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Hey everyone. Capone in Chicago here, coming off an extraordinarily busy week for me between two 3-D screenings, guests, and interviews galore. Well, we're three weekends into the new year, and I'm already doing a movie roundup. And this might be the absolute worst week to pull something like this on my part, because there are a couple heavy hitters opening or expanding wide this weekend. Nevertheless, I must resort to capsule reviews. Enjoy.
CHE Even before the film opened in limited release late last year, the controversy about making such a selective biography film (technically two films) on Ernesto "Che' Guevara was swirling around director Steven Soderbergh. Is Che portrayed as a torturer and killer of men in Soderbergh's nearly four-and-a-half-hour film? Not really. He's shown as tough, insulting, and focused to a fault. He's also shown as dedicated, loyal to a fault, organized, and cautious. In a strange way, Che is about as unconventional a biography as you could make about someone in desperate need of a definitive cinematic portrait. It took me about four seconds to forget I was looking at Benecio del Toro as Guevara. He's so good and convincing that you don't even notice it. Between his two-part film, Soderbergh is not interested in telling the whole story, just representative portions. The more conventional first film samples bits of Che's life: when he first met Fidel Castro (Demian Bichir) in Mexico City, where they set to plot out Cuba's future; when he worked tirelessly to train new rebels in the revolutionary fight against oppression by the Cuban governments; when he traveled to New York City to speak before the United Nations and do interviews with mostly U.S. press. The second film (which is even projected in a different aspect ratio) is solely focused on Guevara's efforts to bring about a communist revolution to Bolivia. It's a more straightforward, day-after-day look at Guevera's personality and abilities to rally people. Soderbergh isn't content to simply tell us or imply that Che was a man of the people; he shows us CHE shaking hand after hand with dozens of comrades, attempting to make each one feel like they are a part of something greater than themselves. Whether you love or despise CHE, it's an endurance test, especially the second film, which almost feels like it's in real time, despite the fact that it takes place over a year. But in some ways, it's this second half that shows us the true nature of Guevara's strength as a leader and his weaknesses as a man (both in body and mind). CHE is as much a function of what it does as what it doesn't do. Soderbergh is not interested in building kings or tearing them down. He's not trying to discover the man behind the t-shirt face. He shows us a handful of defining moments in the first film, and a fateful year in the life of Guevara in the second. Long takes are the order of the day, and this lends a naturalistic approach to the proceedings. But I love Soderbergh's faith that this immersion style of filmmaking will get the job done. Thankfully, it does. CHE represents Soderbergh at his most free-form and experimental. He's not afraid to wander, and show us some of Guevara's seemingly small moments, but he also makes it clear that the man lived the revolutionary lifestyle more completely than anyone around him. Assuming you make it through to the other side, the experience of watching CHE is as satisfying a time as I've had in quite some time. It was also frustrating, squirm inducing, and indulgent to the point of distraction. But I'd expect nothing less when one magnificent filmmaking personality attempts to tell the story of one of the world's most personality-driven figures. CHE is a damn good movie, but don't be surprised if you walk out of the film with just as many questions about its subject as you had going in.
DEFIANCE Three grown Jewish brothers (Daniel Craig, Liev Schreiber, and Jamie Bell) set out to live in the woods and possibly fight back against the encroaching Nazi presence in their little corner of Eastern Europe. But what they began turned into hundreds of people living in the woods, building homes, schools and many other institutions in an effort to recapture their humanity and possibly win their own sliver of World War II in 1941. Based on a true story, DEFIANCE goes from being a story of people simply hiding in the woods to people rebuilding society, rules and a faith structure. As strong as the performances are and as inherently compelling as the story is, something about the film never quite did it for me. Perhaps it was the noticeably forced love story between Craig and one of the women in the makeshift community. It feels utterly out of place in this film, even though I'm sure romances bloomed under just these circumstances. At one point during the movie, Schreiber leaves the group to go fight the Germans more directly with the local army. When the brothers aren't working and living together — often fighting among themselves — the movie just doesn't work as well. And while I'm sure there was a great deal of tension among the Jews in this rather large group, the film spends far too much time exploring these tensions when I would have much rather it examine the way these desperate people carved out an existence and kept from getting caught by outside oppressors. That might not have made for quite as dramatic a film, but it would have felt more believable and less scripted. Director Edward Zwick (GLORY, BLOOD DIAMOND) has an uncanny way of staging complicated battle sequences so they make perfect sense, and that talent is on full display here. I also liked the way Zwick makes us absolutely feel the bitter cold of the long winters in those woods and the hunger each survivor endures day after day. When he does zero in on the individual struggles of these people, most of whom haven't had to rough it a day in their life prior to this experience, the film thrives. DEFIANCE never allows the brothers to appear saintly or overly heroic; part of the reason they know the woods so well is that they've hid from authorities in them in the past. But that almost makes them greater men. They fell into this responsibility by accident, but they embraced the ancient believe that if you save a life, you are responsible for it forever. DEFIANCE is solid, sometimes stoic, filmmaking that has its less interesting moments but overall succeeds as a work that highlight everyday heroism rather than the kind that comes from duty. On that level and for those reasons, I'm recommending it.
