"Green Lantern" -- ugh. What a hideous concoction of fan-boy drool and studio cynicism, sold to us under the "3D-is-good" lie that makes every movie released in the process resemble a toxic EPA dump. I have no idea what this movie is about other than Ryan Reynolds lightly smirking his way through a plot that combines the DNA of the dogfight scenes in "Top Gun," the Cantina sequence in "Star Wars," and the pick-up scene in "Superman," and manages to insult all three. Even "Top Gun," which is difficult. Kudos to Mark Strong for playing the part of a parboiled maitre'd with a pencil-thin moustache and an attitude. Double kudos to Blake Lively for her impersonation of a plank.
I'm done. I mean it: Done. I can truly live out the rest of my life without seeing another craptastic summer superhero movie, and I don't care who stars in it, what precious pop-culture property it's based on, or whether it's in 3D, 4D, or holographic sex-o-vision. If the genre, utterly disposable as it was to begin with, has become this formulaic and incoherent, this deep-fried in its own asininity, it's time to let it die with the dorks. Too many of us are grown-ups and have better things to do.
Like, okay, go see "The Trip," five seconds of which are more entertaining than all of "Green Lantern." An added benefit: Just describing it is enough to pour rubbing alcohol on the exposed flesh of superhero-movie fans. That's right, all this movie is is two guys touring the restaurants of northern England and talking. But it's Steven Coogan and Rob Brydon, so the talk is pricelessly rude -- intelligent British invective at its finest. Worth it for the "Braveheart" scene alone.
A stylish little post-apocalyptic vampire fable called "Stake Land" arrives at the Brattle. The Museum of Fine Arts brings in "Women Art Revolution," the latest feminist/artistic broadside from filmmaker Lynn Hershman Leeson. And at the Harvard Film Archive, there's a dandy series called "Bunuel - The Beginning and the End," which rounds up the master's aggressively surrealist early films (the image to the left is from 1929's "Un Chien Andalou") and the serene brain-imploders of his late period. All highly recommended.
A tip, too, for Monday: The local documentary screening org DocYard presents "The Kids Grow Up," the acclaimed new film from "51 Birch Street" director Doug Block. It'll be at the Brattle and Block will be there in person. The film, about Block's loving/fractious relationship with his teenage daughter, is airing Sunday night on HBO -- just in time for Father's Day! -- but it's always more illuminating to catch a film with the director in attendance, if only to nail him with questions afterward.
About Movie Nation
ContributorsTy Burr is a film critic with The Boston Globe.
Mark Feeney is an arts writer for The Boston Globe.
Janice Page is movies editor for The Boston Globe.
Tom Russo is a regular correspondent for the Movies section and writes a weekly column on DVD releases.
Katie McLeod is Boston.com's features editor.
Rachel Raczka is a producer for Lifestyle and Arts & Entertainment at Boston.com.
Emily Wright is an Arts & Entertainment producer for Boston.com.
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