This is Cinerama

Summer Box-Office Results

2010-09-07T20:51:00.006-05:00

At the start of the summer I made my predictions for what would be the top 10 money-makers for the season. Now that summer has come to a close, it's time to look at the results. While these won't be the final numbers for some of the films, the overall standings should stay about the same. (The #10 spot could very well be overtaken eventually.)

First, my predictions from the end of April:

Toy Story 3 – 425
Iron Man 2 – 375
Twilight: Eclipse – 300
Shrek Forever After – 250
Inception – 175
Salt – 160
The Last Airbender – 155
The A-Team – 150
Prince of Persia – 145
Robin Hood – 130

Top 10 as of Sep. 7:
Toy Story 3 - 408
Iron Man 2 - 312
Twilight: Eclipse - 298
Inception - 278
Despicable Me - 241
Shrek Forever After - 238
The Karate Kid - 176
Grown Ups - 160
The Last Airbender - 131
Salt - 115

So, as of now, I guessed 7 out of the 10. Not bad for a first-time try. The biggest surprise for me was the success of The Karate Kid. I really didn't expect it to come near 100 million, much less 176. I'm not sure why I thought Robin Hood would perform well. It didn't really cater to the typical summer audience, instead aiming a little older. I'm more surprised that The A-Team didn't perform better. I guess most teenagers aren't that familiar with the TV show, so they didn't care about it (?). Despicable Me really should have been on my prediction list. It's animated, made for all ages, and has many celebrity voices. Hindsight is 20/20.

As far as accuracy goes, it's pretty hit or miss. Going into the summer, the biggest question mark on my list was Inception. I really wasn't sure how mainstream it would turn out, so I took a wild guess for its total. Iron Man 2, while doing well, didn't follow the usual pattern of sequels. Usually when a blockbuster is considered solid, the sequel earns more. Iron Man 2 essentially equaled the first film's gross. On the plus side, I'm right on the money for a few films. Who knew I would be such an expert at guessing the spending habits of the Twilight fanbase? Weird.

Overall, this was an interesting experiment and one that I may do again next year.

New Horizons

2010-06-01T20:45:00.002-05:00

I'm excited to say that I've recently had the opportunity to do some writing at www.filmjunk.com - a site that I consider a favorite. While it's an honor to contribute to that site, it also means that this blog will probably be taking a back seat for the foreseeable future. That doesn't mean I'm giving up This is Cinerama; it just means that posts will be few and far between. So, if can't get enough of my writing, then I suggest you check out Film Junk.

Woody Gets a Full Cast for Latest Film

2010-05-25T20:22:00.002-05:00

The full cast list was released for Woody Allen's next project, titled Midnight in Paris. The cast includes Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard, Rachel McAdams, Michael Sheen, and Owen Wilson. It looks like a good variety of performers as usual and I look forward to Allen hopefully having a return to form with this film. Midnight in Paris is a romantic comedy that follows a family travelling to the city for business. The party includes a young engaged couple that has their lives transformed throughout the journey. The film celebrates a young man’s great love for Paris, and simultaneously explores the illusion people have that a life different from their own is better.

The film will begin production this summer.

The Forbidden Few

2010-05-15T15:16:00.002-05:00

While I pride myself on exploring many different types of films, even I have my limits on what I'll spend my time watching. I looked through a list of films for the first half of the year and picked out the titles that I can comfortably say I'll never watch unless strapped down A Clockwork Orange-style and forced to view them.

Here's the list:
The Back-up Plan
Furry Vengeance
The Last Song
Why Did I Get Married Too?
Remember Me
The Bounty Hunter
Dear John
Leap Year
The Spy Next Door
Tooth Fairy
When in Rome
Killers
Marmaduke

I think the key element these films share is laziness. In one way or another these films represent (to me, anyway) the most lazy, pandering, lowest common denominator projects being produced these days. I'm aware that films are both products and art, but when movies such as these come along, the scale tips so far on the side of product that I lose all interest.

American Psycho: A Look Back

2010-05-08T17:44:00.003-05:00

American Consumer

American Psycho (2000), a film directed by Marry Harron, truly shows the dark side of the American dream. The main character, Patrick Bateman, is a rich young man who appears to have no personal identity. Patrick explains that “there is no real me: only an entity, something illusory.... I simply am not there;” he even remains at his job because he “wants to fit in.” He has everything that anyone could possibly desire: an expensive apartment, fine clothes, and many other top-of-the-line products. These possessions he has accumulated mean little to him other than the high social status they help ascribe him. There is a theory that Newitz calls economic identity which is “the ability to produce efficiently, but more notably… the ability to consume” (70). Since these products are all that Bateman knows how to relate to, he becomes the ultimate consumer in this satire on American culture.

A competition of sorts takes place between Bateman and his co-workers, at least from Bateman’s point-of-view. If one of the co-workers has a better apartment or a better suit than he has, then Bateman grows immediately envious. On one occasion he nearly kills one of his co-workers for having the same kind of business card that he does. Fittingly, the film is set in the 1980’s when materialism and greed defined the times. The ability to consume and produce efficiently has been called “homo economicus” or economic man by Newitz (70). Newitz says, “The most important personality trait of homo economicus is that he can never be satiated” (70). Bateman displays this feature to the maximum degree.

Everything is about surface for Bateman. He is a completely self-absorbed character. Giving specific details of his entire morning routine, Bateman describes all of the products he uses to get ready for the day. He does not devote any time thinking about what someone else wants. The goal for him is to get what he desires as soon as possible. Bateman is in peak physical shape, doing exercises every day. He judges his associates on how well they dress or how good an apartment they have. When he sees a bum sitting in an alley, he does not see a person, but a burden or failure of society. According to Grant these people “represent the horror of career failure he fears most” (27). As a result of these fears, Bateman kills the man and walks away. Patrick has no ethical depth to him whatsoever. He does not feel sorry about any of his killings.

Bateman shares no real connections with anyone, even his fiancé. He spends time with his fellow workers, but only because he wants to fit in with the crowd. Sometimes he will feign an interest in what someone is saying, but not much more. Most of the time, he is merely going through the motions. Even with his sexual encounters, Bateman has no real emotion involved. Grant says, “Bateman’s sexuality and desire, like everything else about him, is thoroughly determined by consumer culture” (31). He does not care about the women that he is with; he just uses them for his own pleasure. Thus, the women resemble more merchandise that Bateman makes use of. When he videotapes his sexual encounters, the focus is completely on him. He looks into the mirror and poses for himself while flexing his muscles. This facilitates him to achieve what he witnesses on television and what is promoted by the culture. When he is finished, he disposes of the bodies as he would an old product that has been outdated.

A theme that runs throughout the film is that Bateman’s colleagues confuse each other for someone else. Grant remarks that, “Ironically, nobody notices that the people Bateman has killed are missing because they are all virtually interchangeable” (30), as so many products often are. Bateman gets out of trouble more than once because of this confusion. Also, people seem to misunderstand Bateman at times, such as when he insults people and they seem not to notice or think he meant something else. At times Bateman reveals his homicidal tendencies, “I'm into... well murders and executions mostly.” Only the people around him hear “mergers and acquisitions” instead, because the room is crowded and loud.

American Psycho does not take place in a Gothic setting like most serial killer films, but in traditional homes, restaurants, night clubs, and office buildings. Grant says that it “provides the perfect touchtone for a contemporary consideration of general representations of violence” (25). By bringing the action closer to commonplace areas, the film comments on society the way most thrillers could not. People are familiar with these surroundings either directly or indirectly, so the message can resonate quite well.

American Psycho can be easily compared and contrasted to Fight Club, another film about consumerism and society. Both films are about young men who are dissatisfied with their lives and try to fill the void with violence. While American Psycho tries to consume as much as possible, Fight Club tries to break down the whole process of consumerism. Despite having entirely opposite motives, each of the main characters feels that they have to use violence to get what they want. The American dream has evaded these people for so long that they feel as if they must take matters into their own hands. When events start to go awry, both of the protagonists panic and confess what they have done. They run through a surreal world that they can no longer control.

The same way that Patrick describes the products he uses in the morning, he talks about different music artists he enjoys listening. He offers his thoughts on certain CDs before killing his victims; probably quoting from some reviews that he has read. This happens several times throughout the film with several other types of products. These are the times when Bateman gets to show off just how savvy a consumer he has become. After he is finished proving that point, he effectively “consumes” his victims by killing them. Later in the film, he even admits to eating a few of the victims and trying to cook one as well. At that point, Bateman has proved that he is willing to go to any lengths to achieve his needs.

Many viewers have been desensitized to violent films, especially in recent years. In the same way that desensitized viewers experience violence on screen, sometimes Bateman carries out his murders in a way that shows little reaction. At times he simply kills and walks down the street, thinking nothing about it, except getting caught.

In the end, American Psycho proves to be a scathing social commentary about America’s obsession with consumerism. Like Bateman, sometimes we cannot help ourselves from consuming too much. Patrick shows the ultimate consumer can never be satisfied with what they have. He is a completely hollow individual who can never have enough and only envies those who possess more.

Works Cited
Grant, Barry Keith. “American Psycho/sis: The Pure Products of America Go Crazy” Mythologies of Violence in Postmodern Media. Ed. Christopher Sharrett. Michigan: Wayne State University Press, 1999.

Spielberg Chooses Next Project

2010-05-03T21:37:00.001-05:00

Courtesy of Hollywood Insider:

"Finally, Steven Spielberg has chosen his next project: War Horse, the World War I story about a friendship between a boy and a horse. It’s been two years since Indiana Jones and the Kingdom of the Crystal Skull bowed, and audiences worldwide have been waiting for Spielberg to choose his next movie. (Yes, he’s been working on the Tintin series with Peter Jackson but that film won’t bow until Christmas 2011.)

In the meantime, Spielberg has turned his sights to War Horse. The project is based on a novel by Michael Morpurgo that was published in Great Britain back in 1982. The adapted screenplay has been written by Lee Hall (Billy Elliot) and Richard Curtis (Love Actually). The film, produced by Kathleen Kennedy, Frank Marshall and Revel Guest will be produced by Dreamworks and released by Disney Studios on August 10, 2011."

Summer Box-Office Predictions

2010-04-30T18:54:00.003-05:00

I'm tossing my hat into the ring and presenting my official predictions for the summer box-office season. Although I'm far from an expert, I thought I'd take a stab at it and see how close (or far off) I come to the actual totals. Just to clarify, I'm counting any film released from May - August eligable as "summer" material.

Here's my top 10: (all totals in millions)

Toy Story 3 – 425
Iron Man 2 – 375
Twilight: Eclipse – 300
Shrek Forever After – 250
Inception – 175
Salt – 160
The Last Airbender – 155
The A-Team – 150
Prince of Persia – 145
Robin Hood – 130

Metropolis: Complete at Last

2010-04-26T19:30:00.002-05:00

For years film historians hoped to find the missing footage to Fritz Lang's science-fiction epic Metropolis with no success... until recently, that is. An additional 25 minutes of lost footage was found in a museum in Buenos Aires, making the film the most complete since its release back in 1927. Now a new cut of the film has its North American premiere at Turner Classic Movies Classic Film Festival, and will expand to other theatres in the coming weeks. By November, the film will be released on DVD and Blu-Ray.

The prospect of seeing a complete cut of Metropolis gets me very excited. I've watched the film before, in which still photos are used in place of missing scenes, and even in its incomplete state, the film can still be labeled a masterpiece. I really envy anyone who has the opportunity to catch this restored film in a theater setting. If I thought a theater anywhere near me would be showing it, I'd be there in a heartbeat. Alas, living in the middle of nowhere prevents me from yet another cinematic event.

Here Come the Men In Black...Again

2010-04-21T18:24:00.002-05:00

After several months of speculation, both Will Smith and Tommy Lee Jones have signed on to another Men In Black film. Returning director Barry Sonnenfeld confirmed the casting news. There's no word on any other returnng cast members or plot information, but it was revealed that the film is planned for a Memorial Day, 2011 release. Oh, and of course the film will be in 3-D just as any other major blockbuster these days.

This seems like an odd choice for Will Smith to return to this series at this point, especially since so much time has passed after the second film. He's arguably the biggest, most successful actor in Hollywood who has his choice of any high-profile project he wants. I'm sure he could easily sign on to an equally mainstream film and do his usual in it intead. I guess brand awareness wins again, though.

James Bond Delayed Indefinately

2010-04-19T21:47:00.002-05:00

Bad news for Bond fans, I'm afraid. Due to financial woes, the franchise will be postponed until further notice. Producers Michael G Wilson and Barbara Broccoli have jointly stated, “Due to the continuing uncertainty surrounding the future of MGM and the failure to close a sale of the studio, we have suspended development on BOND 23 indefinitely. We do not know when development will resume and do not have a date for the release of BOND 23.” Ouch. This could mean big trouble depending on how long this situation lasts. The talent behind the project will have to move on at some point and there's no telling who will be left to steer the reigns. It's sad to think that Hollywood's longest-running franchise (not to mention one of the most profitable) is having this much trouble getting financing. Oh well, I'm sure one way or another, we'll get our next Bond film eventually.

Cannes Film Festival Line-Up

2010-04-15T19:58:00.002-05:00

About a month from now the Cannes Film Festival will be upon us once again and, as usual, many big names in world cinema will be in attendance. Today a full list of films, both in and out of competition was released. I'm always interested in seeing which films come out on top in this festival since it typically features some great choices. Tim Burton heads the jury this year ... so we'll see what comes of that.

Opening film
Ridley Scott – ROBIN HOOD (Out of Competition)

In Competition
Mathieu Amalric – TOURNÉE
Xavier Beauvois – DES HOMMES ET DES DIEUX
Rachid Bouchareb – HORS LA LOI
Alejandro González Iñárritu – BIUTIFUL
Mahamat-Saleh Haroun – UN HOMME QUI CRIE (A Screaming Man)
IM Sangsoo – HOUSEMAID
Abbas Kiarostami – COPIE CONFORME
Takeshi Kitano – OUTRAGE
Lee Chang-dong – POETRY
Mike Leigh – ANOTHER YEAR
Doug Liman – FAIR GAME
Sergei Loznitsa – YOU. MY JOY
Daniele Luchetti – LA NOSTRA VITA
Nikita Mikhalkov – UTOMLYONNYE SOLNTSEM 2
Bertrand Tavernier – LA PRINCESSE DE MONTPENSIER
Apichatpong Weerasethakul – LOONG BOONMEE RALEUK CHAAT
(Uncle Boonmee Who Can Recall His Past Lives)

Un Certain Regard
Derek Cianfrance – BLUE VALENTINE (1st film)
Manoel De Oliveira – O ESTRANHO CASO DE ANGÉLICA (Angelica)
Xavier Dolan – LES AMOURS IMAGINAIRES (Heartbeats)
Ivan Fund, Santiago Loza – LOS LABIOS
Fabrice Gobert – SIMON WERNER A DISPARU… (1st film)
Jean-Luc Godard – FILM SOCIALISME
Christoph Hochhäusler – UNTER DIR DIE STADT (The City Below)
Lodge Kerrigan – REBECCA H. (RETURN TO THE DOGS)
Ágnes Kocsis – PÁL ADRIENN (Adrienn Pál)
Vikramaditya Motwane – UDAAN (1st film)
Radu Muntean – MARTI, DUPA CRACIUN (Tuesday, After Christmas)
Hideo Nakata – CHATROOM
Cristi Puiu – AURORA (Aurora)
Hong Sangsoo – HA HA HA
Oliver Schmitz – LIFE ABOVE ALL
Daniel Vega – OCTUBRE (1st film)
David Verbeek – R U THERE
Xiaoshuai Wang – RIZHAO CHONGQING (Chongqing Blues)

Out of Competition
Woody Allen – YOU WILL MEET A TALL DARK STRANGER
Stephen Frears – TAMARA DREWE
Oliver Stone – WALL STREET - MONEY NEVER SLEEPS

Midnight Screenings
Gregg Araki – KABOOM
Gilles Marchand – L'AUTRE MONDE (Blackhole)

Special Screenings
Charles Ferguson – INSIDE JOB
Sophie Fiennes – OVER YOUR CITIES GRASS WILL GROW
Patricio Guzman – NOSTALGIA DE LA LUZ (Nostalgia For The Light)
Sabina Guzzanti – DRAQUILA – L'ITALIA CHE TREMA
Otar Iosseliani – CHANTRAPAS
Diego Luna – ABEL (1st film)

Review: Mr. Hulot's Holiday

2010-04-13T18:19:00.002-05:00

In 1953, director Jacques Tati unleashed his now-iconic character Mr. Hulot upon the world in Mr. Hulot’s Holiday. The character and the resulting film come across as old-fashioned, even for its time, and intentionally so. Indeed, Mr. Hulot’s Holiday easily shares more in common with silent-era cinema than any other influence. Anyone who watches the film would have to admit that the plot could be summed up by the title itself and nothing more. The structure ambles along from one bit to the next; in no hurry to get anywhere. And the curious Mr. Hulot, our main character, goes through no traditional arc whatsoever. (What is this – a Charlie Chaplin film? Buster Keaton, perhaps?) In modern mainstream filmmaking terms, this movie would never get made, let alone considered for production. That’s a shame, because Mr. Hulot’s Holiday represents one of those charming films that I think more people should see.

