On the latest episode of CinemAddicts, we take a deep dive into the work of Nicolas Cage. His latest feature Color Out of Space is a must see picture on different fronts. First off, it’s directed by Richard Stanley, a filmmaker whose promising career (he debuted with the cult hit Hardware) was negatively affected after he was fired from The Island of Dr. Moreau. Stanley’s experiences are chronicled in the documentary Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau.
Secondly, Cage delivers a fine performance as Nathan Gardner, the patriarch of a family whose lives are profoundly changed after a meteorite crashes into their front yard. Up and coming actress Madeleine Arthur,Joely Richardson, Brendan Meyer, and child actor Julian Hilliard (excellent as the youngest in the family) round out the ensemble.
Other films covered on the episode include The Gentlemen and the upcoming Blake Lively action thriller The Rhythm Section. Take a listen below!
Color Out of Space, based on a short story by H.P. Lovecraft, is now playing in theaters.
There’s a classic scene in the TV show Taxi in which a young, strait-laced Jim Ignatowski takes his first bite of a marijuana-laced brownie; we immediately see him begin his transformation into the hilariously loopy character he would become. After watching Dolemite Is My Name, I could picture a young Eddie Murphy listening to Rudy Ray Moore’s comedy album for the first time. Within seconds, I saw that toothy Murphy smile appear. Mere moments later, I imagined him unleashing that iconic horse-like laugh we’ve grown to know so well.
It’s easy to draw a line from the bawdy, blue humor of Moore to the raucous, raunchy humor of Raw Murphy, and it’s even easier to view Moore as a hero of young Murphy’s.
It’s no wonder, then, to see Murphy throw himself whole-heartedly into the role of Moore in Dolemite Is My Name. It was clearly a labor of love, exactly what he needed to bring him out of his three-year acting exile. At age 58, Murphy has been rejuvenated by the opportunity to bring Moore’s story to the screen.
Granted, he didn’t have to be rejuvenated too much – Moore is no spring chicken when we first meet him. He’s not exactly a washed-up has-been; he’s more of a world-wearied almost-was. As a singer, he laments how he might have hit the big time, if only his record label hadn’t signed some guy named James Brown. As a comedian, he’s been reduced to getting a few precious seconds each night as an emcee at a local L.A. dive bar.
He spends his days as an assistant manager of a record store, and that’s where his fortunes change. There’s a vagrant (Ron Cephas Jones of This Is Us) who comes into the store, spouting outrageous stories about a dude named Dolemite. Where others see the alcohol-induced ramblings of an old, broken man, Moore sees buried treasure. Armed with a tape recorder and a wad of cash, Moore seeks out the old man and his stories. After polishing them into comedy routines, Moore breaks out his pimpiest-looking suit and creates the Dolemite character.
Before he knows it, Dolemite is a smash hit. After recording his new routine at the club, he sells enough self-produced records to get the attention of a record company, which sends him out on the road and helps make the album a hit.
But Moore wants more. He becomes convinced that Dolemite could be big-screen dynamite. After his Hollywood pitches go nowhere, though, he takes on a Dolemite film as the ultimate DIY project.
Recruiting a local playwright (Keegan-Michael Key) to write it and a minor Hollywood star (Wesley Snipes) to direct, the Dolemite movie starts to come to life in a bumbling, stumbling, “how are they ever going to finish this?” kind of way.
Murphy clearly relished the opportunity to re-create some classic scenes from the real Dolemite film, throwing himself into them with unbridled glee and the requisite reckless abandon. Moore might have been making a train wreck, but he sure wanted to have fun doing it. After all, if he was having fun, wouldn’t a theater audience?
When the movie’s finished, it’s looking like theater audiences might never get that chance. Nobody in Hollywood wants to release the train wreck, and it looks like Moore’s signed away his life’s recording royalties for nothing.
But then, as the request of an Indianapolis DJ (Chris Rock), Moore books the movie into the late-night slot at a local theater, and with the DJ’s support, he fills the theater. Dolemite becomes a local sensation, attracting the eyes of a studio that had already turned the film down once. Moore signs a distribution deal with the studio, and the rest is history.
While the original Dolemite movie’s production might have been bare-bones, the same cannot be said about My Name Is Dolemite, which sits squarely in the “quality biopic” genre. Regard for Moore in the African-American community – especially among its entertainers – has attracted a first-rate cast, including Craig Robinson, Mike Epps, rappers Snoop Dogg and T.I., and Da’Vine Joy Randolph, who overflows with sass as Moore’s comedic discovery, Lady Reed.
