Kyrle Lendhoffer – Page 7 – Behind the Proscenium

July 8, 2011July 8, 2011

Horrible Bosses [REVIEW]

Horrible Bosses

With Wit, Reviewed By Kimmo Mustonenen

In Finnish language, “Horrible Bosses” translates to “Hirmuinen Pomoja”.

In Finnish, “Horrible Movie” translates to “Kamala Elokuva”.

Fortunately “Hirmuinen Pomoja”, it is not “Kamala Elokuva” but in fact “Loistava Elokuva”! Which means “Really Good Movie”!

So… great the summer (!) movie season has finally started!

“Horrible Bosses” accepts the challenge put against it “The Hangover 2” and of raises it tons of new heights.

The dudes (and jack-off monkey!) “The Hangover“.

The chicks owned “The Bridesmaids”.

Both of sexes are equally unspeakable in this hilarious new treat “Horrible Bosses”.

John Francis Daley, Michael Markowitz and Jonathan Goldstein all have experience writing or acting and situation of comedies in TV sketch comedies. Yet this smash-up feature script by all of them doesn’t seem choppy or overextended, and director Seth Gordon (“Four Christmases” – yuck, gross) drives it forward like a bullet train – like the new one in China!

Three reserved idiots – Jason Bateman, who is in the enterprise equivalent indentured of the enslavement; Jason Sudeikis, which tries to hold his boss of the credit of the sex with hookers in his office and of firing the people because they are fat (haven’t he seen show where fat women become skinny and hot women in two weeks?) and Charlie Day, which the dentist extorts into an affair before his wedding (yowza!).

They are driven, around homicide to consider of their sadistic supervision forces (Kevin Spacey, Colin Farrell, Jennifer Aniston). Their dorkus “murder consultant” (Jamie Foxx) advises them, around to kill their employers (I wish – just kidding Kyrle!), with which production of the deaths look like accidents.

Smart.

The film is strongest, if it remains with Bateman and again mixes with Spacey, Bateman has that on the easy expressionless “everyman” – perfected in “Arrested Development” and everything since. Spacey, on the dead-panned sarcastic scumbag we have admired since his calmer moments in other stuff.

This brings the one half serious point forward here.

We do not wish the dentist, who is killed – though not (she should not be killed).

Dale’s horny friends can’t understand why he’s miserable – isn’t a hot woman begging tons sleep with him?

And her behavior has accelerate a lot of sexual terrorism before they think it’s wrong. That is not right. Women can be also be pigs (see “Bridesmaids”). And pig women can be hot.

We have learned to regret men sexually harass the female employees, but how seriously we should take a complaint, if the culprit looked like Jennifer Aniston?

This film suggests that we should laugh it off, but the intimidation is intimidation, a foxy chick nonetheless could be the boss (not in my world – sad face!).

The casting agent for this movie should win an award.

Bateman, Sudeikis and Day to beat all the big notes, but even better, they find laughter between the lines.

Day is more stupid than the other two (the scene of him, because the view is priceless), but it works well in conjunction with Bateman, Sudeikis and bone-dry approach, and all three take care that the crazy antics keep to a minimum.

Spacey does not break new ground, but he has a lot of fun, and is a welcome sight.

Aniston takes things down a notch from her new role-playing the main thing and consequently turns into a better performer.

All that is said – now the verdict: So funny, that if I must pee, that would happen right now (or when I saw the movie – I don’t have to go now).

So, two thumbs enthusiastically thrusting skyward (thanks thesaurus!). My face is hurting for the smile. And that is good.

See “Horrible Bosses” at least twice. Regrets? You won’t have them!

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

P.S. America’s Got Talent! Really? I mean… really?

June 28, 2011

Larry Crowne [REVIEW]

Larry Crowne

With Wit, Reviewed By Kimmo Mustonenen

Larry Crowne (everyman’s everyman Tom Hanks) is an extremely diligent and good employee in a supermarket. He also completes the unpleasant tasks with full dedication and spread good mood around.

When he is ordered by his superiors in the break room, he thinks, therefore, that he’s already determined ninth award as “Employee of the Month” (not like the one that had Dane Cook or Jessica Simpson thank God) will receive.

Instead, he gets the notice. THAT notice.

The absurd reason: Larry has no college education and can not therefore be promoted.

Only in America, what?

The search for a new job quickly proves to be hopeless. It also looks at certain areas that show extremely naive Larry can be.

So he follows the advice of his neighbor Lamar (Cedric the Entertainer) and enrolled at East Valley Community College to a class in rhetoric and to demonstrate in economic science (sweet!).

The first lesson in financial matters Larry receives before the first day of school at a gas station: while his huge vehicle thirsty swallows the expensive gasoline, next door is a gaggle of scooters with a few gallons only to drink. So now goes Larry around on a two-wheeled vehicle.

Instruction, concerning his manner of speaking, he then receives from professor teacher Mercedes Tainot (Julia Roberts). The lecturer is not particularly motivated, because their students give her as little attention as her husband Dean (Bryan Cranston), who proves to be lazy lecher – and a lazy lecher is no lecher at all.

Right?

The issue of unemployment? “Larry Crowne”, after a while, only mentioned in passing. Such as when Larry (played as Hank’s wife at the bank employee Rita Wilson) deposited the termination of his mortgage, which will lead to eviction.

Otherwise, the story focuses mainly on the transformation of the main character of a staid boring schmuck into an attractive educated manly one.

It is pretty much the complete opposite of the exciting lecturers from “Dead Poets Society”. Instead, we recognize a lively classmate (Gugu Mbatha-Raw) who finds in Larry the dormant potential and asks him to put his polo shirt into his pants no longer.

The formation of Larry Crowne is also apparently quite superficial.

While Larry discovers a new life, of course, the professor reawakens gradually on her strengths. Predictable ripples so the action from one scene to the next and most amazed by the innocence of the story (I really was).