LAST CHANCE HARVEY Dustin Hoffman plays the titular character, a lifelong New Yorker whose days as a commercial jingle writer are seemingly at an end. He's spent his entire life working his ass off at the expense of his family — he's long divorced, and he and his daughter (Liane Balaban) aren't close. His employment seems particularly perilous right at the time when he needs to fly to London for his daughter's wedding. Harvey's ex-wife (Kathy Baker) and her new husband (James Brolin) are hosting most of the out-of-town guests and just generally running the show, while Harvey is exiled to a hotel to await the weekend's activities. The final straw for Harvey is at the rehearsal dinner when his daughter tells him that she's rather have her stepfather walk her down the aisle and give her away at the wedding. With his job hanging by a thread and no real reason in his mind to be at the wedding, Harvey decides to return to New York. Naturally, Harvey misses his plane and while waiting in the hotel bar, he meets Kate (the always-engaging Emma Thompson), a survey taker who works at the airport. She's standoffish at first — more content to read her book than talk to this stranger — but eventually Harvey breaks through and they end up talking and spending the day strolling through London while the wedding is going on. Kate's story is less developed but no less painful to watch than Harvey's. She's an attractive, middle-aged woman who has essentially written off any chance at a relationship at this point in her life, which is not to say she's against the idea. She has an overbearing, slightly paranoid mother that calls her about once an hour when Kate isn't visiting her and listening to her constant suspicions about her neighbors. It's a brutal routine of a life that is in desperate need of being broken. LAST CHANCE HARVEY is best when Thompson and Hoffman (who first paired up in STRANGER THAN FICTION) are simply walking and talking in this BEFORE SUNRISE/SUNSET for the older set. Their conversation isn't staggeringly deep or profound, but these are two actors that I have never tired of listening to over the years, and it's lovely just to see them reveal so much about their slightly underwritten characters with small tells. Eventually Kate talks Harvey into returning to his daughter's happy day, which has already entered the reception portion of the festivities. And when the film enters its third act — a planned meeting the next day at a set location that, of course, goes amiss, the film gets noticeably weak. But here's the obvious thing: you either want to watch Hoffman and Thompson together on screen or you don't. If you do, you'll watch their banter with a smile on your face. If you don't, odds are you won't even be in the theater, so why the hell are you reading this? LAST CHANCE HARVEY doesn't have lofty ambitions or set out to be anything other than a sweet film about two lost souls who find it in their power to change their lives one last time. It's a nice notion that I found easy to buy into, but about 24 hours after I saw the film, its impact had largely vanished from my life. Take that for what it's worth.
MY BLOODY VALENTINE 3-D I was raised on '80s horror, plain and simple. And I can't think of a film made in this century that has come as close to reviving in me that giddy and ramped-up sensation I used to get watching this films as a teenager. My oldest and best friend, Matt, and I used to raid the local video store and grab up a half-dozen titles to last us the weekend, or hit the local multiplex if a new film was opening. But horror of late has consisted of either watered-down PG-13 original junk; soulless, pointless remake of American, Japanese or Korean works; or some combination of the two. Yes, MY BLOODY VALENTINE is a remake, but it's a remake of a film that I never thought was that special to begin with. I remember liking the authentic feel of the coal-mining town where the movie was shot, but beyond that I remember MBV being a poorly shot piece that wasn't even good enough to spark a franchise. In the '80s, any horror film could get a franchise off the ground! Simply put, this new version in glorious, in-your-face 3-D, absolutely blows your ass out. Blood, body parts, weapons and naked bodies are thrown in your face with wild abandon. I couldn't help but think of some other filmmakers that have worked in 3-D lately that have made such a big deal about how they didn't "go crazy" with the third dimension. They talk about using the 3-D in subtle ways, to capture perspective and depth of field — and there is some of that here. But director Patrick Lussier basically looked at his script (from Todd Farmer and Zane Smith) and said "Fuck subtlety, I'm going to throw everything and the kitChen sink right in the audience's god-damned faces!" and bless him for that. Sometimes, going for broke is the only way. The performances here range from serviceable to very good. I was especially happy to see such diversity in the age of the cast, and I was particularly thrilled to see Tom Atkins return to the genre that made him beloved and to see Kevin Tighe just be the lovable bastard