Unfollow the Rules is Rufus Wainwright’s first original solo album in 8 years, coming out next month. So far, he’s released three tracks from it: the operatic pop of “Trouble In Paradise”, the Laurel Canyon-sound Joni Mitchell tribute “Damsel in Distress”, and the gorgeously strummed, orchestral, swaying “Peaceful Afternoon”. “There’s always trouble in paradise,” goes the chorus of the opener. “Don’t matter if you’re good or bad or mean or awfully nice.” Ain’t that the truth!
Hear Wainwright play some (hopefully new) songs over at his Instagram at 12 P.M. CST!
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Joss Whedon’s modern retelling of Shakespeare’s classic play is stylish and funny. It’s shot in black and white (at Whedon’s actual home) and takes place in the present day; however, the characters speak in Shakespeare’s language. Though it shares that characteristic with Baz Luhrmann’s William Shakespeare’s Romeo + Juliet, that is where these two projects differ. Whedon’s version is intimate and mature, while allowing for moments of silliness. Alexis Denisof is hysterical as the pompous Benedick, while Amy Acker matches him wit for wit as the put-upon Beatrice. Nathan Fillion also adds smarmy laughs as the malaprop-spouting Dogberry. I’ll allow that there really was no reason to revisit Much Ado after Kenneth Branagh’s 1993 masterpiece, but Joss Whedon never does something just to do it. There is substance here. He and his friends had done “Shakespeare nights” together for a few years and he wanted to turn their fun times into a movie. (Plus, he wanted to take a break from big budget filmmaking after The Avengers.) The result is charming, retro-cool, and worth your time.
Jonathan Demme’s 1991 horror-thriller still has the distinction of being the only horror movie ever to win the Oscar for Best Picture. It is also one of only three movies to ever win the “Big Five” Oscars (Best Picture, Best Director, Best Screenplay, Best Actor, and Best Actress). It is especially impressive given the subject matter of the film: A young FBI agent named Clarice Starling (Jodie Foster) tries to hunt down a serial killer named Buffalo Bill with the help of a charismatic and manipulative incarcerated serial killer named Dr. Hannibal “The Cannibal” Lecter (Anthony Hopkins). The movie is a marvel of sustained suspense and features one of my favorite performances of all-time, in Hopkins’ creepy but strangely sympathetic Lecter. (Dustin Hoffman’s turn in Rain Man is my other favorite, detailed in our streaming pick HERE.) I have detailed my first experience with the movie on this site before (HERE) but suffice to say, the movie is a masterpiece. And it is leaving Netflix in ONE WEEK. So, if you haven’t seen it before and you are looking for an effectively terrifying and adrenalizing movie, you have seven days to catch it before it’s gone. You won’t be sorry, except perhaps when you dream at night.
@cdurham99 -   Miss Pettigrew Lives for a Day (2008) - Featuring two of the greatest actresses we have working today, Frances McDormand and Amy Adams, Miss Pettigrew is a delightful romantic-comedy (with hilarious screwball elements) that soars high above the usual rom-com drivel that often passes for cinema. Based on a 1938 novel, it tells the story of a middle-aged, down on her luck nanny that happens upon a job as a social secretary for a wannabe singer-actress. Through that job, she finds confidence, openness, and love. The story is charming, well-told, and, eventually, very moving. McDormand is perfect, as always, and Adams gives a live-wire performance, taking what could have been an annoying role and making it endearing and indelible. I loved what the movie had to say about friendship, creating art, and finding out who you really are. It’s not necessarily a movie that is going to blow people’s minds, but it is a gorgeous one. If you have a loved one to curl up with, sit them down for this flick.
Barry Levinson’s Best Picture winner is an old school drama, telling a very straightforward, somewhat square story that is anchored and elevated by fantastic performances. Most notably, the movie features an all-time great acting job by Dustin Hoffman (who also won Best Actor) as Raymond Babbitt, an autistic savant who is kidnapped from the group home where he lives by his selfish, hot-tempered older brother Charlie (Tom Cruise). Charlie is upset that all of his father’s inheritance was left to Raymond, especially since Charlie didn’t even know he had a brother. It’s true that one can guess where the movie is going practically from the first 20 minutes. That doesn’t lessen its impact. Rain Man has stuck with me for years. First of all, Hoffman’s performance is basically perfect. It has been endlessly parodied and lauded for years, but it still mesmerizes. Every time I see another actor take on the role of a mentally challenged person, I am let down because, for me, nothing compares to what Hoffman did here. There’s no vanity in it, it never feels calculated, and it never feels false. And, though the movie’s sentimentality has a tinge of condescension to it, that cannot change the fact that it is immensely moving. It’s a family drama, an thoughtful examination of a mental challenge, and a celebration of life. I love that Levinson (and his producers) trusted the story to be enough without embellishment or over-adornment. It’s funny, it’s exciting, and it’s a classic.