Our story begins as various visitors arrive at a beachside hotel in France where they all long for some rest and relaxation. Then Mr. Hulot arrives. From his first entrance, in which he lets in a howling wind into the hotel, disrupting an otherwise peaceful day, we know he will only create trouble for the rest of the guests and staff. Mr. Hulot may be well-intentioned, but calamity seems to follow him everywhere. While that premise may not excite many people, consider these words from Roger Ebert: “It's not what a movie is about but how it's about it.” That logic certainly applies to Mr. Hulot’s Holiday as the film goes about its business in a unique and delightful way.

As stated above, the film’s use of silent film aesthetics provides the main source for comedy, but it’s the way these aesthetics are used that make the film worthwhile. For example, Tati shoots scenes unlike most any director I’ve seen in regards to mise-en-scene. As opposed to staging one particular joke, Tati fills the frame with various happenings occurring simultaneously. One group plays a game of cards while a businessman makes phone call to work as he tries to vacation, and at the same time a teenager attempts (unsuccessfully) to impress a girl. And while all this activity transpires, Tati does not tell you where you should be looking; he simply allows the audience to roam wherever their eyes want. That’s a bold move for anyone to even attempt, much less accomplish. This style certainly takes some getting used to and a second or third viewing becomes almost unavoidable if people want to catch everything that occurs.

Ultimately, this film will not suit everyone’s taste. But for those who keep an open mind, there’s a lot to enjoy here. I can see this style of filmmaking influencing performers like Rowan Atkinson or Peter Sellers in their work. Mr. Hulot endears himself to audiences the same way Mr. Bean and Inspector Clouseau do. Even though they cause a great amount of grief to those around them, they also possess a certain kind of magic. Their unique way of moving through life allows us to laugh at ourselves and that condition known as being human.

Recent Viewings: April '10

2010-04-10T21:13:00.002-05:00

Uncle Buck
John Candy had one of those personalities that instantly wins me over, and this film exemplifies that extremely well. Although the film itself isn't anything great, it contains quite a few moments of pure charm (Giant pancakes, anyone?).

The Informant!
Matt Damon gives a great performance in this satire on Corporate America. His voice-over alone delivers some great laughs. The supporting cast also shines. I'm sure repeat viewings would only enhance the experience.

Man Hunt
This WWII film made during the war itself delivers some great thrills with an intriguing story to boot. Director Fritz Lang provides the film with a great visual style.

White Hunter, Black Heart
This Clint Eastwood film features the actor-director in some different territory has he portrays an ego-maniacal filmmaker who obsesses over a hunting conquest instead of his next film. It's an intriguing character study and covers some worthwhile themes.

Fantastic Voyage
Richard Fleischer directed this effects-driven film about a team of scientist who are shrunk down and injected into the body of a colleague in order to repair a life-threatening blood clot. It's still a fun ride, but pretty formulaic.

The Man from Laramie
The fifth and final collaboration between director Anthony Mann and star James Stewart results in another solid western. As usual, the story is heavy with themes of revenge and justice. Stewart again proves his range as he plays a fairly menacing guy at times.

Ford Joins Cowboys and Aliens

2010-04-08T22:23:00.002-05:00

Director Jon Favreau announced via twitter yesterday that Harrison Ford has signed on to his next feature, Cowboys and Aliens. Ford has had some rough years in his career recently, so hopefully this project will bounce him back into the spotlight. The concept is simple enough: what if aliens were to invade 19th century America? Would they be able to take over? Cowboys and Aliens is based on a graphic novel by Andrew Foley and Fred Van Lente with artwork by Luciano Lima. The film also stars Daniel Craig and Olivia Wilde and it's already scheduled for a July 29, 2011 release.

I have to say that I like the concept and really do hope that it turns out to be a success for everyone involved.

Viewing Notes: 20000 Leagues Under the Sea

2010-04-07T21:33:00.002-05:00

Rather than writing a full-blown review, I've decided to simply share some notes I made regarding my viewing of 20000 Leagues Under the Sea (1954).

Although Kirk Douglas isn't known for his singing or dancing abilities, here he puts on quite a performance in the film's one and only musical number.

The film features some great effects work. The giant squid fight holds up surprisingly well, I thought.

Despite being a big-budget spectacle, the film actually contains a message. I wish I could say the same for some of today's blockbusters.

The underwater photography looked great and seemed innovative for the time.

Paul Lukas, playing essentially the main character since it's his narration we follow, gets overshadowed by Douglas and James Mason. Mason's Captain Nemo is more intricate and Douglas' Ned Land handles the more comic and adventurous aspects of the film.

Director Richard Fleischer makes good use of the widescreen aspect ratio, a relatively new process at the time.

The film captures a sense of adventure and wonder that fit just right for the material.

Although live-action, the film manages to incorporate a couple moments of animation, both of which added a nice touch to the scenes involved.

Like most Disney films, there has to be to some kind of animal prominently featured. This time it's a seal; used for comic relief.

Overall, I'd say it's a fun adventure flick that holds up pretty well. It's something that families can enjoy together.

The Best Picture Challenge

2010-04-05T22:18:00.002-05:00

Some might call me a completist when it comes to cinema - I just prefer to call myself well-rounded (at least that's my aim). With that in mind, I recently researched which of the Best Picture Academy Award winners I'd seen and which I hadn't. As it turns out, I've watched 61 out of the 82 films, a respectful 74%. Of course, my new goal is to view the remaining 21 unseen films. I'm giving myself until the end of the year to complete this task; plenty of time, I'm sure. Hopefully along the way I'll give some updates on where I stand in my movie countdown and provide a few thoughts on the films in question.

The Unseen List:
Wings
The Broadway Melody
Cimarron
Grand Hotel
Cavalcade
Mutiny on the Bounty
The Great Ziegfeld
The Life of Emile Zola
Going My Way
Gentleman's Agreement
Hamlet
The Greatest Show on Earth
Around the World in Eighty Days
Gigi
Tom Jones
My Fair Lady
Oliver!
Chariots of Fire
Gandhi
The Last Emperor
The English Patient

Wish me luck!

Remembering Brando

2010-04-03T20:24:00.002-05:00

Marlon Brando was truly one of cinema's greatest actors. So today, what would have been his 86th birthday, I've decided to pay tribute to the man who gave us so many memborable moments, both in film and in life.

At the 1973 Academy Awards, Brando refused his Best Actor Oscar for The Godfather, instead sending a Native American woman to the show to give a speech on Natives rights. I can't imagine anyone doing this today. http://www.youtube.com/watch?v=2QUacU0I4yU

This scene from On the Waterfront is one of the most famous scenes ever filmed. It's iconic status is well deserved. http://www.youtube.com/watch?v=eeVq1e6JKlw

Brando created another iconic performance in A Streetcar Named Desire. This video shows his famous cry of "Stella!" http://www.youtube.com/watch?v=S1A0p0F_iH8

One of the most haunting performances in film: http://www.youtube.com/watch?v=2BqloFdNq2Y

Larry King had a famous interview with Brando in the 1990's, mainly due to its bizarre nature. Here's the final part of the interview in which Larry and Marlon close the show by singing a duet and share a kiss. http://www.youtube.com/watch?v=ZvWMB7YFMXw He led a strange life.

Brando sings again - this time in Guys and Dolls. http://www.youtube.com/watch?v=xVlQXvrWC_A

Finally, a rare screentest: http://www.youtube.com/watch?v=j2lRdkNGDcY

All Things Walken

2010-03-31T20:36:00.003-05:00

In honor of his birthday today, I've gathered together a few of my personal favorite Christopher Walken moments, courtesy of YouTube. Mr. Walken has proved his talent time and time again through his lengthy career. Whether he's acting in a hardcore drama like The Deer Hunter or poking fun at himself on SNL, the man is instantly captivating in his own unique way. Any time he appears in a film, it brings a smile to my face. So happy birthday, Mr. Walken. Keep on doing your thing.

Poker Face – http://www.youtube.com/watch?v=xy5JwYOlgvY
Weapon of Choice – http://www.youtube.com/watch?v=K7Ky5R-vxns
Cooking with Walken – http://www.youtube.com/watch?v=43VjLCRqKNk
Puss in Boots – http://www.youtube.com/watch?v=GEjKmsMkPKQ
More Cowbell – http://www.youtube.com/watch?v=fyV2cPLuFuA
Pulp Fiction Scene – http://www.youtube.com/watch?v=kngBtoylIVM
“The Walken Thing” – http://www.youtube.com/watch?v=EmR-2nnt3Ps

Favorite Final Shots: Modern Times

2010-03-29T21:59:00.001-05:00

Modern Times marked the final film in which Charlie Chaplin played his signature character of the Tramp. It’s a magnificent send-off for the little guy as he struggles against, well, modern times. Chaplin was a master of social commentary and this film certainly doesn’t hold back. Here he takes on the mechanical age and its dehumanizing effect as machines take over jobs and generally give the Tramp a tough time. But, along the way he finds a kindred spirit in a girl simply referred to as the Gamin who struggles along in society as well. By the film’s end, the pair have failed at integrating into society and are on their own in the world. Although down on their luck, the Tramp and the Gamin resolve to continue onward, determined to discover what’s around the bend. The sense of hope portrayed in this moment is perfectly captured as the two walk down the road, off to live their lives as best they can. It's a beautiful picture.

Dreamworks Animation Stepping Up

2010-03-27T16:28:00.002-05:00

For the first time in a while, it looks as if Dreamworks Animation has produced something that isn't middle-of-the-road with their latest film How to Train Your Dragon. At RottenTomatoes.com the film has received the best score of the year so far, sitting at a staggering 97% as of this writing. And it appears that it will easily win the weekend box office race - although that was to be expected. The quality of Dreamworks' films has been hit or miss with me, so this critical praise comes as a pleasant surprise, especially after watching the trailer earlier this year and thinking, "Meh." I'd like to see what all the fuss is about, although I still doubt I'll see it in theaters. I'd rather watch the film in glorious 2-D in the comfort of my home. There is one question that I have from this situation. With Pixar still maintaining the "gold standard" for animation, I wonder if How to Train Your Dragon will provide some decent competition?

The Balcony Is Closed: At the Movies Gets Canceled

2010-03-25T19:35:00.002-05:00

News hit today that ABC and Disney have made the decision to cancel the iconic, long-running movie review show At the Movies. As I'm sure everyone knows, the show was started with Roger Ebert and Gene Siskel in the reviewer's seats, quickly becoming the world's most famous film critics. The duo's popular thumbs up/thumbs down has become a lasting image of pop culture; being constantly referenced and spoofed. After Siskel passed away in 1999, Richard Roeper was brought on to fill his seat. While the show continued on just fine, you couldn't help but think that some of the magic was gone. The pairing of Siskel and Ebert were such a great fit that anything else, no matter how good, could compare. The shows current hosts, A.O. Scott and Michael Phillips, have performed admirably in maintaining the show's legacy, but sadly, due to a lack of ratings, the plug has been pulled.

Looking back on it, At the Movies has meant quite a bit to me. It was the first show of its kind that I was able to watch and it opened my eyes to the world of film. Not only did they say whether they liked or disliked a film, they articulated points and had an actual discussion. That's something I feel like most people don't care much about. The average movie-goer seems content to simply say, "That was cool" or "That sucked" and leave it at that. But for someone who grew into being a film junkie, it meant a lot to have people who genuinely had a passion for film talking about some slightly more nuanced aspects of the craft. It's sad that there's no room on television for a show like this anymore. Perhaps the advent of online film criticism has simply made the show outdated. I know I get the majority of my film news/reviews in podcast form these days and I'm sure many others would say the same.

It will be interesting to see what lies ahead for this type of programming. I hear Ebert is developing a new show, although who knows if that will catch on. Until the next big thing, there's always plenty of old YouTube clips to keep fans happy.

Yet Another List: Most Films by Composer

2010-03-24T19:49:00.002-05:00

Just for fun, I've tabulated a list of composers whose work I've heard in the most number of films. There aren't really any surprises here; just the big names you'd expect too see. Naturally, John Williams takes the top spot, although by a narrower margin than I thought. With any list like this, the most prolific artists will emerge on top, so it's not an indicator of quality (although I do enjoy these composers) as much as quantity.

Here's my top 10:

John Williams – 45
Jerry Goldsmith – 42
Hans Zimmer – 33
Danny Elfman – 32
Howard Shore – 28
Elmer Bernstein – 28
Carter Burwell – 26
James Horner – 25
James Newton Howard – 24
Alan Silvestri – 20

Retro Hitchcock

2010-03-21T19:02:00.006-05:00

I recently stumbled upon some fan-made posters from one of my favorite director's works and just had to highlight them here. Artist Laz Marquez has designed four original posters that both pay tribute to older poster styles and provide their own unique look. Maybe my favorite aspect of these is the minimalist style. Though simplistic, they communicate the spirit of each film. I run into fan-made art all over the internet and these pieces really stand out. Enjoy!

Set Your DVR, It's Kurosawa Time

2010-03-20T18:43:00.002-05:00

On March 23, TCM will be programing only films from Japanese director Akira Kurosawa in honor of what would be his 100th birthday. I'd say anyone with an interest in cinema should devote some time to Kurosawa. I've been trying to catch up with some of these films lately as I've only seen seven of this master filmmaker's work thus far. Films scheduled to show include Seven Samuri, Yojimbo, Stray Dog, Drunken Angel, No Regrets for Our Youth, Rashomon, and Sanjuro among others. There's really no going wrong as to which films you watch, as far as I can tell. So, if your looking to improve your knowledge of foreign films and cinema in general, TCM has provided the perfect opportunity.

More Movie Haikus

2010-03-18T21:43:00.002-05:00

Well, I'm back with another round of haikus. It's pretty fun to come up with these things as they take some amount of tinkering before fitting just right. I hope you enjoy them.

The Thin Blue Line
An innocent man
Swallowed up by the system
Is our justice blind?

The Apostle
A Troubled preacher
Sincerely spreads word of God
What a complex world

Take the Money and Run
Allen attempts crime
Although the heists are sketchy
Slapstick gold ensues

Hoffman Turns Director

2010-03-16T20:15:00.002-05:00

In the long line of actors-turned-directors, Dustin Hoffman's name can now be added to the list. After a lengthy acting career, Hoffman has decided to try his talents behind the camera to direct Quartet. The film revolves around a trio of retired opera singers now in a retirement home. Actors Maggie Smith, Tom Courtenay, and Albert Finney are set to play the singers. Other than that, not much is known about the project at this stage.

This news comes as a pleasant surprise to me. I say surprise because, usually if an actor decides to direct, they've done it by this point in their career. Hoffman, now 72, seems to be jumping in late in the game, but more power to him. There have been many successful actor-directors and here's hoping that Hoffman becomes one of them. Quartet begins filming later this year.

Mini-Review: The Adventures of Prince Achmed

2010-03-13T16:07:00.002-06:00

“Even with primitive materials, one can work small wonders.” – Lotte Reiniger

Still in its infancy in 1926, animation took a leap forward when Lotte Reiniger revealed her latest creation to the world. The film, The Adventures of Prince Achmed, was unlike anything audiences had seen before and, in many cases, since. Using thousands of cut-out silhouette figures, Reiniger created a beautiful world populated by fairy tale characters. This work holds a special distinction in the world of cinema as it represents what most historians consider the first feature-length animated film.

