Between "Mission Impossible: Ghost Prototype" and "The Grey," I've finally conquered my fear of heights.
Okay, okay, let's get serious.
"The Grey," is the film that "Milo & Otis" wanted to be.
Okay, okay, seriously, let's get on with it...
I was really looking forward to "The Grey" because I always believed "The Edge" would have been better with Liam Neeson.
Okay, okay, guys, let's get serious.
But seriously, if you're afraid of heights, this film will give you panic diarrhea. Just ask the fine folks at the Petaluma Cinema West.
Director Joe Carnahan is one of the smartest filmmakers working today, and if you don't believe me, just watch "The Grey." You'll shut your stupid mouth super fast. But you'll probably be crying, cause this film is emotional. More than "War Horse." Or "One for the Money." In fact, before watching "The Grey," it wouldn't be a bad idea to re-watch "Narc" "Smokin Aces" and especially "The A-Team."
Let me quickly break them down for you:
"Narc" is probably the most accurate depiction of police procedure ever filmed.
"Smokin Aces" is one of the most deranged action films ever made, and I mean that in the best way possible.
"A-Team" is the action film that Shane Black never wrote. If you want an impeccably delivered action flick, this is for you, ranking up there with "Lethal Weapon" and "Die Hard" in terms of sheer entertainment. If you watched it and just thought it was another run-of-the-mill action film, you weren't paying attention.
So, that brings up to "The Grey." We learn that Liam Neeson's John Ottway is a security sniper for an Alaskan oil rig, killing wolves if they get to close to the men. Awesome. As he describes it, it's a place for "men unfit for civilization." We see him try to commit suicide, but changes his mind at the last minute. You'll ask yourself why he wants to kill himself (at least I did), and the film answers that pretty quickly: his wife is dead. Spoiler. Not really.
Since he's not dead, he boards a plane home, and it's here that Carnahan subtly introduces us to the band of survivors we're about to spend some time with. Because the plane crashes. Spoiler. So, in the middle of nowhere, these men must learn to band together and defend themselves against a pack a wolves and the freezing cold. Hell, there's even time for an "Alive" joke. Right before a man's face gets torn. Indeed, make no mistake, this is a brutal film, one that doesn't pull any punches and never hesitates to shake you to your core. When I say that it doesn't pull any punches, I don't mean that in reference to Neeson fighting wolves as you've no doubt seen prominently in every trailer and tv spot. That is not what this film is about. And if you're buying a ticket hoping for some man-on-beast combat, you're going to be severely disappointed. Yet, despite this fact, the audience was applauding and gasping at every moment, and even in the small town of Petaluma, these people erupted into applause at the end. And tears, I might add. Many people left with red eyes, and it ain't from the drug problem this town has.
The attacks from the wolves are perfectly executed, always unexpected and consistently frightening, yet they're over before you can recover from your anxiety-induced seizure and wonder what the hell just happened. This film isn't apprehensive about dealing with death, both physically and philosophically. There are many discussions about faith, yet they never come across as heavy-handed or preachy. You understand why the characters would say these things; everything in this film is impressively organic. Speaking of characters, this is not a one-man show. Carnahan allows every character to develop, and thankfully every actor steps up and delivers, making this film a rare case where there is not a weak link, the honerable mention being Frank Grillo's Diaz, who is constantly opposing Ottway's authority, someone that would have been grating under any other director, but Carnahan molds a very empathetic character.
Liam Neeson owns this film, though, and "The Grey" may go down as one of the worst studio blunders in film history. Why this wasn't released last month is beyond me. I've been hearing for months that this is one of his finest performances, and all the hype is true. He doesn't just deserve to be nominated, he needs to win that Oscar. Knowing about the death of his wife back in 2009 makes this all the more emotional, understanding that he's drawing from some dark places. A scene where he's talking to a dying man after the place crash is undoubtedly going to be one of the most memorable scenes in 2012, as Neeson infuses the moment with an overwhelming sense of warmth and tenderness, which serves as not only a beautiful character moment but also a pause for the audience to catch their breath after the heart-stopping plane crash, which is one of the most terrifying plane crashes you've ever seen.