he's been played for decades. And as much as I enjoyed seeing Jaime King and Jensen Ackles do their thing in this movie, let me throw one more name at you that you probably won't know: Betsy Rue. This is a name that will live in my memory banks until the day I day, because she is the star of one of the (if not THE) finest nude scene ever to appear in a horror film. If not the finest, then at least the damn longest I can think of. She's a beautiful woman who knows no fear (and apparently isn't bothered by the cold much either), and is very much into grooming. I can appreciate that. I could go on and on about the quality of the kills in MY BLOODY VALENTINE (yes, there are several dozen ways to kill a person with only a pick axe), and I could complain about the way the film Cheats a little when showing us one particular kill, just to hide the killer's identity until the end of the movie. But all of my small problems with the film drift away when I think of Betsy Rue and her natural breasts and her cute little girlie pistol. She's my new hero, and MBV reminds me of a time in my life when a lot of my heroes wielded sharp objects used in murderous ways. It's a good feeling.
CHANDI CHOWK TO CHINA I don't know much about the backstory on this movie other than I saw it, it's a Bollywood film (the first ever to be distributed in America by a big American studio — Warner Bros.), and it's fucking nuts. Many of the Bollywood films I've seen over the years have been unofficial remakes of big American movies. I saw the Bollywood version of RESERVOIR DOGS and SILENCE OF THE LAMBS, to name a couple, but Chandni Chowk isn't really a remake. Instead the filmmakers and Indian megastar Akshay Kumar combine the musical roots of Bollywood with Chinese kung-fu movies. Kumar plays Sidhu, a lowly vegetable cutter at a roadside food stand run by his father in Chandni Chowk, Delhi. The guy is a classic screw up, always disappointing his father and rarely living up to his potential. When a group of Chinese men come to Delhi believing Sidhu to be the reincarnation of a dead war hero, they whisk the man away to China, along with his Chinese friend named Chopstick (yes, the film is a tad racist). When Sidhu is pitted against same nasty gangsters terrorizing the village the dead warrior swore to protect, he fails utterly and goes into a deep depression, and he spends the rest of the film trying to regain his self-confidence and fight once again. With a running time up there with BENJAMIN BUTTON (as most Bollywood films are wont to do), Chandi Chowk is often quite draining. The comedy is broad and Kumar's performance is so over the top as to be annoying about 50 percent of the time. The story seems unnecessarily dragged out and tedious. What the film has going for it are top-notch musical numbers, some above-average fight sequences, and the lovely Deepika Padukone in the dual roles of long-lost sisters Sakhi and Meow Meow. She's even more beautiful than SLUMODG MILLIONAIRE's Freida Pinto, and she's on screen a hell of a lot more. Still, despite the gross overacting, extended running time and general silliness of the proceedings, the film is so insanely out there, that it's hard not to find it entertaining most of the time. I think those of you familiar with the Bollywood style and format will probably dig this movie a great deal. For those of you who aren't, this might be a fun introduction to the way hundreds of millions of people on the other side of the world are making movies. I'd be curious to know what you think of this whacked-out kind of cinema.
PAUL BLART: MALL COP Here's the funny thing (perhaps the only funny thing about the experience of seeing this movie): just before the screening of the new Kevin James "comedy" PAUL BLART: MALL COP began, they played a trailer for Steven Martin's THE PINK PANTHER 2. And I said to the critic next to me, "I guess there is one film I'm less looking forward to seeing than PAUL BLART this year." Oh, how we laughed and laughed. But the truth is, I've always found James kind of funny. I never saw "King of Queens," but I have seen his standup on cable, and he does have a sad-sack charm that I have found watchable in films like HITCH (not so much in I NOW PRONOUNCE YOU CHUCK & LARRY). James is the co-creator of this character and this film (which comes from Adam Sandler's production company), and the whole experience of watching PAUL BLART made me kind of depressed. The things about James that have made me laugh in the past have nothing to do with him as a physical comedian. Sure, he's made fun of his weight before, but here, the running gag is that's he's playing a Bruce Willis-style security guard turned man on the inside during a hostage situation at the New Jersey mall where he works. And while I'll admit that watching a fat guy do stuff can be funny sometimes, James doesn't quite have what it takes to pull it off. I admire his commitment to this loser character who lives with his mother (Lois Smith) and daughter after his green card wife left him as soon as she became a citizen. James has created a fully realized character here with a damaged psyche and inner strength. The problem is, the shit ain't funny. Much like some of Sandler's films, I was impressed with some of the supporting cast, including Peter Gerety, Adam Ferrara and Bobby Cannavale. But the film is a dud, despite everyone's efforts to elevate the material beyond its mediocre script. I hope James keeps making movies; I'm actually eager to like him more. The guy is just funny enough to be better than this, but I think he needs to stay away from the word processor and work on finding better material.
