With its nuanced evaluation of modern warfare and the place of the soldier in today’s society, G.I. JOE: RETALIATION represents an innovative vision of armed conflict waged on a global scale. Oh, who are we kidding? G.I. JOE: RETALIATION is the second entry in the toy-based franchise, featuring Dwayne Johnson, Bruce Willis, and Ray Stevenson facing off the baddies of Cobra in order to make the world safe for… Not sure. Other toys, possibly?
Cinefantastique Online’s Steve Biodrowski and Dan Persons discuss whether the film will leave audiences shouting “Yo, Joe!” or “Oh, no!” Then, reflecting the rather dizzying variety of new genre films released this past weekend, they discuss ROOM 237, a documentary that examines people’s surprisingly baroque relationships with Stanley Kubrick’s THE SHINING; WRONG, Quentin Dupieux’s latest dip into skewed reality; and Dan discusses the existential survival film, DETOUR.
Plus: What’s coming to theaters.
Drafthouse Films releases this eccentric comedy on VOD in February and in limited theatrical engagements in March. Written and directed by Quentin Dupieux (RUBBER), the film follows Dolph Springer (Jack Plotnick) as he searches for his lost dog – a quest that takes on mystical, even epic proportions involving telepathy and a journey to the end of the world. (Think David Lynch in lighter hues.) The cast includes Eric Judor, Alexis Dziena, Steve Little, and William Fichtner as as the oracular Master Chang.
Video on Demand: February 1, 2013 Theatrical Engagements:
Mar 29, 2013 – Apr 04, 2013 The Cinefamily -Los Angeles, CA Buy Tickets
Yes, RUBBER was released theatrically on April 1st. No, it’s not some kind of a joke — I’ve seen it, I know. It’s actually a film about a tire that gains consciousness in the middle of the desert, finds it has the power to destroy objects and animals (including the human kind) with its mind, and then goes on to wreak fear and destruction amongst the inhabitants of a small motel. That director Quentin Dupieux (a.k.a. electro musician Mr. Oizo) goes ahead and has characters regularly address the audience — both in the actual auditorium and on the screen (the latter are placed on a hilltop and conveniently provided binoculars to watch the action) — then gives Wings Hauser possibly his best role to date as one particularly cantankerous spectator, and did it all with a bare-bones crew (Dupieux wrote, directed, composed (with Gaspard Augé) and photographed using the Canon 5D, the same digital still camera used for TINY FURNITURE) on a short schedule (less than one year from conception to final cut), only adds to the rarefied nature of the entire project. But have no doubt: It exists, and it’s pretty damn cool.
Click on the player to hear my interview with Dupieux.