But this weakness is somehow also a strength of the film.

It’s almost refreshing, as Hanks and co-writer Nia Vardalos almost completely abandon innuendo and profanity.

As a result, the humor is moving at a level worthy of a sitcom, but carefree conversation ranges from them, too, even if the message of the film ultimately turns out to be as honest as the main character.

Larry is at the end that is visible in a lecture – that life is the best school. But not high school. That sucked.

One and a half thumbs wagging in the air. See it, but not twice.

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

P.S. Have you watched The Voice? Christina Aguilera has giant boobs! With this information before – I would have sooner than later watched. Tune in!

June 23, 2011

Bad Teacher [REVIEW]

Bad Teacher

With Wit, Reviewed By Kimmo Mustonenen

Elizabeth Halsey (Cameron Diaz) is one of those teachers who, as a teacher, hates to be so (me too!).

She dreams of a life with a lot of money, luxury and fame, of course, maybe not in that order.

More precisely: she dreams of a man who has much money and can offer you luxury and (at the same time, not later) fame.

Soon it is clear the victim, no, the Appointed One: Scott Delacorte (Justin Timberlake), the same math teacher and his own worth millions thanks to the family dynasty.

Elizabeth hesitates not usually long, but this time it is equally faced with several problems. Scott is clearly on large breasts (who isn’t?) – they must be so bloated from money for cosmetic surgery, naturally (unnaturally?).

Her colleague Amy Squirrell (Lucy Punch) is fast becoming the toughest competitor – it must be so, because hard stops are pulled out to get her out of the way. And since then its still annoying students and also the annoying gym teacher (Jason Segel) are around, too – so there will be an exhausting school semester!

Bad Teacher is much more: witty, entertaining, amusing and clever in his dialogues, but also everything else just as valuable and profound in its content.

What?

In this film you go, but the only reason to laugh and not because you want to see a critical contribution to climate changing or world hunger end (admirable, but bad cinema!)

Cameron Diaz plays exactly the boobed bimbo, which she probably is in real life also worth seeing (shwing!).

Justin Timberlake proves once again that he does not can only sing, (in this film, he may even not sing – and what is in the box? Get it?) but act all like The Social Network.

Jason Segel is perfect in the role of the scruffy, pudgy gym teacher and each other no matter how small supporting role was really busy voices. Especially the interplay of individual personalities rather disturbed at this school is a really surprisingly entertaining cinematic experience that lives primarily by his puns.

So, one and one half high flying thumbs! Good, not great.

With a popcorn and drink, maybe air conditioning, and this is a summer afternoon. Of laughs!

Kimmo Mustonenen for Kimmo On Kino – Behind The Proscenium

P.S. Game of Thrones season finale? I crapped! No spoilers…

June 23, 2011June 23, 2011

Cars 2 [REVIEW]

Cars 2

With Wit, Reviewed By Kimmo Mustonenen

Wow! Maybe over thinking was the downfall. Or over loving of money by Pixar.

Whatever.

No longer “wonder kid” crazy movie makers supreme. Now, just another assaulting to my eyeballs.

All for my dollars. Bastards! In sucky 3-D.

Written by Ben Queen from a previously devised by John Lasseter, Brad Lewis and Dan Fogelman, the script for Cars 2 hit by investing in a different story from that seen in the original instead of making the same mistake most of the proceedings and try to repeat the previous formula – and it is a pity, then, that the plot is chosen by the team as bad and equally formulaic.

What?

Adopting the genre “espionage” as the basis of the narrative, the film features Lightning McQueen (Owen Wilson) and his best friend Mate (Larry the Cable Guy) on a trip around the world while the race car part in a series of disputes promoted to prove efficiency of an alternative fuel, clean and renewable – or “green” to you and me.

However, Mate turns out to be mistaken for an American spy and goes on to spearhead several adventures along the agent McMíssel Finn (Michael Caine – not acting, but Reacting!) and his assistant Holley Box (yowza!) Brita (Emily Mortimer) as they try to discover the identity of the villain who seeks to sabotage the race discredit the new fuel.

The desperation of Cars 2 to establish some kind of solidity in its plot, in fact, reaches its peak at the instant kill, for no apparent reason, a loose unbelievable device, only to conclude that there can “do it” by not feel secure in himself, forcing his old friend to encourage him (I don’t even know what I wrote right now, but you will) – and this kind of unfortunate crud is spread throughout the work, starting on the scene, at the beginning of the film, in which Lightning mourns the death of Doc Hudson in a monologue accompanied by an artificial track just to forget about the very second he leaves the museum dedicated to old mentor (apparently, Pixar decided to delete the character after the death of his voice actor, Paul Newman, although the van originally voiced by George Carlin has not deserved the same consideration – words you can’t say on T.V. being said to Pixar right now).

This is now my longest sentence.

If nothing else, the film still takes care of sending anything positive for their young audience, planting the idea that “junk” (the “old”, “different”, “rejected”) see the world with envy, resentment and bad intentions (whatever!).

And what about their supposed ecological message, which at first seems to advocate the importance of a clean fuel and sustainable only to conclude with the mantra so unbelievable. So unbelievable that I shan’t mention it.

Ha!

A mantra that replaced the word “gasoline” for “Pixar” unfortunately no longer applies.

There, I said it.

Kimmo Mustonenen for Kimmo On Kino – Behind The Proscenium

P.S. The Glee Project brings me tears of joy. I have much hope for those poor, weirdo reject kids. And they’re not in their 20’s! Or auto-tuned! Yet.

June 17, 2011June 17, 2011

Green Lantern [REVIEW]

The Green Lantern

With Wit, Reviewed By Kimmo Mustonenen

Ryan Reynolds is the man. But no longer today.