NOTORIOUS I know that probably 90 percent of you have absolutely no intention of seeing this film, at least not in the theater, but I'm guessing a large number of that percentage are actually curious about the life story of a musical artist whose legacy seemed set in stone even before he was gunned down in Los Angeles in 1997. And you're right to be curious, because NOTORIOUS is a movie that deserves to be taken seriously and is nearly as strong a musical biography as WALK THE LINE or RAY. This tale of Christopher Wallace (who would grow up an adopt the name Notorious B.I.G.) might exist a bit too much on the surface for some, but I thought it hit just about all the right notes as the story of a young Brooklyn man in desperate need of cash, respect and a creative outlet to use his gift of writing and rapping. Young Chirs (played from ages 8 to 13 by Wallace's real-life son) was a mama's boy (his single mother is played by Angela Bassett), well on his way to being a straight-A student with nerd-like tendencies. But the drug life was calling from all over his neighborhood, and before long he was dealing and pulling in major cash. The film is many things, but a gloss is not one of them. NOTORIOUS dives head first into every one of Wallace's many flaws. In one scene we not only see him sell crack to a pregnant woman but he does so with a meanness that makes it hard to forgive. Newcomer Jamal Woolard so scarily embodies Wallace both in looks, movements and voice that I literally forgot what the real man looked like. Eventually Wallace took his abilities to freestyle rap on the street level to the studio, where he signed with up-and-coming record producer turned mogul Sean "Puffy" Combs (Derek Luke, who has Combs' mannerisms and dance moves down pat) and his fledgling Bad Boy Records. Among many things, Notorious B.I.G. was credited with putting the funk back into hip-hop, and it's fascinating to watch how that happened in the studio, with Combs introducing his familiar sample-heavy beats to Wallace. Notorious also explores Wallace's reputation as a womanizer and unfaithful husband. Naturi Naughton plays Lil Kim, who Wallace plucked from a retail job to become first his freak of the week and eventually into one of the most sexually explicit female rappers ever. But it was the soulful R&B singer and Bad Boy label mate Faith Evans (dead ringer Antonique Smith) whom Wallace actually married after knowing her a short time. What NOTORIOUS does expose about Wallace is that he was extremely good at telling people (especially women) what they wanted to hear to keep them from getting mad at him. He may have even meant what he said at the time, but he was a man who had a tough time keeping his urges in check and had a slightly misguided definition of what being a man and father entailed. Perhaps the best thing NOTORIOUS does is explore the friendship-turned-rivalry between Wallace as L.A. rapper Tupac Shakur (Anthony Mackie). I'm guessed a lot of young hip-hop fans that have only heard about the ridiculous East Coast-West Coast battles thought these two men were always enemies, but the truth is they were friends. Tupac had been around a couple years before B.I.G. came up in the world, and Wallace looked to him for advice and direction. Sure, it was a show business friendship, but it clearly meant something to Wallace. Thankfully, the film doesn't get into the mystery of who shot and killed either Shakur or Wallace, but it does provide some much-needed context to those events, and gives some perspective as to the build-up leading to the insane behavior that led to their deaths. Director George Tillman Jr. (SOUL FOOD, MEN OF HONOR and the producer of the BARBERSHOP movies and NOTHING LIKE THE HOLIDAYS) isn't concerned with legacy building or protecting. He tells the best story possible about a gifted wordsmith who still had a great deal of growing up to do. Most importantly, the film gives the unindoctrinated a chance to really listen to Wallace's life story as told through his songs. It's for that opportunity alone that I'm grateful this movie was made.
GOOD DICK Moderately well received at last year's Sundance Film Festival, this slow-burn dark comedy kind of creeps up on you to the point where you find yourself deeply invested in the two leads almost without realizing it's happening. And whether you like the film or not basically hinges on whether you discover the appeal of Marianna Palka, who plays an unnamed abrasive woman who gets involved with unnamed video store clerk (Jason Ritter). It's clear to me why Ritter finds her attractive — she's a mystery. She rents '70s hardcore porn from his store, never talks, and looks kind of pretty under her fairly unkempt hairstyle. Palka (also the film's first-time writer-director) releases tiny bits of information about her character while she also opens up ever so slightly to Ritter's advances. Her nasty, acerbic rejections of him are very funny, but not as much as his ability to bounce back from any insult and appear even sweeter than he did before. He senses a damaged woman, and he wants to help put her pieces back together. Not always a safe place to go, but he makes it look possible, if not easy. While many films maintain a sub-basement of darkness to what might be an otherwise light story, GOOD DICK has an undercurrent of affection and romance to it that ultimately sold me on the movie. It pushes a few nasty and tasteless buttons along the way, but this most unconventional of romantic comedies worked for me as a study of being deeply alone and reaching out for the first time to someone who might be even more desolate than you are. Their relationship feels like it's created on a series of dares to each other, and that to me is the funniest thing about the movie. While I don't want to give away how the film ends, I did like knowing that both characters are better off by the conclusion than they were when we met them, which isn't saying much, but it is saying something. GOOD DICK is low key but still packs a punch every so often. I really did like this film. -- Capone