This is not a morbidly pessimistic film, even with all the despair that these men encounter. Carnahan faces these issues with supreme confidence, elevating this type of survival film into something that will resonate with you hours, days, even months after you've watched it. When I say that this is filmmaking at its finest, you better believe I'm telling the truth. "The Grey" is so matter of fact about its brilliance that you'll leave wishing all films could be made like this.
THE FINAL COUNTDOWN: It's like "The Family Stone," but with wolves.
Sunday, January 29, 2012
Sunday, January 15, 2012
Top 10 Best Films of the Year (of 2005)
So, I was recently browsing my MySpace blogs and I came across something interesting: my top films of 2005. I want to share this with you all, because I love you. With that in mind, let's reflect on the year of Cthulu, 2005.
10. Good Night, and Good Luck
David Strathairn is an actor of unlimited talent, conveying so much with a simple glance. Clooney is a genius, proving that time and time again since 2005. Like this year's "Ides of March," it's claustrophobic in the confidence in which the politics are delivered, making it all the more satisfying in the end.
9. Kiss Kiss Bang Bang
Why people don't love this film is beyond me. Like "In Bruges," I've tried to get so many people to watch this and they can't get into it. Without a doubt one of the most quotable films of the past 20 years, this is the film that convinced Jon Favreau to cast Robert Downey Jr. as Iron Man, and reminded us all why we love Val Kilmer. If you've never seen it, do yourself a favor and watch it tonight. I placed this at number 9 back when I wrote it, and time has proven that it definitely should have been higher. It's too bad it never made a strong connection with audiences, I would love to see these two characters again.
8. The Constant Gardener
This is still one of my favorite romances of all time, perfectly adapted from John le Carre's novel about a man investigating his wife's death and possible infidelity. The less you know about the film going in, the better.
7. Match Point
Again, a film that should probably be higher. Everything about this film is a masterpiece, from the simple, old-fashioned structure of the narrative, to the tennis motif, the grace of the character development, and even the Shakespearean use of the spirits towards the end. When this was released, critics said that it loses its way in the middle but redeems itself in the end. They were wrong then and they're wrong now.
6. King Kong
I'm probably a bigger supporter of this film than most people, but in retrospect, this is not a better film than the previous four entries. I felt that this film was a brilliant re-working of a classic. Sadly, it's not. It's a very good film, but not the great one I called it back in 2005. There is a lot to like about this film, from the beautiful opening to the individual character arcs, and even Jack Black, who is able to carry himself splendidly throughout the film. In fact, I'd say he is better than even Adrian Brody, who can't seem to find the right tone. The less said about Colin Hanks the better. Can there ever be enough Kyle Chandler? (no) Unfortunately, the pacing is way off at times, and the dialogue is atrocious. Peter Jackson cranks up the action to the extreme, like a kid on crack, and as a result, it cheapens many of the setpieces, including the T-Rex vine battle, where we witness poor Naomi Watts face death over and over again that we have given up by the big finale. Surprisingly (and this was an issue even back in 2005), some of the effects are absolutely horrendous, including the sequence where the crew are being chased by the bronto stampede. Yet counter that with the spider pit sequence, a magical moment where Jackson flexes his filmmaking muscles and delivers one of the most thrilling moments of his career. In the end, though, this film belongs to Andy Serkis, who also plays Lumpy the Cook, who acted alongside Watts even when he wasn't being motion-captured. He gives Kong incredible depth, forcing the audience to feel for the beast, a task that wasn't accomplished successfully in the original. There was a lot of mockery at the frozen pond dance at Bryant park when the film was released, and to this day, I can't quite understand that. It's an incredibly emotional moment, made all the more poignant by the fact that you know what's coming to this animal. It's here where you understand that this has nothing to do with romance, but friendship. So, while King Kong isn't Jackson's finest hour, it's far from his worst.