This Northman famous film star – once with Scarlett Johansson (followed drunkenly by leathery Sean Penn, yowza!) – is now expected to hold a straight face above with propping a spirit-sucking expensive superhero film.

The great collapse of Green Lantern will cause most to jump on Reynolds to be blamed… but the wrong-headed doing has its origin in a lamest of the television set-trained scriptwriters and mega stone cold producer honchos.

Yes, that is what I said.

A consequence is that the new Warner Brothers flick with the load of explaining (who the Green Lantern is, for instance) is out there for all to see at megaplexes until the next super hero comes to call and kicks Green Lantern to piracy bin.

What?

In one overcalculated effort to cover all surfaces into a whole film tonally – which doesn’t work and is all over the place. Confusion is not for summer cinema!

Greatly and with greatly bombast, he seizes points of Star Wars, Top Gun and from the Superman, in a kind of superhero stew (only less meat – we need meat!).

Four authors convert the film script (each working from separate story) which spreads nerd-speak like written for baby, followed from the cosmic heavenly drilling carriage credited (you know, not understandable).

Hal Jordan (Ryan Reynolds) is a ass-kicker pilot, who sets egos over brothers.

One day, after an expensive combat aircraft during a war game is inadvertently destroyed, this creates an improbable discovery for Hal: a dying magenta-red foreigner (Temeura Morrison) gives Hal a green lantern fulfilled with cosmic energies and his connected ring.

He puts on the ring and promising allegiance to the lantern, Hal transports to another world (not ours!), in which he experiences stuff that makes him now a member of the Green Lantern Corps: a volume of green intergalactic warriors, who use the energy of the power to fight against the forces of the evil and of fear.

Additionally, to receiving a fast course up to learning, and dress down receiving from Sinestro (Mark Strong), experiences the leader of the Green Lanterns, Hal is educated that an old enemy was freed – the Parallax – from his prison and by the galaxy and goes wild (naturally) to earth with all get out.

Carrying a unruffled new costume, Hal drives back to his main planet, around the Parallax’s minion to confront Dr. Hector Hammond (Peter Sarsgaard).

He must also examine his own worth to ex-girlfriend, Carol Ferris (Blake Lively – who isn’t Ginnifer Goodwin – summer movies are suckage) and defeat that ne’er-do-well.

Warner Brothers would like that we enjoy all the big tent pole things with our wallets – Green Lantern for sure.

Sadly, but this is more like which one expects from a independent superhero film (of which is nothing, right?). Non-geeks will not enjoy the production because of non-exciting production. It’s passable, but not much more than an two-hour digression.

Green Lantern is generic – it has an imitative approach that arranges this motion picture film to fall into whichever hell circle Dante envisioned for.

No fear to say it here!

As a man, I only can dream the upcoming Captain Stoppo movie from MC Comics is less a waste of my and yours time.

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

June 14, 2011June 15, 2011

Spider-Man: Turn Off The Dark Is An Absolute Triumph! [REVIEW]

Spider-man: Turn Off The Dark

Reviewed by Kyrle Lendhoffer

Superlatives. A word that means (to some – to ME) “of the highest order of quality or degree surpassing or superior to all.”

And then there are words to describe the superlatives. Or “Super”-latives, since I’m writing about a super hero masterpiece. There are not enough of them (the superlatives) for me to adequately describe what I just saw.

What did I see, dear reader?

I saw theatrical heaven on earth.

I saw an apparition of God.

I saw Spider-man: Turn Off The Dark!

Oh, where do I begin? Perhaps with the beginning – or the beginning of the construct in my mind – that is now my impression of Spider-Man – for now that it exists in my mind, so it is mine.

So, first, the performers.

Powerful. Delicious. Bouncy.

None died, or appeared to be in danger of dying (some in the audience were disappointed with this – NASCAR barbarians!).

There were no obvious hard feelings amongst the artistic staff – Julie Taymor didn’t pull out an Uzi in the lobby. It was a celebration as well as a show. And after 181 (or 183 if you believe Brian Williams and NBC News) previews, the long celebration was overdue.

Taymor’s original vision was genius (in my humble opinion). The NEW vision (brought to us by new writer, Roberto Aguirre-Sacasa, and creative consultant Philip William McKinley are even more geniuser (I will stick to this word – if you touch it, dear editor, you will die in your sleep).

Arachne almost disappears in the second act – no more bizarre psychobabble now. We are returned to the basic Spider-man story – will Peter get Mary Jane (of course!), will Peter learn to balance his life as mere mortal and super hero (duh!) and will Spider-man be able to turn off the dark (I still haven’t figured that part out).

The performances are, across the board, magnificent. Reeve Carney IS Peter Parker. From supple human to then powerful super-hero, Carney runs the gamut of our collective experience. And how can he not run said gamut when paired with the winsome Jennifer Damiano – beautiful, graceful – a song bird.

Tony Awards loom in future of Carney and Damiano. Bet on it. I will!

Patrick Page is also beyond wonder as Norman Osborne/The Green Goblin. A villain, yes. But a villain who is having the villainous time of his life.

Shall I give Page a Tony, too? Yes, I will.

I would call out every actor in this spectacular achievement but this review would go on too long. Suffice it to say that everyone involved in the magnificent production are soon to be Broadway legends. Just go here (http://www.ibdb.com/production.php?id=488485) and read all of the names. You will be glad you did.

You will also be glad to know the Bono and The Edge (they are named like characters in their own musical!) have written some of the most startlingly superb music to be heard on the Great White Way in many years.

I can’t imagine that any theater patron with a beating heart and working ears could be able to leave Foxwoods Theater without humming the very catchy songs. I say this with great resolve – Bono and Mr. Edge, please give up that silly U2 and take up musical theater full time! You won’t regret it.

In conclusion, do what you must to see Spider-man: Turn Off The Dark.

Sell your blood, or a lung or even your mother. Blood regenerates, you only need one lung and Mom won’t last forever. And neither will Spider-Man.