The story revolves around (you guessed it) Prince Achmed and his efforts to rescue a princess from an evil sorcerer. Along the way he visits strange lands, befriends a witch, and battles demons, among other things. The film essentially contains all the typical archetypes you would expect to find in a fairy tale; all of which are used to great effect.

While the style and storyline undoubtedly seem basic, the results are pretty fantastic. In fact, the most impressive thing about the film is its effectiveness. Although the film features subtitles, viewers really don’t even need them to follow what’s happening. Instead, they can simply read the character’s body language and actions to determine the progression of the story. It’s surprising how much detail comes from even the slightest of gestures. The film reminded me of an intricate ballet in this way.

I think the silhouette figures work on a level that no other animated film – or film in general – has accomplished. The blank figures allow the audience to envision their own imagery which allows for a unique experience to anyone watching. Of course, when looking at it this way, you get what you are willing to put into it.

The DVD I watched featured a documentary on Lotte Reiniger and her career that’s also worth watching. She managed to carve out a niche for herself and stuck with it her entire career. The doc illustrates just how much time and effort the process took and the patience and precision it required to complete a film like The Adventures of Prince Achmed. So, for any animation enthusiasts or film buffs out there, check this one out.

Eastwood Sets Up Hoover Project

2010-03-10T20:47:00.001-06:00

Clint Eastwood continues to stay a busy man; setting up film after film. Seriously, I'm not sure how he does it. The 79 year-old director already has Hereafter to be released later this year and now there's word on his next potential film. It's been reported that Eastwood now wants to helm a bio-pic of FBI founder J. Edgar Hoover. A script has already been written by Milk screenwriter Lance Black and producer Brian Grazer is reportedly on board as well. The film would likely follow Hoover's life as he set up the bureau through his death in 1972.

Bio-pics usually don't do too much for me, honestly. By-and-large they simply follow a straightforward pattern in an attempt to "sum up" a person's life. This project sounds somewhat interesting, though, since Hoover seems like an interesting topic. Right now, the project is still without a studio, although Warner Bros. will probably get first crack at it since Eastwood works there nearly every time out.

Oscar Aftermath

2010-03-08T19:09:00.004-06:00

The Oscars have come and gone once again, so now it's time for a few reflections on the big night.

First of all, the hosts: I didn't think Martin and Baldwin worked together as well as they could have. They just seemed to lack the chemistry that was necessary to carry the show. Don't get me wrong - I enjoyed some of the bits. The Paranormal Activity video was funny and the cut to the two of them in a Snuggie worked well too, I thought. Overall, I was left kind of underwhelmed, though.

I was happy to see Christoph Waltz win a well-deserved Best Supporting Actor award. He actually had one of my favorite lines of the night: "That's an uber-bingo!" I just wish that Inglourious Basterds had been given more recognition.

What was with the John Hughes memorial? Not to take anything away from Hughes, but in all the years I've watched the Academy Awards, I've never seen an entire segment of the show dedicted to a single deceased filmmaker. The whole thing seemed odd to me.

As far as my annual Oscar predictions, I went 17 for 24 this time out. That counts as a personal best for me (pretty good considering a usually get about half right most years).

Seeing Jeff Bridges win for Best Actor brought a smile to my face. The man has maintained a solid career for many years now and just seems like a really down-to-earth kind of guy.

While The Hurt Locker wasn't my absolute favorite film of the year, I was glad it won Best Picture. It's ironic that one of the lowest grossing films won in a year when the Academy was clearly trying to broaden its audience with the expansion of the Best Picture category.

Why was a horror montage included? It seemed pretty tacked-on.

One of the easiest awards to predict was for Best Animated Feature, which Pixar naturally won with Up. Honestly, I was hoping Fantastic Mr. Fox would pull out an upset, even though I knew there was no way it could happen.

I can live with Avatar winning three awards. It certainly deserved some recognition...just not too much.

The memorium montage had some notables missing: Farrah Fawcett, Henry Gibson, Dan O'Bannon, and Bea Arthur.

I'm still not sure what to think about the whole Sandra Bullock thing. Of course, I haven't seen The Blindside, so I shouldn't judge, but it just doesn't seem right that she should win for that film. I mean, what could it have hurt to give Streep another Oscar, right?

Many of the top categories were easy to predict this year - a little too easy. Next year, I'll hope to see some close races.

Some Recent Viewings

2010-03-06T20:02:00.002-06:00

The Long Hot Summer (1958)
This film was the first to pair Paul Newman and future wife Joanne Woodward together and the chemistry between the two really stands out. Newman plays Ben Quick, a drifter who disrupts the lives of a rich small-town family. Orson Welles gives a delightfully over-the-top performance as the head of the family who will stop at nothing to ensure his name continues on in importance.

Seven Men from Now (1956)
Randolph Scott stars in this low-budget western that is at once simple and complex. I say simple because the story and style are straightforward enough, but I also say complex because of the ideas explored. Lee Marvin also stars as a charismatic heavy.

A Serious Man (2009)
The latest Coen brothers film delivers like no other film could. After watching it for the first time, I ended up watching it again the very same day. There's certainly a lot to chew on in this dark comedy about a man faced with a series of unfortunate events. It's probably the most personal film the Coens have made.

Trees Lounge (1996)
Character actor Steve Buscemi's directorial debut centers on a man who stands at a crossroads in his life. He turns to alcohol at the local bar to soften the blow of a disappointing life. This film was a engaging slice-of-life type of story, helped along by a cast of great supporting players.

Bloody Sunday (2002)
If you've seen a Paul Greengrass film in the past few years, this one follows the same shooting style. The film portrays the fateful 1972 Irish civil rights protest march and the subsequent massacre that took place. Much like United 93, the film is shot in an essentially documentary style; all handheld and with many unknown or non-actors.

Watch Alice in Wonderland (1903)

2010-03-04T21:01:00.002-06:00

The story of Alice in Wonderland has been through many iterations over the years. Since Tim Burton's take on the material premieres tomorrow, I thought it would be fitting to view the earliest cinematic adaptation. The 1903 version of Alice in Wonderland has been restored by the British Film Institute and it's really something to see. Although the footage is still rough despite the restoration, there's a lot of creativity on display.
Check out the film on YouTube: http://www.youtube.com/watch?v=zeIXfdogJbA

Allen's Latest Picked Up by Sony

2010-03-03T21:08:00.002-06:00

Woody Allen continues to stay a busy man (it's kind of amazing that he still churns out a movie per year) as his latest film, You Will Meet a Tall Dark Stranger, has been bought by Sony Picture Classics for domestic distribution. Although Allen's work has been hit or miss over the past decade or so, I still hope for the best when it comes to his projects. Another Match Point could be right around the corner, after all. As usual, not much is known about this latest effort other than a brief plot description: “[the film] revolves around different members of a family, their tangled love lives and their attempts to try to solve their problems." That seems like well-traveled territory for Allen, but, then again, you really can't discern too much from that vague of a description. The film stars Antonio Banderas, Josh Brolin, Anthony Hopkins, and Naomi Watts among others - all first-timers for an Allen film, I believe. You Will Meet a Tall Dark Stranger has a planned release in September.

2010 Oscar Predictions

2010-02-28T13:39:00.005-06:00

With the Academy Awards only a week away, I thought I'd formulate my predictions for this year's winners. Most of the main categories seem fairly easy to predict this year, but you never can tell for sure. As usual, the further down this list goes, the more I'm just throwing out guesses. So, for better or worse, here are my picks. (* = prediction of winner)

Best Motion Picture

"Avatar"
James Cameron and Jon Landau, Producers

"The Blind Side"
Gil Netter, Andrew A. Kosove, Broderick Johnson, Producers

"District 9"
Peter Jackson and Carolynne Cunningham, Producers

"An Education"
Finola Dwyer and Amanda Posey, Producers

*"The Hurt Locker"
Kathryn Bigelow, Mark Boal, Nicolas Chartier, Greg Shapiro, Producers

"Inglourious Basterds"
Lawrence Bender, Producer

"Precious: Based on the Novel 'Push' by Sapphire"
Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers

"A Serious Man"
Joel Coen and Ethan Coen, Producers

"Up"
Jonas Rivera, Producer

"Up in the Air"
Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers

Achievement in Directing

"Avatar" James Cameron

*"The Hurt Locker" Kathryn Bigelow

"Inglourious Basterds" Quentin Tarantino

"Precious: Based on the Novel 'Push' by Sapphire" Lee Daniels

"Up in the Air" Jason Reitman

Performance by an Actor in a Leading Role

*Jeff Bridges in "Crazy Heart"

George Clooney in "Up in the Air"

Colin Firth in "A Single Man"

Morgan Freeman in "Invictus"

Jeremy Renner in "The Hurt Locker"

Performance by an Actor in a Supporting Role

Matt Damon in "Invictus"

Woody Harrelson in "The Messenger"

Christopher Plummer in "The Last Station"

Stanley Tucci in "The Lovely Bones"

*Christoph Waltz in "Inglourious Basterds"

Performance by an Actress in a Leading Role

*Sandra Bullock in "The Blind Side"

Helen Mirren in "The Last Station"

Carey Mulligan in "An Education"

Gabourey Sidibe in "Precious: Based on the Novel 'Push' by Sapphire"

Meryl Streep in "Julie & Julia"

Performance by an Actress in a Supporting Role

Penélope Cruz in "Nine"

Vera Farmiga in "Up in the Air"

Maggie Gyllenhaal in "Crazy Heart"

Anna Kendrick in "Up in the Air"

*Mo'Nique in "Precious: Based on the Novel 'Push' by Sapphire"

Adapted screenplay

"District 9" Written by Neill Blomkamp and Terri Tatchell

"An Education" Screenplay by Nick Hornby

"In the Loop" Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche

"Precious: Based on the Novel 'Push' by Sapphire" Screenplay by Geoffrey Fletcher

*"Up in the Air" Screenplay by Jason Reitman and Sheldon Turner

Original screenplay

"The Hurt Locker" Written by Mark Boal

*"Inglourious Basterds" Written by Quentin Tarantino

"The Messenger" Written by Alessandro Camon & Oren Moverman

"A Serious Man" Written by Joel Coen & Ethan Coen

"Up" Screenplay by Bob Peterson, Pete Docter
Story by Pete Docter, Bob Peterson, Tom McCarthy

Best Animated Feature Film

"Coraline" Henry Selick

"Fantastic Mr. Fox" Wes Anderson

"The Princess and the Frog" John Musker and Ron Clements

"The Secret of Kells" Tomm Moore

*"Up" Pete Docter

Achievement in Art Direction

*"Avatar" Art Direction: Rick Carter and Robert Stromberg
Set Decoration: Kim Sinclair

"The Imaginarium of Doctor Parnassus" Art Direction: Dave Warren and Anastasia Masaro
Set Decoration: Caroline Smith

"Nine" Art Direction: John Myhre
Set Decoration: Gordon Sim

"Sherlock Holmes" Art Direction: Sarah Greenwood
Set Decoration: Katie Spencer

"The Young Victoria" Art Direction: Patrice Vermette
Set Decoration: Maggie Gray

Achievement in Cinematography

*"Avatar" Mauro Fiore

"Harry Potter and the Half-Blood Prince" Bruno Delbonnel

"The Hurt Locker" Barry Ackroyd

"Inglourious Basterds" Robert Richardson

"The White Ribbon" Christian Berger

Achievement in Costume Design

"Bright Star" (Apparition) Janet Patterson

"Coco before Chanel" Catherine Leterrier

"The Imaginarium of Doctor Parnassus" Monique Prudhomme

"Nine" Colleen Atwood

*"The Young Victoria" Sandy Powell

Achievement in Film Editing

"Avatar" Stephen Rivkin, John Refoua and James Cameron

"District 9" Julian Clarke

*"The Hurt Locker" Bob Murawski and Chris Innis

"Inglourious Basterds" Sally Menke

"Precious: Based on the Novel 'Push' by Sapphire" Joe Klotz

Best Foreign Language Film

"Ajami"
An Inosan Production Israel

"El Secreto de Sus Ojos"
A Haddock Films Production Argentina

"The Milk of Sorrow"
A Wanda Visión/Oberon Cinematogràfica/Vela Production Peru

"Un Prophète"
A Why Not/Page 114/Chic Films Production France

*"The White Ribbon"
An X Filme Creative Pool/Wega Film/Les Films du Losange/Lucky Red Production Germany

Achievement in Makeup
"Il Divo" Aldo Signoretti and Vittorio Sodano

*"Star Trek" Barney Burman, Mindy Hall and Joel Harlow

"The Young Victoria" Jon Henry Gordon and Jenny Shircore

Achievement for Best Original Score

"Avatar" James Horner

"Fantastic Mr. Fox" Alexandre Desplat

"The Hurt Locker" Marco Beltrami and Buck Sanders

"Sherlock Holmes" Hans Zimmer

*"Up" Michael Giacchino

Best Original Song

"Almost There" from "The Princess and the Frog" Music and Lyric by Randy Newman

"Down in New Orleans" from "The Princess and the Frog" Music and Lyric by Randy Newman

"Loin de Paname" from "Paris 36" Music by Reinhardt Wagner
Lyric by Frank Thomas

"Take It All" from "Nine" Music and Lyric by Maury Yeston

*"The Weary Kind (Theme from Crazy Heart)" from "Crazy Heart" Music and Lyric by Ryan Bingham and T Bone Burnett

Achievement in Sound Editing

*"Avatar" Christopher Boyes and Gwendolyn Yates Whittle

"The Hurt Locker" Paul N.J. Ottosson

"Inglourious Basterds" Wylie Stateman

"Star Trek" Mark Stoeckinger and Alan Rankin

"Up" Michael Silvers and Tom Myers

Achievement in Sound Mixing

*"Avatar" Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson

"The Hurt Locker" Paul N.J. Ottosson and Ray Beckett

"Inglourious Basterds" Michael Minkler, Tony Lamberti and Mark Ulano

"Star Trek" Anna Behlmer, Andy Nelson and Peter J. Devlin

"Transformers: Revenge of the Fallen" Greg P. Russell, Gary Summers and Geoffrey Patterson

Achievement in Visual Effects

*"Avatar" Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones

"District 9" Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken

"Star Trek" Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton

Best Documentary Feature

"Burma VJ"
A Magic Hour Films Production Anders Østergaard and Lise Lense-Møller

*"The Cove"
An Oceanic Preservation Society Production Nominees to be determined

"Food, Inc."
A Robert Kenner Films Production Robert Kenner and Elise Pearlstein

"The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers"
A Kovno Communications Production Judith Ehrlich and Rick Goldsmith

"Which Way Home"
A Mr. Mudd Production Rebecca Cammisa

Best Documentary Short Subject

"China's Unnatural Disaster: The Tears of Sichuan Province"
A Downtown Community Television Center Production Jon Alpert and Matthew O'Neill

"The Last Campaign of Governor Booth Gardner"
A Just Media Production Daniel Junge and Henry Ansbacher

*"The Last Truck: Closing of a GM Plant"
A Community Media Production Steven Bognar and Julia Reichert

"Music by Prudence"
An iThemba Production Roger Ross Williams and Elinor Burkett

"Rabbit à la Berlin"
An MS Films Production Bartek Konopka and Anna Wydra

Best Animated Short Film

"French Roast"
A Pumpkin Factory/Bibo Films Production Fabrice O. Joubert

"Granny O'Grimm's Sleeping Beauty"
A Brown Bag Films Production Nicky Phelan and Darragh O'Connell

"The Lady and the Reaper (La Dama y la Muerte)"
A Kandor Graphics and Green Moon Production Javier Recio Gracia

"Logorama" (Autour de Minuit)
An Autour de Minuit Production Nicolas Schmerkin

*"A Matter of Loaf and Death"
An Aardman Animations Production Nick Park

Best Live Action Short Film

"The Door"
An Octagon Films Production Juanita Wilson and James Flynn

"Instead of Abracadabra"
A Directörn & Fabrikörn Production Patrik Eklund and Mathias Fjellström

"Kavi"
A Gregg Helvey Production Gregg Helvey

"Miracle Fish"
A Druid Films Production Luke Doolan and Drew Bailey

*"The New Tenants"
A Park Pictures and M & M Production Joachim Back and Tivi Magnusson

Tackling IMDb's 250

2010-02-26T19:40:00.003-06:00

Today I was searching through IMDb as per usual when I decided to check out the site's Top 250 films as voted by the users. I can remember a time when I hadn't seen half of the films on the list (which constantly changes due to user voting), but as of today I've seen 241 of the titles listed. Not too shabby, if I do say so myself. Perhaps at some point I can claim to have seen all 250 on a given day. But I bring this topic up not to gloat so much as inform. Anyone with an increasing interest in cinema really should check out IMDb's list as a good starting point since it includes a diverse enough number of films that you are bound to make many discoveries. I know I have over the years. Check out the site and see how many films you've watched from the list.

http://www.imdb.com/chart/top

Against the Grain: Inspired Casting

2010-02-24T21:08:00.003-06:00

When people describe Grace Kelly, words such as glamorous or elegant usually come to mind. And why shouldn’t they? After all, she was Hollywood royalty and later on a real-life princess. Her most iconic roles in films like Rear Window and To Catch A Thief showcase her beauty, charm, and refinement. But the role for which she earned her Academy Award lacks the qualities Kelly typically attributed to her work. Instead, her character could be described as a buttoned-down, hostile, decidedly unglamorous woman. The film is The Country Girl; the role is Georgie Elgin.

