’s new film is obvious and unoriginal, a science fictional meditation on excess by way of exceptionalism, loss by way of triumph. And what better way to…
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