When it becomes the winner of the most Tony Awards in history, you will be glad you did. I’m betting on it!

What a great start to the new season! And with Rampage Of The Stegosaur set to flatten Broadway (in a good way!) this fall, it will, indeed, be a season to remember!

Kyrle Lendhoffer – Behind The Proscenium

June 9, 2011June 11, 2011

Super 8 [REVIEW]

Super 8

With Wit, Reviewed By Kimmo Mustonenen

From the title, Super 8 ad spectacular: we’ll travel through (and in) time.

Indeed, when the Amblin logo fills the screen, supported by a bombastic score and air, we’re back in the early 80s, when Steven Spielberg directed, and edited stories for teens bursting of monsters and wonders (the stories, not the teens so much).

The reference to the glorious era of Gremlins or Back to the Future is fully assumed by JJ Abrams, who grew up before these movies long before he became the instigator of the series Alias and Lost (what the hell – just me, or you, too?), then offer breathe new life sagas Mission: Impossible and Star Trek.

Officially sponsored by the director of E.T., he declares his love here cinematic without ever falling into the trap of slavish imitation or wink supported (with a nudge maybe).

For Super 8 has its own personality and obviously draws much of his inspiration from childhood memories of the filmmaker (which are his).

We are in 1979, at the end of the school year, in a quiet village in Ohio (my city was gone! See that?).

A small group of teenagers, who runs a cheese eating zombie film in Super 8 under the influence of George Romero, is witnessing a train wreck extremely spectacular. Following this accident, the townspeople begin disappearing and strange phenomena are increasing. While the army began to occupy the place and the police seem powerless, our young heroes seem the only ones who can undercover the truth.

While most seem kind of compulsory figures at the rendezvous, JJ Abrams deftly slaloms between all the clichés strewn in his path, refusing archetype (take that, Joseph Campbell!) and a caricature (flights very overrated The Goonies) in favor of a strong dramatic structure protagonists and extremely touching (not like that).

The hair-raising action sequences (the crash of the train is a piece of anthology that will probably date and harm your ear holes) do not ever thus on the characters, vehicles with humor (what?), tenderness and emotion.

Super 8 affirms the move as a real balancing act, halfway between the sincere nostalgia (those who have experienced the joys and frustrations of short films in 8 mm will have their memories refreshed), the constant quest for originality (the scenario does constantly take us by the nose to a climax of beauty – yes!) and assumed tribute to the cinema of Steven Spielberg, whose omnipresent shadow seems to hover over the entire film.

Alternately, Close Encounters Third Kind, E.T., The Jaws, Jurassic Park and even The War of the Worlds (Scientology!)there are visual and thematic correspondences, while the sumptuous soundtrack written by Michael Giacchino pays tribute to the symphonies of John Williams.

However, Abrams keeps the style of its own, both in writing his dialogues in his visual bias (the famous “lens flare” of Star Trek are always of the party – where the guest stay too long and make sick on the toilet).

So this is a work in a state of grace, which almost miraculous alchemy stems both from its authors at its magnificent cast of young actors vying for accuracy and spontaneity.

Apparently there are two Fannings. The world is a better place yet.

Kimmo Mustonenen – Behind The Proscenium

June 2, 2011June 4, 2011

X-Men: First Class [REVIEW]

X-Men: First Class

With Wit, Reviewed By Kimmo Mustonenen

I can declare X-Men: First Class the best since the mutant melee X2! Is this saying much? What?

As direct by Matthew Vaughn (Layer Cake and The Stepping Donkey – as well as the stupid Kick Ass), this prequel is chaotic and baggy and too long, but watchable often funny strange, and occasionally a flash of cold steel.

It’s the Swinging 60s’ and telepathic brainbox Charles Xavier (James McAvoy) and his shape-shifting pal Raven (a blue colored sexpot Jennifer Lawrence – seen recently but much less hot in “Winter’s Bone”) are coming to terms with their mutant powers.

Contacted by CIA operatives Moira MacTaggert (Rose Byrne), who is tracking maleable mutant mastermind Sebastian Shaw (Kevin Bacon from “Footloose”), Xavier agrees to share his expertise on Mutation.

Meanwhile, Holocaust survivor Erik Lehnsherr (Michael Fassbender) is using his mutant powers to cut bloody swathes through Europe and South America in the search for Shaw, who transjected him to unspeakable Horrors in a Nazi concentration camp.

As Lehnsherr’s activities put him on Xavier’s radar, the boffin manages to convince the magnetic avenger to join the team of mutants he’s assembling to take Shaw down.

Yes!

Using technology devised by the genius mutant Hank McCoy (Nicolas Hoult), the duo begin to recruit and train a gifted crop of youngsters and as Shaw unleashes a devilish scheme to wipe out mankind, it’s up to these ‘X-Men’ to save the day.

What?

There’s much about First Class that’s X-ceptional (ha ha, I did it!) not least of all the casting of the equally admirable McAvoy and Fassbender as the two men whose warring ideologies give X-Men stories so much more abyss than the average comic book yarn.

As X-Men creator Stan Lee has always maintained, Xavier and Lehnsherr are based on Martin Luther King and Malcolm X, setting the tale at the height of the American civil rights movement is something of a master-stroke.

It also allow the director Vaughn to indulge in some far out 60s’ referencing, from depicting Lehnsherr as a smooth 007-style assassin to setting the action-packed finish against the backdrop of the Cuban Missile Crisis.

Scripted on high by Vaughn’s Kick-Ass collaborator Jane Goldman, it’s ironic that’s the most youth-orientated X-Men adventure is as well the most adult. What?

Along with startlingly effective moments of violence and a slinky sexiness that’s likely to leave comic book nerds needing a lie down, there’s even the dropping of a well-timed F-bomb in a priceless cameo.

