Bucky Larson Achieves Monumental 0% Rotten Tomatoes Rating

At the risk of piling on, today we need to recognize the rare cultural milestone achieved by Bucky Larson: Born to Be a Star. No, not its approval from a leader in the porn community, and not its status as one of the biggest mainstream flops in years. Nope. The Adam Sandler-produced, Nick Swardson-starring comedy has managed that ever-rare zero-percent approval rating among the critics of Rotten Tomatoes. Just when we thought The Undefeated was going to have a nice, long term as the site’s reigning stinker and Waiting For Forever might pull it out as the year’s most roundly loathed narrative film, along comes Bucky to change all that. Its ignominy grew into sharper relief over the weekend, as critics like our own Alison Willmore filed their reactions from public screenings (Sony declined to pre-screen the film) around the country. And wow did people hate this movie: · “There are movie atrocities, there are I-just-don’t-get-it comedies and then there’s Bucky Larson: Born to Be a Star. This god-awful, unfunny, stinkingly putrid sketch-comic movie has exactly one snicker-worthy moment, involving Kevin Nealon and a stolen grape. […] That snicker is the loneliest sound throughout all of Bucky Larson, which stands alone as the most moronic comedy in ages.” — Joe Neumaier, NY Daily News · “This is cinema only insofar as Taco Bell can be called a healthy snack, cobbled together with broken parts from Hollywood’s junk drawer and enough song cues and big names (Don Johnson, sadly par for the course in his post-Miami Vice career) to create the illusion of entertainment. If you’re of the opinion that Napoleon Dynamite wasn’t cruel enough to its characters, Bucky Larson’s for you. You may or may not laugh, but at least you’ll be closer to death and no better for it.” —Rob Humanick, Slant · “It occurs to me that Bucky Larson: Born to Be a Star may have been made […] to console every actor who has ever been in a movie that is a little less bad than this one. Let me put the matter another way: this may be the worst movie Pauly Shore has ever been in. Think about that. If you dare, go on Netflix and test the hypothesis.” — A.O. Scott, The New York Times Ouch. At least there’s always a DVD pullquote from Joanna Angel. We did what we could, Sony. · Bucky Larson: Born to Be a Star [Rotten Tomatoes]

Why There Is not a Definitive 9/11 Movie Yet ... and What Approaching Film Might Be That

