Another good option for your spooky season programming. Where “What Lies Beneath” goes from there is a true surprise, aided heavily by Zemeckis’ computer-assisted camera movements that would make Alfred Hitchcock proud and a surprising performance from Ford. Back at home they start to experience things Pfeiffer thinks they might be haunted while he brushes it off as paranoia stemming from the empty nest syndrome. We’ll tread lightly on spoilers just in case, but “What Lies Beneath” follows a couple played by Harrison Ford and Michelle Pfeiffer, who are saying goodbye to their daughter at college. But “What Lies Beneath” remains the more rewatchable and technologically ambitious film. They were both big hits in the summer of 2000. “What Lies Beneath”īefore we lost Robert Zemeckis to motion-capture technology, he embarked on a remarkable plan – he started shooting “Cast Away” and then, while Tom Hanks embarked on a significant weight loss, he shot “What Lies Beneath,” coming back to edit both.
If you aren’t already in the spooky season mood, this ought to do it.
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Kit Carson and more elaborate gore effects by Tom Savini (which ultimately threatened the movie with an X-rating), “The Texas Chainsaw Massacre 2” is a bloody good time. With a screenplay by “Paris, Texas” writer L.M. Caroline Williams plays Stretch, a radio DJ who comes in between the cannibalistic Sawyer family (including Leatherface) and a vengeful former Texas Marshal (played by Dennis Hopper). It’s not everybody’s cup of tea (it disappointed in theaters but became a cult object on home video), but if you’re willing to go with it, it’s pretty outstanding. And instead of a direct sequel, Hooper decided to zig where he could have zagged, crafting a gonzo horror-comedy that is as far away from the original film as he could get while it still being recognizably part of the same series. More than a decade after the original “The Texas Chain Saw Massacre” (and, yes, that is how the original title was stylized), director Tobe Hooper returned to the franchise, this time for Cannon Films. It might be your new favorite Ritchie caper. If you’ve never seen it, it’s worth a look. But it’s also hugely enjoyable, Ritchie expanding on and refining what he does best. Throw in cameos from Jeremy Piven and Ludacris, Thandiwe Newton as a femme fatale and Mark Strong as a fix-it man and it’s … a lot. (It was produced by Joel Silver, an impresario of oversized ‘80s action movies.) Tom Wilkinson is a British mobster trying to navigate the shifting allegiances of modern day London Gerard Butler, Idris Elba and Tom Hardy are a gang of criminals and Tony Kebbell is Wilkinson’s estranged son, a grungy rocker who has gone off the grid. “Sherlock Holmes.” “Rocknrolla” was Ritchie’s attempt to tap into the down-and-dirty crime comedies that he started his career with, but opening it up to a bigger palette, stuffed with more characters and subplots and rococo visual flourishes. One of Guy Ritchie’s very best movies and certainly his most underrated, “Rocknrolla” came during a fallow period of the British filmmaker’s career, after back-to-back disappointments (his mystifying “Swept Away” remake with then-wife Madonna and the Kabbalistic gangster movie “Revolver”) and before he would jump into the pop mainstream with the Robert Downey, Jr. The 7 Best New Movies on Hulu in September 2022 “Rocknrolla” Even some of the more bizarre elements of the movie, like its ability to indulge in nearly every musical biopic cliché years after “Walk Hard” seemingly shattered those tropes, seem muted compared to all of “Elvis’” glittery accomplishments. (There are times when the movie is genuinely overwhelming, in the best possible way.) Butler is a revelation, even if the movie’s unconventional structure occasionally forces him to play second-fiddle to Hanks’ sneering, Goldmember-like performance, which sees the actor caked in prosthetics and speaking with a bizarre accent.
We very much fall into the camp of “Elvis” lovers, particularly in the movie’s first half, when Luhrmann really lets his freak flag fly. Either you fall in love with its aesthetic, which depicts Elvis (as portrayed by “Once Upon a Time in Hollywood” star Austin Butler) as the puppet for a scheming Colonel Tom Parker (Tom Hanks), festooned with editorial flourishes and stylistic embellishments, or you think that its high drama is actually, somehow, both overwrought and undercooked. There’s very little middle ground when it comes to “Elvis,” Baz Luhrmann’s extravagant musical biopic.
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