X-Men films have always been about the strength of the ensemble cast, and Vaughn has put together a fine group of young actors who work together with an easy charm and restless unease; Hoult and Lawrence’s (wow, that girl!) tentative romance being particularly effective.

Bacon is also in fantastic acting shape as the sneering villain. January Jones, regardless of various scenes with bra and panties pushed up, is fairly forgettable as his sidekick Emma Frost – even with her bustiness on display.

Jason Flemyng’s teleporting terror Azazel is scary enough to ensure the bad guys are satisfyingly formidable.

Capturing the spirit of the previous films without desperately struggling to achieve continuity with the theme, Vaughn portrays these familiar characters with honesty and gives them a strong origin story.

That rings true, nodding to past installments, without being overly reverent.

Unfortunately, it’s some wobbly CGI reminiscent of the disappointing X-Men Origins: Wolverine, and a rushed speed that prevents First Class from being the superhero equivalent of JJ Abrams’s Star Trek reboot fantastic.

With an extra six months in post-production and a less ramshackle edit, this easily must have been the best X-Men movie ever.

It is very close regardless, and its forms of Professor X downing a yard of ale for chatting up the girls down the pub has classic scene for the ages written all over it.

Kimmo Mustonenen – Behind The Proscenium (Kimmo On Kino)

May 31, 2011May 31, 2011

Midnight In Paris [REVIEW]

Midnight In Paris

With Wit, Reviewed By Kimmo Mustonenen

Gil and Ines, a young American couple on vacation in Paris.

Although their marriage is expected to fall, they are constantly disagreeing on everything – he thinking “it would be good living in the French capital to write novels”, as she swears by their future home in Malibu.

He likes to roam the streets and soaking up their history (like crusty bread), while she thinks only run wine tasting dinner parties (no blame here).

One evening when Ines decides to follow friends to go dancing, Gil tries to return to their hotel alone and lost his way. The stroke of midnight rang in the city, a strange car stops in front of him.

Absorbing!

The new Woody Allen film opens on a generic rather unusual, reviewing dozens of places in Paris like so many postcards – bucolic.

There, I said it.

But make no mistake: it is true that it shows the face of tourism in the French capital, Midnight in Paris is less a tribute to the city – a cry of love for art and artists that it was born in it. What?

Putting aside some of his recurrent obsessions, death, psychoanalysis, hypochondria – making them anecdotal, Woody Allen returns to the story and delivers an enchanting story about the magnificence of the past (although not the future, tense).

Gil (excellent Owen Wilson), uncomfortable in her present life, took refuge after the twelve strokes of midnight sounded in an era that has never known but it was nostalgic.

Drawing on the feeling quite mundane (who never dreamed of being born in another time? Lady Gaga?)

A spring fertile screenplay, Allen is fun and brings to life a fantasy totally impractical: the cross of his idols and dead girl (?!?) to blend in an ideal society where love and art would be kings and/or Prime Ministers – but probably kings.

Unafraid to play the card background contrasts between Paris the day (bling bling, superficial) and Paris by night (mysterious, intoxicating, wine), delivering a purely imaginary, Woody Allen creates the desire and inclination to follow Gil in its temporal incursions, which do meet, among other personalities, his literary idols.

He also leans on it for a casting weight, composed of both French and American stars (no Ginnifer Goodwin), including successive appearances are as many surprises as moments of pure delight (it is interesting to note the terms with Woody Allen chooses which his interpreters, who are both rising stars of American values and secure the French film, just to ride the wave [hang ten!] and attracting a wide audience).

Faced with so many fantasies (we had more cerebral Woody – get it?), one can not help thinking of the magic of The Purple Rose of Cairo or minor film but jubilant, the Curse of the Jade Scorpion.

For if the sauce is so good, it’s also because Woody Allen has not waived, for once, the ingredients sacred romance, tense and winks moviegoers, in that order.

Add to that some beautiful scenes where, once is not habit, the comedy situation exceeds that of the word (the scene of the “spoiler removed” is in that already mythical), and you obtain one of the films in greatness.

What?

Woody? The most charming of the last ten years!

Kimmo Mustonenen – Behind The Proscenium
Follow @KimmoMustonenen

May 27, 2011May 31, 2011

Kung Fu Panda 2 [REVIEW]

Kung Fu Panda 2

With Wit, Reviewed By Kimmo Mustonenen

As much as the makers love it, just a two track for a successful film to hang on, so suspicious and critical viewers will see the movie, the sequels mostly.

No wonder even particularly that in Kung Fu Panda 2, the same rules as most sequels are, unfortunately: we get the story hardly new to see, but just old wine in new bottles (I like wine!) and other strip has the rather pale imitation.

What?

In animation, the sound then, unfortunately, do not hide the fact.

In 2008 came Kung Fu Panda from Dreamworks Animation forged in the cinema and told the very sympathetic story of a somewhat clumsy panda, which, while not Kung Fu fits so, but it is the chosen one.

We then experienced the development of soup dishwasher without self-awareness towards the greatest Kung Fu fighters that China has ever seen.

This time, the sympathetic Po as the chosen prove herself and sees an evil enemy confronted with, will cut off the Kung Fu. To defeat this enemy, Po far in his past have to go back and create memories that he has been ousted.

Major theme in Kung Fu Panda 2 is the origin of the Po and the fact that it seems otherwise give pandas to none. Despite this fact very appropriate points of contact to the first part of the writers do not make it real, and the creativity of its predecessor to bring back the flair.

Relying too much on the curiosity of the clumsy panda with big belly as a Kung Fu master and missed the chance to further develop the characters.

Overall, the story seems really nice to be heading past the very first part plagiarized.

Po must find itself again and again he has to recognize reality (what?) as it is through the area “fight” and often by luck and the Furious Five (NOT Fast and the Furious Five – different movie!) in general comes through only.

Here one might well expect character development, certain one that everyone involved but fails.

