The New Classics - Michael Clayton

Michael Cusumano here to christen my new series on future classics of the 21st Century with Tony Gilroy's 2007 legal thriller. In each episode we'll be discussing one great scene. 

The Scene: Karen Crowder’s Downfall 

How does the final scene of Tony Gilroy’s Michael Clayton work so well despite the wheezy cliché at its center? Secretly recording the villain’s confession is right up there with the Monologuing Killer on the list of tired plot devices. Yet when Clooney coerces Swinton into exposing her sins it doesn’t feel the least bit lazy. On the contrary: it’s electrifying...

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'Duplicity' or Con Artists in Love

Tim here. Tomorrow sees the release of Focus, a romantic drama about two con artists, played by Will Smith and Margot Robbie. Time will tell if it finds its audience – the critics are steadfastly ambivalent – but I would at least argue on its behalf, sight-unseen, that it's already gotten at least one thing right. There's a slick likeability to any generally good con artist picture, which openly confess to the thing that most movies try to hide at least somewhat: the reason we watch them is to be told enthralling lies. We go to the movies in the specific hope of being conned, and never more so than in the case of romances, which in Hollywood's view are games of people trying to trick other people into falling in love with them, while tricking us into believing that all these contrivances are true and meaningful instead of just skilled craftsmanship. I'm hoping against hope that Focus ends up being really great.

While we wait to find out, I'd like to take you back in time to the last great con artist love story (if we skip over American Hustle, which has other goals in mind), the wantonly under-appreciated Duplicity from 2009. It was writer-director Tony Gilroy's follow-up to his Oscar-nominated Michael Clayton, transposing that film's world of corporate espionage and skullduggery into the frame of a fizzy romantic comedy. It was also the second film to pair Julia Roberts and Clive Owen as a pair of sniping lovers after the acidic "everybody hates everybody" drama Closer. And Duplicity tanked, and was widely unloved, and even six years later, those facts still break my heart a little bit. 

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Linker by the Dozen

Philadelphia Weekly offers up 6 family films that would draw the ire of the far right in the wake of Fox's ridiculous Muppets bashing.
Coming Soon Another pic of Daniel Day-Lewis from the set of Lincoln, this time with Steven Spielberg
TOH on Matt Damon vs. Tony Gilroy in GQ, hurt feelings around the Bourne franchise.
Guardian David Thomson's ode to Jeremy Renner 

The Cut chooses 11 surprisingly stylish celebrities of 2011
Monkey See 20 Unhappiest People in the Comments Section of Year End Lists. Teehee
Pajiba thinks the teaser poster to Prometheus looks familiar.
Slant Oscar Prospects: Midnight in Paris
Bernardin Could Netflix revive Firefly? It's wishful thinking but thinking wishfully is fun.
Critical Condition "Hush up and watch the Artist" 
Tom Shone why the Globes are better than the Oscars. 

So the HFPA love their stars! What sinful wretches! To survey the history of the Golden Globes is to enter a fragrant Arcadia where all the great Oscar howlers of the last 30 years simply didn't happen. Where E.T. smushes Gandhi, Brokeback Mountain kicks Crash to the curb, and The Social Network roundly thrashes The King's Speech."

@MarkWassmer posted this fine mashup of the latest superhero posters. I haven't posted either previously because their über seriouness drained all joy from my inner child.

I miss superhero pictures that loved color and fun like the original Spider-Man or the original Superman or even X2. Damn you Chris Nolan! ;) I reallydon't want my superheroes looking like they could just meander over to the set of a Clint Eastwood picture and fit right into the I'm A Serious Movie near black and white aesthetics.

Top Ten o' the Day - Dennis Dermody at Paper Mag
Begins by calling The Tree of Life a "psychedelic turd" and moves on to one of the year's most immature and sloppy pictures (Kaboom) so I don't know how seriously to take it but I like the second sentence on Melancholia a lot.

 I feel slightly guilty enjoying the spoils of Von Trier's ongoing depression."