I love it when a movie is timely and relevant. I refer to The Social Network, the 2010 origin film about the social phenomenon of Facebook. This social media platform had been made available to the public less than four years earlier. Aaron Sorokin and David Fincher worked magic to create such a masterpiece quickly. I still maintain that The King’s Speech beating The Social Network for Best Picture was one of the biggest shams in Oscar history. It showed just how antiquated and set in their ways The Academy had become. While Craig Gillespie’s (I, Tonya, Lars and the Real Girl) Dumb Money is not entirely on the same level as The Social Network, its timely significance cannot be overlooked. Though in a completely different way, the events in Dumb Money are (to many individuals, organizations, and sectors) as impactful as to those in The Social Network.
Category Archives: Seth Rogen
The Fabelmans (2022)
Jaws. Close Encounters of the Third Kind. E.T. the Extra-Terrestrial. Raiders of the Lost Ark., Empire of the Son. Jurassic Park. Amistad. Saving Private Ryan. A.I.: Artificial Intelligence. Minority Report. War of the Worlds. Munich. War Horse. Lincoln. The Post. Ready Player One. West Side Story. This massive list of Steven Spielberg-directed movies can be rattled off easily by anyone over 35 who grew up in America. Spielberg could be a synonym for the term “movie director.” However, with 30 full-length featured directing credits already to his name, 2022’s The Fabelmans is the one that is being called, if not semi-biographical, at least his most personal. If that’s true, we get a pretty neat, though not overly sentimental, look at Spielberg’s early influences and how he began honing his craft before becoming the most distinguished director of the last 50 years.
Long Shot (2019)
Long Shot is a terrible title for a not-so-terrible movie. I won’t mention too much more about the title other than to say that it’s a difficult title to remember and to associate with a film about a Secretary of State (who isn’t really a long shot) and her political campaign and run for the presidency after the incumbent president decides that he won’t be seeking reelection. Nevertheless, Jonathan Levine’s political rom-com (50/50, The Night Before) packs in the laughs while cutting into today’s political landscape just enough to be edgy but not so over the top that it will divide audiences. Long Shot may not be remembered for its title. Still, it will be remembered for its intelligent, timely writing, witty banter, crunch-worthy predicaments, and solid performances from its two leads.
The Disaster Artist (2017)
Each year, there is at least one movie that I think I will hate and that I end up loving. Some years, it is much easier to pinpoint that movie than in other years. Not in 2017. Based on the trailers and the movie’s premise, I thought I would hate James Franco’s (Child of God, As I Lay Dying) The Disaster Artist. I will say that I knew nothing about Tommy Wiseau or the cult status of his movie The Room. However, I was pleasantly surprised and impressed by this movie’s effectiveness. This movie had quite a bit of Oscar buzz heading into awards season. It netted Franco a Golden Globe for Best Performance by an Actor in a Motion Picture – Musical or Comedy. Unfortunately (for him), he was hit up with some sexual misconduct claims right around this time, and it very well could have cost him a nomination for Best Performance by an Actor in a Leading Role. This was the sixth-best performance of the year. As mentioned in previous posts, I would have gone with four nominated, minus Denzel Washington (Roman J. Israel Esq.), and replaced him with Jake Gyllenhaal (Stronger). After seeing this movie, I would have knocked Washington’s performance down to seventh and inserted Franco’s performance as the best not to be recognized with a nomination. His performance was very good. The movie would still have been good had he directed it and cast someone else as the lead, but casting himself was the right call.
Steve Jobs (2015)
The much anticipated Steve Jobs exists so much as a single entity that we may forget that the 2013 Ashton Kutcher Jobs movie ever existed. Steve Jobs has been a much bigger hit with critics (85% fresh on Rotten Tomatoes versus 27% rotten) and audiences (the 2015 movie earned more than half of what the 2013 movie grossed in its first week alone). While neither Kutcher nor Michael Fassbender (Shame, 12 Years a Slave) looks anything like the actual former CEO of Apple, Fassbender is a much more credible dramatic actor than Kutcher ever will be. That is reason enough to give Steve Jobs the nod over Jobs if you debate which one to watch. This review will not compare the two movies as I have not seen Kutcher’s Jobs, and I have no desire to see it. For whatever reason, I wasn’t looking as forward to the Fassbender vehicle as I thought I would have been, and it turns out that trepidation was justified. Steve Jobs was a very average movie that I can only recommend with the caveat that, while you might like it, you aren’t going to like it as much as you were hoping to like it.
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