The animation is, as in the first part, great looking and very creative, for example, when it comes to the memories of Po. But landscapes to convince also know the care and variety.

Overall, should Kung Fu Panda 2 put up with criticism that is actually the same story told again in modified form?

During the first part by innovation of a Kung Fu fighting panda was able to score even more so this time it looks rather bleak when the creativity of the story is about.

How can you know otherwise?

If you think about this weakness but can ignore about it and just the only good animated pictures happy, then you may well have his fun.

For children it should be noted that especially in the dialogues of the original version to more severe sentences is that the synchronization could be defused yet again.

Otherwise, the rub is just for families but to recommend it because the children can enjoy the various animals on. And they will.

Kimmo Mustonenen – Behind The Proscenium
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May 27, 2011July 14, 2011

The Hangover Part II [REVIEW]

Manka Bros., Khan Manka, Kimmo Mustonenen, Behind The Proscenium, Kyrle Lendhoffer, Todd Phillips, The Hangover Part 2, Craig Mazin, Scot Armstrong, Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong, Paul Giamatti, Mike Tyson, Jeffrey Tambor, mason Lee, Jamie Chung, Sasha Barrese, Gillian Vigman, Aroon Seeboonruang, Nirut Sirichanya, Yasmin Lee, Nick Cassavetes, Sondra Currie, Schnitrnunt Busarakamwong, Bryan Callen, Brody Stevens, Nimit Luksameepong, Michael Berry, Andrew Howard, Danai Thiengdham, Thana Srisuke, Pairot Noiply, Penpak Sirikul, Sanita Jai-Ua, Chanicha Shindejanichakul, Vithaya Pansringarm, Kim Lee, Palakorn Chaiklang, Palakorn Gunjina, Pongsatorn Sawadchatchawan, Kaweeit Chaikaew, Pure Watanabe, Rattana Janprasit, Jetsada Yuktabutra, Tanner Maguire, William A. Johnson, Aedin Mincks, Dylan Boyack, William Jiang, Lynne Kidder, Fred North, Crystal, Christina Ebert, Karen Jean Wu, Steve Bing, Scott Budnick, Joseph Garner, Daniel Goldberg, Jon Jashni, Chris Lowenstein, David Siegel, Thomas Tull, Vineet, Jeffrey Wetzel, Christophe Beck, Lawrence Sher, Debra Neil-Fisher, Mike Sale, Oliver Ackermann, Jennifer Corey, David Clark, Lloyd Bunnak, Jeanne Byrd, Fred Fein, Tim Williams

The Hangover Part II

With Wit, Reviewed By Kimmo Mustonenen

The new adventures of Phil, Alan and Doug, who embark on a journey in the exotic Thailand for the wedding of Stu. Obviously the stag night you will lose another “piece” (dirty!).

As usual, be faced with the need/desire to make a second chapter of a successful film is always a challenge (see “Kung Fu Panda 2″ – or don’t!). Especially when it is a comedy that does not include any serial, but that simply was lucky enough to guess a cast and a history of working well together.

The case of Hangover is a prime example: the same four rogues can repeat the success of stellar first episode?

Empirical evidence shows that the answer is yes! Huzzah!

Of course, Todd Phillips is the first to realize that one of the four is quite pointless, Doug/Justin Bartha, and in fact had already left on the roof of the hotel throughout the first film.

This time it leaves his hotel in favor of his brother’s betrothed to Stu. Teddy, by the way, is the son of Ang Lee. What?

Freed of the character who does not laugh is the trio “base” that embodies the classic stereotypes: the embarrassing Alan, who, besides being awkward all over the threshold of acceptability, it is always over the top; the clumsy Stu, that under the surface of respectability hides the nature of a beast of war; and the ever-staid Phil, who besides being the “beautiful” is also consciousness (this is my longest sentence).

To catch the public and raise the bar even further, the director, increasing the coefficient of action of the film and makes it even more surreal situations already at the limit.

The first move: to move to Bangkok’s after Las Vegas in America there would be nothing at then – Alan to zero and place a tattoo-also identical to that of Tyson in the face-to Stu. Really.

Obviously this time someone will disappear, but will leave a finger as a souvenir!

No babies, but mostly monkeys and nothing she blonde with blue eyes, but a transvestite Thai and if not enough here is the return of Mr. Chow’s more chilling than ever. Yes.

Needless to say, “reel” final photo is from censure (and probably will, not in Europe).

At the end of the second episode is a more Eastern and more adrenaline than the first, but any coach will confirm that: Never change a winning team, though we doubt it can get to third with the same form.

P.S. Game of Thrones is good! Get out and watch some T.V.!

Kimmo Mustonenen – Behind The Proscenium
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May 25, 2011June 1, 2011

Bridesmaids [REVIEW]

Bridesmaids

With Wit, Reviewed By Kimmo Mustonenen

Yes, I know I’m not the target audience for a movie called Bridesmaids.

But if a producer Judd Apatow guarantees with its name, then this promises to be something different to what the title suggests. And as expected, is also a film Bridesmaids of opposites.

This is thoroughly Chick Flick, but the only genre in which a woman with the words “It’s like hot lava” poops in a sink (yes!).

It is a film about female friendships, but in a way that men can understand very well because he stringing together not only Sex And The City bimbo stereotypes. It is a film one can laugh, the one affected and one marks his sincere compassion for all figures.

The pivotal point of the bride alarm is Kristen Wiig, who is their role vulnerable, but strong play. It is one of the few women in Hollywood who are really funny without descending into silliness.

Although it appears from a foot in the next, it never seems ridiculous, and as a spectator while you laugh over their misfortunes, but never over (at) it.

Instead, you feel with her and pressed her fingers crossed that she finds it to a successful conclusion. Must be comedies, then the audience does not care.

That’s bad.