Readers Talkback
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  • Jan. 16, 2009, 12:41 p.m. CST


    by palpatinefuckedmydog

  • Jan. 16, 2009, 12:47 p.m. CST

    Glad to see you liked Notorious, Capone

    by terry1978

    I'm definitely checking it out this evening.

  • Jan. 16, 2009, 12:48 p.m. CST


    by Reckoner

    The good, old January dumping ground is here...

  • Jan. 16, 2009, 12:55 p.m. CST

    Just what was Steven Soderbergh "interested in"?

    by The Reluctant Austinite

    I could go on for hours (JUST like Steven Soderbergh) about this indulgent vanity project that leaves the audience "with just as many questions" about Che Guevara has they had going in. Who else could spend four and a half hours of film on any subject and not even scratch the surface on what makes the central charcter tick? Who is Che? I don't know. I watched four and a half hours of a film about him, but I have no idea who he is. This film instantly made my list of worst films of 2008 in spite of its artier-than-thou intentions.

  • Jan. 16, 2009, 1:05 p.m. CST

    Is Che portrayed as a torturer and killer of men

    by PTSDPete

    I know Jack Bauer is. And it's made to look like ' real world heroism ', too.

  • Jan. 16, 2009, 1:13 p.m. CST

    The MPAA allowed a movie to be called "Good Dick"?

    by 1922

    I wanna see it for the title alone. I'm seeing "Notorious" today.

  • Jan. 16, 2009, 1:13 p.m. CST

    Hitchcock made a movie about a rapper?

    by I Dunno

    And they remade it?

  • Jan. 16, 2009, 1:25 p.m. CST

    They made a movie based on a Duran Duran song?

    by tonagan

    As you can see from this and I Dunno's post, that title can lead to confusion.

  • Jan. 16, 2009, 1:32 p.m. CST


    by The Amazing G

    now I REALLY want to see MY BLOODY VALENTINE 3-D

  • Jan. 16, 2009, 1:35 p.m. CST

    FU PTSD Pete

    by JoseJones

    Che was an executioner of the innocent. Plain and simple. How do you justify the targeted killing of innocent people. These were not collateral damage in a broader war, but people with a different ideology who were arrested, tried and executed because of religion, sexual preference, or artistic leanings. He was a mass murderer and a ruthless tyrant. Not morally better than Stalin and Hitler, just not as successful in achieving his goals.

  • Jan. 16, 2009, 1:49 p.m. CST

    I want to see Notorious and Good Dick

    by SpawnofAchilles

    Love Biggie and it looks like the actor nailed his mannerisms. Good Dick looked very interesting in the trailer I saw a while ago, glad to hear they both were good in your eyes Capone.

  • Jan. 16, 2009, 1:58 p.m. CST


    by Harry Weinstein the first Bollywood film given a US release by a major studio, what does that make Sony's late-2007 release of SAAWARIYA through Columbia or Sony Classics' 2002 release of LAGAAN?

  • Jan. 16, 2009, 2:17 p.m. CST

    He liked DICk

    by JeffManSixtyFo

    Glad to see you liked NOTORIOUS.I'm going tonite.

  • Jan. 16, 2009, 2:22 p.m. CST

    I want to see Valentine and Notorious....

    by Barrock

    But I'm afraid of the opening weekend crowds. They really know how to ruin a movie by texting through out the movie and talking the entire way through. Notorious will be plain interesting, me living in Louisiana and all.

  • Jan. 16, 2009, 2:26 p.m. CST

    Good call, Austinite

    by Admiral Nelson

    If Soderbergh doesn't really educate anyone, in 4.5 hours, as to who the "real" Che Guevara was, then why the fuck did he waste his time and ours making these films? (And funny that Soderbergh seems to have omitted the nagging little detail that Che personally ordered the executions of over 1,000 people; otherwise, that just might bum out all the dumbshit kids who don't know squat about this guy, other than his ugly bearded mug seems to connote "anti-authority," therefore he's 'kewl.' Um, nope, he wasn't -- he was a thug, and it's irrelevant what his political intentions were.) So, tell me again: who, exactly, is this movie for? Hell, even some far-left European critics have dismissed these films as being head-scratchingly pointless.

