How do you follow the latest from writer/director/auteur Terrence Malick? With possibly the biggest summer movie of the year, duh. Trey and Trevan are a man down this week, with Eric hanging out in New Orleans or something. Honestly, who knows what he does. Trey talks To The Wonder, one of Malick’s more accessible and beautiful efforts. While Trevan takes on Iron Man 3, a movie he says extends beyond the status quo and is funnier and more clever than it has any reason to be.
If you don’t already follow us on Facebook, you should. Our Facebook page is where we post fun stuff from around the Web as well as our own reviews, 10 lists and more. It’s also a great place to go to find out more about our events like KCAI Screening Room and Movies That Rock. So what are you waiting for?
Subscribe to The Scene-Stealers Podcast on iTunes or our RSS.
{ 3 comments }
I wasn’t all that excited about seeing Iron Man 3 tomorrow (the man’s turn to decide), but I now I can look forward to it a little bit more.
So the reason Trey doesn’t like “Super Hero” films is because there are no true consequences. I wonder if he feels the same way about comedies(romantic mostly) or franchise films. As far a movies based on comics does he feel the same way about movies like “V for Vendetta”, “American Splender”, “Road to Perdition”, “Ghost World”, “Old Boy” or “A History of Violence”?
Diarra,
Did I say no true consequences? I think that was Trevan. I’ll have to listen again. What I mean is that with any property that is so closely guarded by the execs as say a Marvel comic franchise, it makes it all, but impossible for a director, even a very good director, to do anything truly surprising. The Marvel execs are always keeping them from doing things with characters that go against the source material or inhibit sequels. If you’re thinking about money first then the craft of the film suffers.
Films like Ghost World, Old Boy, American Splendor, A History of Violence don’t have the same restrictive overlords hovering over the directors. There is no real comparison. The problem is not that the films were inspired by or adapted from source material. The problem arises when thoughts of endless sequels inhibit the visions of directors and writers.
Comments on this entry are closed.