For many years Kristen Wiig fans of this unequal, long, emotionally engaging and representing discreetly ambitious film is a welcome and overdue step away from their popular skits on Saturday Night Live and toward something that is sustainable and powerful. Apart from this it is a pretty funny movie.

If Bridesmaids is a women’s film, then call me quiet a woman. The film is witty and funny, touching and lewd. It crosses borders by making it cheerfully ignored.

In a moment of alarm for a bride is broad-gauge farce explores the sex (but not enough), from the standpoint of a woman from the next moment then it is a comedy of manners and class, which plays off against each other two bridesmaids.

If I were waiving thumbs, Bridesmaids would get more thumbs than my hand part protrudes.

And that is good.

Kimmo Mustonenen – Behind The Proscenium (Kimmo On Kino)

May 24, 2011May 31, 2011

This Must Be The Place [REVIEW]

Manka Bros., Khan Manka, Behind the Proscenium, Kyrle Lendhoffer, Kimmo Mustonenen, Paolo Sorrentino, Umberto Contarello, Sean Penn, Fraces McDormand, Judd Hirsch, Eve Hewson, Kerry Condon, Harry Dean Stanton, Joyce Van Patten, David Byrne, Olwen Fourere, Shea Wingham, Liron Levo, Simon Delaney, Heinze Lieven, Seth Adkins, Peter Carey, Sarah Carroll, Ron Coden, Bern Cohen, Tim Craiger, Davis Gloff, Grant Goodman, Kris Graverson, Robert Herrick, Jann Hight, Julia Ho, Sarab Kamoo, Sam Keeley, Kef Lee, Madge Levinson, Andrea Mellos, Gordon Michaels, Gavin O'Connor, Clarence Olinger, Inga R. Wilson, Elli, Dave Krieger, Mark C. Schwarz, Joseph Smith, Ronald M. Bozman, Carlotta Calori, Francesca Cima, Nicola Giuliano, Ed Guiney, Andrew Lowe, Stefano Massenzi, Andrea Occhipinti, Viola Prestieri, Laurent Petin, Michele Petin, Will Oldham, Luca Bigazzi, Cristiano Travaglioli, dooner, Lava Buckley, Piero Messina, Cannes Film Festival, Tree of Life, Terrence Malick, Alice Cooper

This Must Be The Place

With wit, reviewed by Kimmo Mustonenen

Here’s another “Nazi” this time after last week’s scene that happened in with Lars Von Trier.

This time by Paolo Sorrentino, the political correct approach and without any relation to the Prankster (he went upside down) in Trier, in “THIS MUST BE THE PLACE” is opposite of an exemplary character that explains one of the greatest actresses of the era, Sean Penn.

As another type rocker Alice Cooper comes to America to seek his dark character a Nazi actually means bringing the target of revenge and strong parental memory.

What?

We will give the Commission President De Niro a prize? The suspect, to be honest.

(As indeed it was Terence Malick not stepped foot in order to hear “anyone” yes “to the asking the long and short, for the experiential ecstatic experience “TREE OF LIFE“.)

Sean Penn said the film collaboration with Sorrentino was excellent and that somehow it had assessed the potential of this director, from Cannes in 2008.

For the film, which will describe a visual narrative, himself Sorrentino said he talked about working in America is something that clearly makes you realize that this country is “THE LAND OF CINEMA”, and how to filming the streets is something unprecedented.

But, Mr. Sorrentino, what it means for you finally the relationship of characters in the film?

“But this first of all,” he said, and continues “first of all we have before us the relationship between a former Nazi and a rocker older dude, which can not be stopped or rock and roll, nor child, so this is all the narrative challenge for me, this polarity.“

The “THIS MUST BE THE PLACE” is a powerful film. The memory of the vengeance and the projection of guilt watering the frame.

The Penn, this robust actor of character, stands as an irresistible pillar in the center of this creation, without showing that anything can escape from within the accuracy limit of his personality, as we move towards the big finale.

YES!

With this film, which complements the image interpretation and word, now the director establishes the tone and opens the door to a bright future films.

Let us take, although it is surprising to me the Golden Palm in this movie (I would have this be given). I insist on the Terrence Malick and a second level in front of the dynamics of the best years long, the likelihood of a third Golden Palm, which in this case will make history.

But do you think De Niro would prefer the Belgian social realists of minimalism, from the mystic fellow? Not think so!

Even when Ginnifer Goodwin’s birthday was yesterday. Love.

Kimmo Mustonenen – Behind The Proscenium
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May 23, 2011May 31, 2011

The Tree Of Life [REVIEW]

The Tree Of Life

With wit, reviewed by Kimmo Mustonenen

Sometimes a filmmaker’s own reputation also be fatal.

This applies even if one of the industry has such a legendary reputation as Terrence Malick.

With only two films in the 1970s (Badlands, 1973 and In the Days of Heaven, 1978), he became aware of and was regarded as a gifted poet of American cinema.

The myth was also fueled by his passion for philosophy and his mysterious withdrawals from the film industry, his now 40-year career in this ensured that Malick in time only four feature films has been realized as a whole.

No wonder that after this history, the expectations of Terrence Malick’s long-promised movie The Tree of Life were huge – maybe too huge.

At the press screening in Cannes film was the least quieter applause with clearly audible boos considered next.

What happened? Indeed.

On the surface, Malick tells of the struggle between two competing principles in the world whose existence and rivalry it represents the basis of a family. These lives during the late 1950s and early 1960s in Waco, Texas and consists of a sternly father (Brad Pitt) and a mild, often a little dreamy-acting, understanding and empathy capable mother (Jessica Chastain – much like Ginnifer Goodwin in Bigger Love, but less cute) and their three sons, of particularly ,among Jack (Hunter McCracken), is central, especially because he always gets together with his father.

What?