  • Jan. 16, 2009, 2:40 p.m. CST

    Want to see Notorious, but won't go near the theater

    by exie

    I really want to check out Notorious this weekend, but I'm passing. I live in NYC. There is no way there will be a screening this weekend that won't be a nightmare to deal with. Here are the givens. There will without a doubt be annoying loud talking and screaming during the movie and people with concealed weapons looking to throw down. You can tell yourself it won't be that way, but it will. I'll check it out on video or I'll catch a mid-week matinee although with all the folks out of jobs right now even those can be dicey. It's a shame people can't go to the movies and behave, but the type of crowd that will show up for Notorious in NYC is the type of crowd that think they are the entertainment, not the movie.

  • Jan. 16, 2009, 2:41 p.m. CST

    I don't know...

    by wampa 1

    ...but it sure smells good!

  • Jan. 16, 2009, 2:42 p.m. CST

    Seeing Notorious, Valentine, and Harvey tomorrow

    by Cruel_Kingdom

    Should be a great day at the old cineplex.

  • Jan. 16, 2009, 2:42 p.m. CST

    wrong about the amount of Biggie fans

    by mrgreentheplant

    i'm going tonight and it sounds like a lot of others here are too. and if you don't know, now ya know.

  • Jan. 16, 2009, 2:44 p.m. CST

    exie, by "the type of crowd" you mean...blacks

    by Cruel_Kingdom

    Don't hold back on us, Clint Eastwood, say what you really mean to say there.

  • Jan. 16, 2009, 3:09 p.m. CST


    by exie

    I fully expect there will be equally stupid Latino's, Whites and Blacks at the Notorious screening. Dominicans & Puerto Ricans in NYC love to start shit at movies. So do the White kids who think they're tough. This movie will be a hall pass for all the idiots in the world to come into a theater looking to start shit. You don't think so? By tomorrow Drudge will have at least 1 story about violence at a Notorious screening.

  • Jan. 16, 2009, 3:11 p.m. CST

    "Anti-Authority" Che..Hilarious and spot on!

    by conspiracy

    It is easy to make yourself an anti-authority "Hero", when you murder enough people to BECOME the authority. I love that "Che was a man of the people" line. Huh? If forcing defenceless, impoverished, villagers at gunpoint to fight for your cause , then I guess he was. Che was a rich, spoiled, narcissist with a homicidal murderous and twisted even Fidel Castro could not trust nor stomach him further..and made sure he was sent away as soon as his usefulness had ended...while keeping the "Che" myth alive to indocrinate the young. For Soderbergh to make a film about this man and leave all of that out, is like making a film about Hitler that leaves out that little problem he had with the Jews.

  • Jan. 16, 2009, 3:12 p.m. CST


    by JoseJones

    Of course he means blacks... and if you had to go to the movies in NYC you would know exactly what he is talking about. Not racist, just a fact of life going to certain films in NYC. and it is ALWAYS blacks who are the offenders... at least in my experience. I refuse to go to late night films anymore. Waste of time and if you try to say anything, your life gets threatened. Has happened to me several times.

  • Jan. 16, 2009, 3:29 p.m. CST

    No one had to be forced and Cuba

    by jmyoung666

    You forget that the majority of impovershed Cubans welcomed the Castro regime. Nor forcing was required. Castro very quickly turned out to be just another despot, but the regime he replaced was just as despotic.

  • Jan. 16, 2009, 3:35 p.m. CST


    by exie

    I went to go see Step Brothers at the Sony Lincoln Square this summer on a Saturday night and a guy two rows in front of us decided he was going to play music on his cell phone out loud for everyone to hear because in his words, "this shit is boring". When someone told him to shut the phone off he jumped out of his seat and responded, "I'll fucking shoot you". When no one said anything to him in response to that he said, "yeah, that's what I thought" and sat back down and started to laugh with his friends and continued to play music out loud until a woman got up and went to get security who kicked him and his boys out of the theater. I fully expect that he will be at Notorious tonight times 1000. This was the Sony Lincoln Square on the Upper West Side. That's going to the movies in NYC these days if you go to a popular-ish movie on an opening weekend.

  • Jan. 16, 2009, 3:58 p.m. CST

    I actually wanted to learn about Che Guevara,

    by The Reluctant Austinite

    but in 4 and 1/2 hours I learned nothing about Che Guevara. Like many, to me he was just a face on a t-shirt, and I hoped I would learn a little history in the process. I didn't. And there's a saying that goes "Kill a couple of people and they call you a psychopath; kill a few thousand and they call you a conqueror."

