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Review: Pom Wonderful Presents: The Greatest Movie Ever Sold
Reviews
Mr. Brooks
A film with a split-personality
By
BRETT MICHEL
|
May 30, 2007
MR. BROOKS
2.0
Stars
VIDEO: Watch the trailer for
Mr. Brooks
.
The press notes for Bruce A. Evans’s thriller begin with a quote from Robert Louis Stevenson’s
Dr. Jekyll and Mr. Hyde
. If any film could be said to suffer from multiple-personality disorder, this would be the one(s), given the numerous plot lines (enough for a
Pirates of the Caribbean
sequel) and schizoid tonal shifts. Kevin Costner gives a fine performance as Earl Brooks, devoted Christian patriarch, philanthropist, and his community’s “man of the year.” If only his family and friends could see and hear Marshall (William Hurt), who’s clearly enjoying himself as our hero’s imaginary Dark Side, urging the good Mr. Brooks to “kill!” during long conversations. Comedian Dane Cook plays a voyeuristic photographer who gets a lead on the Thumbprint Killer and winds up trying to blackmail him. Demi Moore is hilariously awful as a trust-fund police detective who’s tracking Brooks, but why does she bother when there’s a killer on every ridiculous corner of the screen?
Related
:
(10) days of celluloid
,
Looking deep inside
,
Funny business
,
More
(10) days of celluloid
Among the many treats at last year's Maine International Film Festival were a future Oscar winner (James Marsh's documentary Man on Wire ) and one of the biggest art-house hits of 2008 (Scandinavian teen-vampire flick Let the Right One In ).
Looking deep inside
"None of us," says Mr. Utterson, recalling the small group peering into Edward Hyde's dark flat, "wished to go inside."
Funny business
“Ashlee Simpson’s new album sold so poorly,” snorted the headline on Yahoo! this past week, that “it was beaten by a comedy album.”
Twice-drunk tales
The best fiction is the work of an author inventing characters. The best non-fiction is the work of an author exploring real characters in the process of inventing themselves.
23 skidoo?
As of press time, the 23rd Boston Film Festival was still shaping up.
America Blows
The United States of America is a nation with a proud history.
The King
When things go bad, they go Biblically bad. Watch the trailer for The King (QuickTime)
Brokeback breakdown
The most politically loaded Oscar race since Gandhi versus E.T. in 1982 seems to have come down to a contest between the gay-cowboy movie that isn’t really a gay-cowboy movie and the drama about racial conflict that’s really a glib exercise in screenwriting.
Massachusetts: You might be living in a red state if
Scott Brown’s Senatorial victory is merely the latest sign that red tides are creeping upon our once-progressive Commonwealth. Don’t believe us? Consider that Kenny Chesney sells out Gillette Stadium every summer, and, of course, that wealthy Republican presidential hopeful with the fantastic hair was recently our Governor.
Comedy central?
The local Boston comedy scene has, somewhat ironically, a lot of drama.
Plain talk
Jesse Sheidlower, an editor-at-large of the Oxford English Dictionary , an expert in slang, and the author of The F-Word , can't stop talking about fuck.
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ARTICLES BY BRETT MICHEL
REVIEW: FOR GREATER GLORY
| May 29, 2012
Bring coffee, because director Dean Wright's dramatization of the 3-year-long Cristero War (1926-9) seems to last longer than the Mexican conflict itself.
REVIEW: GIRL IN PROGRESS
| May 15, 2012
As rites of passage go, Girl in Progress is a step backward for the genre.
REVIEW: FIRST POSITION
| May 10, 2012
While not the most probing look at rising stars, Bess Kargman's documentary focuses on six aspiring contestants preparing for the prestigious Youth America Grand Prix competition (a proven entry point into the world of professional ballet) who demonstrate dazzling talent.
REVIEW: THE BEST EXOTIC MARIGOLD HOTEL
| May 03, 2012
Filled with Indian (and British) clichés, it is nonetheless a pleasant diversion that doesn't involve special effects or 3D glasses.
REVIEW: BLUE LIKE JAZZ
| April 12, 2012
A faith-based film directed by Christian recording artist Steve Taylor, adapted by Taylor and Donald Miller from the latter's 2003 memoir, this micro-budgeted indie tries to appeal to everyone by not offending anyone . . . except those who like movies.
See all articles by:
BRETT MICHEL
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