New Stills from 'Foxcatcher'

Prior to Foxcatcher's debut at AFI Fest on November 8th, Sony Pictures Classics released two new photos from the upcoming Bennett Miller film starring Steve Carell, Channing Tatum and Mark Ruffalo.

Foxcatcher depicts the insane, true story about the relationship between millionaire John duPont (Carell) and Olympic Wrestling Champion brothers, Mark and Dave Schultz. Mark (Tatum) sees a way out from the shadow of his more celebrated wrestling brother Dave (Ruffalo) and a life of poverty when he is summoned by eccentric multi-millionaire John du Pont (Carell) to move onto his estate and train for the 1988 Seoul Olympics.

The film also stars Sienna Miller, Vanessa Redgrave, and Anthony Michael Hall.

Foxcatcher hits theaters on December 20th.

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Steve Carell in Foxcatcher

Steve Carell hasn't gotten a chance to really convince audiences that he can separate himself from Michael Scott, but in Bennett Miller's upcoming Foxcatcher. The film depicts the insane, true story about the relationship between millionaire John duPont (Carell) and Olympic Wrestling Champion brothers, Mark and Dave Schultz (Channing Tatum and Mark Ruffalo). duPont is a dark role and one that could make moviegoers see Carell in a brand new light (aided by Carell's undergoing a transformation to embody the part).

Source: EW

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Review: The Doting Wife (Side Effects)

Emily (Rooney Mara) has been putting on a brave face for the last four years. Her husband, Martin (Channing Tatum, a regular in these flicks now), was arrested for insider trading and spent a majority of their marriage inside of a jail cell. Martin is due out in a few days and Emily wants to be there for him to assist his transition back to regular life.

Emily really is happy to see her husband again, but the enthusiasm they shared when they first met in college just isn't there. Sex is spent staring at the ceiling and the rest of her day is like carefully treading through a trance. Her depression confuses her as everything can only get easier with Martin out of prison.

It is only when Emily drives straight into a parking garage wall that her outlook raises concern with Dr. Jonathan Banks (Jude Law, doing his best Hitchcock leading man impression). Emily's condition could be easily solved, Banks presumes, and Oblexa should be the drug to do it.

A lot of Side Effects is lost if more elaboration is placed upon the synopsis, so I'll encourage viewers to just give it a go and see it in theatres.

Rooney Mara's follow-up to Girl with the Dragon Tattoo was an anticipated one. Mara turned a lot of heads with her interpretation of Lisbeth Salander and after her nomination for Best Actress, we wanted to see what she would choose next. Mara does not disappoint and her half lackadaisical half fiery stint offers double meaning poised for introspection in every scene.

If Steven Soderbergh really does fold up the director's chair and call it a career then Side Effects is a fitting ending to the formalist auteur's filmography. Soderbergh has been hinting at retirement for the last couple years and while he may be tiring of the Hollywood system, his output has not reflected it, Haywire and Contagion were some of the better films of their respective years.

Operating as his own cinematographer under the guise of Peter Andrews, Soderbergh employs a variety of shots during Side Effects that rival some of the best lensers in cinema. The detached fashion in which most of Haywire and Magic Mike was captured in switches to close-ups here. At age 50, Soderbergh has everything in his repertoire calculated to fullest effect.

With any luck, Mr. Soderbergh's retirement is a short one. Few directors have mixed genres so effortlessly and with such panache. Please, come back soon.

***/****

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10 Words or Less: Magic Mike (2012)

All the right moves

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'Magic Mike': The Movie You Never Knew You Wanted

Channing Tatum has very quickly become one of the more accepted actors of his generation. Movies like G.I. Joe and Dear John never made him much in my mind, but his turns in 21 Jump Street and Haywire have made him more endearing. I look forward to what Steven Soderbergh will do with this material (based upon Tatum's own exploits as a male dancer).

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Review: 21 Jump Street

In high school, Schmidt (Jonah Hill) was barely noticed and Jenko (Channing Tatum) was king jock. With graduation eight years behind them, both Schmidt and Jenko find themselves in line to become police officers. Getting over hating each other in high school, the pair help each other through the academy and set about starting their dream of being BAMFs. That fantasy, however, is quickly jettisoned as they end up partners riding bicycles in the city park.