  • Jan. 16, 2009, 4:06 p.m. CST

    jmyyoung666...Perhaps you should ask...

    by conspiracy

    some old Congolese, or Bolivians what THEY though of comrade Che if you think no "forcing" was needed. Or maybe you should ask the hundreds of thousands of exiled Cubans living around the world, or those few political prisoners who by luck escaped Che's daily execution squads. Any Movie that leaves these facts out is nothing but Springtime for Hitler with a Spanish accent.

  • Jan. 16, 2009, 4:12 p.m. CST


    by JoseJones

    Lincoln Center is where I see most films. I would say that it doesn't even matter what kind of movie it is, as long as its after 9pm. I've had black people try to start shit with me during everything from superhero films to oscar dramas. yes some latinos also pull this shit, but never in 17 years of film going has it been a white guy trying to act tough. there are certainly white's that make too much noise, but they shut up if you ask. they don't get up out of there seat and stand beside you or threaten to shoot you. Magic Johnson even said that when he started his chain of theaters that blacks watch movies in a different way than whites. they like it to be an interactive experience. thats fine with me as long as its kept up at 125th st. people can say whatever they want, but it is a fact of going to films in nyc and its mostly blacks who are the ones who are threatening and monumentally disrespectful of others and the surroundings.

  • Jan. 16, 2009, 4:17 p.m. CST


    by JoseJones

    Mao is starting to get some of the same hipster lefty love these days that Che has enjoyed for so many years. He only killed at least 10 million of his own people. there is no way any respect can be given to someone stupid enough to support Che by wearing a T-shirt. the irony involved in Che being celebrated in merchandising is too much. sad, sorry, stupid, misguided people. "i bought this shirt to show how much i hate capitalism!" silly.

  • Jan. 16, 2009, 6:42 p.m. CST

    screw Betsy Rue I want to see SARA RUE nude!!

    by BadMrWonka

    yah gwon witcha baad silf mama!

  • Jan. 16, 2009, 9:32 p.m. CST

    girlie pistol is my new favorite term for a vagina

    by The Amazing G

    can't say I've heard that term before!

  • Jan. 16, 2009, 10:51 p.m. CST


    by Sgt.Steiner

    I take it you're not seeing "Che"?

  • Jan. 17, 2009, 12:13 a.m. CST

    Why when we first started

    by Series7

    Hearing about Notorious it was said that Sylvester Stallone was directing it. What was that all about?

  • Jan. 17, 2009, 8:13 a.m. CST

    Jose Jones

    by Dreadlock Holmes

    The real word your looking for is "Niggers" isn't it? Go ahead. You can say it!

  • Jan. 17, 2009, 11:09 a.m. CST

    In defense of Jose Jones. . .HE'S RIGHT! KIND OF. .

    by Darth_Kaos

    Look what he's written about BLACKS IN NYC. As a Black person (I live outside NYC, but in NY) He's right, he's 10000% RIGHT! You can't watch any movie in NYC if it has 25% or more of blacks. It's the truth.<br><br> And as a side note; the story 'exie' said, believe me that 'person' didn't have a gun. All he had was a big mouth(like 99.9 of them). I won't go long into my story, but I had an incident years ago like that, and I called his bluff. He did nothing, and his 'pals' didn't even back him up. He just sat down and was quiet for the rest of the movie. I even waited for him after the movie in the lobby, and nothing. So most are just talk(I say most, cause some do carry guns. and those who don't, can't on that fear).<br><br> Sorry to say, but this is not a stereotype, but a fact that you can't watch a movie in any inner city( or any major city in fact) with some black people.<br><br> I promise you that there will be a shooting, a massive fight or something at a screening of Notorious. Mark my words!<br><br> I know not many black people visit this site, but at least I can back up what is the truth.

  • Jan. 17, 2009, 12:37 p.m. CST

    You movie lovers in NYC...

    by Quake II

    I feel bad for you. That shit sounds crazy. Out here in Arizona, I get pissed if I see the light from a teenager texting, but someone threatening to shoot me? Funny thing is, with our lax gun laws and concealed weapons carry permits, No minority would try that threat shit in an Az theater. It's MOSTLY the white males packing legally concealed weapons out here. Maybe New York needs to drop the anti-gun stance and let people carry. You'll see a lot less bullying and thuggish bullshit, for sure!

  • Jan. 17, 2009, 12:48 p.m. CST

    Sgt. steiner

    by JoseJones

    I might actually see part 1 of Che. Del Torro is a hell of an actor and I don't like to miss his finer performances. though I normally don't agree with EW they are probably right when they say that Che is twice as long as it should be but not half the film it could be. I've read the first part is fairly accurate, but the second is when they leave out his executioner sensibilities. When far left film critics (91% call themselves liberal to very liberal) have a problem with this as do much of the foreign critics who are very liberal (though not typically sympathetic to communist despots) then you know way too much of the truth has been left out. it is unfortunate. could have been a great and honest account of a complicated mass murderer.

