Monday, June 10, 2013

How to Defend Against a Home Invasion, According to the Movies

It never pays to be a good Samaritan in home-invasion scenarios, so do as the survivalists do, and always look out for #1. (If you think about it, even cute little Kevin McCallister got by being a selfish prick.) The events of The Purge would have never happened had one character not taken pity on a wounded stranger and admitted him into his house. Without a stranger in their house, there wouldn't be an angry lynch mob hoping to break in.
Also don't be like the tenants in Pacific Heights, a thriller where Michael Keaton holes up in a San Francisco apartment simply because his landlord is too meek to ask for a credit check, money upfront before he can move in, or any other form of identification beyond a single personal reference. Instead, be like the cop in Panic Room who simply won't leave Jodie Foster alone, not even after she embarrasses him by saying her husband overreacted, and that she wasn't calling him for help, but rather for a booty call. This cop doesn't give up easily, and if someone threatens the castle that is your home, neither should you!
2. Don't Antagonize Emotionally Disturbed People
If someone who looks like Crispin Glover's deranged son wearing a Halloween mask that looks just like his own face shows up on your doorstep threatening to destroy your house, maybe avoid conflict with the guy. Admittedly, it's not always easy to know which sociopath's demands you should cave in to, and which ones you can fight. Frank Sinatra's would-be assassin in Suddenly doesn't look crazy. And while Gary Busey's villain in Hider in the House does look, well, like Gary Busey, he was already in the house he invaded. But surely we can all agree that Michael Pitt and Brady Corbet just look suspicious in Michael Haneke's American remake of Funny Games. I mean, look at those polo shirts: Something is surely up, so don't press him.
3. Don't Answer That Phone
It's easy to pity Ethan Hawke's family in The Purge because they are apparently not rich, or smart enough to have telephones in their house. But if movies like Hider in the House, Black Christmas, Sorry, Wrong Number, and When a Stranger Calls have taught us anything, it's that phones are not always your friend. So while you should ideally keep your phone on you at all times, maybe don't answer it unless you know who's calling.
4. Avoid the French Suburbs
This isn't a problem that The Purge's protagonists have to face, since Purge Night is apparently a uniquely American pastime. But Inside, Frontier(s), Martyrs, and Them suggest that, outside of France's cities, hicks, kids, and ladies are all commonly deranged. Whether they travel alone or in groups, the French are apparently that much more vicious and determined to break into your home, and take over your life, like a more sadistic version of Single White Female. So, when visiting your friends in France, keep an eye on where they keep sharp or blunt objects in any given room, especially scissors.
5. Try Not to Kill Anybody if You Don't Have To
Despite what the recent Straw Dogs remake would have you believe, killing intruders is not a life-affirming pastime. The good guys in The Purge don't exactly learn this lesson, as they get to absolve themselves of their worse sins by doing the right thing later on. But in Last House on the Left, and the original Straw Dogs, violence is kind of degrading, and brings out the worst in people. When Dustin Hoffman's character slaps his wife in the above clip, it's a sign of regression, not a temporary slip. Once his adrenaline kicks, Hoffman's character apparently learns to like defending his home like a caveman. But again, cavemen are not attractive, and the sweat, and heavy breathing, and generally animalistic look Hoffman has throughout this scene confirms that defending your life, family, and possessions is not all fun and games.
Tags: movies

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The Comedy We've Been Missing: Joss Whedon's: Much Ado About Nothing

