Dash Mihok

Silver Linings Playbook

Editor’s Note: Allison’s spot-on review originally ran way back at the beginning of the month, but the film is opening wide today so we’re sharing it once again. Sharing is good. Maybe we are all a bit crazy – whether we are lying to ourselves about the relationships we are in or why we believe holding a handkerchief or having the remote at a certain angle will determine the outcome of a game. But unlike most of us, Pat Solitano (Bradley Cooper), has been deemed mentally unstable by both the court and his doctors at the mental institution we find him in at the start of Silver Linings Playbook. Pat may seem fairly sane, albeit unflinchingly honest, but as we learn why he ended up in such a facility and watch him unravel at the sound of a certain song, it becomes clear that Pat is dealing with issues he may not be able to easily control with simple positive thinking. Pat is released to the care of his big-hearted mother, Dolores (Jacki Weaver), and his hot-headed father, Pat Sr. (Robert De Niro), and while their family dynamic is slightly dysfunctional, it is clear that they all truly care about one another.

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The Avengers hits theaters this Friday, but we’re looking to the future. The not-too-distant future but further out than this coming Friday. May 3, 2013, to be precise, when Iron Man 3 hits. Naturally, it stars Robert Downey Jr., still the comeback kid whose A-list status may as well be written in Adamantium. But it’s also being written and directed by Shane Black, the amazing screenwriter who brought us Lethal Weapon, The Monster Squad, The Last Boyscout, and this week’s film on Commentary Commentary, Kiss Kiss Bang Bang. It was Black’s debut as a director, and it’s arguably his best piece of work in 25 years. This week we’re listening to what Black and Downey Jr. have to say about this “indie” action/comedy. Val Kilmer joins the commentary party, too, because any party with Kilmer is better than any party without him. He just loves to drop names, as is indicated by this very bit of audio. With these three in the room together, talking about this very entertaining film, you know a healthy dose of fun is about to be had. So here you have it. All 38 things we learned listening to the commentary for Kiss Kiss Bang Bang.

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Criterion Files

In anticipation of Terrence Malick’s much-buzzed and much-argued-about Tree of Life, Adam and Landon are doing a two-part series on Malick’s films in the Criterion Collection. Part 1 – The Thin Red Line. The Thin Red Line (1998) is a film that accomplished many things. Least of which is the fact that, as the film was released twenty years after his previous completed work Days of Heaven, it established Terrence Malick as still a working filmmaker. While Malick had developed and abandoned several projects in the two decades that straddled his second and third feature films, the notoriously private director temporarily retired to France and workshopped a variety of screenplays and stage plays that, for one reason or another, never manifested. Though Malick’s sparse filmography hardly grants him a persona of being a prolific artist, his twenty-year filmmaking “hiatus” was never a hiatus at all, but was instead brimming with activity for potential projects. The Thin Red Line, then, should be thought of not as a decided return to filmmaking which assumes that the film is either a project twenty years in the making or the only thing he came across in twenty years worth making (as an academic who almost completed his doctorate and as a working journalist before becoming a filmmaker, part of the mystery surrounding the very private Malick is that filmmaking is simply one of several trades that define him – he’s like a far less public James Franco). The Thin Red Line may be more […]

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