ten years later, can it be still too soon? Numerous films have addressed the occasions of September 11, 2001, from various angles, but not one of them have accomplished true landmark status, culturally or cinematically. There is no work yet that may be referred to as 'The 9/11 Story.' With an industry that didn't even delay until our previous leader was from office before showing his existence on-screen, that seems being an awful very very long time to attend prior to taking within the most broadly recorded incident ever, possibly the most important event in the last generation. A few possible explanations stand out. First, audiences have proven no inclination to reward 9/11-designed films within the box office, so art galleries are naturally less inclined to produce them. Second, Hollywood still seems just a little reluctant of handling a subject so very sensitive both politically and psychologically. And third, possibly first and foremost, there's no easy story to see. If there's one factor movies prefer (both filmmakers and audiences, that's), it's a tale getting a newbie, a middle plus an finish -- by now, there really isn't any finish to 'The 9/11 Story.' (Note: This article stick with commercial film. An entire recounting of 'The 9/11 Story' has, somewhat, lately been done -- not by Hollywood. The Country's Geographic Channel's 'Inside 9/11' can be a clinical, documentary-style breakdown in the occasions just before tomorrow, your entire day itself as well as the aftermath. It's as comprehensive as you could want. Maybe, so far, this is the simplest approach to tell 'The 9/11 Story,' for this doesn't are stricken through the financial, political or artistic problems we'll discuss below. So when 'Inside 9/11' isn't enough, you can read 'The 9/11 Commission Report,' our government's official undertake what went lower.) When Paul Greengrass's 'United 93' and Oliver Stone's 'World Trade Center' were released in 2006, it made an appearance likely that they're this is actually the to start many film efforts to handle the occasions of 9/11. However, five years later, and 10 years since the attacks, people two films remain really the only films to directly illustrate the occasions of the day. Despite critical acclaim for 'United 93' -- Greengrass received a Best Director Oscar nomination, as well as the film received a lot of additional award recognition -- together with a sigh of relief that Stone, recognized for outright political texting within the films, shipped an psychologically resonant, apolitical undertake the initial responders to start in the Twin Towers, the movies barely handled to destroy $100 million combined within the box office. That is not peanuts, however it doesn't indicate an audience thirsting for further, either. Developing a comprehensive, "definitive" 9/11 movie would probably need a significant hefty budget. Pricey effects might be needed to recreate the completely new You'll be able to skyline as well as the hi-jacked jetliners that attacked it. The cast and locations could be also extensive, with action happening no less than in New You'll be able to, Washington, eastern Pennsylvania along with other designs within the center East that could show both al-Qaida's pre-attack planning as well as the American military reaction in Afghanistan (and, likely, Iraq). The attack attracted the eye of the world, something filmmakers will need to include to properly show the whole scope from the products happened. And additionally, any studio gutsy enough to proceed together with your a production will need to hire top-line talent both before and behind the digital camera -- no small line concerning the ledger. A thrilling-encompassing telling of 'The 9/11 Story' is clearly apt to be costly, without any historic evidence yet that audiences may decide to see this kind of factor, it's not small question that no an individual's attempted it yet. It's name is "show business" ultimately -- if there's no enterprise, there's no show. Let's tackle another point to consider now. Because the film marketplace is generally seen as dependably liberal -- conservative people in politics have elevated lots of money denouncing "Hollyweird" -- the monumentally complex and extended quantity of occasions just before Sept. 11 which is aftereffects take effort and time enough to cram in to a two-hour film, without any additional worries of the effort getting overlooked as fundamental partisan hackery or, worse, a deliberate political slanting from the national tragedy. Nonetheless, you will discover techniques to preempt such criticisms. Plenty of conservative company company directors are designed for storytelling relating to this scale. Clint Eastwood involves mind, especially after his dual tales of World War Ii, 'Flags within our Fathers' and 'Letters From Iwo Jima.' Employing someone like him would immediately defuse any try to brand the film some Hollywood's liberal activism. (That's to not express the complaint would not be handled to obtain likely would no matter who made the film.) Ideally, though, 'The 9/11 Story' might be above such typical political disputes. Rather, it may be of a terrible event and the way we, just like a nation, responded. But, may be the political edges be smoothed over? Every time they be? 'The 9/11 Story,' to have the ability to truly be comprehensive, will need to take the time to setup the terrorist attacks giving us backstory, and to accomplish this, it could always have to explore some very untidy politics, both in your area too as with balance more obscure cell phone industry's of national security and intelligence. This may require uncertainty including a lot of redacted areas of government reviews to accomplish the story. Nevertheless, you choose to make it happen, you'll probably upset lots of people. This seems as being a reasonable concern for just about any studio, specially when the film was already fighting a continuing fight financially. Finally, there remains the fact 'The 9/11 Story' is not over yet. We don't know how it finishes. This is often a major artistic concern, which is unclear the actual way it can come out. ten years ago, the country was attacked we responded by fighting wars in Afghanistan and Iraq, wars that continue to this day. After which it ...? Creatively, it becomes an incomplete and ongoing story. Art can be very effective in searching back at a thing that has run its course it isn't always suitable for taking a chance so what can happen next. (Though an 'Inglourious Basterds'-style imagined-future take may be interesting.) Further further further complicating things in the filmmaking perspective is the fact that 9/11 wasn't a simple military attack the sufferers were largely regular people, as well as the perpetrators were neither soldiers nor actual reps connected having a country. Even though Government is obviously a military target, the Twin Towers were a cultural, symbolic and economic target. Despite some initial parallels, it had been an very different event from something such as Jewel Harbor -- a apparent-cut military assault. Two 1000 seven-hundred fifty innocent everybody was very wiped out tomorrow, an psychologically destructive act for the entire country that ripped open a wound that for a number of remains unhealed. No matter the numerous functions of genuine gallantry on 9/11 -- functions described well in 'United 93' and 'World Trade Center' -- the attacks themselves, if placed on-screen for audiences to feed once more, would require a subsequent catharsis. Film structure does not need a simple retelling in the particulars an excellent story features a beginning, a middle plus an finish. The occasions of the day were so appalling and nasty and unequalled that individuals have no clue this type of complete truth is. This is why the story feels incomplete: as it is. Best anybody can identify at this time around is always that we might be approaching the conclusion of 'The 9/11 Story,' but more likely we're within the center, and, hopefully, it is not still the beginning. A celebration like 9/11, something so personal to us as Us citizens and for that reason requiring the finest levels of storytelling to acquire right, probably cannot be done on film yet -- because we just have no clue the whole tale. Or can we? When Osama bin Laden was destroyed taken, that may have given filmmakers one last act. Kathryn Bigelow's approaching film in regards to the military raid that destroyed the al-Qaida leader gets the opportunity to behave new here. Whereas the attack concerning the World Trade Center is probably most likely probably the most-seen event ever, and for that reason isn't something particularly appealing for just about any director to try and film, Bigelow's movie can show audiences something nobody has seen: a Navy SEAL shooting the villain of 9/11 hard. That may be the reaction to the three problems spoken about above: 1) It could draw people into the theater by showing them something they haven't seen and should see anxiously 2) it could exceed the political fray by sticking for the tale from the daring, effective military operation, not the murkier issues surrounding it and three) artistically, it offers a closing, cathartic act for the story. While there's no make sure the film will achieve people goals, it'll use a decent chance. It may be not technically "comprehensive" or "definitive," but to date as movies go, it might be known eventually as 'The 9/11 Story.' No pressure, Kathryn. Photos: National Geographic, Getty Images (2)