Shakespeare invented the smart screwball comedy, but it's been gone for too long.
I've been missing movies like Joss Whedon's Much Ado About Nothing, but I hadn't seen one in so long that I'd forgotten I missed them. The Shakespearean adaptation by Whedon, a director and producer more famous for Buffy the Vampire Slayer and Firefly, is a smart screwball comedy, shot in an undemanding black and white, with actors taking sheer delight in their roles. It was made in eleven days while Whedon was preoccupied with the "real work" of making The Avengers, and it has something of the feel of an incredibly well-made student film about it — in its innocence and joy as much as in its total lack of expensive shots. All of this makes it one of the strangest and most unexpectedly delightful films of the year. But what really sets it apart is its portrait of a couple in love who love to argue. It's been too long since we've had that.
Set in a California mansion, the plot of Shakespeare's four-hundred-year-old comedy fits easily in its modern-day setting, and the American actors have exactly the correct mixture of comic self-involvement and sheer loveliness to make it all work. Just because this is Shakespeare doesn't mean that you should think it's particularly profound. Benedick's wedding speech in the fifth act ends with "Man is a giddy thing. And this is my conclusion." Much Ado About Nothing is basically the best episode of Three's Company ever written. And it's awfully fun to watch. Benedick and Beatrice, the couple at the heart of Shakespeare's comedy, are the original example of the couple who can't stand each other but can't stand to be without each other either. The machinery of the plot exists to convert this hate to love, and the love into marriage. The fizz of the dialogue resides in the proximity of hate and love. By now this is a cliché. When you see a couple fighting in the movies you naturally assume that they'll end up in bed. Shakespeare invented the plot device: In comedy at least, hate really isn't the opposite of love. It's the opposite of indifference.
There was a time when that contradiction was the basic substance of comedy. Almost all the great Cary Grant movies — His Girl Friday and Bringing Up Baby come to mind — involve a man with a bad temper, and a woman who gives as good as she gets. It was the basis of the Hepburn-Tracy movies and the Hudson-Day movies, too. A couple who could fight lovingly onscreen used to be pure gold. They still make movies about couples who argue, but almost out of habit. In 2009, they tried to resuscitate the genre with Gerard Butler and Katherine Heigl in The Ugly Truth. Let's hope they never try that again. In Judd Apatow comedies, which are the true inheritors of the best comedies from the 1950s, the struggle between the sexes is grim. The verbal jousting is between men in the private world of their male friendships and women in the private world of their female friendships. The arguments between the men and women are intense and involve sacrifice and unhappiness. Hostile affection is kept within gender. The battlegrounds between men and women have become too serious for laughter.
That's a loss. Because — news flash — men and women who love each other fight. Sometimes they barely interrupt their fighting to get on with other business. The gift of a joy machine like Shakespeare's Much Ado About Nothing is that it converts this insoluble problem in the heart of relationships into light laughter. That transformation is worth watching again and again, even four hundred years later.
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Esquire columnist Stephen Marche is also the author of the book How Shakespeare Changed Everything. Read it to find out much more about Much Ado About Nothing and, well, much more.
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Game of Thrones Nikolaj Coster-Waldau on the Evolution of Jaime Lannister

Should you still be reeling from Sunday night's blood-soaked Game of Thrones episode, fear not: There are still some good characters left, right? Take Jaime Lannister, for example. He's certainly come along way since his days of pushing kids out windows after being caught sleeping with his sister. This season he's been much more gallant and empathetic, by saving his hired escort Brienne of Tarth and, of course, now that he's sans his fighting hand. Well, he's still quite smug and arrogant, but there's much more depth to his smugness and arrogance. Behind the piece of work that is Jaime Lannister is Danish actor Nikolaj Coster-Waldau, who's been consistently brilliant to watch over the course of the series. Ahead of this Sunday's season-three finale, we talked to Coster-Waldau about the evolution of Jaime Lannister, why Robb Stark is stupid, and shooting his new film The Other Woman, in which he also plays a dude who has questionable ethics in the romance department.
ESQUIRE.COM: When you get a new Game of Thrones script, what's the first thing you do?
NIKOLAJ COSTER-WALDAU: It's exciting. I know the story lines in broad strokes, but the actual words ... It's always exciting and surprising. I read it and then I read it again. Usually we get a batch of four or five, which is pretty cool. It's such a mental task to produce the show. They have to get the story lines ready. They do the production schedule for the whole season in one go because it's too expensive to go back and forth. If you do a normal series, sometimes you'd get the script three days before the episode. We don't have that, which is great, actually.
ESQ: In looking back from when you started Game of Thrones to where we are now, how do you see Jaime evolving?
NCW: When we started out, I knew where we would potentially get if we were lucky enough to be allowed to keep going. When we did get to season three, I knew what was coming. The thing with Jaime is that at the core, he's the same guy. He has all these secrets. As an actor, secrets and obstacles fuel the character. The biggest secret he's been carrying for so many years — the truth of what happened when he killed The Mad King — to finally get that off his chest was a great scene to do, but was also a great target to have in the way we told the story about him. For an audience, it seems like he's changed a lot. He started out doing this hideous thing to Bran

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