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With the Olympics taking centre-stage, The Batman casting a shadow over cinema and studios chickening out on putting anything up against it, I've resorted to a theme completely unrelated to this weeks releases. Instead, I'm keeping it simple and looking at some new flicks that have hit Netflix this week that I myself am yet to see. Check them out:
3:10 to Yuma (Dir. Ola Simonsson) - NETFLIX US
Police officer Amadeus Warnebring was born into a musical family with a long history of famous musicians. Ironically, he hates music. His life is thrown into chaos when a band of crazy musicians decides to perform a musical apocalypse using the city as their orchestra... Reluctantly, Warnebring embarks on his first musical investigation...
Sound of Noise is one of those movies you hear discussed time and time again, yet seems so on the fringe of things, you pretty much give up any hope of seeing it. The premise alone had me chomping at the bit and combined with some great reviews, I'm delighted that its come to streaming so soon. I can't wait to check this one out, it could be this years Fish Story.
Errol Morris, like Louis Theroux, has this incredible knack of accessing fascinating real-life stories and Tabloid sounds no different. Some time last year, the slashfilmcast did a feature episode around the movie and were universal in their praise, prompting me to seek out, once again, to no avail. I can see this being a disturbing yet entertaining look at celebrity and if Morris is involved, it will be interesting at the least.
BULLHEAD (Dir. Michael R. Roskam) - NETFLIX US
Domineering cattle farmer Jacky Vanmarsenille, constantly pumped on steroids and hormones, initiates a shady deal with a notorious mafioso meat trader. When an investigating federal agent is assassinated and a woman from his traumatic past resurfaces, Jacky must confront his demons and face the far-reaching consequences of his decisions.
This is the one. The movie I can't wait to sink my teeth into. Released by the awesome Drafthouse Pictures, nominated for an Oscar, resounding praise and a subject that packs a punch, Bullhead is the movie I'm tipping to be the movie to watch of these three.
Some superhero movie comes out today, it sounds like kind of a big deal and it's got all these awesome performers in it. You might want to check out their previous work, they're pretty good.
3:10 to Yuma (Dir. James Mangold) - NETFLIX UK
2007 was a damn fine year for the western, a year that saw both this movie and The Assassination of Jesse James released...and ignored. This is a damn fine movie, one with a Bruce Wayne-esque performance from Bale, an anti-hero in Crowe and a damn scary turn from the always reliable Ben Foster. Audiences didn't exactly flock to cinemas to see this but you'd be doing yourself a favour in settling down with it, its a really great movie.
BRONSON (Dir. Nicolas Winding Refn) - NETFLIX US
To this day, Bronson remains Tom Hardy's most fearless and most impressive performance. Dan liked it back when he saw it as a Late Pass, so what's to stop you from giving it a go? You won't see many movies like it.
THE LOOKOUT (Dir. Scott Frank) - NETFLIX UK
The general theme here appears to be under-rated and little seen movies and they don't come more under-rated or under-seen than The Lookout. This is a fucking great movie that was never given the time of day by distributors, featuring a fantastic lead performance from a post-Brick Joseph Gordon-Levitt and a story that twists and turns to an immensely satisfying conclusion. It didn't get the props it deserved back then, I think it's about time we all started to get behind it now.
This week sees the release of Tony Kaye's Detachment, about a school teacher who blah blah blah, the review will be up this afternoon. instead of spending your time watching that cloud of depression, why not give these Mentor based dramas instead? Trust me, they're a far better option.
GOOD WILL HUNTING (Dir. Gus Van Sant) - NETFLIX UK
To this day, I still continue to champion Good Will Hunting and consider it in my top 5 favourite movies of all time. It broke both Damon and Affleck into the mainstream, earning them an Oscar in the process, whilst also proving that Robin Williams is at his best when in a dramatic role. This is a genuinely wonderful, inspirational movie.
HALF NELSON (Dir. Ryan Fleck) - NETFLIX US
Gosling has still never been as good as he was in Ryan Fleck's debut feature, Half Nelson shares more than a couple of similarities with Detachment, only it is executed in a far superior way. Never black and white, this is a movie that will hook you in and keep you there until the credits role.
DEAD POETS SOCIETY (Dir. Peter Weir) - NETFLIX UK
Speaking of great Robin Williams dramatic performances...
O Captain, my Captain. Who knows where that comes from? Anybody? Not a clue? It's from a poem by Walt Whitman about Mr. Abraham Lincoln. Now in this class you can either call me Mr. Keating, or if you're slightly more daring, O Captain my Captain.