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When Tommy Wiseau released his film The Room, it was so awful that it inadvertently became a cult hit, especially on the late night circuit. But people often wondered whether the filmmaker knew just how execrable his movie really was.
I thought of that as I watched Marguerite, the new French film from writers Xavier Giannoli (who also directed) and Marcia Romano. It’s a story about a patroness of the arts who gave recitals in her home to raise money for various charities. When all the other performers had rendered their absolutely ravishing arias and duets, Marguerite would then conclude the evening by singing herself. And out of her well meaning mouth came notes so awful, it made fingernails on a blackboard sound like one of Bach’s Brandenburg Concerto.
The Amazing Spider-Man 2 is one of those movies where at one of the climaxes (there are a few here, but the one I’m referring to is a scene where two passenger planes are heading toward each other), the hero has four minutes to resolve the disastrous situation and twenty minutes later there is still thirty seconds left on the clock (the writers must be watching too much football).
Of course, I’m not sure I’m being fair. This is a standard trope for action movies and I’ve enjoyed many a one that, well, let’s say played fast and loose with the space time consortium. And this one cheats no more than the best or worst of them.
Beyond that, as far as I’m concerned, on a scale of one to ten, The Amazing Spider-Man 2 is less painful than Superman and The Amazing Spider-Man 1, but far, far, far more painful than Iron Man 2 and The Dark Knight Rises. Continue reading →