The quality of the cast helps make the directing job easy for director Craig Brewer, who manages the ebb and flow of the story nicely. It’s got an “underdog sports story” feel that serves the film better than a “rags to riches” approach would have. The crew re-creates the look of the ‘70s, from its gaudy clothing to its muted Earth-tone cinematography, with loving care.
But it’s Murphy – who is also one of the film’s producers – who provides the highest octane for the movie’s engine. While a younger, brasher Murphy may not have been able to handle the nuances of a character like Moore, the current incarnation – older, wiser, and all too familiar with the perils and pitfalls of stardom – has accumulated enough life experience to do the character justice.
Will Dolemite Is My Name reignite interest in Rudy Ray Moore and his work? It may, although the Dolemite clips that run during the credits do look hopelessly dated. Will it make fans happy that Eddie Murphy is back, with new movies and stand-up specials on the way? Absolutely.
What is The Laundromat? Is it a drama? Is it a comedy? Is it a dramatized documentary? Is it a mystery? Is it a civics lesson? Is it a “how-to” video?
Actually, it’s all that, and then some. And if that sounds like a little too much for one movie to handle, well, perhaps it is. The Laundromat clocks in at 96 minutes but manages to feel like it’s closer to 150, even though director Steven Soderbergh uses every trick in the book to hasten and tidy up the affair. There’s narration, animation, summation, and fourth-wall breaks galore as Soderburgh tries to somehow simplify the tricky trickling of money through the complex world of offshore financial services.
So why does it feel so long? It’s a big story. It’s a complicated story. It’s a story that jumps from continent to continent, told in a series of vignettes about people — some real, some fictitious — whose lives were ensnared in a real-life scandal that has come to be known as the Panama Papers.
After an amusing prologue that explains the history of money through the eyes of the film’s on-screen narrators and real-life Panama Papers perpetrators Mossack and Fonseca (played in opulently over-the-top fashion by Gary Oldman and Antonio Banderas), we meet Ellen Martin (Meryl Streep) on what will become the first of a series of worst days of her life. A tourist outing turns tragic when the boat capsizes, and her husband is among the 21 people killed. Then, after she’s led to believe she’ll be compensated with a sizeable insurance settlement, she discovers that — thanks to a little bit of cost-cutting by the boat operators (David Schwimmer and Robert Patrick) — the “insurance company” is nothing more than a shell game being played in foreign countries and tiny Caribbean islands.
While Martin’s story serves as the through line for the plot — after all, why would you waste an asset like Meryl Streep, who’s brilliant as usual — it’s at this point where the film starts to take several detours.
Each of these detours tries to explain another rule or two of how the shell game is played. Some are cruel, like the one in which a philandering California father tries to buy his daughter’s silence with bearer bonds that are supposedly worth $20 million. (Of course, before she can cash in, dear old Daddy moves all the money around, leaving her with $37.) Some are criminal, like the dramatization of British businessman Neil Heywood’s real-life poisoning in China.
In the end — as it did in real life — the film winds up in Panama, where the mighty financial firm of Mossack Fonseca is taken down by an anonymous leak of several million documents.
Well, until the film winds up on a soundstage, where Streep literally strips herself out of character and breaks the fourth wall to deliver a scathing indictment on the political system that has allowed these financial cons to flourish. It’s the kind of rant that won’t win the film any fans with the MAGA crowd, but is stunningly on point.
Was the story interesting? Yes. Was the acting fantastic? Yes. Was the film amusing? Yes. Was the message a strong one? Yes.
Then why do I sit here, writing this review, still feeling unsure whether I actually liked the movie?
I didn’t dislike The Laundromat, but it somehow doesn’t quite equal the sum of its parts, and it’s hard to put a finger on why that is. Maybe it’s because so many of the story’s characters are pretty despicable humans. Maybe it’s because even when the bad guys lost, the good guys didn’t actually win. Maybe it’s because you’re left with the feeling that the outlook is still grim for the 99%. Or maybe all of the above is just a bit overwhelming.
So we’re left with a film that’s hard to dislike, yet hard to like. Just like the reality it portrays, it lives somewhere in a grey area.
The Current War: Director’s Cutcenters on the race to gain a monopoly on the electricity business, a battle waged between Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon). Tom Holland co-stars as future business magnate Samuel Insull and Nicholas Hoult rounds out the ensemble as Nikola Tesla.
