Channing Tatum

“Magic Mike”: The Bible for Masc Bros

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magic-mikeListen up, bros! Grab your red solo cups, your ex-girlfriend’s ex-boyfriend’s hockey jerseys, and your beer funnels: I’m here to tell you it’s okay to like Magic Mike. It is totally okay to appreciate another bro’s body. As a matter of fact, I do it all the time. In the shower, at the gym, at the gas station bathroom, it is totally okay to be bro-appreciative of another bro’s body. And I think Steven Soderbergh’s Magic Mike celebrates that masc ideal. Read the rest of this entry »

The Eye in Team: The Gaze of ‘Foxcatcher’

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Foxcatcher either doesn’t care or doesn’t want to establish exactly from whose perspective the film is, which is, in a way, a double edged sword. So much of the film takes pleasure in lacing every frame and action with ambiguity that it does, understandably, get frustrating. It at once wants to become intimate with its characters – Mark Schultz (Channing Tatum) and David Schultz (Mark Ruffalo), two Olympic gold medalists in wrestling, and John du Pont (Steve Carell), the “rich old guy” that recruits both of them to help his Team Foxcatcher to become best in the world – and get inside their heads, but these characters seem to push back against that very idea. So far as understanding them, we get nothing, which is a good thing. Read the rest of this entry »

2012 in Film: #85 – Stop-Loss

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2012 in Film: #85

Stop-Loss (2008) | Directed by Kimberly Pierce

Grade: C

Thoughts: What we have here is a film with a very clear message. And though that film, directed by the woman who also directed Boys Don’t Cry, knows what that message is, it feels the need to bash it into the audience’s head absolutely mercilessly. What could have been a very, very interesting character study of men who get out of the army very damaged (in a Deer Hunter or Paths of Glory kind of way), it is instead a movie that feels the need to shove its socio-political message down the audience’s throat. This might be forgiveable if it were filmed well. Jumping back and forth between flash backs, a cinema verite style camera work, and then a fairly calm style of cinematography, it ends up being a mish mash of sad attempts to be stylish. It’s also hard to have empathy for the characters, who are damaged to the point of being insufferable. Shame. (Granted, there is some good acting.)