Tag Archives: Robert De Niro

Fright Club: Skeletons in the Closet, 2024 Oscar Nominees

It’s the most wonderful time of the year! We get to celebrate the terrible decisions some of this year’s Oscar nominees have made in their careers. Why? Because we sincerely love them—the movies and their stars. Join us as we comb through this year’s Oscar nominees’ bad horror past.

5. In Dreams (1999): Annette Bening  and Robert Downey Jr.

It’s a twofer! Nominees for Best Actress and Best Supporting Actor, Annette Bening and Robert Downey Jr. joined director Neil Jordan (In the Company of Wolves, Interview with a Vampire, Byzantium) for this gender fluid serial killer/fairy tale mash up that just doesn’t work.

With Aidan Quinn, Stephen Rea, Margo Martindale (in a brief, thankless orderly role), it’s a convoluted mess of a movie that tosses together tropes from about six different styles of horror without ever trying to make sense of any of them.

This was Bening’s only real foray into horror, while Downey Jr. starred in Zodiac (great) and Gothica (poor).

4. Godsend (2004): Robert De Niro

Do not be surprised that De Niro starred in a lackluster horror flick in the early 2000s. He starred in several, not to mention the handful of bad actioners, bad thrillers, and bad comedies he peppers into his otherwise impressive filmography.

In this case, De Niro plays a geneticist with an ulterior motive, preying on the grief of a couple (Rebecca Romijn, Greg Kinnear) whose only child (Cameron Bright) has been killed. De Niro brings him back, but when has that ever been a good idea in a horror movie? Derivative and embarrassing, considering the cast.

Robert De Niro has starred in some great horror (Cape Fear, Angel Heart) and some bad horror (Hide and Seek, Frankenstein).

3. Case 39 (2009): Bradley Cooper

Like George Clooney, Bradley Cooper can write, direct, star, earn Oscar nominations, and be counted on to shine bright in a bunch of bad early career horror. In this case, he co-stars with now two-time Oscar winner Renee Zellweger.

It’s a blatant, lifeless The Ring ripoff with bad FX, bad acting and lame plotting. Cooper plays Doug (he’ll be your Doug). It’s a thankless role of boyfriend/buddy/bee sting sufferer.

We’ve talked about other Cooper horror before, but here’s his whole lineup: My Little Eye (pretty bad), Midnight Meat Train (not very good), and 10 Cloverfield Lane (voice acting, a really good movie).

2. The Wolfman (2010): Emily Blunt

We had such hopes for this one when it came out. That cast! Benicio Del Toro, Anthony Hopkins, Hugo Weaving, and 2024 Oscar nominee Emily Blunt.

Good God, was it awful. If you can look past the idea that Hopkins and Del Toro could be father and son, look past the insipid plot, look past Hopkins’s hamminess or del Toro’s disinterest, you cannot look past the heinous FX. But Blunt handles herself really, really well.

This was not the first, nor would it be the last horror film for Blunt: A Quiet Place (very good) A Quiet Place 2 (good) and Wind Chill (pretty good).

1. Frankenstein and Me (1996): Ryan Gosling

This one’s hard to track down, but worth the effort if you enjoy very badly made family-oriented “horror.” It’s a Disney TV movie starring Burt Reynolds (I swear to God). Burt’s married to a woman 1/3 his age (played by Myriam Cyr, who—God love her—is the worst actor on earth). The two have two young sons, who dream of bringing the dead to life.

Oscar winner Louise Fletcher takes abuse in a role that’s wildly beneath her, but there is one bright spot. This is Ryan Gosling’s first film, and he’s a spunky charmer, elevating every scene he’s in.

It wouldn’t be his last horror film, having also starred in Stay (mediocre, but co-starring 2024 Oscar nominee Sterling K. Brown) and Murder by Numbers (mediocre).

Kings, Queens and Pawns

Killers of the Flower Moon

by George Wolf

“Can you find the wolves in this picture?”