There was a battle behind the scenes of The Current War: Director’s Cut as well, as filmmaker Alfonso Gomez-Rejon’s feature debuted two years ago at the Toronto Film Festival and received mixed reviews. That version featured a heavy editing hand from Harvey Weinstein, but since then the film is being released by 101 Studios and Gomez-Rejon has added five new scenes to the film and has supposedly given the film a faster pace.
One reason Gomez-Rejon’s cut may be worth a look is that his previous film Me and Earl and the Dying Girl is a highly underrated film, and one would assume The Current War: Director’s Cut will have its share of highlights. Other films spotlighted on the latest episode of CinemAddicts is Cyrano, My Love and Frankie, a feature headlined by Isabelle Huppert. Take a listen to the episode below:
The Current War: Director’s Cut hits theaters October 25.
The ghost of Walter White hangs heavy over El Camino: A Breaking Bad Movie.
In the literal sense, it’s because – although six years have passed since the Breaking Bad finale – the action in El Camino picks up mere minutes after the climactic battle that left White among the ranks of the recently departed.
But White’s death also leaves the movie (for the most part) without Bryan Cranston, the force of nature whose award-winning performance escalated the show from a storm into a full-blown hurricane.
And though it’s Walter White who’s now a ghost, it’s Jesse Pinkman who wants to disappear. The film’s prologue is a newly shot flashback to better times, when Jesse and his old colleague Mike (White’s fixer) talk about what life will be like after White’s gone. When Mike warns Jesse that the one thing he can never do is “make things right,” we jump violently to the present, with Jesse desperately fleeing the scene of the finale’s carnage in a stolen El Camino.
The present-day Jesse is a badly broken man. Unkempt, unshaven, and seriously disheveled from his time spent captive in his tormentors’ cage, it’s tempting to say that he’s suffering a severe case of Post-Traumatic Stress Disorder. But it can’t be PTSD, because his trauma hasn’t ended yet. He may have been freed from his cage, but all of his inner demons left with him in that El Camino.
The film relies on Aaron Paul’s ability to carry the story almost completely on his own as Jesse, and he does an admirable job. Between the flashbacks to more prosperous times and the manic intensity driving him to find his freedom, Paul does great work in presenting several different shades of the heroic anti-hero.
But again, the elephant in the room is Walter’s ghost. On Breaking Bad, the acting partnership of Cranston and Paul created amazing chemistry (literally and figuratively). And while there’s nothing wrong with the performance Paul gives in El Camino, you can’t help but feel something’s missing without Cranston there.
Ultimately, El Camino is a caper movie, with Jesse trying to find the funds that will finance his disappearance. As in the prologue, the movie flits between past and present to expose Jesse’s motivations and mindset, revealing little glimpses of his Breaking Bad life unseen on the series. It’s not just a dramatic device – it also gives the film a chance to bring back some characters whose lack of a pulse would otherwise keep them out of a movie shot wholly in the present. (That’s how we get a poignant, but too brief, cameo from Cranston.)
Written and directed by series creator Vince Gilligan, the film stays true to the show’s modus operandi of long, dramatic stretches of character introspection interspersed with heightened moments of tension, conflict and, of course, violence.
As a self-contained story, El Camino is a solid film worthy of the Breaking Bad connection it carries in its title, with excellent work on both sides of the camera. But just as Jesse finds it impossible to outrun his past, “El Camino” cannot ditch the ghost of Walter White. Perhaps that’s the way it should be – after all, Jesse is Walter’s Frankenstein, a creature molded and shaped by its creator, imbued with some of his best and worst qualities. Still, the movie misses the synergistic chemistry between Paul and Cranston that made the series sizzle, and though we’re given a good story and a satisfying sense of closure, we’re left with a feeling of wanting something more.
El Camino: A Breaking Bad Movie is currently streaming on Netflix.
Directed by Henry-Alex Rubin (Disconnect, Murderball), Semper Ficenters on Cal (Jai Courtney), a police officer and Marine Corps reservist who is the de facto leader of his group of friends (Beau Knapp, Finn Wittrock, Arturo Castro). When Cal’s younger brother Oyster (Nat Wolff) is sent to jail after a tragic bar fight, Cal hatches a plan to break his sibling out of prison.
Semper Fi’s strength lies in the palpable chemistry among the men, as brotherhood and sacrifice are the concepts explored in the feature by Rubin and co-writer Sean Mullin. Courtney delivers one of his strongest performances to date (he also starred as a soldier in 2015’s Man Down), and it’s a drama that, in my opinion, is worth a look.
Also covered on our latest CinemAddicts podcast is The Dead Center, a horror thriller starring Shane Carruth that comes out October 11 and Joker.