It’s a brave performance by Kelly, playing the wife of a struggling actor. I say brave because her character isn’t necessarily the most likable or appealing person when we first meet her. She comes off as harsh towards her husband, not to mention the director who tries to give him a break in a new play. As the film moves along, we begin to see the complexity between Georgie and her husband and come to understand her position. Kelly proves she can handle a character who doesn’t automatically exude charisma and instead dig deep into a role that may not appeal to everyone.

If you get the chance, give The Country Girl a watch. The film also stars William Holden and Bing Crosby, both of whom also deliver great performances.

Coens Find Their Lead For True Grit

2010-02-23T22:42:00.002-06:00

After an extensive search, the Coen brothers have found the lead for their latest film, a western called True Grit. The central character of Mattie, a fourteen year-old girl who seeks vengeance after the death of her father, will be played by newcomer Hailee Steinfeld. She joins a cast of heavyweights such as Jeff Bridges, Matt Damon, and Josh Brolin. Steinfeld should have quite a challenge ahead of her as her character drives the story and provides the audience a point of entry. If she pulls it off, this could easily become a star-making role. The Coens have traditionally been spot-on with their casting, so I'm very hopeful about their choice. True Grit begins shooting soon for a planned Christmas day release. As usual, I'll be highly anticipating whatever the Coens deliver.

A Sampling of Morricone

2010-02-21T20:15:00.003-06:00

It's no secret that Ennio Morricone is one of my favorite composers of all-time. With iconic scores such as The Good, the Bad and the Ugly and Once Upon a Time in the West, how could he not be one of the greats? His body of work has spanned many decades now and the man still works steadily. As a result, there's a wealth of material to discover. On occasion, I'll do just that - discover some previously unknown piece from Morricone's past. Of course YouTube helps quite a bit with these endeavors as there are hundreds of videos dedicated to Morricone's music. For those not as familiar with his work, I've put together a sampling of tracks below. Feel free to explore other titles that you find since the ones I've listed only cover the tip of the iceberg!

Mystic and Severe – http://www.youtube.com/watch?v=MqD6gHLDqYc
The Big Gundown – http://www.youtube.com/watch?v=m6IJKSsJVds
Rabbia E Tarantella – http://www.youtube.com/watch?v=zMKYAqxiZBM
Un Amico – http://www.youtube.com/watch?v=pkvXsLGAxqY
The Surrender (La Resa) – http://www.youtube.com/watch?v=cjOjN9VVf0I
L'incontro con la figlia – http://www.youtube.com/watch?v=KtlTD5rRkYM
The Verdict – http://www.youtube.com/watch?v=HnwdscQeoIw
Battle of Algiers – http://www.youtube.com/watch?v=i746s_056eA
Il Mercenario Represa – http://www.youtube.com/watch?v=nDUR3MhNkKY
Giu’ la Testa – http://www.youtube.com/watch?v=l3K63RUaQIw
My Name Is Nobody – http://www.youtube.com/watch?v=7BXy1W7R13g
The Trio – http://www.youtube.com/watch?v=cWo__6Xn6Qs&feature=related
A Fistful of Dollars – http://www.youtube.com/watch?v=CpZjvbSC9_M
Valmont’s GoGo Pad – http://www.youtube.com/watch?v=pUk0DFHCmfA
Navajo Joe – http://www.youtube.com/watch?v=hN1bJqU50iA
Once Upon a Time in the West - http://www.youtube.com/watch?v=5j_MT9AcfAc

The Good, the Bad and the Ugly - http://www.youtube.com/watch?v=LQGGQ-FCe_w

Rate This: Kevin Smith Films

2010-02-18T20:04:00.002-06:00

With Kevin Smith's new film Cop Out opening next week, I thought I'd start a new feature where I rank a certain group of films in order from best to worst. This feature will probably surface every now and then to tie in with new releases or whenever I think of something special to highlight.

I'll label myself a fan of Kevin Smith, although I'd say my enjoyment of his films has waned over the past few years. Maybe Cop Out will bring a welcome return to form, although I have my doubts. As of now, here's my take on the man's filmography:

1. Clerks
2. Chasing Amy
3. Dogma
4. Jay and Silent Bob Strike Back
5. Clerks 2
6. Mallrats
7. Zack and Miri Make a Porno
8. Jersey Girl

Feel free to make your own ranking or discuss Smith's work in the comments.

Tarantino Goes West?

2010-02-16T19:48:00.002-06:00

Recently Quentin Tarantino has mused that he'd like to tackle a western for his next film. Not only would the film be a western, but one focused on the issue of slavery. Tarantino said he wants to start writing the script as soon as possible, but that could mean anything really. Inglourious Basterds was talked about for a decade before finally being made. Tarantino has talked about many projects over the years, but only a few have seen the light of day. Hopefully he's serious about this one.

When I first heard this news, I thought it only made sense for Tarantino. He's included elements of westerns in his past films, so it's fitting that he would finally go for a full-blown effort in the genre. Setting the film during a time of slavery definately departs from most westerns, as they are usually set post-Civil War. Whatever the final product (if there is, indeed, a final product), I'm sure Tarantino will put his own special style to the genre and I will be in line to see it.

2010 Preview: February - April

2010-02-13T20:46:00.003-06:00

Well, I’ve held off on writing any type of movie preview for the year, mostly because it’s slim pickings at the cinema during January. So, now that we're well into February, here’s a list of some notable films coming out between the remainder of this month through April.

Shutter Island
I’ve been ready for this one a long time now. Martin Scorsese’s latest reteams him with Leonardo DiCaprio for a full-on horror/thriller, territory the filmmaker hasn't really covered since Cape Fear. The story follows two detectives investigate the disappearance of a woman at an insane asylum. The excellent supporting cast includes Mark Ruffalo, Ben Kingsley, Emily Mortimer, Michelle Williams, and Jackie Earle Haley among others. The trailers have promised a scary-good time and I for one cannot wait.

Cop Out
This latest film from Kevin Smith has me apprehensive to say the least. The promotional material I’ve seen for this buddy cop film has been somewhat underwhelming, although I’ll still give it a chance. Plus, Smith is testing some new ground with this project (for him), so I give him credit for that.

Alice in Wonderland
Tim Burton seems like a perfect fit for this material. I’m somewhat surprised that he’s embraced CG as much as he has with this film since he typically prefers to keep things at least partially practical. The film has an interesting look though and I certainly can’t argue with the casting.

Brooklyn’s Finest
This new cop thriller from the director of Training Day (Antoine Fuqua) garnered some buzz at last year’s Sundance Film Festival and now finally receives its theatrical release. Don Cheadle, Richard Gere, Ethan Hawke, and Wesley Snipes star in a story of three policemen who lead very different careers, but somehow end up “at the same deadly location.” It seems like a solid time.

Green Zone
When I first heard about this project, all I knew was that Matt Damon starred and Paul Greengrass was directing. That combination was enough for me based on their collaborations on The Bourne Supremacy and The Bourne Ultimatum. Here’s plot description via IMDb: “Discovering covert and faulty intelligence causes a U.S. Army officer to go rogue as he hunts for Weapons of Mass Destruction in an unstable region.” That sounds good to me.

The Runaways
This one gathered a sizable amount of buzz from this year’s Sundance Film Festival, so I’m curious to see what the fuss is all about. The film stars Dakota Fanning and Kristin Stewart and chronicles the band The Runaways and the relationship between two of its members, Joan Jett and Cherie Curry.

Greenberg
This latest from Noah Baumbach stars Ben Stiller as an unemployed man who moves to Los Angeles to house-sit for a relative while he attempts to figure out his life. From the trailer you get the typical Baumbach humor which mostly plays well, I thought. If nothing else, it’s nice to see Stiller doing something other than generic family comedies for a change. As far as the director’s previous work, I’m hoping that this film hits more like The Squid and the Whale than Margot at the Wedding, but only time will tell.

Hot Tub Time Machine
This just looks stupidly funny to me.

I Love You Phillip Morris
Jim Carrey and Ewan McGregor star in this comedy that made a pretty big splash last year at film festivals, but is only now getting distribution. A plot description from IMDb say, “On his second go-round behind bars, scam artist Steven Russell (Carrey) commits the ultimate con in order to break out and win back the heart of Phillip Morris (McGregor), with whom he fell in love during his first prison sentence.” It’s too bad that this film has struggled to find commercial opportunities (no doubt because of its gay themes). Hopefully it won’t fall through the cracks when released in late March.

Kick-Ass
A subversive super-hero film that has received a lot of buzz from people who have seen footage from it; Kick-Ass intrigues me. Once again, a plot description from IMDb: “Despite the fact that he has zero superpowers, teenage fanboy Dave Lizewski looks to reincarnate himself as a crime-fighting superhero named Kick-Ass, a decision that will inspire a subculture of copy cats, put his life in danger, and unite him with a similarly minded father-daughter duo.” The budget for this film was raised independently by its director Matthew Vaughn because no major studio was interested in the hyper-violent story. After footage was screened at Comic-Con last year, an immediate sensation was born as people responded ecstatically. Lionsgate then picked up the film for distribution. Now we’ll see what’s in store for us in April.

Wall Street: Money Never Sleeps
Oliver Stone has returned to old territory here, continuing the story of Gordon Gecko as he leaves prison and navigates through America’s corporate world in the 21st century. At first, I thought this seemed like a bad idea, but now I’m starting to see some potential in it. Stone may make some heavy-handed points through his films, but when he on, he’s very effective. It will be interesting to see what commentary Stone places on America and the current state of the economy. (Oh, I still hate the subtitle though.)

That's about it for now. Next up will be a summer movie guide. I'm sure it'll be here before we know it.

The Lists Continue: Most Films by Actor

2010-02-11T22:19:00.002-06:00

Continuing my trend of lists, I've decided to share my list of actors who I've seen in the most amount of films. As I stated in my directors list, I'm not sure how much you can read into this, but it gives some indication of my preferences and viewing habits.

Top 10:
Robert De Niro – 32
Samuel L. Jackson – 29
James Stewart – 28
John Wayne – 28
Tom Hanks – 27
Bruce Willis – 26
Steve Buscemi – 25
Bill Murray – 25
Sean Connery – 24
Dustin Hoffman – 24

Nolan to "Mentor" Superman

2010-02-09T20:43:00.002-06:00

According to Deadline Hollywood, Warner Bros. has hired Christopher Nolan to oversee a new Superman film. By "oversee" it's not meant that he will write or direct, but rather develop the project, mentoring the process along. The new film will have nothing to do with Bryan Singer's 2006 film Superman Returns, but instead will be a reboot of the franchise. As you might guess, the project is only in the early stages of development and will probably stay that way for awhile since Nolan's still finishing up work on his latest film, Inception.

I'm not quite sure what to make of this news. Does the character of Superman really fit with Nolan's style? I doesn't seem like it. He tends to go for dark and brooding instead of fantastical, but that might not factor into the final product much, anyway. Whatever the outcome, this seems like an interesting idea to place Nolan in this position. The more important question to ask would be: do we really need another reboot of Superman? Smells like a cash-grab to me, especially since the rights to the character will return to the creator's families in the near future. Oh well, the studios have to make money somehow, I guess. I just wish they would take a few more chances on some new properties.

Top Ten Films of the Decade

2010-02-07T22:02:00.019-06:00

Well, here it is at last. After spending hours sorting through the hundreds of films I’ve watched over the past ten years, I’ve come to my decisions. It’s no easy task to assemble a Best of Decade list since so many films seem worthy of recognition. Plus, there’s always the question of how to approach such a list. Do you choose based on your personal favorite films or attempt a more “objective” method and consider what the most important or influential films have been? Well, in this case I’ve attempted to walk a line between the two approaches, although I leaned more towards making this a personal list. Each of these films means something to me and have influenced the way I look at the medium to some degree. Ultimately, though, I feel like this list could change depending on my mood. So I like to think of these films as just ten of my favorites, knowing that many others could potentially take a place here. Still, for now, this is my list and I’ll stick by it.

10. City of God (2002)
A true example of bravura filmmaking, City of God packs a punch of frenetic energy that you won’t soon forget. Taking place in the slums of Rio de Janeiro, the story centers on a group of impoverished kids as they grow up facing a seemingly endless cycle of drugs, violence, and destruction. They have little choice in whether they should engage in these activities; it simply comes down to a matter of survival. Within this backdrop, the film plays out as not only a great crime drama, but a story about overcoming the odds as one boy, Rocket, attempts to break out of the slum life. We follow him, along with many others, as they navigate their way through this rough-and-tumble world, knowing that danger comes in all shapes and sizes. The distinctive visual style of the film assaults its viewers with rapid cuts and intricate camera moves. What’s most impressive about the style is that it doesn’t come off as flashy, but expertly applied to illustrate the story of an out-of-control world.

9. The Royal Tenenbaums (2001)
After establishing himself with Bottle Rocket and Rushmore, Wes Anderson was allowed to broaden his unique world once again; this time focusing on a dysfunctional family of geniuses who live in a storybook version of New York. At the core, it’s a film about a group of outsiders attempting to cope with each other and themselves as they search for a place to belong. With an all-star cast headed by Gene Hackman, Anderson weaved a story filled with equal amounts of melancholy, heartache, romance, whimsy, and triumph together into a true work of art. Every aspect of the film is meticulously crafted to create a fully realized world, from the Dalmatian mice to the hand-drawn wallpaper. No one makes films quite like Anderson does, although many imitators have cropped up in recent years. There’s something about his sensibilities that resonate with me more than most any filmmaker working today. One last note: I can’t think about this film without thinking of the music. The score by Mark Mothersbaugh ranks as one of my favorites, and, as usual, Anderson’s impeccable song choices become an integral part of the experience.

8. Inglourious Basterds (2009)
I was a bit wary of including a film released only last year since it hasn’t had the time to settle in my mind the way earlier films have. But in the case of Inglourious Basterds, a film I’ve seen several times now, any trepidation on my part has been put at ease. Quentin Tarantino represents one of the finest directors of our time, so a list like this certainly deserves his work represented. I considered the Kill Bill films instead, but something kept drawing me back to Basterds. It’s a more mature, nuanced work than I had expected. With each viewing, new, subtle details emerge. The film concentrates on themes of reputation, mythmaking, and the power of cinema. In addition to its thematic weight, the film boasts some powerhouse performances, especially from Christoph Waltz as Col. Hans Landa, one of the most memorable characters I’ve seen in quite some time. The tone of the film is expertly handled, transitioning from moments of humor to horror effortlessly. Any other film would be rushing to get to the next plot point or action sequence, but here scenes are allowed to play out naturally, building up the tension bit by bit until the audience almost bursts from anticipation. Above all, Tarantino’s love of cinema constantly shines through. There’s such care taken for every aspect of the film (and such reverence placed on film itself) that I simply can’t help but admire it.

