Whereas Tom Hanks' Captain Phillips talked, finessed, sweated and went into shock to rescue his crew, Chris Evans' Captain America jumps onto a hijacked boat from a helicopter without a parachute. His liberation of a S.H.I.E.L.D. vessel captured by international terrorists involves flinging himself across the deck; a human pinball with terrorists as his easily neutralized bumpers. Make that a super-human pinball, because as much as Steve Rogers maintains his golly shucks good nature, he is, after all, a Marvel superhero and he's here to save the day in the most preposterous and camera-ready fashion that's possible. Welcome to 'Captain America: The Winter Soldier'.
The story of Noah as it is written in the King James Bible is about three pages. If you want to Google it, read it, then come back to this you can go ahead. I'll wait here as I continue to stream some of Clint Mansell's spooky and enthralling score to the new Darren Aronofsky film starring Russell Crowe.
Back? Yeah, so, not a whole heck of a lot there. But did you catch the tiny references to things you may not recall from Sunday School? The “giants in the Earth” and the “flaming sword”? These are the pools from which Aronofsky irrigates his 'Noah.' This is, to adopt a phrase, the “old, weird Bible,” and its visual language more resembles 'Lord of the Rings' than any typical sandal epic.
There is a sex scene in '300: Rise of an Empire' that is an all-timer. Put it right up there on the shelf next to 'Don't Look Now,' 'A History of Violence,' 'Blue is the Warmest Color,' '9 ½ Weeks' and any of the others that make those best-of lists. Actually, put next to that insanity in the pool from 'Showgirls' (you know, with the dolphin statue?), because there's a level of playful absurdity that changes it from a representation of love (or, more accurately, lust) to something of a Broadway choreographer's interpretation of a fight. Like a 'West Side Story' rumble, but with Eva Green moaning and bent over a table with maps and war figurines. A rise of an empire, indeed.
When the closing credits rolled after the original 'The Hunger Games,' I thought to myself "eh, not bad." But I was in no rush to see the follow-up. When the closing credits rolled after Francis Lawrence's 'The Hunger Games: Catching Fire,' after I was able to collect myself, I was fully prepared to run out and get a mockingjay tattoo. Over my heart. With the phrase, "I will lay down my life for you, Katniss Everdeen, because you are the first and finest true hero of 21st century cinema."
For a gal named Carrie White, she's sure got a lot of red on her.
Watching Kimberly Peirce's 'Carrie' is an odd experience. If you've seen Brian De Palma's version from 1976, this new version is - and there's really no point in denying this - like watching a cover band. There's a tweaked scene here and there (including a new, creepy-as-heck opening) plus the addition of cell phones and references to 'Dancing With The Stars.' This remake, more than most, really feels like hitting the same marks. It may be a peculiarity specific to 'Carrie,' because, let's face it, not a whole heck of a lot happens in this story. Considering most moviegoers' familiarity, there's plenty of room to stew and think, "Why is this considered such a classic?"
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