5. The Squid and the Whale
Anyone that has ever been in the middle of a divorce will surely relate to this film, and how the event affected you will dictate your enjoyment of the film. People I know who went through the same thing couldn't watch it. It's a brutally honest film that vividly depicts the scabrous disintegration of family, throwing you into a group of people that hate each other for different reasons. Jeff Daniels should have won the Oscar for his performance of a man who is brilliant yet bitterly delusional, unaware that people are mocking him. Laura Linney proves once again that she is one of the finest actresses of our time, evident in the scene where she finally explodes at her husband. It sort of loses its way towards the end, but that last scene makes up for the shortcomings, speaking volumes about these people who have lost their way.
4. Kingdom of Heaven: Director's Cut
I implore you, never ever watch the theatrical cut of this film. Tom Rothman fucked over everyone involved with his decision to cut down this film to an incomprehensible length. So many involved would undoubtedly received nominations, and I'm positive it would have performed better at the box office. By excising much of the running time, many of the main themes, including the pernicious results of ideological extremism, are buried under the rug in favor of the action setpieces, a very secondary element when viewing the Director's Cut, so secondary that they really aren't that impressive. There's so much more going on in the battle that was omitted that it's understandable why people reacted negatively upon its release. The motivations of all the character are more clearly defined, and Eva Green's descent into madness makes perfect sense. Did you know she had a child in the theatrical cut? Probably not. Liam Neeson's Godfrey now resonates strongly within proper context, and both Irons' Tiberias and Norton's leper king Baldwin are given room to breath and develop. The film refuses to take sides, and Scott and writer Monaghan leave the film open to interpretation and discussion. It's a film about respecting ideas and intellect; one of the best of Scott's career.
3. A History of Violence
There isn't a director alive more qualified to tackle this tale of moral ambiguity than David Cronenberg, fearlessly forcing you into the brutality of a man whose primal nature has sat dormant for many years. I saw this several times in the theatre, and every time, people walked out at the "rape" sequence, an act Cronenberg was well aware would alienate certain audience members. It opens up a series of questions that haunt you for weeks after seeing it. Thankfully, the film avoids any sort of answer.
2. The New World
Oh, man, this is a beautiful film in every way imaginable. The philosophical musings of the characters are simply transcendent, delivered organically against the backdrop of a paradise under attack by man's many destructive desires. People complain about the length, but for me, it works perfectly.
Munich
I still consider this to be one of Spielberg's best. Really, do you need anything else?
10. Good Night, and Good Luck
David Strathairn is an actor of unlimited talent, conveying so much with a simple glance. Clooney is a genius, proving that time and time again since 2005. Like this year's "Ides of March," it's claustrophobic in the confidence in which the politics are delivered, making it all the more satisfying in the end.
9. Kiss Kiss Bang Bang
Why people don't love this film is beyond me. Like "In Bruges," I've tried to get so many people to watch this and they can't get into it. Without a doubt one of the most quotable films of the past 20 years, this is the film that convinced Jon Favreau to cast Robert Downey Jr. as Iron Man, and reminded us all why we love Val Kilmer. If you've never seen it, do yourself a favor and watch it tonight. I placed this at number 9 back when I wrote it, and time has proven that it definitely should have been higher. It's too bad it never made a strong connection with audiences, I would love to see these two characters again.
8. The Constant Gardener
This is still one of my favorite romances of all time, perfectly adapted from John le Carre's novel about a man investigating his wife's death and possible infidelity. The less you know about the film going in, the better.
7. Match Point
Again, a film that should probably be higher. Everything about this film is a masterpiece, from the simple, old-fashioned structure of the narrative, to the tennis motif, the grace of the character development, and even the Shakespearean use of the spirits towards the end. When this was released, critics said that it loses its way in the middle but redeems itself in the end. They were wrong then and they're wrong now.