The question comes from a book on Osage Indian history that Ernest Burkhart is perusing, and it’s one that lingers throughout Martin Scorsese’s triumphant epic Killers of the Flower Moon.

After serving as a cook in WWI, Ernest (Leonardo DiCaprio) has come home to work for his uncle William “King” Hale (Robert De Niro) on an Oklahoma ranch. But while King is a wealthy powerbroker in the town of Fairfax, he laments that his “cattle money” is nothing next to the oil money of the Osage tribe, at that time the richest people per capita on the face of the Earth.

The Osage natives are worried, too, about the price of assimilation, the dangers that come with the comforts of wealth, and the white men eager to marry into their money.

King assigns Ernest a job driving for the reserved, pensive Mollie (Lily Gladstone). And when the couple marries, King calmly explains to Ernest how much closer the legal union puts them to the oil shares in Mollie’s family.

But Ernest has trouble “finding the wolves,” and as unsolved murders of the Osage people begin to mount, Ernest is drawn into a quagmire of lies and killings that eventually brings federal investigator Tom White (Jesse Plemons) and his team to Fairfax.

Scorsese and co-writer Eric Roth adapt David Grann’s nonfiction book with an engrossing mix of true crime fact-finding, slow burning thrills and devastating heartbreak. The characters are rich in culture and in shades of human grey, each one caught in an infamous crossfire of American envy, arrogance, bigotry and greed.

Expect multiple notices in the coming awards season.

Editing from three time Oscar-winner Thelma Schoonmaker is subtle and patient, every frame buoyed by a mesmerizing, evocative score that is sure to land the legendary Robbie Robertson posthumous nominations, right beside those of an acting ensemble that is don’t-forget-to-breathe tremendous.

De Niro makes King a scheming sociopath hiding in plain sight, with his kindest words saved for those he is most gaslighting. DiCaprio has never been better, as the simple Ernest’s journey from war hero to murder suspect is both a singular character study and a broad personification of confident ignorance.

Every member of the cast, from familiar faces such as Plemons, John Lithgow and Brendan Fraser to lesser known actors like Jason Isbell, Cara Jade Myers and William Belleau, brings limited roles to wonderfully realized fruition.

But it is Lily Gladstone who carries the very soul of this film. Mollie is a woman very aware of the daggers that are out for her people. She wants desperately to trust in her husband and their future, and the deeply held emotion that Gladstone (Certain Woman, First Cow) is able to communicate – often with her eyes alone – is a masterful thing to behold.

Scorsese and cinematographer Rodrigo Prieto (Barbie, The Irishman, Brokeback Mountain, Silence) find beauty in the expanse of the landscape, intimacy in moments of violence and betrayal, and a purposeful sense of history in the way numerous snapshots are held for an extra beat.

Still, not one moment of the film’s three hours and twenty-six minutes feels like filler. This is majestic, vital storytelling, from a legendary filmmaker who has not lost the drive to push himself. Beyond his clickbait comments about superhero franchises, here is proof that Scorsese still finds plenty on the big screen that inspires him.

He has given credit to Ari Aster for Flower Moon‘s committed pacing, while the film’s surprising finale feels directly influenced by Spike Lee’s success with connecting past and present via bold and challenging choices.

Like Lee, Scorsese is out to document American history while pointing out why so many look to bury it. The correct answer isn’t that there are no wolves in the picture, and Killers of the Flower Moon is a searing reminder that we can’t move forward together until we’re brave enough to confront where we’ve been.

You’ll Hold a Grudge

Grudge Match

by Hope Madden

It’s a tough battle. The late-life Sylvester Stallone and Robert De Niro battle hard. They sweat! They flail! They struggle against the stiff competition – I mean, do you remember RIPD? What about After Earth or Grown Ups 2? But, at long last, De Niro and Stallone walk out of that ring triumphant, in that they succeeded in crafting the worst film of 2013. Good on ya, guys!