'Warrior' Is 'A Love Letter' To MMA Martial artists, States Director

FROM MTV MOVIES: Film fans have not had it so great, because of the progressively massive quantity of movies launched every year. The only issue with this enormous haul isn't that all are great or memorable, regardless of their box-office success. Even though 2011 has introduced some good features, we at MTV News are searching toward the autumn movie season with great anticipation, mostly because galleries typically release a few of their best projects between your several weeks of September and December. Among the finest from the fall slate is "Warrior," a gritty and moving action flick about two siblings who face your dream of the lives inside a mma tournament. How can we know it is good? Because we have seen it, and throughout the marketing run for that Friday release, the response one of the other usually cynical reporters attending was very positive. We swept up with stars Tom Sturdy, Joel Edgerton and director Gavin O'Connor and requested if they'd like to believe positive vibe too. Browse the full story at MTV Movies!

REVIEW: Colin Firth's Southern Accent the Least of Main Street's Problems

At first glance, the formidable cast of Main Street appears to have gathered for a chance to work off the final original script from Horton Foote, the Pulitzered playwright and two-time Oscar-winning screenwriter (for 1962’s To Kill a Mockingbird and 1983’s Tender Mercies) who passed away in 2009. But as the film creeps along with few signs of life, one begins to suspect the real reason they’re all there is to show off that most treasured item in any actor’s toolkit — the Southern accent. Main Street is an ensemble drama that functions as a display case for a range of regional drawls, from the authentic to absurd. Patricia Clarkson, playing Willa, a divorcee who’s returned to her hometown of Durham, North Carolina, easily walks away with best in show, but coming from Louisiana she’s in slightly more familiar territory than Colin Firth, who, as Gus Leroy, a representative of a toxic waste management company, is a sorely unconvincing Texan. That toxic waste is hazardous, but it also represents a possible salvation for Durham, standing in here for every American town being hollowed out by changes in the industry on which it used to depend. Durham’s tobacco heyday is gone, and Willa’s aging aunt Georgiana Carr (Ellen Burstyn), a silly Southern belle living alone in the grand house in which she grew up, but that she can no longer afford to maintain, rents out her unused tobacco warehouse to Gus without bothering to hear what he intends to use it for. When she’s told, she frets, and enlists Willa’s help in negotiating her way out of the agreement, despite having already spent most of the money, while Gus woos the city council (headed by Isiah Whitlock Jr. as the mayor) with promises of jobs and a much-needed injection of cash. Elsewhere, young Mary (Amber Tamblyn) considers leaving town and dates an older man (Andrew McCarthy), as her ex Harris (Orlando Bloom, wielding a pencil moustache) pines and the pair’s parents look on in distress. Main Street shoots for a sprawling, John Saylesian portrait of a community, but beyond just being dramatically inert — you can only pick out the climax after the fact — its characters also seems curiously disconnected from each other and from the physical location in which they’re supposed to live. In reality, Durham has over 200,000 residents, but it comes across as so depopulated in the film that number seem more like 200. John Doyle, a theater director making his film debut here, compounds the sitcom-like feeling that everything’s being shot on sound stages in Los Angeles by using few exterior shots, other than bookend montages of the city from its past and slightly dilapidated present. Despite its title, Main Street primarily plays out in living rooms and kitchens, as Georgiana bemoans her family’s decline, as Harris’s mother (Margo Martindale) worries her son’s exhausting himself in night school, as Gus and Willa start a cautious flirtation. The issue of crumbling municipalities whose hope for the future is fleeing with their younger generation, and who are placed in a weakened position in negotiating with businesses they might have turned away in a more stable time, is a knotty one with plenty of narrative potential. A July episode of This American Life exploring the PR battles that took place when a natural gas company looked into leasing land for drilling near a small Pennsylvania town contained enough fodder for a season of cable TV (though Lord knows how you’d pitch it). Main Street’s approach is disappointingly simplistic and sanctimonious — the bargain being offered by Gus’s company is strictly Faustian. The waste being stored in that rented warehouse in lines of canisters Gus swears meet every safety standard is described dramatically by Willa as “death,” and a perfectly timed accident and a character’s change of heart each suggest she’s right. If Main Street offers any sort of story, it’s one of a city briefly tangling with a predatory business, but managing to get away intact, while its representative new generation comes close to heading to Atlanta for new opportunities, but in the end decides to stay. So why does the film leave you feeling so sympathetic to a toxic waste company? Given the lack of other prospects left for this highly theatrical version of Durham, the hopeful lilt of the ending rings not just false but foolish, like the dithering Georgiana in her beautiful, empty house, monologuing about how splendid the old days were. One longs for someone to tell her, sure — back then you were rich. It’s when you no longer have power and resources on your side that you have to face difficult decisions, a fact Main Street dodges, and really needed to have taken on.

