8 Summer Movies I'm Psyched For

It seems like every year the "summer movie previews" arrive earlier and earlier, now that the entire month of May is considered fair game for big movies. I figured I'd throw my hat into the ring with a look at eight movies that I'm personally excited about. It looks to be a diverse season for the discriminating moviegoer: sure, there are plenty of sequels and spin-offs (some of which made this list), but there are also comedies, dramas, and a couple of horror flicks that look especially creepy. Here they are in order of release.
Terminator: Salvation-- The film shoot that launched a thousand internet views-- and even a dance remix-- wasn't just about Christian Bale's fiery temper. It was about reviving one of the signature action franchises of the 90s with a look at the story fans have been dying for: the War Against the Machines. I'm not a huge fan of McG's movies, but Bale is a terrific actor who should excel as the heroic John Connor, and this looks to be one of the summer's real stunners. (May 21)
Drag Me to Hell-- Horror legend Sam Raimi returns to the genre (after a vacation spent making a little series called Spider-man) with this flashy and fun looking yarn. A hapless real estate clerk (Alison Lohman) denies a gypsy a mortgage extension (timely much?) and falls victim to a horrifying curse. Demons, a seance, and plenty of gonzo gross-outs ensue, with Raimi up to his old Evil Dead-era tricks. Sign me up! (May 29)
Bruno-- Sacha Baron Cohen is at it again with a punk-happy "reality" followup to his smash hit "Borat." Cohen is a truly brilliant comedian and I can't wait to see what sorts of irreverent, idiot exposing shenanigans he gets up to this time. (Especially with all the gayness of Cohen's last film amped up for the super queer Bruno character.) One highlight from the trailer: Bruno shows off his newly adopted African baby, which he's naming "OJ," to a horrified black talk show audience. (July 10)
Harry Potter and the Half Blood Prince-- Finally! After being denied it last winter, Potter geeks can finally watch the latest spectacular installment, which delves even deeper into the origins of the sinister Lord Voldemort (played by Ralph Fiennes' nephew Hero Fiennes-Tiffin). Expect action, hormonal intrigue (Hermione gets a little too jealous of Ron's new girlfriend) and-- spoiler alert!-- a big death. Take that, Twilight. (July 17)
Julie & Julia-- The next Devil Wears Prada? That might be a stretch, but this classy looking comedy from Nora Ephron does feature the Mighty Meryl-- as cooking legend Julia Child-- and the always vibrant Amy Adams as the frustrated secretary attempting to make all 524 recipes in Child's seminal "Mastering the Art of French Cooking." A frazzled young professional gasping to keep up with an old pro? Sounds a lot less bitchy than Prada, but potentially just as much fun. (August 7)
Taking Woodstock-- How is it that a Chinese director has managed time and again to dramatize such powerfully American stories? From 1970s Connecticut to 1960s Wyoming, the Oscar winning auteur has consistently captured the private dramas of ordinary Americans-- and now he sets his sites on the concert that defined a generation. The movie focuses on a closeted gay man who inadvertently organizes the titular music festival. Along for the ride are the always reliable Eugene Levy (as farmer Max Yasgur) and Emile Hirsch (who some of you may know is my long term boyfriend. Seriously). (August 14)
Inglourious Basterds-- After directing the "Deathproof" half of the criminally under-seen "Grindhouse," Quentin Tarantino returns with this bloody, adrenaline charged WWII tale about a band of Jewish soldiers charged with terrorizing and scalping Nazis. With Brad Pitt as a crazed Southern general and torture porn auteur Eli Roth as a fellow scalper, this should be an entertaining antidote to the usual Oscar-begging war epics. (August 21)
H2-- Rob Zombie once again heralds the end of summer with the sequel to his grisly 2007 remake of Halloween. This time, the splat pack savant has free reign to take the story in outlandish new directions, with Laurie (Scout Taylor-Compton) descending into madness and horror host Uncle Seymour (Bill Mosely) hosting a Halloween festival that's about to be visited by the still murderous Michael Myers (Tyler Mane). Plus there's Margot Kidder as a shrink and Weird Al(!) as himself for good measure! This sure-to-be-brutal followup should ease the transition from summer to fall... again. (August 28)

Check it out

Since the name of this blog is inspired by Kermit-- along with the picture at right-- I figured it would "behoovie" me (as they say in Strangers With Candy) to include the following link. It will forever change the way you look at Kermit, Christian Bale, and possibly the world.