  • Jan. 17, 2009, 5:19 p.m. CST

    Heh, it happened.

    by Barrock

    In North Carolina. Police evacuated The Grand 18 Four Seasons Station cinemas Friday just after 9 p.m. after a shooting. According to police, a gun went off in a theater hallway. The person shot has been taken to a nearby hospital, but no information on the victim's condition is available. About 700 people were in the cinema complex at the time of the shooting. A Greensboro police officer told FOX8 News that actor Jamal Woolard, the star of "Notorious" a film about the life and death of rapper Christopher 'Biggie' Wallace, was at the theatre. According to the officer, Woolard left shortly after the shooting. The movie premiered Friday nationwide and is being shown on multiple screens at The Grand 18 Four Seasons Station, as well as other theaters across the Piedmont. Police said they do not know if there is a connection between the film and shooting.

  • Jan. 17, 2009, 5:25 p.m. CST


    by evolution1085

    I'm curious to see it too, but from what I'm hearing its not exactly the purest portayal of who Chris Wallace was, which isnt that hard to believe considering his mother and Diddy were the producers, for entertainment probably worth it, for facts, you should probably stick to Behind the Music

  • Jan. 17, 2009, 5:58 p.m. CST

    sara rue has done a nude scene

    by ironic_name

  • Jan. 17, 2009, 8:22 p.m. CST

    Is Che portrayed as a torturer and killer of men

    by Toonol

    I.E., accurately?

  • Jan. 17, 2009, 9:52 p.m. CST

    Biggie And Bloody

    by Broseph

    Are what I'm Going To See Monday.It Sucks That people can be more respectful of others who spend there hard earned money on a few hours of escapism and entertainment.Luckily i've never had to bad of an incident in a theater.I live in arizona and the theater i go to seems to be cool.but i choose matinees on weekdays due to the dumbfucks opening night attracts.And QuakeII is right you see some old dudes packing heat on there hip here so you'd have to think twice about making that threat

  • Jan. 17, 2009, 9:55 p.m. CST

    Saw Notorious...In Harlem...At 8 PM

    by auddym

    No one got shot. Good movie though.

  • Jan. 18, 2009, 12:39 a.m. CST

    Attempted to go tonight...

    by Barrock

    Wanted to go to a late night showing of Valentine tonight. We got there and it was INSANE. The opening of 300 wasn't half as bad. Sooooo bad. Paul Blart, Valentine and Notorious were all sold out. Maybe we'll try Monday...

  • Jan. 19, 2009, 10:45 a.m. CST

    Bloody Valentine

    by skimn

    Has got to be the best 3D remake of a little known mid '80s horror movie made in the midst of the glut of holiday themed/titled horror movies made popular by Halloween and Friday The 13th. I never understood the connection between Valentines Day and a mad killer in a mining town, but logic was never these movies strong point. It would be nice if the casting director would look a little harder than the CW/WB cast directory (the 2 male leads). Jamie King does a nice job of screaming and looking scared. Betsy Rue gets extra stars for a totally non self conscious nude scene that goes on for minutes. She doesn't stop to put on a shirt or robe when storming out of the motel room. Nope, naked as the day she was born she storms out. Kudos.<p>Lussier did learn from editing the Scream franchise, how to stage stalking and attack scenes effectively, and there is seldom a lull in the story or action. My only complaint is the lack of suspense. The killer tends to pop up like jack in the box ready to attack with little build up. The supermarket scene does achieve some suspense, the tried and true barricade the door, but otherwise its pop-up-and-kill, pop-up-and-kill. The 3D though is the best I've ever seen in a live action film. Center Of Earth was uneven and distracting. Valentine has very natural lighting, nice depth of field scenes, and plenty, I mean PLENTY of Comin AtCha shots, usually of pickaxes pokin through the "screen". The 3D highlights for me were: a) The eyeball (from Friday The 23th onward, always a goodie) b) Tom Atkins POV shot c) and for atmosphere the scene toward the end, when the killer is knocking out lights and the miner uniform is seen for a flash each time.<p>For all the crappy horror remakes's ironic that a trailer for Friday The 13th preceded this, from producer Michael Bay and the director of The Texas Chainsaw Massacre..excuse me gents, TOBE HOOPER is the director of that film; it should read Texas Chainsaw Massacre the remake...this takes a passable slasher film from the eighties and turns it into a pretty good slasher film for the aughts. 7 out of 10.