The popular misconception about 21 Jump Street is that it would just be a cash-in on a brand with market recognition. If the announcement that Jonah Hill and Michael Bacall were writing the screenplay didn't ease those fears, then the film's total self-awareness will do so immediately. Actually, self-aware doesn't even begin to do the film justice. Phil Lord and Chris Miller, the duo behind Cloudy with a Chance of Meatballs, bring a verve of cartoon zaniness that keeps the film from being just another buddy cop movie.

Take for example this scene where Schmidt and Jenko are reprimanded for not reading a suspect his Miranda rights. Deputy Chief Hardy (Nick Offerman) gives up on the duo and refers them to another program. "We're reviving a canceled undercover police program from the 80s and revamping it for modern times. You see the guys in charge of this stuff lack creativity and are completely out of ideas, so all they do now is recycle shit from the past and expect us all not to notice."

This unit is headed by Captain Dickson (a very angry Ice Cube), who is well aware that he is the angry captain, but he worked hard to get there, so deal with it. Schmidt and Jenko are assigned to act undercover at a local high school and infiltrate the organization passing out designer drugs.

What a difference time makes, while Jenko may have been popular then, he isn't concerned enough about the environment to pass the smell test this time. Schmidt is psyched to find out that not only is he cool, but he can also get the girl (Brie Larson).

The laughs in 21 Jump Street are fast and frequent with Hill and Tatum playing off each other extremely well. Schmidt and Jenko wind up being closer than partners, and more like brothers and that heart drives the film. They are assisted by a very game supporting cast (Rob Riggle, Dave Franco, Nick Offerman, Ellie Kemper, Chris Parnell and Ice Cube).

Interestingly, the picture also has the potential to be Channing Tatum's breakthrough role. What makes this Tatum's big role was that we always knew he could play the jock with more heart than brains, but this time he played the role with a sense of humor about himself. That he can bounce off co-star Jonah Hill so well reflects his burgeoning status as a comedic star.

***/****

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Review: Haywire

The world of espionage has changed, it is now mostly ran by private contracting firms. Firms about liability clauses and the money that comes from ignoring due diligence. Along with that sort of money comes smarmy bosses like Kenneth (a despicable Ewan McGregor). Mallory Kane (Gina Carano) is tired of Kenneth, his jealousy, his lackeys and his poor work ethic. Trust is a valuable commodity in her field and trust, it seems, is in short supply. So Mallory is getting out for good, or so she thinks.

The spy film has worn the tread off its tires with all the franchises based around the intelligence service over the years. Between James Bond, Jason Bourne, Ethan Hunt and several other one-offs, there really isn't a lot of room left to surprise us. Given Steven Soderbergh's knack for adding style and flair to even the most moth-balled of genres, Haywire succeeds in providing thrills.

Telling Mallory's story in separate pieces keeps the audience from predicting too much of what comes ahead, but we all know this much: hell hath no fury like a woman scorned. And this woman fights; she does it because it is honest. Brutally honest. You can't fake your way through a fight and that is what Mallory has to her advantage: you can't lie or cheat your way to winning.

Soderbergh's capturing of fight sequences in Haywire is a sight to be seen. Every punch thrown sends the viewer back into his/her seat. The director doesn't cut away from the action and in doing so conveys what few action films do: raw intensity. Most fights are edited in such a way that the combat itself is lost, Soderbergh lets everything play out in front of your eyes.

For all of the authenticity the fight sequences are captured, Soderbergh also utilizes stylistic flourishes with black and white sequences, jazzy scores and excellent use of sound editing. The sound mixing leaves every bone-crunching blow, solidly connected kick, and broken vase felt. Mallory Kane is the best at what she does and what she does is kick ass.

Featuring an Ocean's 11-level assemblage of stars like Michael Fassbender, Ewan McGregor, Antonio Banderas and Michael Douglas, Haywire's cast fires on all cylinders. Fassbender is fun to watch as always—so much in fact it is sad to see him go. But as fun as the co-stars are, this film is Carano's to lose and she ensnares the audience with each onscreen duel. One hopes for more features for Mallory Kane and Company though; betrayal has never been this much fun.

***1/2 out of ****

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