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Haunted Boat

Once the youthful Kevin will get the boat of his dead uncle like a gift, he invites five buddies of him to vacation to Catalina Island for that weekend. Whilst in the journey, they drink booze, have sexual intercourse and play games, with every one of them telling their finest fear. Later Kevin drowns on view ocean, the engine stops, plus they are haunted and killed by their finest innermost fear.

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Who Will Mourn Gwyneth Paltrow's Status as a Leading Lady?

Gwyneth Paltrow has a habit of sayings things that inspire me to take notes, fill a bulletin board with theories, and question my own feelings. Today’s incendiary soundbite: a seemingly off-the-cuff remark from the Cee Lo foil regarding the roles she takes: “I have little kids, and I’m a full-time mom. I really only do small parts.” Considering her role in Contagion is a short one — she’s only in the first 15 minutes — and her newly announced ensemble role in Stuart Blumberg’s upcoming sex addiction comedy Thanks for Sharing, is it possible that we should be mourning her status as a leading lady? Will you attend the memorial? Because I will! As much as Gwyneth Paltrow polarizes movie fans, she was so memorably effective in Emma, Proof, and Shakespeare In Love (her Oscar-winning performance, of course), that I can hardly imagine watching her in mainly supporting roles — even if her streak of minor parts only lasts a few years. I recommend Paltrow follow the lead of frequent birth-giver Nicole Kidman, who simply passed up most films for a couple years before returning in startlingly mature works like Rabbit Hole. Which reminds me: Do I have to keep pimping Rabbit Hole? Please drop everything and see it, unless you hate convincing dramas full of real-seeming adults. On the other hand, I’d prefer Paltrow avoid the post-baby track of Julia Roberts, who seems attracted to lighter, inconsequential movies these days. Or terrible movies, really. An absence from the screen is best succeeded with roles that declare self-possession and professionalism, not high-profile banality. Here’s hoping Paltrow comes to re-own her marquee greatness. Gwyneth Paltrow Talks Balancing Movies With Motherhood, Parties With Beyonc In Venice [HuffPost]

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The Drive Soundtrack Has Arrived Online

Ryan Gosling fans, Nicolas Winding Refn devotees, and soundtrack obsessives, take note: As of today, you can download the ’80s/electronica-influenced soundtrack to Drive, the crime-thriller-romance that should be on your must-see list for fall. Available for purchase on Amazon today, the album — combining original tracks by the likes of Johnny Jewel’s Desire and Chromatics with an atmospheric electronic score by Cliff Martinez — should make the perfect aural accompaniment to your Drive tour of L.A.! The full track listing, as follows: 1. “Nightcall” - Kavinsky & Lovefoxxx 2. “Under Your Spell” - Desire 3. “A Real Hero” - College (feat. Electric Youth) 4. “Oh My Love” - Riz Ortolani (feat. Katyna Ranieri) 5. “Tick of the Clock” - Chromatics 6. “Rubber Head” - Cliff Martinez 7. “I Drive” - Cliff Martinez 8. “He Had a Good Time” - Cliff Martinez 9. “They Broke His Pelvis” - Cliff Martinez 10. “Kick Your Teeth” - Cliff Martinez 11. “Where’s the Deluxe Version?” - Cliff Martinez 12. “See You in Four” - Cliff Martinez 13. “After the Chase” - Cliff Martinez 14. “Hammer” - Cliff Martinez 15. “Wrong Floor” - Cliff Martinez 16. “Skull Crushing” - Cliff Martinez 17. “My Name on a Car” - Cliff Martinez 18. “On the Beach” - Cliff Martinez 19. “Bride of Deluxe” - Cliff Martinez Drive hits theaters on September 16. [Amazon]

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