6. King Kong
I'm probably a bigger supporter of this film than most people, but in retrospect, this is not a better film than the previous four entries. I felt that this film was a brilliant re-working of a classic. Sadly, it's not. It's a very good film, but not the great one I called it back in 2005. There is a lot to like about this film, from the beautiful opening to the individual character arcs, and even Jack Black, who is able to carry himself splendidly throughout the film. In fact, I'd say he is better than even Adrian Brody, who can't seem to find the right tone. The less said about Colin Hanks the better. Can there ever be enough Kyle Chandler? (no) Unfortunately, the pacing is way off at times, and the dialogue is atrocious. Peter Jackson cranks up the action to the extreme, like a kid on crack, and as a result, it cheapens many of the setpieces, including the T-Rex vine battle, where we witness poor Naomi Watts face death over and over again that we have given up by the big finale. Surprisingly (and this was an issue even back in 2005), some of the effects are absolutely horrendous, including the sequence where the crew are being chased by the bronto stampede. Yet counter that with the spider pit sequence, a magical moment where Jackson flexes his filmmaking muscles and delivers one of the most thrilling moments of his career. In the end, though, this film belongs to Andy Serkis, who also plays Lumpy the Cook, who acted alongside Watts even when he wasn't being motion-captured. He gives Kong incredible depth, forcing the audience to feel for the beast, a task that wasn't accomplished successfully in the original. There was a lot of mockery at the frozen pond dance at Bryant park when the film was released, and to this day, I can't quite understand that. It's an incredibly emotional moment, made all the more poignant by the fact that you know what's coming to this animal. It's here where you understand that this has nothing to do with romance, but friendship. So, while King Kong isn't Jackson's finest hour, it's far from his worst.
5. The Squid and the Whale
Anyone that has ever been in the middle of a divorce will surely relate to this film, and how the event affected you will dictate your enjoyment of the film. People I know who went through the same thing couldn't watch it. It's a brutally honest film that vividly depicts the scabrous disintegration of family, throwing you into a group of people that hate each other for different reasons. Jeff Daniels should have won the Oscar for his performance of a man who is brilliant yet bitterly delusional, unaware that people are mocking him. Laura Linney proves once again that she is one of the finest actresses of our time, evident in the scene where she finally explodes at her husband. It sort of loses its way towards the end, but that last scene makes up for the shortcomings, speaking volumes about these people who have lost their way.
4. Kingdom of Heaven: Director's Cut
I implore you, never ever watch the theatrical cut of this film. Tom Rothman fucked over everyone involved with his decision to cut down this film to an incomprehensible length. So many involved would undoubtedly received nominations, and I'm positive it would have performed better at the box office. By excising much of the running time, many of the main themes, including the pernicious results of ideological extremism, are buried under the rug in favor of the action setpieces, a very secondary element when viewing the Director's Cut, so secondary that they really aren't that impressive. There's so much more going on in the battle that was omitted that it's understandable why people reacted negatively upon its release. The motivations of all the character are more clearly defined, and Eva Green's descent into madness makes perfect sense. Did you know she had a child in the theatrical cut? Probably not. Liam Neeson's Godfrey now resonates strongly within proper context, and both Irons' Tiberias and Norton's leper king Baldwin are given room to breath and develop. The film refuses to take sides, and Scott and writer Monaghan leave the film open to interpretation and discussion. It's a film about respecting ideas and intellect; one of the best of Scott's career.
3. A History of Violence
There isn't a director alive more qualified to tackle this tale of moral ambiguity than David Cronenberg, fearlessly forcing you into the brutality of a man whose primal nature has sat dormant for many years. I saw this several times in the theatre, and every time, people walked out at the "rape" sequence, an act Cronenberg was well aware would alienate certain audience members. It opens up a series of questions that haunt you for weeks after seeing it. Thankfully, the film avoids any sort of answer.
2. The New World
Oh, man, this is a beautiful film in every way imaginable. The philosophical musings of the characters are simply transcendent, delivered organically against the backdrop of a paradise under attack by man's many destructive desires. People complain about the length, but for me, it works perfectly.
Munich
I still consider this to be one of Spielberg's best. Really, do you need anything else?
Friday, December 23, 2011
Fuck the Holidays, let's go to the movies (Part 1)
The Adventures of Tintin: The Secret of the Unicorn
When you've got Steven Spielberg, Peter Jackson, Steven Moffat, Edgar Wright, and Joe Cornish collaborating on a film, you should be excited. If you're not, I don't know what you're doing reading this. This is an impressive pedigree of artists. For those that don't know, Moffat has written episodes of Dr. Who and Sherlock and Cornish wrote and directed Attack the Block, one of the best films this year. Together they have delivered one of the most entertaining films released in 2011, evoking feelings of the best childhood memories that never cease to thrill us.
