So I Married an Axe Murderer
If anyone should be ripe for a huge comeback any minute now, it’s Mike Myers. Myers is largely responsible for two of the most iconic comedies of the 90s, Wayne’s World and Austin Powers: International Man of Mystery. If you weren’t there and cognizant of it then, it’s impossible to explain the grip both movies had on 90s pop culture, particularly Austin Powers. Even now, 25 years later, it’s very likely that you’ll occasionally hear someone say “One hundred…billion…DOLLARS” in the voice of Dr. Evil, or refer to a person’s lookalike child as their “Mini-Me.” Its closest competitor in the zeitgeist is probably Clueless, and Clueless didn’t get two sequels. Continue Reading →
Max’s latest docudrama is just one of many times real-life killers have been given attractive makeovers for TV
Premiering tomorrow on Max is Love & Death, the second (after Hulu’s Candy) of two miniseries in one year focusing on the 1980 murder of Texas housewife Betty Gore by her friend Candy Montgomery. Whereas Candy took a nuanced approach to the case, Love & Death is decidedly pro-Candy, treating her as a victim of circumstance, even though she (a) struck Betty Gore 41 times with an ax, (b) had no injuries to back up her self-defense claim, and (c) had been sleeping with Betty’s husband.
That generosity extended to the casting. The real, thoroughly average Candy Montgomery, as did many people when cigarette smoking was still popular, looked older than her 30 years, and the tight perm and extra large glasses frames she wore didn’t help (whoever talked her into that hairstyle should have been brought up on charges themselves). In Love and Death, she’s played by the ethereally lovely Elizabeth Olsen, whose saucer eyes immediately convey innocence. While Hulu’s version of Candy was played by Jessica Biel, another implausible choice, an attempt was made at drabbing her down. Olson’s babydoll face is unencumbered by either a wig, or unflattering glasses. If not for the fact that her character’s name is Candy Montgomery, you wouldn’t know who she’s supposed to be at all. Continue Reading →
The modern age of streaming shows has delivered countless programs that boast in their press releases about being “just long movies.” The new Netflix limited series Florida Man continues this trend. Worse, it puts its own insufferable spin on the mold by stretching out a late-1990s Quentin Tarantino knock-off to nearly seven hours of storytelling. Yearning for a return to the era of non-linear crime dramas embracing the notion that F-bombs and shady behavior turn the story into the new Reservoir Dogs? This Donald Todd-created series will make you giddy. Unfortunately, everyone else will likely come away irritated. Continue Reading →
Justin Kurzel’s Nitram rarely features violence. Instead, it’s often subdued in anger, existing in long stretches of loneliness and isolation. The tone follows its lead, played by a phenomenal Caleb Landry Jones. He wanders through a small Australian town without friends or steady way to spend his time outside of fireworks. He exists in a muted state of prolonged sadness, taking enough medication to dampen his emotions. He's unable to make any lasting relationships. Kurzel’s film, based on the 1996 mass shooting in Port Arthur, Tasmania, simmers towards an inevitable conclusion, constructing and examining the events leading to a tragedy, frightening in its intimacy. Continue Reading →