Monday, August 22, 2011

Six for Fall

In the spirit of not being able to do a fall movie preview for The Daily Gamecock this year, I'm taking to the blog and laying down the six movies I'm most excited about, from now up to Thanksgiving.

Contagion (9/9)

Steven Soderbergh brings together a massive A-list cast for a globe-spanning pandemic thriller. Since he continues to be one of the only directors who uses each film as a vivacious new experiment, and one of the only who can gently move between being very mainstream and very independent, he could do some fascinating things with this one. Could it be the "Traffic" of the global apocalypse genre?

Drive (9/16)

I'd watch Ryan Gosling do just about anything. I think if he videotaped himself at Subway and put it on YouTube I'd marvel at it. He's just got that much charisma, that much intensity as an actor. So of course I'll watch him play a Hollywood stunt driver-turned-getaway driver. The trailer is pretty mainstream, but this won Best Director at Cannes, and the cinematography looks wonderful.

The Ides of March (10/7)

Speaking of Ryan Gosling, here he is again. Teamed up with George Clooney as director and star, and Grant Heslov in the co-writing/co-producing roles for a political campaign thriller, this one is oozing with not just Oscar-bait potential, but potential to open the very deep wounds of our divided political discourse. I smell another high-caliber outing with a similar feel as "Good Night, and Good Luck."

Red State (10/21)

Kevin Smith doing a horror movie? Say what? Kevin Smith doing a horror movie about crazy, murderous uber-Christians on what looks like a hyper-minimal budget? Holy self-recreation, Batman! Ever since I heard the festival rumblings and saw the trailer, I've been dying to see this film. It looks like a "Texas Chainsaw"-esque cult classic.

Melancholia (11/11)

It's pretty well known that I'm an ardent admirer of Lars von Trier, and think he's kind of a genius. I don't care about the controversial things he says or the ways he likes to poke people in interviews, his cinema stands on its own as visceral, challenging, and sublime. Here, he renders the end of the world as a dissolution of marriage and a series of family crises. Harsh statement on human relations? Almost certainly.

Tinker, Tailor, Soldier, Spy (11/18)

Thomas Alfredson's follow-up to his breakout masterwork "Let the Right One In" will test whether he really has the talent everyone thinks he does. But if the stark trailer of John Le Carre's novel is any indication, this one will deliver the goods. With Gary Oldman heading a terrific pedigree, it could be the actor's best chance for a long-sough Oscar nomination in quite some time.

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