7. Memento (2000)
Christopher Nolan has proven himself over and over again as one of the most talented directors at blending complex ideas into mainstream entertainment, so I thought it appropriate to include the film that launched his name and left a distinctive mark on the cinema landscape. Like most of Nolan’s films, Memento centers on the workings of the mind. The backwards narrative of a man with short-term memory attempting to avenge the murder of his wife revolutionized the way people looked at story structure and conventions. What may have been a gimmick in a lesser film, Memento uses as an integral component in telling its story as well as fitting in thematically. The film functions like a puzzle we aren’t supposed to solve so much as experience. While that may sound frustrating to some, I welcome any film that explores its topics as deeply and as compellingly as Memento.

6. The Lord of the Rings trilogy (2001-2003)
This spot represents my only choice for some full-blown blockbuster films. It’s difficult to ignore the monumental task that Peter Jackson and crew undertook when bringing these films to the screen. The locales created by these films are so well realized and given an authenticity that it becomes easy to accept the fantasy world as its own reality. I mean, who wouldn’t want to live in the coziness of the Shire after watching these films? There’s really something for everyone to enjoy in this epic tale. On one hand, the battle scenes are edge-of-your-seat sequences. However, if that’s not your style, the love story between Aragorn and Arwen may compel you. Either way, the main characters are so memorable and immensely likable that you gladly follow them on their long journey. On a technical level, I appreciated the combination of older special effects and camera tricks, such as the use of miniatures or forced perspective, mixed with the latest CGI technology. Too many films rely completely on CGI as a crutch and it comes off as lazy. Luckily, Jackson proved to be the right creative force to take care of such decisions. His endless passion for the material translates onto the screen and I couldn’t help but become caught up in it. These films are crowd-pleasers in the best possible sense.

5. 25th Hour (2002)
Few films capture the spirit or mood of a specific time the way that Spike Lee’s 25th Hour encapsulates life in the months of post-9/11 haze. What’s even more impressive about the film is that the story isn’t even overtly about that. The time and location only act as a backdrop for the story of convicted drug-dealer Monty (Edward Norton) as he spends his last day of freedom with friends and family before departing to prison for seven years. During this time Monty examines his life and what went wrong. Along with Norton, the film also stars Philip Seymour Hoffman, Barry Pepper, Rosario Dawson, Anna Paquin, and Brian Cox, who all give outstanding performances. There’s one monologue in particular that ranks among the best in film. Lee filters some of his usual themes into the proceedings, but in a fresh way. Primarily, the film functions as an examination of the decisions we make and how they affect our lives. It’s one that more people should watch or reexamine.

4. Adaptation (2002)
Although some imitators might try, no one writes a screenplay quite like Charlie Kaufman. For this film he and director Spike Jonze essentially break down the screenwriting process until it’s turned on its head. Nicolas Cage delivers his greatest performance(s) as twin brothers Charlie and Donald, both writers with varying degrees of success. As the high-minded Charlie struggles to adapt a book into the screenplay of his dreams, Donald, a complete novice, breezes through an absurd script of his own. This film closely examines the creative process in a way I haven’t seen from any other film. Even though the basic storyline might seem too “inside Hollywood” for some, Adaptation contains very relatable topics. The film essentially boils down to how we handle our ambitions vs. our reality, something I think everyone struggles with at some point. And, interestingly enough, it’s also about failure and how we manage it. The themes are treated with such depth and in such an entertaining way that I had to include it on this list. Oh, and did I mention it’s funny? It’s very funny.

3. Lost in Translation (2003)
With Lost in Translation, Sofia Coppola wrote and directed a personal, delicate story of two people who cross paths during similar times in their lives. This insightful film contains some of the purest scenes of emotion between two characters that I have ever seen. The story focuses on middle-aged actor Bob Harris who has arrived in Japan to make some quick cash by shooting a whiskey commercial. Meanwhile Charlotte spends time in the country while her photographer husband busies himself with work. Bob and Charlotte meet at a hotel bar and strike up a friendship. Though separated by many years, both Bob and Charlotte share the same existential questions about their lives. Roger Ebert observes that their conversations represent the kind that only strangers can have with each other: “We all need to talk about metaphysics, but those who know us well want details and specifics; strangers allow us to operate more vaguely on a cosmic scale.” Through their time together, Bob and Charlotte help each other in some profound way. Even though their problems may not be solved, they know now that there’s someone out there who understands them. The performances by the two leads captured something special on screen. Bill Murray deserved every bit of praise for his performance and Scarlet Johansson established herself as a prominent screen presence. It’s such a specific film and so well realized.

2. There Will Be Blood (2007)
Arguably the best film of 2007, a year that, in my opinion, was crowded with greats. P. T. Anderson showed his growth as a filmmaker by tossing aside many of his usual stylistic choices in favor of a more subdued aesthetic. Every element of this film is worth praising. Daniel Day-Lewis’ performance has been deservedly discussed and praised to death. He has created one of the most memorable characters in recent years and one that will be remembered for many years to come. And if Paul Dano can continue work of this caliber, he could easily become one of his generation’s leading actors. I’ve heard some people complain that the film features no redemption or consequences for its lead character; that it’s simply too dark. While I would agree the film maintains a high level of cynicism, I object to the idea that its morally bankrupt. To me, There Will Be Blood represents a cautionary tale. Yes, Daniel Plainview gets exactly what he wants by the film’s end, but at what cost? We see what he’s become and, in a way, pity him for the life he’s chosen. The message seems pretty clear: this is the result of greed when taken to its extreme. Between the weight of its themes and the precision with which it was made, There Will Be Blood deserves to be labeled a classic.

1. Eternal Sunshine of the Spotless Mind (2004)
On a pure emotional level, this film affected me more than just about anything I’ve seen. The snapshots into the character’s lives are so rich and full of detail that you feel as if you are interrupting a private conversation by watching them. The story follows the beleaguered Joel Barish, who, after realizing his ex-girlfriend Clementine has undergone a procedure to remove all her memories of him, decides to undergo the same procedure. However, half way through, Joel decides his memories are worth saving and attempts to keep them. Through this premise, the film illustrates a simple, yet profound truth: we are the sum total of our experiences. To ignore portions of our lives would be to deny who we are and possibly doom ourselves into repeating past mistakes. I would be hard-pressed to find a film that exemplifies this lesson more effectively. With a background in music videos, director Michel Gondry brings a visual flare to the film that heightens its themes to the next level. The scenes within Joel’s mind represent the best techniques I’ve seen at illustrating the subjective nature of memories. From blurring elements out, to removing them, to blending memories together, Gondry uses his extensive creativity to portray this surreal experience. These in-camera effects are both impressive and charming. In addition, the score by Jon Brion creates just the right mood to accompany each scene. Eternal Sunshine of the Spotless Mind has so much to say about relationships, memory, identity, and simply being human that I couldn’t ignore it.

Honorable Mentions:
The Departed, No Country for Old Men, United 93, The Squid and the Whale, Kill Bill Vol. 1 and Vol. 2, Synecdoche, New York, Punch-Drunk Love, Zodiac, Fantastic Mr. Fox, The Dark Knight, Capturing the Friedmans, Little Children, American Splendor, and many others…

Lastly, I should mention some films that I've yet to see. Even though I probably watch more than most people, a few films will always fall through the cracks.
Not Seen: Milk, Che, The Boy in the Striped Pajamas, The Class, 4 Months, 3 Weeks, and 2 Days, The Visitor, Lust, Caution, Away from Her, The Sea Inside, No Man's Land, In the Mood for Love, and many from last year

So, what do you think? Offer your thoughts and opinions in the comments.

Williams and Rogen to Star in Polley's Latest

2010-02-06T17:00:00.003-06:00

Actress Sarah Polley has led an interesting career which now balances directing and writing with her acting jobs. I haven't seen her in the most amount of films, but whenever I do in things like The Sweet Hereafter, Go, or Dawn of the Dead, I've been impressed. She rarely appears in mainstream films, preferring independent projects. I've always meant to check out her directorial debut Away From Her, which garnered a lot of praise. It's currently residing on my DVR until further notice. Now Polley's ready for her sophomore effort with Take This Waltz, a film from from her own original screenplay. The film will be a romantic comedy centering on a love triangle in which a woman struggles with infidelity. Recently Michelle Williams and Seth Rogen have signed on to star. The other lead has yet to be cast, but based soley on these people involved, I'm intrigued. Williams has always chosen interesting projects to be involved in and Seth Rogen seems to be branching out more and more these days. The project is still in the early stages of development, so it will be awhile before we see any other big news on it. Until then, let's hope this proves to be a worthwhile effort.

Most Films Seen by a Director

2010-02-04T19:24:00.003-06:00

I've had movie lists on my mind lately while I compile my Best of the Decade list, so I thought I would share a different list while that one remains in development. I have an on-going tally of directors whose films I've seen the highest number of (which shows you how obsessive I am) and the current results look something like this:

Top 10
Alfred Hitchcock - 24
Steven Spielberg – 20
Woody Allen – 20
Martin Scorsese – 15
Tim Burton – 13
Howard Hawks – 13
Sidney Lumet – 13
Clint Eastwood – 13
Coen Brothers – 12
Sam Peckinpah – 12

I think this shows a pretty good variety of filmmakers covering different eras and styles. I'm not sure how much you can tell about a person's taste in films from a list like this, since most people will probably come up with the most popular directors who are firmly established. Still, it's an interesting way to look at your viewing habits and preferences. Try it out yourself and see who comes out on top!

Oscar Nominations at Last

2010-02-02T20:07:00.002-06:00

Early this morning the nominations for the 82nd Academy Awards were announced and, for the most part, it was business as usual. Essentially, the nominees were predictable, but a few surprises always creep into the fray. I'll just give a few random, initial thoughts on the Academy's picks.

Of the 10 Best Picture nominees, I was most surprised to see The Blind Side on the list. I know many people are raving about it, but I just can't see what the hype is all about.

It's interesting that Sandra Bullock could become the first actor to win both an Oscar and a Razzie award in the same year. With her Worst Actress nomination for All About Steve, she's got a pretty decent shot at it.

I was pleasantly surprised to see District 9 among the Best Picture nominees. Although I knew it stood a chance, I wasn't sure about it receiving much attention. It just didn't seem like Academy's usual cup of tea.

Pixar has finally achieved their coveted Best Picture nomination with Up. Of course, this is almost certainly due to there being 10 nominees instead of the usual five.

It looks like Kathryn Bigelow will (probably) become the first female to win Best Director. The odds are certainly in her favor after winning the DGA award.

I was sad to see zero nominations for films like Where the Wild Things Are, The Road, (500) Days of Summer, and Moon.

Yay for Inglourious Basterds receiving 8 nominations.

Yay for Fantastic Mr. Fox receiving nominations for Best Animated Feature and Best Original Score.

As usual, I still need to catch up with so many films!

Miramax Folds

2010-01-30T16:50:00.002-06:00

After its 30-plus year run, Miramax studios has officially shut down and will be consolidated into its parent company, Walt Disney Studios. The studio, an instrumental force in increasing the visibility of independent film, was headed by the Weinstein brothers, Harvey and Bob, for the majority of its existence until they split to form The Weinstein Company a few years back. Although controversially run at times (chronicled in Down and Dirty Pictures by Peter Biskind), Miramax certainly brought out a great deal of talent over the years. Without it, we wouldn't know the names Tarantino, Rodriguez, Kevin Smith, and many others who were given their start at the studio. I suppose this news shouldn't come as much of a surprise since many of the "specialty" studios have folded in the past couple of years. Still, it's certainly the end of an era.

Mini-Review: The Reivers

2010-01-29T20:09:00.003-06:00

Among Steve McQueen's filmography, The Reivers probably isn't the first film people recall - maybe not even the tenth or fifteenth - but this coming-of-age tale certainly contains enough to make a worthwhile viewing. Set in the early 1900's, The Reivers centers on an eleven-year-old boy named Lucius and the wild journey he undergoes. His grandfather, simply known as The Boss, buys the first automobile the town has ever seen, which becomes the catalyst for mischief when Boon (McQueen) decides he and Lucius should "borrow" the car for a little trip. Along for the ride is Ned, a cousin of Lucius', as they head to Memphis.

It's a good-natured film, although nothing remarkable. As a road movie the story becomes somewhat episodic at times as the trio travel along. They run into some trouble of course, although you never really believe they won't make their way out of it. A few of the plot devices seemed contrived and left me wondering why they were included. Ultimately, I could overlook those issues, but they did bring the film down a bit for me. As far as the acting, McQueen does his usual thing as the cool troublemaker and the supporting cast holds up just fine. I was impressed with Mitch Vogel as Lucius. Many child actors from this era simply don't compare to the talent of their adult co-stars, but this kid performed admirably. The whole film essentially hinges on his character as he begins the transition into manhood. By the end of the film, I felt that he had changed. The score, an early one from John Williams, sets an energetic tone to the proceedings and represents one of the film's strengths. After watching the film I discovered Williams even received one of his first Oscar nominations for his efforts.

That's essentially all I have to say about the film. It's a decent ride, but I doubt that I'll feel the need/want to revisit it.

For Your Consideration - Danger: Diabolik

2010-01-27T18:31:00.004-06:00

Danger: Diabolik represents one of those gloriously fun 60's films that, while maintaining its loyal band of followers, is still criminally under-seen. It's considered one of the first films based on a comic book and, arguably, one of the most faithful adaptations of a comic-turned-film. The story centers on master thief Diabolik who steals from the rich if only for the thrill. He gives all that he steals to his girl Eva and relishes the opportunity for new challenges. Of course, the authorities attempt to catch him using all their resources. Directed by Mario Bava, Danger: Diabolik makes a great companion to the spy films of its era while also maintaining its own unique style and humor.

I considered writing my own review for this film, but after viewing the following video review, I would only be repeating/stealing from it. Danger: Diabolik is such a visual film that it really needs a video review to do it justice. So, here's a review from Jay Cheel at Filmjunk. Enjoy!http://www.youtube.com/watch?v=Gq4fvRlMtwQ

Fox Looks to Carve Things Up with Machete

2010-01-25T19:26:00.003-06:00

Back in 2007, the Quentin Tarantino and Robert Rodriguez directed flick Grindhouse contained a series of fake trailers in an effort to enhance the "grindhouse" experience. Many viewers thought of these trailers as one of the highlights of the film, which led to a plethora of copycat trailers online. Now, one of those fake trailers, Machete, has taken on a life of its own and become a very real film. Independently financed, Machete recently sparked a bidding war between six studios for domestic distribution. Fox ultimately won out, guaranteeing the film a wide release and Rodriguez a production deal.

If you've seen the trailer from Grindhouse, then you basically know the story. A Mexican ex-Federale known as Machate is hired to take out a senator, only to discover he's been set up by his employers when he's shot and nearly killed. Vowing vengeance, Machete begins a reign of terror that won't soon be forgotten. This tale of revenge features a tagline that pretty much sums things up: They just f***ed with the wrong Mexican!

Without seeing any footage yet, I can safely say that Machete promises to be one of the most unique movie-going experiences this year. I count myself a fan of Rodriguez' silly, ultra-violent films. Although they may lack the substance his pal Tarantino provides, Rodriguez' projects promise a fun time, provided you're in the right frame of mind. Machete's eclectic cast alone makes this one worth the wait. With the likes of Robert De Niro, Michelle Rodriguez, Lindsey Lohan, Jessica Alba, Cheech Marin, Steven Seagal, Rose McGowan, and Danny Trejo (always awesome) as the titular Machete, I can't help but wonder what drew them in to such a crazy project. I'm sure we'll find out more as the release date draws closer.

New (Family-Friendly!?) Project for Scorsese

2010-01-22T20:29:00.003-06:00

Martin Scorsese, now 67, is staying as busy as ever with many projects in development. Today, we receive word that his next film will be an adaptation of the children's book, The Invention of Hugo Cabret. This news may sound surprising, although apparently Scorsese acquired the rights to the book some time ago. The story takes place in France during the 1930's, centering on a boy who lives at a train station. When he stumbles upon a defunct robot, the boy attempts tirelessly to repair it. The book has become quite the hot property since it's 2007 release, winning a Randolph Caldecott Medal as well as being sought after by many for a film adaptation. With Scorsese winning out on the directing honors, many people may question why he's chosen such a project. For me, the news comes not as an unlikely choice in material so much as another entry into an already varied career.