Than in a swimming accident, one of the other two brothers died (and it is for the later mysterious appearance and disappearance of this child are also numerous other interpretations), is the family, which is of choleric father out with a heavy hand, before a crucial test.

In later years, recalls Jack (played by Sean Penn as an adulterer) at this time and tried to work with his life by remembering to come to terms. However, there are many things in history that remains open, because a number is only suggested. And it could give almost every turn, a different explanation.

Malick, a great fondness for detailed descriptions of nature, that has, at least since his magical pictures from the 1970s, where wheat fields like a giant red sea in the wind sway known.

In The Tree of Life director dares even a twenty-minute excursion into the world of the elements and shows images of exquisite beauty, the sequence almost has a visual trip will leave the drug (just say “yes”).

Bizarrely shaped rock formations, underwater photographs, swaying fields of sunflowers, volcanic eruptions and other illustrations of the forces of nature are in sum probably the entire duration of the film for more picture to see it in about as the people whose story the film tells

What?

Also during the story, the basis for these excursions is the contemplative lives, mainly through the power of images and their uniqueness. There is hardly a setting that does not attract attention, detail, dynamic solution looking for (and find).

Constantly in motion, the camera hovers between people, cuts to the people, then jumps back in detail or extreme wide angle, the composed landscape shots are carefully removed from and thus forms a picture puzzle of lamenting elegance.

Above that is on the soundtrack is a mix of sparse dialogue, detailed off-narration, natural sounds and a lot of classical and sacred music, often with a chorus presented one that carried the tone of the narration strengthened – only to be softened later up.

The Tree of Life is a thoroughly ambiguous work, which at least partly, as fascinating as puzzles gives up (and at least two-three-seen four times or have to get used one way thicket of interpretations and possible interpretations has beaten the by). And even then, in discussions with others, resulting in conversation more and more signs and directions or as a model Martin Heidegger would say Malick, “Ways and blind alleys.”

Me, too.

A film for the exquisite viewfinder – and definitely in a double sense. Right?

Kimmo Mustonenen – Behind The Proscenium
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May 20, 2011May 31, 2011

Pirates Of The Caribbean: On Stranger Tides [REVIEW]

Pirates Of The Caribbean: On Stranger Tides

With wit, reviewed by Kimmo Mustonenen

In his latest adventure, goes fourth from Captain Jack Sparrow (Johnny Depp) on the search for the fabled fountain of youth. But not only he, the Spaniards have learned of the promising young well and has sent three ships.

The English crown is again the idea of an immortal Catholic monarchs not enthusiastic and asked why Jack’s eternal rival Hector Barbossa (Geoffrey Rush) with the search.

Officially, he is now sailing as a privateer flying the flag of the British Royal Navy. And then there is an impostor, who claims to be Jack Sparrow, and also hiring a team in London for an expedition

The race to eternal life, the counterparties to exotic locations and great in the middle into an adventure. Mermaids (!), which prove to be far more dangerous than one would expect generally, voodoo, zombie sailors and the legendary pirate Blackbeard (Ian McShane) meet Jack on his way.

Is the most dangerous to him but once a woman, Angelica (Penelope Cruz) he shares a common past – what plans the master of fraud and conspiracy has for the future, Jack is initially remains a mystery.

Bruckheimer, Depp, the Fourth: The producer and his favorite actors put in the new Pirates of the Caribbean back to the wheel and spin the finest yarns.

Like the first three parts, which together have recorded over 2.7 billion U.S. dollars, has Strange Tides beautiful to look, exciting entertainment for a mass audience, and still is Johnny Depp, the role of Jack Sparrow as the Body written.

Pirate Captain includes this time the best moments of the film – it is again a pleasure to see how the actor and his dreadlock mane and felt rum flag staggering and mumbling from one adventure to the next stumble, even the most absurd situations Stoic masters, always charming, always bold and always attentive to his own advantage. Oh, Johnny!

Even at first glance offers Alien Tide with its opulent furnishings. The move by Penny Rose-designed costumes and sets of the Oscar-winning production designer John Myhre viewers immediately back to the 18th Century but no further. The latter has surpassed him in the first quarter of the film itself, because it plays in London.

Place on a remote Caribbean island or in a dilapidated pirate Jack Sparrow may now say in the metropolis at the heart of the British Empire mean mayhem – of which he makes frequent use.

What?

Before that is not even an involuntary audience with His Majesty King George immune. This was before by stutter stricken he was.

Also on Myhre’s account go to extraordinary pirate ships, which of course in the new Pirates of the Caribbean may not be missing. The “Black Pearl” this time puts although a pause, but as Jack’s one true love or the submersible “Flying Dutchman” from Pirates of the Caribbean 2, the filmmakers leave in “Strange Tides” another ship from the deck that has no equal looking for: Blackbeard’s “Queen Anne’s Revenge”.

Macabre decorated with the bones of his victims, the bow is a creepy figurehead, the character played by Ian McShane, dark pirate control them with a wave of his sword.

Also directed by Rob Marshall, who has replaced three parts Gore Verbinski, it remains a hallmark of the Pirates of the Caribbean series that they spiced the classic genre of the pirate movie with all sorts of fantasy elements.

Fantastic is the journey that the excellent ensemble of actors is taking to Johnny Depp, Ian McShane, Penelope Cruz and Geoffrey Rush to rousing music by Hans Zimmer, to the end.

It is developing an exciting, but also little surprising story – perhaps the only criticism which one can make the film. Remained to be hoped that the creators go out in the next few parts will never come out of ideas.

Better than the first part was not a Pirates of the Caribbean everything – even Alien Tide is “only” a very good pirate movie with Johnny Depp again superb in the lead role.

Hollywood News! Jennifer Lawrence as Katniss in The Games of Hunger? No way Hozay! You know who I rather… and her initials G. Goodwin! Make it so, Nikki Finke!!!

Kimmo Mustonenen – Behind The Proscenium
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