Like "Mission: Impossible---Ghost Protocol," there is not much in the way of complex storytelling. Visiting the town market, Tintin (Jamie Bell) eyes a magnificent model ship, which he immediately purchases, just in time to meet Ivanovich Sakharine (Daniel Craig), who was there to make the same purchase. Because Tintin is a kid and loves models, he refuses to sell the ship, and instead investigates this fellow and the importance of the ship, discovering that there are three Unicorn model ships, all containing clues to the Haddock family fortune. Like all defiant little shits in films, he's kidnapped by Sakharine's men and brought on board a ship belonging to none other than Archibald Haddock (Andy Serkis), a drunk Scottish captain who has been locked away by our friend Sakharine until Haddock releases some vital information his family's treasure.
"The Adventures of Tintin: The Secret of the Unicorn" hits the ground running and never stops to breath, which normally would be grating and a sign of a weak screenplay, but under everyone I mentioned before, it's presented with such grace and confidence that it never wears out its welcome and is exciting even in the bridge scenes for the next big action setpiece. Much credit must be given to the actors. Jamie Bell convincingly plays Tintin with such a sense of adolescent bravery and intellect that never once did I question the character. Daniel Craig is having a lot of fun with the menacing Sakharine, a complete 180 from many of his prior roles. But the film belongs to Andy Serkis, one of the greatest actors working today, who adds so many layers to what could have been a one-note bumbling character. If he hadn't been in "Rise of the Planet of the Apes" earlier this year, I'd say that he deserves an Oscar nomination for Haddock. He makes it seem so easy. Also showing up in the film are Simon Pegg and Nick Frost, playing Thomson and Thompson, their voice talents often so identical I struggled to distinguish between the two.
Because Tintin is a serial, we're thrown into the story and characters without much of an introduction, so if you're not familiar with Herge's series, you might complain about the lack of character development, with the exception of Haddock. When the film ends, all you know about the boy is that he is a journalist who is adventurous. Oh, he also has a dog. Not much there. It's a testament to Spielberg that you never even think about this until after the film is over. This isn't the first time we've seen motion capture action-adventure films, but it's the first time we've been shown the format used to its full potential. A lot of hype has been built around the eight minute chase sequence through a town that's being flooded thanks to a flub by Haddock, and similar to "Mission: Impossible--Ghost Protocol," the sequence absolutely lives up to the hype. You can almost see Spielberg and Jackson giggling with glee, and as a result, so do we. I feel like Steven Spielberg and Brad Bird got together and decided to show not only the audience but other filmmakers how action should be done. The confluency of the actions sequences is masterfully impeccable.
There are other simple yet effective touches used throughout that really grabbed my attention, such as some of the transitions between scenes, like an rippling ocean that becomes a puddle of water on the side of a street, for example. And, in one of the most memorable moments, Haddock recounts the destruction of the Unicorn by pirates, where his great-grandfather defended the ship against pirates. The mise en scene fluidity of the scene alternates between flashback and Haddock drunkedly acting out the event and is a prime representation of a master of the craft.
"The Adventures of Tintin: The Secret of the Unicorn" is presented in 3-D, and since there wasn't a 2-D showing at my theatre, it's the one I had to go with. Thankfully, it's subtly employed as opposed to the nerve-grating gimmick we're normally exposed to (looking at YOU, Immortals and Conan). However, it's so subtly used that most of the time it's ineffective, so if you do plan to watch this in theaters (which you should), seek out the 2-D option. There is only one film this year that I can truly say is worth the premium upgrade, and that is "Hugo," a film I believe many people are going to regret now watching in theaters in 3-D. I've discussed "Mission: Impossible--Ghost Protocol" and "The Adventures of Tintin: The Secret of the Unicorn" as a return to proper action adventure films, but this month has also seen some of the best children's films in a while. Between "Hugo," "The Muppets," and "The Adventures of Tintin," there is no reason why parents should be bringing their children to dreck like "Arthur Christmas" and "Alvin and the Chipmunks: RAPE." All three films are absolutely going to become classics, of this I have no doubt.