One of the most admirable aspects of Scorsese's filmography is it's diversity. I'm sure that when most people think of his films, they center on the gangster stories, but there are plenty of other projects. From the period piece The Age of Innocence to the slice-of-life drama about a struggling single-mother Alice Doesn't Live Here Anymore, along with his many documentaries, Scorsese has covered many genres. With that in mind, this still counts as fresh ground for the auteur director. I can only imagine what a child-centered, sci-fi/fantasy from Scorsese will look like. Certainly, any new project that the man tackles will catch my attention and I'll anticipate it thoroughly. The Invention of Hugo Cabret begins filming in June, so hopefully some casting choices will appear soon.

Meanwhile, Scorsese's latest film Shutter Island will open next month, which will offer us his first narrative feature since The Departed. It's probably my first big anticipated film of the year, so look for more posts on that as the release date approaches.

A Couple Awards Show Highlights

2010-01-20T19:11:00.003-06:00

Since we're deep into awards season now, I thought I'd share a couple of cool moments from some of the ceremonies.

First, here's a unique clip courtesy of director Wes Anderson as he accepts his award for “Special Achievement in Film Making” from the National Board of Review. As opposed to accepting the award in the usual fashion, Anderson had a special stop-motion video made in the style of his film, Fantastic Mr. Fox. The video highlights the same sly charm that the film contains, while also providing a welcome change of pace. Anderson continues to be a class-act.

Watch the video here: http://www.youtube.com/watch?v=FTMSJ_qDC6o&feature=player_embedded

Secondly, from the Golden Globes this past weekend, Martin Scorsese received a Cecil B. DeMille Award for his accomplished career as a director and film preservationist. It's always great to see Scorsese receive some recognition for his work and he certainly deserves it. Before the acceptance speech, a montage of his work played to the crowd. It's a nicely put together piece, featuring clips from almost everything he's done.

Watch the video here: http://www.youtube.com/watch?v=u47dj5T6MrA&feature=player_embedded

MacGruber Trailer

2010-01-19T19:02:00.005-06:00

It's been a long time since the last SNL spin-off movie; about a decade, in fact. Now, we're getting a MacGruber movie from Lorne Michaels and company. Hmm, I'm really not sure about this idea. Are the MacGruber sketches really the best idea for a film? SNL movies have been so hit or miss over the years. On the upside, they've produced comedy classics like The Blues Brothers, but on the downside, there's the likes of The Coneheads or Superstar. On the whole, I think they've acquired a lackluster reputation. Taking a one-joke skit like MacGruber and turning it into a feature-length film sounds like another half-baked idea, but who knows, it could turn out as a pleasant surprise.

After watching the new red-band trailer for the film, I'm not exactly sold on the concept, but I'm open to see more of what it has to offer, if anything. MacGruber certainly has some talented people involved (I'm liking Val Kilmer as the villain), so let's hope that they don't go to waste.

MacGruber hits theaters on April 23 and stars Will Forte, Kristen Wiig, Ryan Phillipe, and Val Kilmer. Watch the trailer here: http://www.youtube.com/watch?v=yB7KnZyMjNs

Countdown to the Globes

2010-01-16T19:43:00.002-06:00

Tomorrow the Golden Globes, arguably Hollywood's second biggest awards show, will take place and, as usual, I'm playing my never-ending game of catch-up on the nominated films. Luckily some of last year's films are making their debut on DVD, so it shouldn't be too long before I hunt them down. Despite my lack of films seen, I'll still enjoy watching the ceremony. The Globes are typically a bit looser than other awards shows (I think because the guests are allowed to drink), which makes for some entertaining moments. I'm also looking forward to Ricky Gervais hosting since he usually shakes things up more than most hosts.

I'm not the greatest at predicting winners and this year should prove even more difficult. Many of the categories feature no clear front-runners so far as I can tell. Christolph Waltz seems like a lock for Best Supporting Actor and Mo'Nique has received many other accolades for Best Supporting Actress. Other than that, it's hard to say who will win. And, again, since I haven't seen many of the films yet, it's difficult to have much investment in who/what I'd like to see win.

As for the films I have seen, I'll be rooting for Inglourious Basterds to win in its respective categories, as well as Fantastic Mr. Fox for Best Animated Feature. Aside from that, I'll just be looking forward to the Oscar nominations, which should be announced in the near future.

Former SNL Cast Members Who Need a Comeback

2010-01-14T19:33:00.002-06:00

Many SNL cast members have led successful careers after they’ve left the show. Some even become more popular once they "go Hollywood". But like many other professions, there are peaks and valleys – hurdles to overcome. Some handle and maintain the transition better than others. The following list represents those people who have stumbled along the way. It’s not meant to insult, as I want nothing more than to see these people succeed once again.

Mike Myers
This guy has created some great characters and produced hilarious films from them. People will continue to reference and quote from Austin Powers and Wayne’s World for years to come. However, times are pretty tough for him these days. After flops like The Cat in the Hat and The Love Guru, as well as the diminishing returns of the Shrek series, Myers could use a shot in the arm. Wishful thinking would lead me to say that his cameo appearance in Inglourious Basterds this past year could be a start in the right direction. Still, there’s a long way to go before he could regain his former success.

Norm MacDonald
I’ve always been a big fan of Norm MacDonald. I’d go so far as saying his days at the Weekend Update desk represent some of the funniest material from the mid-90s. His career didn’t take off the way it could have after SNL, despite some good opportunities. Norm had at least a couple of TV shows that ultimately failed to find an audience and starring vehicle films like Dirty Work and Screwed which suffered the same fate. Still, whenever he pops up on a talk show, I have to tune in. Hopefully he can piggyback off some of his old SNL buddies like Sandler and return closer to the limelight.

Eddie Murphy
For this one, I’d like to address Mr. Murphy directly:
What happened, Eddie? You starred in some of the best comedies of the 80’s and then proceeded to make complete crap. Holy Man? The Adventures of Pluto Nash? I Spy? Daddy Day Camp? I just don’t know if there’s any hope left, honestly. Even after your Academy Award nomination for Dreamgirls, you went strait back to your stale bag of tricks. Seriously, what happened? Yours is the most frustrating career to follow. There was so much early promise that has ultimately led us all down a dark road from which we almost certainly cannot return. (Sigh)

Are there any other former cast members who deserve a comeback?

Tough Viewing

2010-01-12T19:27:00.004-06:00

A while back I posted a list of “shamefully unseen” films – a list that I’ve been working to shorten. One of the films from that list was Leaving Las Vegas (1995), a dark drama starring Nicolas Cage and Elizabeth Shue. The film’s story centers on a formerly successful writer whose life has taken a turn for the worse. He decides to travel to Las Vegas and, once there, drink himself to death. Sounds cheery, right?

I’ve always been curious to watch this film, mostly because it contains the role for which Nicolas Cage won his Academy Award. After viewing the film, I can say that both he and Elizabeth Shue delivered fine performances, earning every accolade they received. Still, that doesn’t change the fact that Leaving Las Vegas is a difficult film to watch. You feel so sorry for the characters and what their lives have been reduced to that the experience of watching them becomes extremely uncomfortable at times. But that’s not meant as a negative on the film, necessarily. Films that challenge their viewers shouldn’t be neglected or shoved aside. Instead, they should be examined for what they are and what they attempt to accomplish. Sure, there are many other, more pleasant films to enjoy, but films like Leaving Las Vegas provide a singular experience. Perhaps that experience isn’t one that people would want to revisit, but I think that it’s worth some consideration. If nothing else, the performances demand to be seen. I certainly wouldn’t recommend the film to many people, but for those willing to take the journey, Leaving Las Vegas presents a challenge.

Spider-Man 4 Dead

2010-01-11T20:06:00.002-06:00

After some troubles in development, it looks like Sam Raimi has decided to leave Spider-Man 4. As opposed to moving forward on the film, Sony has decided to end the series of films altogether and plan for a reboot instead. That's right, Sony will redo a series that began less than a decade ago. There's no word yet on who will replace Raimi or any of the cast, although plans are set for a 2012 release.

The fact that Sony will go ahead and reboot this series seems pretty odd and unnecessary at this point. Do we really need to see the Spider-Man origin story retold? Oh well, more money for the studio, I guess. On the flipside, I'm kind of glad that Sam Raimi is now free to take on some new projects. His Drag Me to Hell last year was a delightful romp that I would like to see more of.

So, we'll see how this whole situation pans out, but for now that's the situation.

Haiku Reviews

2010-01-10T17:48:00.003-06:00

I've decided to try my hand at writing some haiku reviews. It's been an interesting experiment, especially since I'm not overly familiar with this style of writing. The process was kind of fun though, so I may attempt it again sometime.
What follows are a few of my more recent viewings basically given a description and/or review.

The Bridges of Madison County
Melancholy sadness
From a few days of heaven
Drive a twosome's souls

The Mouse That Roared
Madcap situations
Result from Seller’s antics
A crazy world indeed

The Princess and the Frog
Disney goes 2-D
A refreshing sight to see
Adolescent fun

The Abyss
Secret deep sea threat
Become’s Cameron’s interest
Out of world result

Try making one of your own!

Rewatching a Classic: F for Fake

2010-01-06T20:19:00.002-06:00

Out of the stack of DVDs I received at Christmas, I decided to rewatch Orson Welles' last completed film, F for Fake. Though often described as a documentary for lack of a better word, the film really acts as a cinematic essay. Although ostensibly about the nature of fakery and deception, F for Fake covers much more ground - from the nature of art to life in general. It's a fascinating watch that fittingly sums up many elements of Welles' career. Edited in a fast-paced style - years ahead of its time - the film is jam-packed with content, essentially requiring more than one viewing. Fortunately, this is a film that I will enjoy coming back to many more times, drawing new details and impressions. When people talk about Orson Welles, so many times the conversation ends with Citizen Kane, but the man had a rich career worth looking into.
I could write much more on this film (and maybe I will at some point), but for now I'll just say that F for Fake is well worth people's time.

Sam Mendes in Talks for Bond 23

2010-01-05T19:50:00.002-06:00

Well, I certainly wouldn't have predicted this choice, but apparently Sam Mendes (director of American Beauty, Jarhead, etc.) has been in talks with the Bond producers to helm the next installment of the celebrated spy series. If he does end up in the director's chair, it would be the second Bond film in a row to feature a mainstream director - and an Academy Award winner at that - after 2008's Quantam of Solace had Marc Forster heading production. This seems like an odd tread, but one that I'm open to. Both Forster and Mendes are directors who have switched comfortably from genre to genre, so watching their efforts on a big-budget adventure film seem intriguing. Production on the film could start as early as June, setting up a 2011 release.

Other than that, not much is known about the film, but that's pretty common with Bond films. I'm sure we won't even be getting a title until well into the future. Of course Daniel Craig is set to return, as well as Judi Dench. I'll keep an eye out for more news as it becomes available.

Exploring the Unknown

2010-01-03T14:19:00.004-06:00

For whatever the reason, I never had an interest in Star Trek growing up. Of course, no matter who you are, you can’t avoid the constant references the series receives in other films, TV shows, books, etc. As a result, I’ve always maintained a basic knowledge of the franchise. But, it just didn’t grab me. I guess by the time I discovered Star Wars it became my sci-fi franchise of choice and I stuck by it, blindly leaving no room for other series to enter my life. Consequently, I never bothered watching a single movie or TV episode involving the Trek series. In fact, it almost became a point of pride for me that I hadn’t seen anything Star Trek related. As I got older, I realized this position really made no sense. It seemed narrow-minded to not give it a try. Still, I was apprehensive about viewing any Trek material simply because there’s so much of it. Luckily for me, J. J. Abrams decided to reboot the franchise entirely with last summer’s Star Trek.

With the new film released and receiving favorable reviews, I knew this was my opportunity to finally see what all the fuss was about. Still, I missed the film in theaters as it wasn’t a high enough priority at the time. So I ended up waiting until the DVD release when I watched it with some family members. Now, I’m going to write something that I wouldn’t have thought possible, say, ten years ago: I enjoyed Star Trek. That’s right; I thought the film was solid entertainment all around. And, not only that, I look forward to seeing what Abrams and Co. will do with the sequel. The possibilities are essentially endless. While I won’t go into a “review” of the film here, I’ll simply say that it was exactly what a summer blockbuster film should be: a fun, exciting, spectacle that will appeal to many viewers.

Star Trek represented one of my few big biases in the movie world and I’m glad to be rid of it. I try to maintain an open mind for any film I decide to watch and I’m thankful I did once I finally saw this one. I’m still not sure if I’ll go back and watch the older films and TV shows, but I’m more open to the idea than I’ve ever been previously. Watching the new Star Trek was a great way to start off the new decade as it represented something new for me, a kind of fresh start. We can all use that every now and then.

A Few Thoughts on the Oughts

2009-12-31T18:42:00.000-06:00

This past decade will hold a special place in my mind (film-wise, that is). It was during this time that I “came of age” in the world of cinema. I began scouring the pages of the Internet Movie Database, soaking up all the information I could. It really became a kind of addiction – one that continues to this day. (I’m not sure I want to know how many hours I spent combing through the filmographies of various filmmakers over the years.) I also began reading reviews and commentary on film. It interested me to hear from different perspectives and learn how others constructed their viewpoints. And while I valued the “critical” opinion on films, it was important for me to make up my own mind.

So, the films released this decade became of great interest to me. I started viewing them differently than I had previously; from a more critical point-of-view. I think 2002 was a turning point as I began going out of my way to see films that others had little interest in. Even if it meant going by myself, I felt compelled to view films like Adaptation and The Hours. This path led me down a fascinating road filled with films as wide-ranging as can be imagined.

While I spent time waiting for new releases, I also caught up with many films from decades past. With the advent of Netflix, there’s no limit to how many films are available and I take full advantage of it. As my knowledge of film progressed, the more I enjoyed the artform and I desired to learn even more. That desire led me to study film at the University of Oklahoma, eventually earning a Film and Video Studies degree.

So, yeah, I guess films have had a large impact on my life and will probably continue to do so. I’ll continue viewing and writing about them so long as my enthusiasm for the subject holds up.

New Inception Trailer Continues to Intrigue

2009-12-29T22:20:00.004-06:00

The second trailer for Christopher Nolan's latest, Inception, continues to fascinate me. While there's no real breakdown of the plot, I really don't need one at this point. The visual inventiveness highlighted in this trailer alone merits my time and attention. Nolan has easily become one of my personal favorite directors and any project coming from him represents an event-film for me. The idea of him doing an all-out sci-fi mindbender seems like a perfect fit, as his films typically focus more cerebral themes. Plus, the cast involved ranks among the best for any film this coming year. Leonardo DiCaprio, Ellen Page, Joseph Gordon-Levitt, Marion Cotillard and Ken Watanabe star, along with Nolan veteran Cillian Murphy. What more could you ask for?

Inception hits theaters next summer. Watch the trailer here:
http://www.youtube.com/watch?v=RSyQ3K0xnYg

Box Office: Avatar Sets 2nd Weekend Record

2009-12-28T20:27:00.003-06:00

James Cameron appears to have pulled off another hit with his newest film, Avatar. Despite some naysayers, the film definitely looks on track to become one of the highest grossing films of the year, and perhaps of all time. In it's second weekend, Avatar grossed 75.6 million - down only 1.8% from it's first weekend! As good word-of-mouth continues to spread, Cameron's visual spectacle will no doubt spawn more films using the same technology, ushering in a new era of big-budget filmmaking.

In other news, Sherlock Holmes debuted with 62.3 million, a more than solid figure for the Robert Downey Jr. vehicle.

This last weekend of the year boosted 2009's total box office take to 10.3 billion, a new record. Theater attendance was up, which is a good sign in a time when piracy has become more and more prevalent. Overall - a decent year for the movies.

Celebrity Necessity?

2009-12-22T19:38:00.001-06:00

I can understand the appeal for celebrities to become involved with animated projects. Most of them want to be a part of something their children can watch. It’s also an easy gig. With just a few recording sessions involved, they get an easy paycheck. And I can understand why studios jump at the chance to include as many big names as possible. After all, they have to sell their film somehow. But with all that said, there are certain instances when I have to ask, “Why bother?”

