A nurse tries to admininster a sedative to an unruly patient but instead "punctures" herself and gets HIV. She seeks the service of personal injury lawyer Mike Weiss (Chris Evans) who enlists the partnership of Mark Kassen. It seems hospitals are in cohort with GPOs and ignoring safety needles manufactured by a maverick, Marshall Bell. By the time, the movie ends we'll be distracted by Evan's drug addiction and destructive ways.
"Puncture" more closely resembles "Silkwood" about a flawed hero disclosing corporate secrets at the cost of human safety. Too bad the movie's a mess in the directorial and screenwriting categories. Evans is a handsome actor and works hard but, the more interesting character is the unctuous corporate lawyer played by Brett Cullen.
I'm surprised that there's no Congress oversight simply because hospitals donate campaign finances. The movie leaves no clue why Evan's is so destructive. Why is he followed and so many peoplel condone his drug use. The ending is somewhat disappointing because a $15M settlement doesn't answer these questions and there's actually no cost to the loss of human lives.
"My Night with Marilyn" was a pleasant way to enjoy the pitter patter of the rain outside with a woman who still mesmerizes on screen. Michelle Williams, although not as curvy, lets the viewer see the vulnerability of Marily Monroe. You want to reach into the screen and hug her. I don't think Monroe would be such a legend if she didn't die tragically young. Williams puts those wannabes on the NBC drama "Smash" to shame. She's the best thing in this movie, alternating moods between: beautiful, charming, a sex kitten, neurotic, insecure, friendly, lonely.
My biggest problem is how much of this "true" story was embellished by Colin Clark, the young production assistant who wrote the memoir. Even if it's all true, his story is trivial. Cast with Sir Laurence Olivier in the comedy "The Prince and and the Showgirl" Monroe arrives in London with a new husband, rigid drama coach, and enough insecurities to keep several psychiatrists busy. We don't see her taking any pills (she died of an overdose), the movie itself was an eventual flop, and the relationship between Monroe and Olivier (played well by Kenneth Branagh) is given short thrift. Instead, the focus is on Clark (a bland but earnest Eddie Redmayne). I was more interested in the other characters including a wonderful supporting performance by Judi Dench. The production design and costumares are very good.
It's a must-see for movie buffs. However, nothing new is revealed here about Monroe and you wonder who her real friends are (vis-a-vis paid employees) who could have intervened to provide some genuine help. I'm sure it's not the last film we'll see about Monroe but Williams' performance serves as a barometer for future actresses.
Sex addicts get no love from movies. Audiences clapped when Glen Close was shot in the chest for her "Fatal Attraction." Diane Keaton got strangled by a crazy one-night stand from a bar while "Looking For Mr. Goodbar." Richard Gere was framed for murder while performing as "An American Giggolo." What will happen to Michael Fassbender for his "Shame?" For starters, he'll be embarrassed at work for crashing his hard drive with internet porn, fail to perform when he dates a beautiful woman, and gets bashed on the street for picking up a married woman.
With the arrival of his emotionally dependent sister Sissy (played achingly by Carrey Mulligan), he will question his morals so his lifestyle will be changed. You may wonder why a successful NY Yuppie can't find happiness. Writer & director steve McQueen doesn't answer the question but implies that it's a family burden since his sister is more fucked up than him. The script is too spare so when Fassbender grieves, we feel no emptathy for his pain. Nevertheless, as a viewer you admire the style, piano strings on the soundtrack, cinematography, and originality of this movie which earned an NC-17 rating for it's sex and nudity. Fassbinder is fine. But, the movie is almost ruined by the haphazard editing, especially with long drawn-out closeups, and the juxtaposing sequence of the train, bar, and street fight is confusing.
I love to listen to the audience when the closing credits are flashed on the screen. No one clapped and people began politely exiting which might show reflection for what they just viewed. A young man turned to me and said "I don't get it." I explained that despite all this pain, Fassbinder went back to being a sex addict at the end. I think I'm right.
Do movie fans care a damn if "The Artist" wins Best Picture at the Oscars next month? A buddy counteroffered to buy mojitos at a bar instead of me buying his ticket. Watching this silent film in an empty theatre on Sat. was like attending a funeral. Pity the producers who will hardly make any profit on their $15M investment. The movie is rated 97% positive by critics. However, it's not a masterpiece but a delightful, charming and retrospective look at filmmaking. Audiences don't seem to care for a silent, black-and-white film, made by the French.The plot is simple. Jean Dujardin is silent film actor George Valentin who refuses to transition to 'talking pictures." While his career is on the downslide, his discovery (superb) Berenice Bejo as Peppy Miller is now the star. Both actors are thoroughly charismatic that they make up for the slow pace of the movie. There's a dog ( I think a jack spaniel) that should be awarded "supporting actor"; he's so good. Michel Hazanavicius' direction is excellent but the plot hinges on Dujardin's stubborness and pride. I got frustrated at the stagnant plot. We don't get fully-rounded characters and American actors like John Goodman are underused.Judging a classic takes time. Will I want to view this film again in a year. Probably not. It's an original work of art that inspires respect but not love. Critics can rave and audiences can yawn but it's simply a pleasant movie experience.