If there is one criticism I have of the film, it is the score by John Williams. We hear the theme song over the opening credits, but beyond that, it's ultimately forgettable, and oftentimes distracting, as it kept reminding me too much of a rehash of his "Harry Potter" scores. I was really hoping he would have used more of French motifs, which we are only treated to a couple of times. Not even a handful of times, just a couple.
"Tintin" may not be as rich as "Hugo," and I feel like a lot of people will (and already have) criticized the film because of that, which is horribly unfair. Tintin is fluff, but is supremely enjoyable, a film that harkens back to that certain place of sheer adventure in our hearts that was so prominent in childhood. The film ends on the setup for a sequel, which will be directed by Peter Jackson when it eventually happens. I, for one, cannot wait to write about the further adventures of a drunken captain and his innocent teenage companion.
When you've got Steven Spielberg, Peter Jackson, Steven Moffat, Edgar Wright, and Joe Cornish collaborating on a film, you should be excited. If you're not, I don't know what you're doing reading this. This is an impressive pedigree of artists. For those that don't know, Moffat has written episodes of Dr. Who and Sherlock and Cornish wrote and directed Attack the Block, one of the best films this year. Together they have delivered one of the most entertaining films released in 2011, evoking feelings of the best childhood memories that never cease to thrill us.
Like "Mission: Impossible---Ghost Protocol," there is not much in the way of complex storytelling. Visiting the town market, Tintin (Jamie Bell) eyes a magnificent model ship, which he immediately purchases, just in time to meet Ivanovich Sakharine (Daniel Craig), who was there to make the same purchase. Because Tintin is a kid and loves models, he refuses to sell the ship, and instead investigates this fellow and the importance of the ship, discovering that there are three Unicorn model ships, all containing clues to the Haddock family fortune. Like all defiant little shits in films, he's kidnapped by Sakharine's men and brought on board a ship belonging to none other than Archibald Haddock (Andy Serkis), a drunk Scottish captain who has been locked away by our friend Sakharine until Haddock releases some vital information his family's treasure.
"The Adventures of Tintin: The Secret of the Unicorn" hits the ground running and never stops to breath, which normally would be grating and a sign of a weak screenplay, but under everyone I mentioned before, it's presented with such grace and confidence that it never wears out its welcome and is exciting even in the bridge scenes for the next big action setpiece. Much credit must be given to the actors. Jamie Bell convincingly plays Tintin with such a sense of adolescent bravery and intellect that never once did I question the character. Daniel Craig is having a lot of fun with the menacing Sakharine, a complete 180 from many of his prior roles. But the film belongs to Andy Serkis, one of the greatest actors working today, who adds so many layers to what could have been a one-note bumbling character. If he hadn't been in "Rise of the Planet of the Apes" earlier this year, I'd say that he deserves an Oscar nomination for Haddock. He makes it seem so easy. Also showing up in the film are Simon Pegg and Nick Frost, playing Thomson and Thompson, their voice talents often so identical I struggled to distinguish between the two.
Because Tintin is a serial, we're thrown into the story and characters without much of an introduction, so if you're not familiar with Herge's series, you might complain about the lack of character development, with the exception of Haddock. When the film ends, all you know about the boy is that he is a journalist who is adventurous. Oh, he also has a dog. Not much there. It's a testament to Spielberg that you never even think about this until after the film is over. This isn't the first time we've seen motion capture action-adventure films, but it's the first time we've been shown the format used to its full potential. A lot of hype has been built around the eight minute chase sequence through a town that's being flooded thanks to a flub by Haddock, and similar to "Mission: Impossible--Ghost Protocol," the sequence absolutely lives up to the hype. You can almost see Spielberg and Jackson giggling with glee, and as a result, so do we. I feel like Steven Spielberg and Brad Bird got together and decided to show not only the audience but other filmmakers how action should be done. The confluency of the actions sequences is masterfully impeccable.