De Niro has been whoring out – I mean, lampooning – his own image for decades, but it’s a row Stallone only accidentally began hoeing recently with his inadvertently comical The Expendables. Here, the two articulate the real tragedy of their waning professional years by reminding us all just how fine Raging Bull and Rocky really are.

In case you missed its countless ads, Grudge Match casts De Niro and Stallone as aging boxers lured into a rematch by Kevin Hart, who is actually funny. He’s not funny here, but there’s only so much a person can do.

Alan Arkin also tries really hard to salvage his scenes with his talent and solid comic timing. Unfortunately, he shares these scenes with Stallone, who is to comedy what Fox News is to journalism. The nine of us who saw Stop or My Mom will Shoot can attest to this – those of us unscarred enough by the experience to speak of it.

De Niro makes you weep for the glory of Raging Bull and the tragedy of lost artistic integrity. Meanwhile Stallone – whose artistic integrity was always pretty suspect – punch-jogs around urban Pennsylvania, trains with a curmudgeonly old man, drinks raw eggs. You see where this is going. It ain’t good.

But how can he go wrong with this script? Two old guys fighting! They don’t know what YouTube is – isn’t that hilarious? They probably have rotary phones and listen to 8 tracks, too. Comedy gold.

If 90 minutes of ridiculing our elderly isn’t entertainment enough for you, you will need to look elsewhere. In fact, the only reason you should be looking here is if you really hate Robert De Niro and/or Sylvester Stallone and ache to see them embarrass themselves for a paycheck, playing two men willing to embarrass themselves for  a paycheck.

So, I suppose you really could call Grudge Match the case of life imitating art, which is absolutely the only way the word “art” makes it into a description of this movie.

 

Verdict-1-0-Star

 





De Niro’s Not-So-Secret Admirer

The Family

by Hope Madden

Think of The Family as Luc Besson’s mash note to Robert De Niro.

The writer/director/Frenchman’s fondness for violence and organized crime in film is well documented. He’s written and/or directed dozens of films on the topic, including La Femme Nikita, The Professional, and Transporter. Rather than follow a single assassin or bag man, this time around Besson wades through more familiar cinematic waters with a full-fledged mafia picture.

De Niro plays Giovanni Manzoni, known to his new neighbors in Normandy, France as Fred Blake. He ratted out his wise guy connections back in Brooklyn, and now the Witness Protection Program shuffles his family around France trying to avoid a retaliatory hit. But the “Blakes” don’t make it easy.

Besson’s screenplay is based on a novel by Tonino Benacquista, who’s penned some great, gritty flicks (The Beat that My Heart Skipped, Read My Lips). The Family is a lighter affair, depicting good natured psychopaths who fail to fit in as another set of psychos descend on a sleepy French town.

The film lacks the action choreography Besson’s audience has come to expect. Instead, its charm lies in the director’s joyous fondness for American gangster flicks in general and De Niro’s work in particular. His odes grow evermore obvious, with callbacks to most of the actor’s greats: Taxi Driver, Goodfellas, The Godfather: Part II, even Cape Fear. Besson’s having some fun, and DeNiro seems to enjoy the affection.

De Niro’s chemistry with Michelle Pfeiffer, playing his wife, gives the film a little heart. It’s great to see these two seasoned veterans share the screen, and Pfeiffer’s displaced and disgruntled Italian American is fun to watch.

The storyline for the couple’s two teens is weaker, and Besson seems almost disinterested in the involvement of the WPP agents, including saggy faced sourpuss Agent Stansfield (Tommy Lee Jones).

It’s an action comedy that’s a little short on action. The comedy is pleasant and fun, but never truly funny. What keeps this light but violent romp entertaining is its own sense of joy and its love of Robert De Niro. Which may not be the best reason to make a film, but there are worse.

 

Verdict-3-0-Stars

 

 

http://www.youtube.com/watch?v=APfgBoaGdf4