by Takis Garis (@takisgaris)
Episode 9 - Much Ado About The Paperboy
> MUCH ADO ABOUT NOTHING (5/10)
If I was a big studio exec I might have very much called 2012 Josh Whedon’s year. The formerly known as the Buffy, the Vampire Slayer helmer, gave multiple nerdgasms this year with both hugely successful The Avengers and (as a writer of) The Cabin in the Woods. When you cross the $600M mark at the box office, what’s more natural than having Hollywood producers at your feet? Hence, while preparations for The Avengers 2 are underway, Whedon gathered his big companion from his aforementioned tv & film achievements (meaning the lesser known extras) in his LA mansion and shot his synecdoche of Bard’s of Avon Much Ado about Nothing in just 12 days. A slave to the vastly superior Kenneth Branagh’s version in 1993, this one is flirting with the 1960s mods style, swirling swings and bossa novas in black and white cinematography, you know, because it’s so cool and dandy. Suit & tie wooers, prudent maidens plus steamy sexual foreplay and the prose go on and on, rapidly vanishing behind the art deco mansion interiors. The pair Amy Acker – Alexis Denisov excels, while Nathan Fillion’s comedic turn as police officer Dogberry steals a couple scenes, yet, there is a numbing sense of Shakespearean maltreatment everywhere, because for Whedon the hipster generation should “read” the greater poet in modern context, like a tv episode of Beverly Hills 90210. Not exactly a first choice watch, just a ballsy and fear- defiant move on the part of Whedon, who certainly feels like having the Midas touch lately.
If I was a big studio exec I might have very much called 2012 Josh Whedon’s year. The formerly known as the Buffy, the Vampire Slayer helmer, gave multiple nerdgasms this year with both hugely successful The Avengers and (as a writer of) The Cabin in the Woods. When you cross the $600M mark at the box office, what’s more natural than having Hollywood producers at your feet? Hence, while preparations for The Avengers 2 are underway, Whedon gathered his big companion from his aforementioned tv & film achievements (meaning the lesser known extras) in his LA mansion and shot his synecdoche of Bard’s of Avon Much Ado about Nothing in just 12 days. A slave to the vastly superior Kenneth Branagh’s version in 1993, this one is flirting with the 1960s mods style, swirling swings and bossa novas in black and white cinematography, you know, because it’s so cool and dandy. Suit & tie wooers, prudent maidens plus steamy sexual foreplay and the prose go on and on, rapidly vanishing behind the art deco mansion interiors. The pair Amy Acker – Alexis Denisov excels, while Nathan Fillion’s comedic turn as police officer Dogberry steals a couple scenes, yet, there is a numbing sense of Shakespearean maltreatment everywhere, because for Whedon the hipster generation should “read” the greater poet in modern context, like a tv episode of Beverly Hills 90210. Not exactly a first choice watch, just a ballsy and fear- defiant move on the part of Whedon, who certainly feels like having the Midas touch lately.
> THE PAPERBOY (6/10)
Here’s comes the Cannes kinky shocker of a hot ‘n’ swampy Louisiana movie, by Precious director Lee Daniels. This sophomore effort is a spiced up adaptation of Peter Dexter’s (Deadwood) homonym 1995 novel, for Daniels, an openly gay black director, has put forth both plot points, offering a different angle of the book, toning up the vibrations of an already thickened script as it pertains to protagonists’ hardships. Casting this sexually charged film, fuelled by arresting (homo)erotic innuendo, Oedipus complex and imploding criminality is a mission aptly executed, with Nicole Kidman as palpably erogenous blond slut with a thing for death row murderers of the like of John Cusack who is believably creepy as much as reliable Matt McConaughey proves to be, in the role of the closeted crime investigating reporter whose brother, the paperboy (Zac Efron), has the hots for our milf Nicole. And yes, she’s sizzling and strikingly provocative; an old school femme fatale without the class or the education, but the street smarts, so to speak, you dig? The camp levels are high around these parts; Daniels is totally absorbed by his down and dirty mannerism, to borderline exhibitionist effect. Where a Steve McQueen for instance would demonstrate cold, neutral naturalism as his emblematic sexual statement (see Shame), Lee Daniels, throws upon it anything he can get a handle on, gritty, blurry, nauseating cinematography, split screen and jump cuts, to create an overdose of emotional distress with mixed results. The Paperboy is a terribly uneven film, wildly provocative and in love with its characterisation. It’s the guilty-as-charged pleasure of this year’s TIFF, though not recommended for the easily grossed-out.
Here’s comes the Cannes kinky shocker of a hot ‘n’ swampy Louisiana movie, by Precious director Lee Daniels. This sophomore effort is a spiced up adaptation of Peter Dexter’s (Deadwood) homonym 1995 novel, for Daniels, an openly gay black director, has put forth both plot points, offering a different angle of the book, toning up the vibrations of an already thickened script as it pertains to protagonists’ hardships. Casting this sexually charged film, fuelled by arresting (homo)erotic innuendo, Oedipus complex and imploding criminality is a mission aptly executed, with Nicole Kidman as palpably erogenous blond slut with a thing for death row murderers of the like of John Cusack who is believably creepy as much as reliable Matt McConaughey proves to be, in the role of the closeted crime investigating reporter whose brother, the paperboy (Zac Efron), has the hots for our milf Nicole. And yes, she’s sizzling and strikingly provocative; an old school femme fatale without the class or the education, but the street smarts, so to speak, you dig? The camp levels are high around these parts; Daniels is totally absorbed by his down and dirty mannerism, to borderline exhibitionist effect. Where a Steve McQueen for instance would demonstrate cold, neutral naturalism as his emblematic sexual statement (see Shame), Lee Daniels, throws upon it anything he can get a handle on, gritty, blurry, nauseating cinematography, split screen and jump cuts, to create an overdose of emotional distress with mixed results. The Paperboy is a terribly uneven film, wildly provocative and in love with its characterisation. It’s the guilty-as-charged pleasure of this year’s TIFF, though not recommended for the easily grossed-out.
gaRis
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Hi All
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Watch The Paperboy Online Movie released worldwide on October, 2012 related to Thriller genre.This Movie is written by Lee Daniels amazing thriller story script.
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