I recently scrolled the credits for the new Alvin and the Chipmunks film (don’t ask me why) and I saw that actors such as Justin Long, Amy Poehler, Anna Faris, and Christina Applegate lent their voices to some of the titular furry critters. Now, what’s the point of having these celebrities provide their voices when post-production work simply alters them to fit the super-high squeakiness of the chipmunks? Furthermore, the advertisements for the film make no mention of the celebrity names. Another culprit of needless voice usage is Dreamworks studios, and more specifically in Kung Fu Panda. Jackie Chan, Lucy Liu, and Seth Rogen each voice characters in that film and they can’t have more than 25 lines between them. At times this practice borders on distraction since your hearing such recognizable voices coming from secondary characters. There’s just no point of having these people if you’re not going to use them. Situations like these just make no sense to me.

Surely some professional voice actors could fill these roles with ease. With animated films mostly catering to children, name recognition plays little importance anyway. By avoiding the big names, studios wouldn’t need to bloat their budgets on these films either. But I suppose the “bigger is better” mentality wins out in the end.

What are your thoughts on celebrity voice-work?

Some Quick Thoughts on Avatar

2009-12-21T21:09:00.004-06:00

After years away from narrative filmmaking, James Cameron has finally returned with Avatar, a sci-fi adventure film on a grand scale. This film has undergone a lengthy development and an enormous amount of hype leading up to its release. Many have been doubtful that Cameron could deliver on his promise of a “game-changing” film in terms of technology. Well, any doubts on a technological level should be laid to rest. Avatar delivers in a way only a Cameron film can.

The Good:
A visual marvel to behold, the film entrances its audience; making them believe completely in an alien world. The 3-D effects impressively added a layer of depth to the picture. As opposed to gimmicky 3-D of the past, this technology, at least as utilized by Cameron, goes for subtle touches which help immerse audiences into the film. Real actors seamlessly interact with CG creations. Thanks to the new technology developed especially for the film, the CG characters become more legitimate as dramatic leads.

The Bad:
While the tech side of the film might be unequaled, the overall story and dialog can leave something to be desired.

Bottom line:
Everyone should check this out in theaters. You simply cannot get the same experience at home.

For Love of Money: American Crime in the 90's

2009-12-20T20:18:00.005-06:00

(Note: This post represents another paper from my college days.)

At some point everyone daydreams of a life without work. The theme of bucking the system in earning a living features in a multitude of stories. Within the world of film this notion exemplifies itself most in the crime genre. Audiences are captivated by the lives of criminals and the underworld they inhabit. The films hook us in; depicting risks that we would never undergo ourselves, but don’t mind watching others perform. After all, the criminal life bursts with excitement, possibilities, and sometimes wealth. But while crime films draw us into the world of criminals, they simultaneously jerk us out. The underlying greed that drives some of the characters ultimately becomes repellent to an audience. Besides, most die for positioning money over anything else. The wealth-oriented criminals portrayed in films such as Goodfellas, Reservoir Dogs, True Romance, Pulp Fiction, Fargo, and Jackie Brown would not inspire anyone to resemble them. By each film’s end, plans go awry, betrayals are made, people go to jail, and many are killed. Through the criminals’ failure, these stories ultimately emerge as morality tales that reinforce the idea that the quick cash and potential prestige of criminals ultimately burn out. The only potential for redemption and a fulfilling life for these characters originates from honest work and fixing their focus on others above themselves.

Although ultimately hollow, the appeal of gangster life remains inescapable. In Goodfellas Henry Hill details how, even from his early days of fraternizing with the mob, he scored the perks. He divulges to the audience that, “One day the kids from the neighborhood carried my mother's groceries all the way home. You know why? It was outta respect.” Aside from the clout commanded by the mob, they exhibited a bounty of material goods (“Anything I wanted was a phone call away.”). The crooks in Goodfellas drive swanky cars, dwell in decorative homes, wear tailor-made suits, and consume sumptuous meals. Criminals not portrayed as wealthy at least get stylized in ways that build them up. Look at the opening of Reservoir Dogs for example. The film introduces us to a team of thieves as they take in their last meal before they push off to their heist. As with any Tarantino film the character’s dialog is more dynamic than it has any right to be as they ramble over what should be mundane conversation. There’s an energetic rhythm that flows through their talk that compels us to lean in and join them. In the next scene the gang strides in slow motion, as the poppy tune of “Little Green Bag” trumpets over the soundtrack. During the song each member receives a close-up to mug for the camera. This sequence portrays the thieves at their height before they fall.

The lives led by these criminals do not embody as much allure as they might at first seem. Even when they flourish, as in the first half of Goodfellas, there is an undercurrent of unpleasantness. Goodfellas records the story of Henry Hill, documenting his involvement with gangster life. A good example of uneasiness in the midst of an affluent life arises during a scene when Karen, Henry’s new wife, meets the other wives of the men that Henry works with. The scene focuses on how the women conspicuously cover various bruises they have sustained from their husbands. Karen’s voiceover comments on how “they wore too much makeup” and overall “didn’t look good.” As the women discuss violent events that characterize their husband’s lives, Karen realizes the temperament of the world in which she’s consumed. The ritzy lifestyle she and her husband lead comes at a price. For example, any wealth that these criminals compile tends to be directly juxtaposed with the brutal, unsavory crimes they must commit. In Jackie Brown criminal Ordell Robbie constantly looks over his shoulder in order to protect his money - not to mention his freedom. To contrast with his beautiful residence on the beach, Ordell’s work often leads him to dark areas. In one sequence Ordell exterminates his protégé Beaumont out of fear that Beaumont might testify against him. Ordell comments, “Now that my friend is a clear cut case of him or me.” Paranoia fills the air in this dog-eat-dog world.

To heighten the unglamorous aspect of their lives, quite a few of the criminals portrayed are deficient at their jobs. While on a stake-out at a target’s home, the hit man Vincent in Pulp Fiction makes the deadly mistake of leaving his gun sitting out on a counter-top while he uses the restroom. When his target, Butch, comes back home, he spots the gun and shoots Vincent when he leaves the restroom. Another example appears earlier in the story when Vincent makes another deadly mistake. While he and his partner Jules drive, Vincent accidentally shoots a contact named Marvin in the head when their car may or may not have hit a bump in the road. In Jackie Brown, criminals Louis and Ordell engage in some serious mistakes as they underestimate the title character during a sizable score. Louis in particular bungles up when he glimpses, but thinks nothing of, Max Cherry at a money drop-off. Cherry is a bail-bondsman who has ties with Jackie Brown and emerges as her accomplice in her bait-and-switch plan. Only afterwards do Ordell and Louis piece everything together. In addition to being oblivious to Cherry, Louis ends up killing his female companion involved in the crime, Melanie, as he gripes, “she got on my nerves.”

As much as those characters fumble, Fargo takes the prize for the most botch-ups made by the various criminals involved. The film is essentially about a man, Jerry Lundegaard, who attempts to collect a ransom from his father-in-law for the kidnapping of his own wife. The two men hired for the kidnapping, Carl and Gaear, execute their job haphazardly. While knitting in her living room, Mrs. Lundegaard watches as Carl ineptly approaches a window and peers inside. There is unquestionably no striving for surprise. Although the two kidnappers succeed in their mission, it is in part due to Mrs. Lundegaard’s panic. When transporting Mrs. Lundagaard to an isolated cabin, the pair creates more turmoil when they get pulled over because they have no tags on their car. What could be a minor incident transforms into a bloodbath as Gaear kills the policeman. When dragging the body to the side of the road, a couple of passersby in another car witness the crime and they too are killed. Fargo not only portrays these characters as unprofessional, but sometimes they border on acting downright dim-witted. Many other events in Fargo, as well as other crime films, spin out of control.

Within each of these films, plans fall apart, no matter how thoroughly or shabbily rehearsed. The film Reservoir Dogs revolves around a group of men who set out to rob a jewelry store. Their off-camera heist is an utter catastrophe. One member of the team is eventually revealed to be an undercover cop who tipped off police members about the robbery. As a result, two of the six members of the team get shot down and another gravely injured during the robbery. The survivors spend the remainder of the film bickering over which one tipped off the authorities. During the finale, nearly all of the surviving members involved with the heist undergo a standoff which results in fatality for all. Only one man, Mr. Pink, wanders out alive, but by then the police arrive and shots ring out at him off-screen. In True Romance, a drug deal that culminates the film ends with a disastrous shootout exceeding the body count of the Reservoir Dogs confrontation. The story centers on the couple Clarence and Alabama as they venture to sell a suitcase of drugs they stumble upon. Both the police and a group of gangsters involve themselves in the eventual transaction. As in Reservoir Dogs, almost everyone dies in the final confrontation, although Clarence and Alabama survive.

The actions taken by these characters evolve out of greed. That greed is shown to ultimately be meaningless. None of the characters driven by greed are shown to gain anything. Instead they lose everything they have, including their lives in most cases. We discover emptiness at the end of the violence, illustrated by the complete disregard for human life. Fortunately for audiences, these films exhibit something more.

Among the greed or power-driven characters there is usually one or more who emerge to lay everything into perspective. In Pulp Fiction it’s Jules. Through a miraculous event where both Jules’ and Vincent’s lives are spared, Jules has a “moment of clarity” that leads him to withdraw from “the life.” He grasps that the career he has led means nothing and commits to reform. In the film’s final scene Jules and Vincent eat at a restaurant. A couple who decide to stick up the restaurant confront Jules. A stand-off develops comparable to the ones in Reservoir Dogs and True Romance. But, unlike those films, this stand-off ends peacefully as Jules assumes control and reasons with the thieves. He presents them with some of his own money and sends them on their way, soaking up a lesson through the ordeal. Jules’ decision to help people in need gives the message that there is more to life than easily won money and a potentially comfortable existence. True Romance strikes a similar chord as love ultimately vanquishes any thirst for monetary value. After the massive shootout, Clarence and Alabama feel blessed to be alive. The films final moments picture the couple a few years later with a son. As the family plays along a beach, we see that a modest family life provides all they needed to begin with. They appear entirely content without money.

Several films provide examples of the kind of working-class lives that criminals attempt to evade. In Fargo the character of Marge acts as the film’s center. She sublimely represents a working-class woman who remains unwavering in her role as both a policewoman and a wife. Her honesty and hard work juxtapose with Lundegaard’s sleazy plan for some quick cash. By the film’s end, when Marge breaks the case and apprehends Gaear, the theme of the film presents itself in her line, “There’s more to life than a little money, you know.” Resembling Marge, the mild-mannered Max Cherry in Jackie Brown wishes to quit his job as a bail bondsman because he finds the work unrewarding. He performs his job proficiently, but tires of spending time around hardened criminals and would rather move forward with his life. When he discerns that Jackie Brown needs help, he decides to aid her plan to rob Ordell of his money. Jackie’s only offense, after all, is stealing from a known criminal who would kill her if she ever got in his way. By Max’s selfless act, Jackie manages to launch her life over again with restored optimism. He generates a positive difference in one person’s life and asks nothing in return.

All of these characters epitomize that there is more to life than gathering money and possessions. They put value in other pursuits, such as career, family, and helping others as best as they can. Most of all they reinforce the idea that working an honest living and helping others shapes a difference. Their actions weigh against those who crave only after money and strengthen the message that crime demonstrates pointlessness.

Crime films have been a staple of cinema for generations. The narratives function as cautionary tales in a way. They insinuate that if you give up on working within the system, then you’re on your own. Destruction fundamentally concludes this decision. However, as long as people reside within the system, they hold the possibility to lead a productive and meaningful life. Jules walks the road less traveled by abandoning his criminal position. He explains to one of the restaurant thieves that, “The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin', Ringo. I'm tryin' real hard to be the shepherd.” While Jules may struggle with his transition, at least he discovered a worthy cause to believe in that surveys beyond himself. By acting on this cause, a fulfilling life becomes within reach.

Trailer Round-Up

2009-12-17T18:45:00.004-06:00

As the year winds down, previews for some of next year's big releases start to trickle onto the web. Here's a listing of the most recent, along with a few comments:

Robin Hood - Directed by Ridley Scott, Starring Russell Crowe, Cate Blanchette
http://www.youtube.com/watch?v=KSqL9ygBCck
There's not a whole lot to this trailer, although I'm still very interested in the film. Robin Hood happens to be one of those stories that ends up receiving a re-telling for each generation.

Iron Man 2 - Directed by John Favroe, Starring Robert Downey Jr., Gweneth Paltrow, Mickey Rourke, Don Cheadle
http://www.youtube.com/watch?v=siQgD9qOhRs
Well, they're certainly pulling out all the stops for this one. And after the success of the first, why not? With a great cast, a bigger budget, and even more public awareness, this sequel is all set to be among next year's biggest releases. Let's just hope they aren't biting off more than they can chew.

Clash of the Titans - Starring Sam Worthington, Liam Neesan
http://www.youtube.com/watch?v=qpZ5D_Wc4cA&feature=channel
Action, action, and more action. That's what this trailer delivers and that's pretty much all I expected. Sam Worthington seems to be in high demand for action flicks these days. He appears to have what it takes when it comes to all the fighting and yelling, but will there be a decent script behind all the adrenaline? (Oh, and Liam Neesan looks kind of ridiculous in his costume.)

Alice in Wonderland - Directed by Tim Burton, Starring Johnny Depp, Helena Bonham Carter, Anne Hathaway
http://www.youtube.com/watch?v=gCM4JiJ6B2I&feature=channel
Although not necessarily my favorite as a kid, this material still intrigues me. Tim Burton and his usual band of actors are probably some of the most qualified people to tackle this project. I think it helps that this is more of a sequel/re-imagining of the original stories, as it allows the creative team license to do as they wish. Burton has embraced CG more than ever for this film and I like what I'm seeing thus far.

Shrek Forever After - At this point, who cares?

Mini-Review: What Ever Happened to Baby Jane?

2009-12-16T22:04:00.002-06:00

Talk about a bad case of sibling rivalry. Joan Crawford and Bette Davis star in what turns out to be a portrait of fame, family, and delusion. It's really a nasty little film; certainly not a "feel good" story with a happy end.

The set-up: In their youth, two showbusiness siblings vie for the spotlight. Jane (Davis) is the star, while Blanche takes a back seat. But as they grow up, the tables turn and Blanche achieves success in film. Filled with extreme jealousy, Jane rams into her sister with a new car, leaving her paralyzed. The remainder of the story takes place years later as the two sisters still live together; neither one with a chance to return to their former glory days.

Crawford and Davis are perfectly cast. Their real-life hatred of each other lent itself well to the film. Some of the confrontations become so heated that you don't know where the performances end and reality begins. Davis gets the showier part and is probably better remembered because of it. Although good, her performance borders on camp ( some would say it is camp). In fact the whole film has an element of campiness to it, intentional or not. I didn't have a problem with that element, though. Any over-the-top elements can be easily put aside as the story builds the tension higher and higher.

Although it's kind of a strange film, What Ever Happened to Baby Jane? certainly deserves a viewing. The performances from the two leads are great fun to watch as they do all they can to out-act each other.

Catching Up to the Best

2009-12-14T18:41:00.004-06:00

With the year quickly drawing to a close, many critics have begun piecing together their annual Top 10 lists. While I enjoy viewing other people's lists, I always struggle for one of my own. There are simply too many films I've yet to see and won't get a chance to for quite some time. This isn't too surprising, though. I'm constantly playing the catch-up game when it comes to new releases. In fact, I feel like only now could I compile a decent Top 10 list for 2008. Living in a small-ish Oklahoma town certainly doesn't help, as the local theater's selections usually leave much to be desired. Oh well, I guess I'll resign myself to viewing most of the following films on DVD as my best of '09 list waits well into the next year.

Yet to see:
Avatar, An Education, The Hurt Locker, Invictus, Nine, Precious, A Serious Man, Up in the Air, The Road, Crazy Heart, The Cove, The Lovely Bones, The Messenger, (500) Days of Summer, A Single Man, The Bad Lieutenant: Port of Call - New Orleans, Big Fan, The Princess and the Frog, The Imaginarium of Dr. Parnassus, Star Trek, Moon, Watchmen, Bright Star, In the Loop, The Informant! ...and many more

Back to Basics: Some Thoughts on Animation

2009-12-10T21:15:00.009-06:00

With Disney's release of The Princess and the Frog, their first 2D animated feature in quite some time, I've begun to feel a bit nostalgic. While I've always enjoyed the advent of CG films (I still count Toy Story as one of my favorite theater-going experiences), they've become a dime-a-dozen these days. Some of them look like glorified video games coming from studios in search of a quick buck.

