Movie Quote Horoscope: April 4

Movie Quote Horoscope - April 4

This week I’ve decided to start a new game here on Technicolor Commentary. It’s called the Movie Quote Horoscope. I’ve pulled quotes from films based on the characteristics listed in the Western Horoscope. It’s your job to guess who said each quote and what movie the quote is from. Obviously it’s easy to find the answers by looking it up on the web, but if you’re a true quote connoisseur you should be able to get these without having to leave the page.

You can guess the answers in the comments section and I will replace the blanks below with the right answers as you guess them, giving you credit for the guess. Also, feel free to discuss the films mentioned here as they are definitely worth talking about!

Your Movie Quote Horoscope can be found right after the jump!
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Diagnosis: Film-Weekend of Mar. 11

Diagnosis: Film-Weekend of Mar. 11

This weekend there are a lot of interesting films to check out, which is a spike from last week. I still haven’t gotten to Rango from last week yet, which means I’m already behind. Wonderful /sarcasm. The big ones this weekend are Battle: Los Angeles and Mars Needs Moms. If you’re interested in a Twilight’esque Red Riding Hood, that’s available for you as well. It’s directed by the same lady who did the first Twilight film, so it will no doubt be lavish and full of sexually charged youths….and Gary Oldman.

Are you seeing anything this weekend? Did you get a chance to see anything last week? Let us know in the comments. Films after the jump!
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Review of Black Death

Black Death

A TCC RATING OF

Directed By: Christopher Smith
Written By: Dario Poloni
Starring: Eddie Redmayne, Sean Bean and Carice van Houten

I feel like I could copy and paste my review of Centurion here and it would pretty much express how I felt when I left an advanced screening of Black Death. This is yet another sword and sandal epic that doesn’t pull any punches when it comes to grisly and harsh realities of “back in the day” and it does so in a way that makes you think.

The story is such: A young monk is tasked to go off with a band of holy mercenaries who are off to investigate a plague-free village in the monk’s homeland. Along the way they learn some startling truths and are forever changed by them. The standout here are the performances, with Sean Bean giving a weighted performance comparable to his Boromir in Fellowship of the Ring. It’s tough not to enjoy every moment he’s on screen. Contrasting his role quite nicely is Eddie Redmayne, who plays the troubled monk Osmund. Really, everyone delivers a strong performance and for it the film is much stronger than you might guess from the trailers.

Thematically, this film is strong. It was interesting to see how the main characters placed themselves in this battle between “good” and “evil.” There’s a particularly strong moment where Ulric mercy-kills a young woman accused of witchcraft, which speaks quite well to how complicated that time period was. It was also a strong move on the filmmakers part to not take a side on the issue or attempt to force some sort of moral choice on the audience, which I appreciated by the time I was well into the third act.

I do have some gripes about the film. Namely, I’m not entirely sure I like having that epilogue tacked on at the end. Compared to the rest of the film it feels clumsy and like something that could just as easily have been given to one of the other characters as a somber voice over. In fact, just before the epilogue starts there’s a rather nice voiceover by one of the remaining soldiers which serves as a nice objective look at what happened, and wondering what the events of the film meant. If it had just been that moment and then the credits, I would have been perfectly fine with this film and would have probably given it an extra star in the rating up top.

Just like with Centurion, some of the side characters don’t get a whole lot of attention, which really detracts from their eventual demise in the film. With these films, I’m always interested in these guys and how they develop with the story. And while there weren’t any “Mickey” level performances from these side characters, I still felt myself wishing the film would stop for a few moments and give them something more. But given how tightly paced the film was, I feel like this is more of a personal gripe than a legitimate one.

Overall, I enjoyed the film and thought it presented some really interesting ideas. If you get a chance to see it in the near future, you should. It’s only opening in two screens this weekend, but I expect it will open to more screens soon or at least make it’s way to Netflix Instant. And hey, it will at least give you a decent fix of medieval Bean until Game of Thrones arrives on HBO!

Diagnosis: Film-Weekend of Mar. 4

After a few relatively dry weeks in the film release department, we’re blessed with a bunch of interesting gems this weekend. Highest on my list to see this weekend is The Adjustment Bureau, followed very closely by Rango. I’ve been trying to decide which one I want to see first, but to be honest that’s been a difficult decision. Rango is the first CG animated film I’ve heard about in awhile that doesn’t look the same as all the other ones out there, and it’s directed by Gore Verbinski. But still, The Adjustment Bureau tugs at me. AHHHH. CHOICES!

What are you guys seeing this weekend? Anything good? Any of these? If you aren’t, you should.

Films after the jump.
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Diagnosis: Film-Weekend of Feb. 25

There’s really nothing good out this week except for Heartbeats, which is only playing on one screen. If you’re into The Oscars, there’s that too but it looks to be a fairly predictable ordeal. Do you plan on seeing any of these gems this weekend? How about that Drive Angry, which is shot in glorious 3D?

Actually, you know what? I dare you to see Drive Angry.

Films after the jump

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Diagnosis: Film-Weekend of Feb. 18

There’s not really much of anything worth journeying to the theater for this weekend. If any of these sound remotely interesting to you, let us know in the comments. Maybe there’s a diamond in the rough amongst these that I just couldn’t see in the trailers.

Films after the jump!

Continue reading “Diagnosis: Film-Weekend of Feb. 18”

Fictionalized History

Made it a point to stay up late and Finish “Frost/Nixon” the other night. Why did I do this? Well calm the hell down, I’m gonna tell ya…

I was extremely invested in the story, mainly because it extracted legitimate drama from real-world people and the situations they found themselves in. The real icing on the cake, however, was that it was all BASED ON A TRUE STORY. Oh, what a fun blanket statement. Hollywood can ride for miles and miles on that sentence.

I really enjoyed the movie overall, but I was hesitant to look up any info about the film afterwords (as I’m prone to doing) in fear of having the drama become undermined. I wanted to remain just a little naive and assume that whole thing was strongly rooted in reality. I mean, it was Richard Nixon after all. That guy could stir up some pretty dramatic shite. But, of course, curiosity got the best of me, and I looked it up. Go figure, a lot of it was altered for the purposes of drama. Should’ve expected this from the team that brought you “A Beautiful Mind”. Ech.

I just wonder how much further films could ride on their drama if they didn’t cling so tightly to the “based on a true story” angle. I’m guessing most people take that phrase with a grain of salt. And since the filmmakers never claim WHICH PART of the film comes from the real story, we’re left to optimistically assume that all of this happens in the real world. Would it perhaps be easier to downplay the fact that these have their roots in true stories? An innumerable amount of films are based on true events, even if those events are just small moments of inspiration. Think about how many horror movies ride the hype of “based on a true story”. Now think about how ridiculous it is to claim that a movie about ghosts is trying  to recreate something that actually happened. OOhhhhh.

Maybe the most compelling angle you could hype is to keep the “true” parts to yourself. Compelling stories will sell regardless of their source material, and rigidly pairing a Hollywood film with reality can only harm its credibility.

Oh, and here’s a funny article to support my argument.