I dunno if I'm more impressed or terrified by the spambot's relevance to the review.
The Narrator Returns
avclub-f8f8c273f326be25421cc62737d24a9e--disqus
Steven Soderbergh: Bringing more life into this world with his sexy magic.
How about Cassel's smooth moves and the impeccable soundtrack (which is seriously one of my favorite scores/soundtracks of all time)?
I really liked the first one as a low-key little character study/examination of The Selling of Sex in a Down Economy (it makes a good double-feature with The Girlfriend Experience in that regard), and I am also way outside of the target audience.
This seems to have mileage as a metaphor for Soderbergh's curiously selective "retirement" (just when Mike thought he was out, he decided to not really be out anymore). Who says the Author is dead in Hollywood?
The "Julia Roberts is Julia Roberts" subplot led to the great little bit where Bruce Willis keeps getting hounded by people who saw the twist of The Sixth Sense coming ("If everybody's so goddamn smart, how come that movie made $300 million… theatrical?"), though.
On that note, if this movie doesn't prominently feature a dance sequence set to a remix of "I Want Candy", I'm going to ask for my money back and use it to buy tickets to another screening of Magic Mike XXL.
Most people's problem with Ocean's Twelve was that it seemed to only reluctantly give them what they wanted (that being Vincent Cassel's capoeira moves, of course). This sounds different in that it gives the audience who saw the first one and were dissatisfied exactly what they wanted in the first place, like gorging…
Okay, don't spoil any details, but can you at least tell me what Soderbergh was like on set?
I actually really liked Cody Horn in Magic Mike, and I thought she really fit into Soderbergh's ongoing love of getting completely naturalistic performances from his actors.
the Instagram-filter look from the first Magic Mike
Perhaps the debut of this movie's director, Rare Exports: A Christmas Tale, which is about elves collecting naughty children to be fed to Santa Claus, might be more up your alley.
Full Frontal (rewatch): I have a feeling that, if much of the film wasn't shot on DV, this would have been much better-received, because I don't think the material is particularly challenging on its own. On the contrary, it's frequently hilarious, and not in a dry, obscure way, but in the "the camera pans over and…
I can dig it.
The wrong timezone, that's what timezone.
Pan's bigness extends to its cinematography, as it's shot by not one, but two great cinematographers, Seamus McGarvey (most of Joe Wright's previous films, The Avengers, Godzilla) and John Mathieson (Gladiator, Kingdom of Heaven, the "Rabbit in Your Headlights" video).
Yeah, filler is filler, but I'd be hard-pressed to find filler in any of Wright's movies thus far. Those things are tightly-constructed as all fuck.