Tag Archives: Chloe Moretz

Hugo (2011)

This might be an adventure!” exclaims Chloë Moretz’s earnest Isabelle, shortly after meeting the titular Hugo in Martin Scorsese’s latest. And it’s true, Hugo certainly holds an adventure for its two lead characters. But that moment holds a deeper truth: the awareness that, for children, the world is still a magical place, capable of anything. There’s a kinetic excitement to being young and away from your parents, because possibility has an unknowable depth, and you haven’t yet been infected by the rot of cynicism. Scorsese, like many directors before him, plainly adores this moment in time, because for him it is connected unequivocally with the magic of the cinema.

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Let Me In (2010)

Let’s get it out of the way.  An American remake of 2008’s internationally successful Swedish film Let the Right One In was a bizarre choice and blatantly shallow.  I suppose one could say that the motivation for an Americanized version is based on the quantity of character and story, and not just that the film is marketable and vampires are hot right now.  Nonetheless, in the words of the original’s own director, “If one should remake a film, it’s because the original is bad, and I don’t think mine is.”  So then, a viewing of Matthew Reeves‘ less than scrupulous Let Me In can either be dismissed from square one, or it can be viewed and judged despite its bastardization.  Thankfully, I chose to do the latter.

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Kick-Ass (2010)

After Ebert’s less than enthusiastic review of Matthew Vaughn‘s Kick-Ass, I was both anxious and a little nervous to see the film.  I like Roger Ebert, and I respect his opinion.  It wasn’t luck that brought him to the status of Senior Film Critic in Chief.  But I read the books, and I loved them, and I loved them for the things that Ebert found so disturbing.  The absurdity and the violence.  The pure extremism of this entire scenario, and Mark Millar‘s through line that somehow keeps the thing from going too far.  It follows then that I should like the movie, with the two interpretations arriving so near one another, and Millar Executive Producing.  But there is a difference.  A few in fact, and it’s these differences that, on occasion, distort Kick-Ass the movie from silly entertainment into something dramatic, and intense, and on occasion, not particularly fun to watch.

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