Denis Villeneuve’s “Prisoners” seems to have been lost in the awards season conversation and that’s a shame. Not only is Richard Deakins’ cinematography some of the best in his career but Jake Gyllenhaal and Hugh Jackman’s emotional work here deserves more credit than it’s been getting. Newly released on a gorgeous Blu-ray (with, sadly, scant special features), “Prisoners” is the kind of adult drama that seems certain to pick up more fans on the home market. It’s really worth your time.
CHICAGO – “The Big Wedding” begins with Robert De Niro performing a particular love making maneuver on Susan Sarandon, and is caught in the act by Diane Keaton. What could have happened in a cutting-edge indie feature in 1981 is the basis of a lame bit in 2013, and so it goes for the rest of the film.
CHICAGO – With each passing year, Katherine Heigl’s claims about Judd Apatow’s sexism appear increasingly absurd. While Apatow is producing A-grade work from female filmmakers, such as “Bridesmaids” and HBO’s “Girls,” Heigl is portraying shallow ditzes who are susceptible to chauvinistic, overgrown adolescents. “The Ugly Truth,” “Killers,” “Life as We Know It” and “New Years Eve” is not a track record worth bragging about.
CHICAGO – By now, you’re surely aware of the general hatred for Garry Marshall’s horrendous ensemble romantic comedy “New Year’s Eve.” HollywoodChicago.com said ““New Year’s Eve” is so garish and manipulative that it doesn’t really qualify as a film – it’s a product, no more an actual movie than a Hallmark card is a piece of poetry.”
CHICAGO – Just under five years ago, Katherine Heigl became a decently known actress in the film world for her role as Alison in the Judd Apatow film “Knocked Up.” After having been in the show “Grey’s Anatomy” for a few years, Heigl had finally broke into the world of cinema, and seemed to have a decent amount of comedy acting skills.
CHICAGO – “New Year’s Eve” is so garish and manipulative that it doesn’t really qualify as a film – it’s a product, no more an actual movie than a Hallmark card is a piece of poetry. It is corporate junk at its worst, so shallow that it’s almost remarkably thin, as if director Garry Marshall were trying to win a contest for lack of subtlety.
CHICAGO – I recently made a reference to Katherine Heigl being the symbol of the modern decline of the romantic comedy and was reminded that she’s done good work on “Grey’s Anatomy” and was actually quite good in “Knocked Up.” Then why has she made such horrible films since then? Why have we had to suffer through “27 Dresses,” “The Ugly Truth,” “Killers,” and, now, “Life As We Know It,” recently released on Blu-ray and DVD and a film that doesn’t break her downward slide even if it does slow it a bit.
CHICAGO – Since her breakthrough “comic” role in “Knocked Up,” Katherine Heigl has a line-up of titles that almost reads like parody – “27 Dresses,” “The Ugly Truth,” “Killers” – but there had to be some audience or they really wouldn’t exist. She makes just enough box office to keep working, which explains the latest and maybe worst of the bunch, “Life As We Know It”
CHICAGO – The romantic comedy gets another variation with the new release, “Life As We Know It,” with Katherine Heigl and Josh Duhamel playing opposites who need to attract when thrust into a childcare situation that they didn’t anticipate. The film is directed by Greg Berlanti, who is also the screenwriter to the upcoming “Green Lantern” movie.
CHICAGO – In our latest romantic comedy edition of HollywoodChicago.com Hookup: Film, we have 40 admit-two passes up for grabs to the advance Chicago screening of the new film “Life as We Know It” with Katherine Heigl and Josh Duhamel!
CHICAGO – When “Killers” didn’t screen for critics, we assumed that it was because it was an insipid, horrid mess and that Lionsgate didn’t want to let audiences in on that fact before stealing their hard-earned cash. Watching it on Blu-ray, I was surprised that it didn’t screen because it’s not “Marmaduke”- or “Macgruber”-bad. It’s just shockingly boring.