The Irish Critic (whoever he or she may be), recently made the long and treacherous journey to Hollywood, and boy were the expectations high. ‘Hollywood‘, the critic thought, the historical iconic home of the studios and stars, where Julia Roberts paraded down Hollywood Boulevard in ‘Pretty Woman‘. The place where all your dreams come true.
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Archives for category: Film
Of course, it is absolutely impossible to discuss ‘Righteous Kill’ without mentioning its stars- Al Pacino and Robert De Niro have reunited for the first time since ‘Heat’- but boy would I love to do just that (and I’m going to do it for just a second).
Happily, monolingual English-speakers such as myself only ever get to watch the ‘good’ French films: translation into subtitling takes time and money – so why bother with anything but the worthy? Two new imports worth your time and your money are as follows:
Claude Chabrol’s latest do, A Girl Cut in Two, and Guillame Canet’s sophomore (but never sophomoric) release, Tell No One. (A Girl was originally released in France in 2007, and Tell No One as far back as 2006. They’ve only just hit American theatres – different time zones, remember – and that matters only because the New York Times recently listed them among ‘this year’s’ best films.’)
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Apologies to all those die-hard Seth Rogen fans (are there any of those?), but am I the only one who wishes the Rogen-express, constituted by a series of films either starring, or written/produced by Rogen and his gormless looking partner in film crime Evan Goldberg, would come to a halt? It is undeniable that ‘Suberbad’, ‘Knocked up’ and now ‘Pineapple Express’ are essentially the same movie, slightly reformatted and with different actors. Hence from the moment ‘Pineapple express’ gets going you get the sneaking suspicion that you might have seen the movie before.
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It says something that most of the press coverage for Guy Ritchie’s new film ‘Rocknrolla’ surrounds the fact that Madonna was late for the London premiere. While the name Madonna is somewhat synonymous with ‘show stealer’, some might argue that the vast coverage of this minor marital incident masks the fact that Ritchie’s film doesn’t merit any serious film chit chat.