Darkest before the dawn

This past weekend saw the record-breaking release of The Dark Knight, the highly anticipated sequel to Batman Begins. As a life-long Batman fan, I would have been excited for this movie no matter what-- especially considering how much I enjoyed Christopher Nolan's first installment, a moody and action-packed origin story. But after the death of Heath Ledger, who completely reinvents Batman's greatest nemesis the Joker, I was more eager than ever. The arrival of Joker had been teased at the end of Begins, and many wondered if it was a good idea; after all, Jack Nicholson's portrayal in Batman (1989) was terrific and seemed all but definitive. The announcement of Ledger seemed strange indeed; after all, while he was a respected actor, his good looks seemed incongruous with the bizarre character. But every on-set report and early review suggested he was creating something special... and the movie itself was touted as outstanding in virtually every aspect. I'm happy to report that everything you've heard about The Dark Knight is true. It's relentlessly dark. It's dense and thought provoking. And yes, Ledger is mesmerizing-- but more on that later. The Gotham City we return to here is a little different than the one depicted in Batman Begins. The criminals have been forced to regroup and go under the radar; a host of well-meaning fools have donned makeshift Batman costumes in an attempt to "help"; and the police and the population at large have decided they might not be so crazy about their newfound protector. (There's actually a warrant out for his arrest; between this movie and Hancock, superheros have it tough this summer!) Even Batman/Bruce Wayne (Christian Bale) isn't sure how he feels about the state of things. He's annoyed by the wannabes and both inspired and threatened by Harvey Dent (a superb Aaron Eckhart), a hot shot D.A. who looks like Gotham's great white hope-- but is also romancing Bruce's old flame Rachel. (This time, Ray Ray's portrayed by Maggie Gyllenhaal, who is much more adept at playing a grown-up than Katie Holmes was.) Into this fray enters the Joker, a mysterious, makeup-wearing maniac who seems motivated by nothing more or less than a destructive and anarchic glee. Joker's sudden dominance over gangland sets in motion an unsettling chain of events that have cops, citizens, and elected officials scrambling in panic. (I was on edge for pretty much this entire movie; Hans Zimmer and James Newton Howard's sublimely menacing score only enhances this effect.) Over the course of two and a half hours (a little too long, but who am I to look a gift horse in the mouth?), we watch events awash in moral complexity as the characters clash, strategize, and mourn. There are schemes on both sides, intense battles, and tragic losses. Nolan's film plays out on a grand scale, but never succumbs to the sort of mindless drivel that permeates too many lesser comic book movies. What he's aiming for here is something subtler, darker, and infinitely more effecting than a mere collection of stylized set pieces. He certainly engaged a dynamite cast to bring his vision to life: Morgan Freeman, Michael Caine, and Gary Oldman all engage in supporting roles; only Bale, so appealing and multi-dimensional in Batman Begins, seems in need of meatier material. Plus, that heinously exaggerated rasp he uses as Batman has got to go. (He seems to fall victim to the same problem that plagued original big-screen Batman Michael Keaton; he's outshone by his villains and supporting cast.) But back to Ledger: all sympathy and hype aside, his performance here is nothing short of extraordinary. He owns every scene he's in and always leaves you wanting more. Ledger hits just the right notes of creepiness and humor, expertly crafting one of the great screen baddies of all time. Scenes like his opening proposal to Gotham's criminals (they're ready to shoot him on sight, but he ensures they're forced to take him with deadly seriousness) and his sinister taunting of a guard ("How many of your friends have I killed?" he asks in a sing-song crazy voice that stops just short of camp) are gruesomely, unforgettably compelling. Ledger's willingness to so thoroughly immerse himself in the character, even appearing in drag for one memorable sequence, signify him as one of the greatest young actors of the 21st century. It's certainly a shame that neither Ledger nor movie fans will ever be able to revisit his dazzling interpretation of the Joker. Meanwhile, Eckhart follows his own character's journey from hard-working do-gooder to tragic monster; 13 years after Tommy Lee Jones' hackneyed turn in Batman Forever (1995), we're finally getting the psychologically complex, deeply disturbing Two Face we deserve. (Be warned: Harvey's mutilated visage is not for the faint of heart.) In the end, The Dark Knight shines as a rich and rewarding cinematic experience, one that pushes the boundaries of not just the superhero mythos but film in general. I can't wait to see it again.