SCHWARZENEGGER AND WILLIS TO HAVE “SUBSTANTIAL” ROLES IN E”XPENDABLES 2?“
Fine. Great. Cool. The most important addition to the next “Expendables” flick must be a tripod. Loved the first, but the shaky-cam got real old real quick, especially during the confusing climax. Stallone obviously knows how to shoot action scenes and I get that as a man in his sixties he wants to be seen as a cutting edge director, but the shaky-cam is a product of the Devil and unless Stallone repents and demands the sequel’s director use a tripod, I fear he might burn in Hell for all eternity, and that would make me sad.
BIG HOLLYWOOD’S OWN ENDRE BALOGH
Last year the wife and I went out to see this and missed out because we had no idea it would sell out. Yes, it’s that popular. If we were still living in Los Angeles, we would definitely do it right this time, so please show up and get in line early. We sat in the lobby for a few minutes to get a taste of what we missed and still regret it.
On Sunday, September 11, Endre Balogh will be performing a chamber music concert at the Los Angeles County Museum of Art – 5905 Wilshire Boulevard – at 6 PM (Pacific Time) in the Bing Theater. Admission is free. Part of the ongoing “Sundays Live” series of live broadcast concerts, you can also listen to it on the internet by going to http://www.sundayslive.org and clicking on the “Listen Live” button on the left at concert time. (Please make allowance for your various time zones.) KUSC makes performance available as a podcast for a week following, and that can also be accessed from the same website. Joined by two excellent colleagues – violist Steven Gordon, and cellist Dennis Karmazyn – the program consists of the Violin/Viola Duo in G Major by Mozart, the String Trio in G Major by Beethoven, and the Serenade for String Trio by Dohnányi. If you plan to be at the concert, it is best to arrive a little early for seating, since the doors are closed once the performance starts.
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LAST NIGHT’S SCREENING
You can read my review/thoughts on last night’s GOP debate here. Afterwards, for whatever reason, I had a hankering for a screening of “Angel Heart,” Alan Parker’s 1987 under-appreciated horror/mystery/thriller that offers up Mickey Rourke’s finest performance (he deserved an Oscar nom) and some truly first-rate production design.
Even though you know the twist-ending, unlike M. Night Shyamalan’s latest work, going back and picking up “Angel Heart’s” rich tapestry of clues makes subsequent viewings just as satisfying.
Though based on a novel, you have to wonder if today’s Hollywood would dare connect satanic evil to a Harlem church and a Black subculture set in 1955 New Orleans. Yes, the arch-villains are all Caucasian, but suspending disbelief isn’t necessary while imagining Hollywood’s present-day PC fascists shifting locations to some pasty white evangelical community.
After nearly a quarter century and a few dozen screenings, I think I finally figured out what the symbolism of the slow-turning fan means. But before I make a fool of myself with a guess, I’d love for you to use the comment section to go first.
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QUICK HITS
FOX ABOARD SPIELBERG’S ‘ROBOPOCALYPSE’, GET READY FOR A ‘TERMINATOR’ WITH FOUR ACTS!
WHATEVER. WHERE ARE THOSE FLYING CARS WE WERE PROMISED?: ‘BACK TO THE FUTURE PART II’ SHOES TO BECOME A REALITY?
FOUR 9/11 FILMS NO ONE RECOGNIZES AS 9/11 FILMS
CLOONEY’S ‘BATMAN AND ROBIN’ IS THE GREATEST SUPERHERO MOVIE EVER
MICHAEL SHANNON IS GENERAL ZOD AND HE’S WEARING CGI.
STANLEY KUBRICK INVENTED THE IPAD
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CLASSIC PICK FOR FRIDAY, SEPT 9
FMC:
3:30pm EST: THE BOSTON STRANGLER (1968) — A gripping account of Albert De Salvo (Tony Curtis) the real-life serial killer who stalked the Boston Common while leaving behind a trail of dead young women, and the detective (George Kennedy) who helped crack the case. Cast: Tony Curtis, Henry Fonda, George Kennedy, Mike Kellin, Hurd Hatfield, Murray Hamilton, Sally Kellerman, James Brolin, Dana Elcar. Director: Richard Fleischer
A brilliant, superbly directed docu-drama that should be used as a club to beat anyone who tries to write Tony Curtis off as a Hollywood pretty boy. Curtis completely loses himself into the role of a working-class serial killer who terrorizes an entire city before finally being apprehended by a police department who had never seen anything like him before.
Part procedural, part psychological drama, and an all-around terrific film to get completely lost in.
–Please send tips/suggestions/requests to jnolte@breitbart.com