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Totenkopf (Sir Laurence Olivier, in a display of technology both thrilling and sort of creepy) in an alternate version of 1939.
Captain mimicked the Golden Age matinee serials so successfully that many modern filmgoers didn’t quite know what to make of it, and as a result, it went the fate of Totenkopf’s army at the box office — but it was welcomed with open arms by critics like Ed Park of the Village Voice, who wrote, “His nostalgia enabled by technology, Conran takes the ghosts in his machine seriously, and the results appear at once meltingly lovely and intriguingly inhuman.” was no different, grossing only million during its brief run at the box office.
But as far as most critics were concerned, ‘s failure was the filmgoer’s loss; though some scribes came away frustrated with director-writer Willard Carroll’s talky script, and others rolled their eyes at the way the hitherto unseen ties between the movie’s characters were revealed in the final act, the generally strong performances from the cast more than made up for any flaws.
Writing for Reel Talk Movie Reviews, Betty Jo Tucker applauded, “Jolie enlivens every scene she’s in — so much so that whenever she’s not on screen, many viewers go into a state of suspended animation waiting for her to come back.” didn’t achieve the level of box office success you’d expect from a film starring Matt Damon, Angelina Jolie, William Hurt, and Robert De Niro — and though the reviews were generally full of praise for the stars’ performances, they also included a lot of words like “bloated,” “tortuously paced,” and “too long.” Still, it’s easy to see why director and grown-up Cold War kid De Niro was drawn to the story, and its nearly 30-year sprawl must have been appealing to Damon and Jolie, whose characters met, married, had a child, and drifted apart, all while the nascent CIA worked its way into every facet of their lives.
She has continued to draw attention to global issues.
In 2008, after lending her voice to the animated comedy .
But if filmgoers came for glimpses of real-life sparks, they stayed for the snappy one-liners in Simon Kinberg’s script, director Doug Liman’s well-staged (albeit thoroughly ludicrous) action set pieces, and the sheer spectacle of two very attractive people dispatching bad guys and blowing stuff up while they decide whether they want to stay married or kill each other.
It certainly isn’t high art, but the movie has a fizzy charm that Roger Ebert summed up by writing, “What makes the movie work is that Pitt and Jolie have fun together on the screen, and they’re able to find a rhythm that allows them to be understated and amused even during the most alarming developments.” In spite of a cast of marquee-lighting veterans that included Sean Connery, Dennis Quaid, Madeleine Stowe, and Ellen Burstyn, this ensemble romantic dramedy sank virtually without a trace after it bowed in December of 1998.
Of course, that doesn’t mean required much in the way of actual acting; its storyline, about a guild of constantly double-crossing assassins who draw their recently assassinated colleague’s son into a web of murderous intrigue, is really only there to connect the many action sequences.