Last week, the Minnesota Twins received the worst injury news of the season. It was announced that left-handed reliever Glen Perkins, who had been out since early April, was going to have season-ending surgery on his left shoulder to repair a torn labrum.
Having seen Return of the Jedi, four teenagers leave the theater and discuss which of the three Star Wars movies were better. One argues for Empire Strikes Back, the other A New Hope, and finally the last one says, “Well, we all know the third movie is always the worst.”
Did I mention this was a scene from X-Men: Apocalypse?
With Soundset 2016 coming up this week, we here at Minnesota Connected thought it might be a timely moment to remember some of the highlights to the conversations we had last year.
The Minnesota Twins have had an awful start to the season. They are 14.5 games behind the Chicago White Sox who lead the American League Central. Everything that could go wrong has gone wrong. The offense seems to be running on fumes. The starting pitching at times has been inconsistent. As for the bullpen, it seems like these days you expect a bad performance by most of the relief core. Not only that, the Twins have been shuffling players on and off the 25-man roster either due to injury or lack of performance. Losing streaks of nine and eight games certainly didn’t help matters.
To figure out who you really are, tear everything apart until you find the parts that are truly you, and throw everything else away. This is the fundamental story behind Demolition, starring Jake Gyllenhaal. While the writer and director’s unique attempt at retelling the find-yourself story is commendable, and Jake Gyllenhaal’s performance as Davis is charming and top-notch, the film still struggles with this on-the-nose metaphor and lack of finding anything new to say. The gradual progression of Gyllenhaal’s clean cut character into a train wreck was well done, and writer Bryan Sipe basks in Davis’s self-destructive downward spiral, but ultimately struggles to find a suitable and authentic answer for him by the end.
Self/Less – presumably a working title nobody ever got around to fixing – takes Ben Kingsley and turns him into Ryan Reynolds. If you find that trick impressive, you should give me a hundred dollar bill and see what I do with that.
Kingsley plays Damien, a millionaire architect who is dying of cancer. He’s approached by an ominous British scientist named Albright who developed the technique of “shedding” or moving someone’s consciousness from one body to another. The body Kingsley is eyeing belongs to Reynolds, and after a moment or two in a souped up MRI machine, voila! The Faustian pact is complete.
…that opened a winning comedy about a robot in space with a vision of Earth as a post-apocalyptic wasteland where most animals (and presumably people) had died from human greed and wastefulness…
…that took some of the most iconic characters in movie history and threatened to burn all of them in a fiery pit that bore no small resemblance to hell…
Pixar Animation Studios proudly presents: Birth.
Jurassic World comes to life every bit the dream that John Hammond imagined for his own Jurassic Park in 1993 — children running, laughing through the park while awe struck parents follow behind, large majestic dinosaurs on display for the world to finally see. Trust me, they spared no expense! But alas, nothing gold can stay. A new, fully loaded, genetically created dinosaur, not fully understood by her creators, and quite terrifying, hits center stage. Indominus Rex! Ian Malcom said it best in The Lost World, “Oh, yeah. Oooh, ahhh, that’s how it always starts. Then later there’s running and um, screaming.”
It’s not often audiences return to a franchise with such sincerity and force that it transcends being a reboot altogether and becomes something more as if we never truly left in the first place. Such is the case for Mad Max: Fury Road.
The world has dried up in the distant future, leaving the lands a desert and barren. Resources are hard to come by, and many are preyed on by scavengers and bandits. “Mad” Max Rockantansky (Tom Hardy) is running from many things: his past, the nightmares and more importantly these pale skinned scavengers called War Boys. Ruled by a cult leader King Immortan Joe (Hugh Keays-Byrne), Max is subdued and forced into being a live blood bag for sick members of the group.
Wildlike screened last week as part of the Minneapolis-Saint Paul International Film Festival, one of the many stellar pre-theatrical features offered to local audiences. Capturing the picturesque Alaskan tundra in 35 mm film (a rarity these days) and boasting a cast that includes Ella Purnell (Never Let Me Go, Maleficent) and Bruce Greenwood (Star Trek, Meek’s Cutoff), it’s one of those expertly crafted, refreshingly grown up dramas that have become far too rare in multiplexes.