There are other simple yet effective touches used throughout that really grabbed my attention, such as some of the transitions between scenes, like an rippling ocean that becomes a puddle of water on the side of a street, for example. And, in one of the most memorable moments, Haddock recounts the destruction of the Unicorn by pirates, where his great-grandfather defended the ship against pirates. The mise en scene fluidity of the scene alternates between flashback and Haddock drunkedly acting out the event and is a prime representation of a master of the craft.
"The Adventures of Tintin: The Secret of the Unicorn" is presented in 3-D, and since there wasn't a 2-D showing at my theatre, it's the one I had to go with. Thankfully, it's subtly employed as opposed to the nerve-grating gimmick we're normally exposed to (looking at YOU, Immortals and Conan). However, it's so subtly used that most of the time it's ineffective, so if you do plan to watch this in theaters (which you should), seek out the 2-D option. There is only one film this year that I can truly say is worth the premium upgrade, and that is "Hugo," a film I believe many people are going to regret now watching in theaters in 3-D. I've discussed "Mission: Impossible--Ghost Protocol" and "The Adventures of Tintin: The Secret of the Unicorn" as a return to proper action adventure films, but this month has also seen some of the best children's films in a while. Between "Hugo," "The Muppets," and "The Adventures of Tintin," there is no reason why parents should be bringing their children to dreck like "Arthur Christmas" and "Alvin and the Chipmunks: RAPE." All three films are absolutely going to become classics, of this I have no doubt.
If there is one criticism I have of the film, it is the score by John Williams. We hear the theme song over the opening credits, but beyond that, it's ultimately forgettable, and oftentimes distracting, as it kept reminding me too much of a rehash of his "Harry Potter" scores. I was really hoping he would have used more of French motifs, which we are only treated to a couple of times. Not even a handful of times, just a couple.
"Tintin" may not be as rich as "Hugo," and I feel like a lot of people will (and already have) criticized the film because of that, which is horribly unfair. Tintin is fluff, but is supremely enjoyable, a film that harkens back to that certain place of sheer adventure in our hearts that was so prominent in childhood. The film ends on the setup for a sequel, which will be directed by Peter Jackson when it eventually happens. I, for one, cannot wait to write about the further adventures of a drunken captain and his innocent teenage companion.
Saturday, October 29, 2011
THE HORROR! THE HORROR! (Part 7)
THE FILM: Hostel Part II
I really hated this film when I first saw it. I remember my best friend at the time argued with me the whole drive home about how creative and original this sequel was. I couldn’t see it. I was wrong. I wish we were still friends so I could admit how ignorant I was being, because re-watching the film a couple nights ago, it’s apparent how brilliant Hostel Part II is, taking the formula that was established in the original and makes the story and setting seem just as fresh the second time around. Many scenes I had forgotten, such as the passport scanning and the subsequent bidding war. I especially love, love, love Roger Bart’s relationship with Beth and his wicked turn towards the end. When this was released, people called it sexist and exploitative. They’re wrong. Some people are going to bitch no matter what, so you just have to laugh and ignore their warped views. Roth challenges these views by making Bart’s character a complete sociopath, having picked Beth because she looked like his wife, and he can’t stop himself from trying to rape her. This is the character that the audience is hoping will have a change of heart; he’s the wimpy friend after all (he freaks out upon learning that he has to get a tattoo). So by becoming a misogynistic killer, Eli Roth condemns the male viewers. To emphasize that, Beth exacts her revenge by castrating him and feeding it to the hounds. So, the one character who was metaphorically castrated by life is literally castrated at the end. Eli Roth isn’t displaying anger towards women, he’s showing his appreciation for intelligent, strong women who challenge society’s hostility. The ending of Hostel Part II, where Beth must join the elite to survive, is thematically linked with the original ending of Hostel (Part I), where Jay Hernandez murdered the daughter of the businessman. One may not agree with the morals, but will inevitably evolve in order to survive.
