Entries tagged with “Matt Damon”.

Damon will star as famous Civil Rights Leader

Damon will star as famous Civil Rights Leader

The day after the Oscars, Sony Pictures announced it has greenlighted the long-awaited biopic of Martin Luther King.

“We heard America loud and clear,” Sony’s Senior V.P. of Development Winslow Cabbageweld III told The Lint Screen. He continued, “The people want to see more African-American stories, and one would be hard-pressed to find a more dramatic, more compelling one than that of Civil Rights leader Martin Luther King.”

The $100 million picture will star Matt Damon as MLK and Rachel McAdams as Coretta Scott King. Jeremy Renner will play Rev. Al Sharpton, with Zac Efron as Hosea Williams, and Joseph Gordon-Levitt as Andrew Young.

“We are expecting great things from this upcoming production,” Cabbageweld said. “Hollywood is going to prove for once and for all we ‘get it’ and we are ‘with it.’ And if this picture does big business, which I’m confident it will, we’ll do a sequel or six!”

Catch the fascinating tale of this caped crusader.

Catch the fascinating tale of this caped crusader.

It’s not on TV, either. It’s on HBO.

The movie is Behind the Candelabra, the story of the rocky 6-year relationship between Liberace and his young lover, Scott Thorson.

Michael Douglas is incredible as the caped crusader, as is Matt Damon playing his prudish (by Liberace’s standards) boyfriend. Steven Soderbergh directed this perfect jeweled biopic, and he says the movie may be his last. Let’s hope not, the guy is a gifted filmmaker.

The story is your typical boy meets boy tale, boy gets boy, boy gets bored by boy, boy finds new boy and chucks old boy to the side and then that boy tries suing his old boy into oblivion. I’ll say no more.

It’s a fascinating account of Liberace, a talented performer who was Mr. show business but lived sequestered in the closet and struggled to be who he was. It’s a tragic tale with memorable performances by Dan Aykroyd as Liberace’s agent and fixer, Scott Bakula as a hanger-on with the drugs, Rob Lowe as the creepy plastic surgeon who was also Dr. feelgood and sweet Debbie Reynolds as the piano player’s overbearing mother.

Check this film out and see some performances for the ages. It’s further proof that sometimes the best movies are simple human stories without a billion dollars of special effects.

Life during a pandemic ain't too pretty.

Contagion is a very frightening movie. Steven Soderbergh film of a Scott Z. Burns screenplay has a galaxy of stars–– Matt Damon, Gwyneth Paltrow, Laurence Fishburne, Jude Law, Bryan Cranston and Kate Winslet–– without any big special effects or CGI aliens, monsters or exploding cities.

Yet, the film is gripping and terrifying because the simple story is so plausible, believable and frankly expected that this is certainly how the world will react when we get our next great pandemic.

It ain’t going to be pretty, people.

This is an adult movie studded with great performances, interesting camerawork, an innovative soundtrack and some surprising twists. It also has this gem of a line: “Blogging? That’s just graffiti with punctuation.”

Contagion is hardly a feel-good movie, but it’s certainly a movie worth seeing. If you do, please try to refrain from coughing. It will only scare others.

Saddle up, it's going to be a good ride.

In baseball and softball practice, coaches often use a fungo bat to hit balls. The thin bat allows coaches to hit easily with accuracy.

In golf, players groove their swings at driving ranges. They can practice different stances, grips, swings and curse words.

And in movies, I feel like Joel and Ethan Coen have grooved their craft by making True Grit, a pretty terrific film that would be a masterpiece if done by just about anyone else, but given that it’s a Coen Brothers’ project, it feels a bit light. There’s nothing wrong with the film, it’s just I have great expectations with any Coen film.

Since 1984, the Coens have reliably delivered some of the freshest films in cinema. Blood Simple, Raising Arizona, Barton Fink, Fargo, The Big Lebowski, O Brother Where Art Thou, No Country For Old Men and on and on, the Coen world is one that made sitting in the dark enriching and memorable. Their gift for dialogue, their eye for casting, framing a shot, getting quirky but believable performances have distinguished their career.

True Grit has the Coen elements, worth the price of admission just to see the faces of the extras and supporting cast, and I’ve heard the dialogue is fairly representative of the book (which I need to read), but I wish the brothers had done an original story, a true Coen take on the west– not a remake of a great film.

I’m doing something here I hate, inflicting my will on the artists, but I have to say it: I have a Coen crush. I want their originality. Dance, monkeys, dance!

All right, I’ve exposed my prejudice, not let me discuss the film. See it. I don’t recall much about the original True Grit except that Kim Darby was great, John Wayne had the performance of a lifetime, and Glen Campbell was terrific.

The story is a feast. Mattie Ross, a 14-year old girl wants to avenge the murder of her father by an evil man, so she hires the meanest marshall bounty hunter she can find (Rooster Cogburn). But get a load of this: the evil man is also being hunted by a pompous Texas Ranger (LaBoeuf). The movie is their adventure of seeking justice in a harsh land.

In this version, newcomer Hailee Steinfeld plays Mattie and is wonderful. Jeff Bridges fills Rooster’s boots quite well as the drunken ornery man of justice at a price– whatever he can get in addition to reward. Matt Damon is great as the braggard LaBoeuf and Josh Brolin delivers the goods as the dad-killing evil Tom Chaney. Spice it up with some dastardly Lucky Ned Pepper (Barry Pepper), and you’ve got a fine stew of conflict.

Director of Photography, Roger Deakins, shoots it on a canvas of muted colors and dusty yellows. There’s nothing flashy here, just great story telling told with little infliction of style or point of view. And I guess that’s my overriding critique, I wish it were more Coen.

That said, I want to see it again. And again and again (we are talking Coen Brothers here).