Chris Pine is a man born slightly out of time: In a different era, he could have been a Harrison Ford- or Mel Gibson-style megastar, equally capable of inducing excitement and laughter in audiences through sheer force of personality. In this era, he’ll have to settle for being one of our more interesting A-list actors, anchoring huge franchises and smaller pictures within weeks of each other.
Jason Bourne (Matt Damon) looks old. Or maybe weathered is a more appropriate term: his skin tone matches the desolate, sandy camp in which we see him first. He’s been traveling the backwaters of Europe winning bare-knuckle boxing bouts with one-punch power, like a spec-ops Pikey. He is punishing himself for his sins, and trying to regain the memories his government took from him and set right his wrongs.
Video on demand (VOD) is the latest incarnation of the direct-to-video industry that followed the widespread adoption of VHS and VCRs. Like direct-to-video movies, these are often marginal releases highlighting so-so-to-quite-bad work. Every once in a while, however, you might find something that moves you.
Growing up I idolized Cary Grant, going so far as to pinch my chin in an attempt to mimic the cleft in his. Every family movie night I would offer a film starring Grant or one of his contemporaries. Who could turn down classics like Roman Holiday, The Philadelphia Story, His Girl Friday, or obscure but still great films like Thirty-Day Princess and Wedding Present? Reflecting back, I can’t help but think my decision to become a journalist must have been influenced on some subconscious level by those films, many of which were about journalism.
I’m not really one for sentimentalized or ritualized viewing. I’ll usually catch a showing of A Christmas Story over the holiday season and I make sure to watch Die Hard during the summer blockbuster months, as God intended. But life’s too short to demand that one sit down and repetitively re-watch something every year.