Sunday, October 16, 2011
THE HORROR! THE HORROR! (Part 6)
THE FILM: Torso
Like gratuitous nudity? Violence? 70‘s style editing and musical scoring? Then it’s Torso all the way!
One of the better Giallo films from director Sergio Martino, Torso tells the timeless tale of coeds getting strangled in Perugia, leaving only a red and black scarf as a clue. So, of course Jane and her friends go on vacation at an isolated villa in the countryside. Because, you know, why not? Martino isn’t as strong a director as Argento or even Fulci, but he does a great job of building tense set pieces and delivering a satisfying payoff. And when he needs to kill time, he’ll throw in a lesbian scene. Because, you know, why not? The gore is a mixed bag. There are some moments where it is truly horrific and other instances where you can see the prop head folding in. The explanation given for the killer is a tad weak, but you know what, I just went along with it and enjoyed the ride. There are also numerous shots of the Italian countryside added for good measure. Any film with this many bizarre red herrings is A-okay with me.
Oh, and the film begins in the middle of an orgy.
Fun Fact: During production, none of the cast was told who the killer was. And because of the high amount of red herrings in the film, many of the actresses were convinced it was someone else doing all the murders.
Why isn’t this on the Blu-ray?: An alternate ending was shot with the killer surviving in the end.
LESBIANS!
THE HORROR! THE HORROR! (Part 5)
THE FILM: Mimic (The Director’s Cut)
Up until just a couple years ago, I wasn’t even aware of the troubled production of Sir Guillermo Del Toro’s first big-budget film. During production, Bob Weinstein FIRED Del Toro, telling him that he simply wasn’t cutting it and his ideas weren’t what they were looking for, despite the fact that it was those ideas that landed him the job in the beginning. Upon hearing this, Mira Sorvino stormed into Bob’s office and reportedly said, “You motherfucker, you’re not doing this to him, you’re not doing this to me, this is not the way you make movies, I’m not coming to the set tomorrow without Guillermo directing the movie. I won’t work for anyone else. I’ll split.”
And that’s why I love Mira Sorvino. And so should you. Some people believe that her career was damaged because of this.
Once Del Toro was rehired, they monitored every move he made and forced him to re-write the ending to reflect a more uplifting tone. The changes in this cut may not be apparent at first, but rest assured, this is a different film altogether. Not in content necessarily, but in tone. The film now has a very strong gothic ambience to it that was never present in the theatrical version. Not only that, but the overall confluency is much smoother and much more organic. There are some horrifyingly heartbreaking moments and revelations towards the end that will be with you for days after. Another interesting alteration is the fact that many jump scares have been replaced with moments of supreme unease and high tension (haha). If you’ve never seen this film before, this is the version to see.
Fun Fact: In the original ending Doctor Susan and the kid come up from the subway into Grand Central Terminal only to be confronted by hundreds of commuters dressed like Long John. This ominous ending didn't test well so the 'happy' street scene ending was shot and appears in the final cut.
Monday, October 10, 2011
THE HORROR! THE HORROR! (Part 4)
THE FILM: The Exorcist III
Even with the studio interfering with this film, it still is far superior to Exorcist II: The Heretic. William Blattey wrote and directed this film based on his novel, “Legion,” which does not feature any demons or exorcisms, but the studio, after viewing the first cut, decided that they wanted to market this as an exorcist film and therefore forced Blattey to write and reshoot the third act, which is where the film falls apart. But you know what? The first two acts are pretty damn solid, featuring George C. Scott as Lt. Kinderman, who is on the case of a copycat killer. More surprising than how effectively creepy the film is, is the sense of humor. Yes, the film is genuinely funny at times. But seriously, wait for the hospital scene. You’ll know it when it happens. It ranks as one of the most frightening scenes in film history. And then there’s the crawling old woman that was blatantly ripped off in “Legion.” And even when it falls apart in the third act, it’s smart enough to have such great actors as Brad Dourif, Jason Miller (reprising his role), and Nicol Williamson to make it digestible. This is a classically made horror film in every sense of the word.
Fun Fact: Some lobby cards show scenes that were cut from the film, such as a scene with a beheaded priest.
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