We’re all familiar with the proverb, “You can take the boy out of the country, but you can’t take the country out of the boy,” or some abstraction thereabouts. The phrase certainly proves true in BREAKFAST ON PLUTO, in which Patrick “Kitten” Braden (Cillian Murphy), possessed of an irrepressible spirit that gets him into one predicament after another, is unable — and simply does not want — to hide what he is from the world. This sort of story is usually reserved for films about underdogs the general audience relates to and celebrates: ROCKY, LUCAS, Fanny Brice in FUNNY GIRL, even Holly Golightly in another BREAKFAST, this one at Tiffany’s. But it’s much rarer to find in a queer protagonist — especially one with an intrepid sense of fashion.
St. Patrick’s Day falls on a Saturday this year (which means I won’t have jump over any drunk teenagers to get to work in Manhattan). I’m not sure what you’ve got planned, but I’m guessing it involves booze, unlike how they celebrate it in Ireland…with church, tea and maybe booze. I tend to stay indoors every March 17th. The world just isn’t safe for red headed ladies to roam the streets on St. Patrick’s day. Instead, I’ll be watching some of my favorite Irish films. Right after I watch this awesome Guinness commercial celebrating the genteel world of dog herding (again) and right before I don’t buy Nike’s new sneakers terrorized Irish civilians.
Filmmaker Rodrigo Cortés caused a feeding frenzy among buyers when his last film, BURIED, premiered at the 2010 Sundance Film Festival. The film starred Ryan Reynolds as an Iraq-based American truck driver who’s attacked, and finds himself buried alive in a coffin with only a lighter, flask, flashlight, knife, glowsticks, pencil and a mobile phone. His captor torments him via cell phone, making him perform a series of sadistic funny games in order to win his freedom.
With THE DARK KNIGHT, Christopher Nolan established himself as a director with the ability to translate the artfulness of a film like MEMENTO into a blockbuster that packs equal parts action and story. Even with an ensemble case, THE DARK KNIGHT manages to retain a singular character study that remains the heart of the story, no matter how many explosions go off in the background.
Almost the opposite is true of INCEPTION, Nolan’s ‘break’ while finishing up the Batman trilogy.