I think that, ultimately, I appreciate traditional animation moreso than CG because it contains more of a personal quality. For example, there's less of a seperation from the artists in a hand-drawn medium, as opposed to the calculated pixels of CG. Especially in early 2D films, viewers can see the unique stylings of each animator on screen. While perhaps not the most polished of looks, the level of charm and character involved is simply unavoidable. Meanwhile, the latest CG films seem to be locked in a battle for who has the best looking water effects.

I realize that 2D films now incorporate many aspects of computer technology, but the results still possess a warmth to it - a familiarity on some level. Yes, each form contains strengths and weaknesses and both require great skill. But this holiday season, I'll be enjoying Disney's new take on an old style.

Mini-Review: Silver Streak

2009-12-08T15:34:00.003-06:00

Starring Gene Wilder, Richard Pryor, Jill Clayburgh, Patrick McGoohan
Directed by Arthur Hiller

A brief synopsis: Book editor George Caldwell takes a train ride to Chicago and becomes involved in a romance with a secretary named Hilly. Shortly thereafter his trip takes a turn for the worse when he witnesses a dead body falling from the train. Now George must get to the bottom of what he saw without getting killed himself.

In a way, Silver Streak represents one of those hard-to-categorize films. Sure, it’s definitely a comedy, but there’s more to it than that. The film contains a fair bit of action and intrigue, along with some romance for good measure. Actually, the word Hitchcockian comes to mind. Add to that the pairing of Gene Wilder and Richard Pryor and you’ve got a unique mix of a film – one that I thoroughly enjoyed.

The cast of this film really shines. Gene Wilder is as appealing as ever in the lead role of George. He’s charming, sympathetic, and you root for him to beat the odds that are stacked against him. This film was the first pairing of Wilder with Richard Pryor and it’s easy to see why they made three more films together afterwards. One of the highlights of the film involves Pryor disguising Wilder with shoe polish and teaching him to “pass” for black. Watching Wilder attempt to dance and jive talk had me laughing for quite awhile.

This film seems slightly underseen today, although I'm not sure why. I think it has something for everyone to enjoy. So seek out Silver Streak for a solid cinematic ride.

New Film from P.T. Anderson Takes Shape

2009-12-07T21:20:00.002-06:00

In my opinion, Paul Thomas Anderson represents one of the best directors working today, so any new project from him catches my attention. It looks like his latest film, currently untitled, is in development right now and the big news is that long-time collaborator Philip Seymour Hoffman will be on board to star. Set in the 1950's, the film focuses on a charismatic and intelligent man (Hoffman) who creates a popular faith-based organisation in America. The crux of the story will examine the relationship between Hoffman’s character and a 20-something drifter, who finds himself questioning the belief system.
I've enjoyed each one of Anderson's films thus far, so hopefully this will be no different. From the brief plot description above, it seems that Anderson will return to some of the themes he touched upon in his last effort, There Will Be Blood. There's definitely a great wealth of material for him to mine within those themes; and with Hoffman starring, this project should be one worth the wait.

Mini-Review: Thieves' Highway

2009-12-03T18:51:00.003-06:00

Recently, I took a trip into the world of film noir, courtesy of Thieves' Highway (1949). I was drawn to watch this film mostly due to its director, Jules Dassin. After viewing Riffifi (1955), another of his films, I became curious about the director's other work. Dassin helmed several films set in this dark, gritty genre and each one seems worthwhile. The story of Thieves' Highway centers on Nick Garcos (Richard Conte) as he returns home from his travels abroad. His pleasant homecoming becomes spoiled when he discovers his father has been crippled; the result of his dealings with a shady businessman, Mike Figlia (Lee J. Cobb). Nick swears vengeance on behalf of his father and sets out to confront Figlia.

Thieves' Highway represents a very solid entry into the film noir genre. The performances from the leading actors serve the film well, especially Cobb as the heavy. He's great at parts that require intimidation along with some wormy charm. Cobb's performance here reminded me of his role in On the Waterfront (1954) where he famously played a mob boss. The story combines the essential elements of the genre, but, at the same time, there's more humanity on display than in most noirs. There's some social commentary on capitalism that stands out from most films of this era. (Perhaps this kind of material contributed to Dassin's trouble in the 1950's McCarthy era when he became blacklisted.) Only a couple of factors detract from an otherwise fine film - the major factor being the ending. Without giving anything away, I'll say that it felt off tonally from the rest of the film and could have had more of an impact. There's an element of it that feels tacked on and easy. In fact, Dassin did not approve of the ending; instead it was the result of studio interference. Otherwise, I really have no other complaints about this film. Thieves' Highway makes for some solid entertainment - with a bit more than meets the eye.

Independent Spirit Award Nominations Announced

2009-12-01T18:34:00.003-06:00

Awards season has officially arrived as various groups announce their picks for the year's best films. Among these groups, the Independent Spirit Awards represents one of the more prestigous ceremonies. For my money, they not only provide a hint of things to come for the Academy Awards, but also end up representing a superior line of nominees. Leading the way this year are Precious and The Last Station, each with five nominations.

Here are a few of the major categories:

BEST FEATURE (Award given to the Producer)
500 Days of Summer
Amreeka
Precious
Sin Nombre
The Last Station

BEST DIRECTOR
The Coen Brothers for A Serious Man
Lee Daniels for Precious
Cary Fukunaga for Sin Nombre
James Grey for Two Lovers
Michael Hoffman for The Last Station

BEST FEMALE LEAD
Maria Bello for Downloading Nancy
Helen Mirren for The Last Station
Gwentyth Paltrow for Two Lovers
Gabby Sidibe for Precious
Nisreen Faour for Amreeka

BEST MALE LEAD
Jeff Bridges for Crazy Heart
Colin Firth for A Single Man
Joseph Gordon Levitt for 500 Days Of Summer
Souleymane Sy Savane for Goodbye Solo
Adam Scott for The Vicious Kind

BEST SCREENPLAY
Alessandro Camon, Oren Moverman for The Messenger
Michael Hoffman for The Last Station
Lee Toland Krieger for The Vicious Kind
Greg Mottola for Adventureland
Scott Neustadter, Michael H. Weber for 500 Days of Summer

For a complete listing, visit http://www.deadline.com/hollywood/film-independent-spirit-award-nominations/.

Review: Not Quite Hollywood

2009-11-29T18:59:00.002-06:00

When it comes to exploring unfamiliar territory in cinema, I’m always on board. So, when I heard about the documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008), I knew I should give it a watch. The film centers on the decidedly low-brow features produced within the Australian film industry during the 70’s and 80’s. Presented in a thoroughly entertaining manner, Not Quite Hollywood tells the story of exploitation cinema from the perspective of those who lived it. The film not only effectively educates its audience on a group of otherwise little-seen films, but also places them into cultural and historical perspective.

Conveniently, the film divides itself into three sections, each focusing on different genres. The first, Ockers, Knockers, Boobs, and Tubes, zones in on skin flicks and gross-out comedies. These films illustrate the loosening social mores of the time; shattering the boundaries of decency. They also gave Australians an opportunity to poke fun at themselves and other countries perceptions of the Outback. The second segment, Comatose Killers and Outbreak Chillers, focuses on suspense and horror films. Ranging from the ridiculous to the insane, this segment films I won’t soon forget. They may be trash, but you can’t turn your eyes away. From there, the third segment, High Octane Disasters and Kung Fu Masters, covers action films. Shot practically and on low budgets, you’ll likely never witness stuntwork as dangerous as you see in these films. As an actor, you know you’re in trouble when the crew shoots live ammunition toward you! Plus, the Aussie car chases are probably some of the best put to film.

The commentators of Not Quite Hollywood provide the film with one of its biggest assets. As with most talking-head documentaries, the commentators can make or break the film. Luckily, Not Quite Hollywood features some engaging interviewees telling captivating stories. A wide range of experts provide their thoughts, mostly writers, directors, actors, producers, and stuntmen involved in Ozploitation filmmaking. Their enthusiasm and passion for the work on display becomes immediately evident as they tell many entertaining, often outrageous, anecdotes. Even Quentin Tarantino joins in on the fun as he once again proves his cinema expertise. These stories easily create a contagious sense of excitement that I couldn’t resist.

Adding to the sense of excitement is the level of filmmaking on display from director Mark Hartley. He kicks things into high gear with some fast-paced editing, often times set to some adrenalin-pumping tunes. Also, a fair amount of graphics seamlessly incorporate themselves into the mix, helping create transitions and punctuation to the already in-your-face movie clips. With these skillful aesthetic choices the film moves at a quick pace, and, before you know it, the 105 minute runtime comes to an end. And although the subject matter is thoroughly covered, I wouldn’t have minded some additional material. I suppose that signals the mark of an effective documentary – give audiences enough to chew on, but also leave them wanting to explore a bit more on their own.

Not Quite Hollywood will provide movie buffs and genre film enthusiasts a plethora of previously unknown films to enjoy. Yes, the content will turn many (perfectly sensible) people away, but for those adventurous enough, these films will provide viewers with something completely different. The kinetic style and great storytelling make Not Quite Hollywood a quality documentary worth seeking out.

Giving Thanks

2009-11-27T21:49:00.002-06:00

One thing I'm always thankful for on holidays like these are the James Bond marathons. They're the perfect films that you can float in and out of while you catch up with family members and stuff your face. It's easy to zone out of them for awhile and then tune back in for any favorite exciting and/or comical sequences. The actual plots are essentially interchangable and can usually be ignored without much trouble. I've come to associate these films with the holidays as they're something that my entire family enjoys and will watch to some extent. I guess you could say it's a real bonding experience (Get it? Yeah, lame.).

Trailer: Greenberg

2009-11-23T20:40:00.002-06:00

The trailer for Noah Baumbach's latest effort, Greenberg, has hit the web recently, so I thought I'd take a look. Baumbach's an interesting director. His projects seem so personal, almost to their detriment at times. For example, I was mixed over his last film, Margot at the Wedding, but loved The Squid and the Whale. I felt that the latter used elements from his personal life more effectively than the former. With this new film, I'm definately looking forward to it. The story centers on a 40 year-old man, played by Ben Stiller, who "wants to do nothing for awhile". He decides to housesit for a relative while he attempts to figure things out.
The trailer features Baumbach's usual humor and wit, along with a nice music choice. I kind of perk up when a see something like this that doesn't necessarily fit into a specific box. And it's good to see Ben Stiller branching out from his usual mainstream fodder. I'm interested to see how he handles this material.
Look for Greenberg when it hits theaters next year.

http://www.youtube.com/watch?v=h5r_NVHi51A

Cinerama Recommends: The Movie Club Podcast

2009-11-22T16:21:00.003-06:00

The Movie Club Podcast brings together a group of dedicated cineasts who, for each episode, discuss two films in depth. While the episodes come few and far between, they are worth the wait as each show provides some quality discussion. The films chosen range greatly from the mainstream to the obscure. Just as an example, the most recent episode included Artificial Intelligence: AI and Prince of Darkness. The podcast maintains a fairly laid-back tone and includes plenty of humorous moments. Most of the participants come from either Film Junk or Row Three, two quality movie blogs that I read regularly. So check out The Movie Club Podcast for some interesting talk on film. You won't regret it!

http://movieclubpodcast.blogspot.com/

Reworking the Western: High Noon

2009-11-19T19:10:00.003-06:00

(This essay was one that I wrote in college, although somewhat modified. It's an early effort and nothing overly impressive, but I've decided to post it anyway.)

In 1952 director Fred Zinnemann presented in new type of western onto the Hollywood scene with High Noon. The results would leave some people praising the film, while others criticized, such as director Howard Hawks and John Wayne. They felt the film violated the western genre through the atypical portrayal of its hero. Hawks felt so strongly against the film that he directed another western as a response, called Rio Bravo (1959). On the surface, High Noon contains all the elements of a typical western: a small town, the local sheriff, outlaws, and unassuming townspeople. But while all those conventions remain present, in actuality the film acts as an anti-western. This film challenged many traditions that the western had stood for and in doing so it changed the way people looked at western heroes. High Noon refused to mythologize the west the way most Hollywood westerns do, but instead showcased a more realistic portrayal of the west and its inhabitants.

One of the primary ways High Noon deconstructs the mythical west is through its portrayal of the western hero. In the “classical westerns” heroes easily save the day and are universally praised by all the townsfolk. These heroes are young, good-looking, and possess an enormous amount of confidence in their abilities. The hero of High Noon, Will Kane (Gary Cooper), represents the very antithesis of this caricature. Throughout the film Kane wears black, which in past westerns would normally be worn by villains. Such a detail suggests that Kane represents a conflicted character; one who may not possess all the makings of a typical hero. Also, Kane is much older than the usual hero figure. Zinnemann avoids flattering photography with his protagonist. Instead, Kane is presented for who he is: a middle-aged, somewhat weary man with no illusions of grandeur.

The set up of the story starts as any western might with a small town threatened by the presence of outlaws. Three rough-and-tumble types arrive at the town’s train station, awaiting the arrival of Frank Miller, a destructive force from the town’s past. Everyone knows that Miller wants revenge on the now-retiring sheriff Kane who sent him to jail previously. Residents of the town naturally become concerned, but hesitate to get involved. Everyone turns down the chance to help Kane for various reasons and some of the townspeople even oppose him. One scene in particular illustrates the isolation that Kane feels. Shortly before the climatic showdown, Kane returns to his office, knowing he will fight alone. He wearily sits down at his desk and then begins to cry, which is perhaps the only time in the film that he allows himself to really let out his emotions. This scene plays out so simply that no dialog is required, but, at the same time, much information is communicated to the audience. The audience can see the pain and anxiety on Kane’s face. This is a man who has done everything that he can do to handle the situation. The town that he has protected for so long has turned its back on him. He knows that he has reached the point of no return and must face his enemies even though he fears for his life. Soon after this moment, Kane begins to write his will, showing extreme uncertainty of his fate. This kind of doubt and vulnerability breaks with the tradition of the “classic western” hero who shows no signs of doubt. Shortly after that, Kane steps onto the empty street and the camera cranes back very far to show how isolated the town has left him.

This scene leading up to the shootout keeps in line with Zinnemann’s European influences by focusing on interior conflicts. Kane wants to do the right thing and protect the town, but at the same time he is frightened to fight when no one will help him. Prince says that the “presentation of a vulnerable, anxious, vacillating Marshal has a certain de-mythifying effect” (66). In this film the idea of the classic “western hero” does not exist. Kane attempts to be the classic “western hero,” even though he realizes that he is not and cannot be that kind of hero.

Visually, most westerns take advantage of the beautiful outdoor scenery that the stories typically necessitate, associating the films with qualities such as expansiveness and freedom. Schatz says that, “These films do not celebrate the past itself, but rather our contemporary idealized version of the past” (63). This is not the case with High Noon. Gone are the picturesque vistas of Monument Valley found in the films of John Ford. With a diverse background in film, director Zinnemann was influenced by European filmmaking and, in particular, Italian Neo-Realism. In fact, Prince says that, “The escapism and sentimentality of Hollywood films appalled [Zinnemann] in contrast to the direct social content of post-war European films” (62). As a result the film practices a minimalist visual style and focuses on the main character’s actions. Prince says that realism is maintained by, “avoidance of elaborate visual or technical gimmickry and an interest in grounding the image in the ongoing social history” (61). Perhaps the dedication to realism explains the film’s constant shots of clocks as they mark the time before final conflict, always grounding the audience as the events of the film take place almost in real time. In this respect High Noon has much more in common with Neo-Realism than the Hollywood western.

One section of the film illustrates how inverted typical conventions of westerns become as outlaws are praised by the mild mannered townspeople, while the sheriff becomes dismissed by them. Midway through the film, one of the outlaws comes into town for a drink. The fact that he feels confident enough to casually walk through the town shows the level of power that he views in Kane. As he walks into the bar, many people greet him with cheer, as if saying hello to an old friend. The patrons talk with glee about his future fight with Kane. As the outlaw leaves, Kane walks up to the local bar to recruit some help. When their paths cross, the outlaw shows no signs of panic whatsoever, while Kane freezes, terrified to spot the outlaw. The look that the outlaw gives Kane is a look of total confidence because he knows that Kane can do nothing to stop him. Kane is put in a position where he is powerless to do anything to stop him because he has not broken any laws yet. This is just one of the many examples that show how diminished Kane, and effectively the symbol of the western hero, have become.

Immediately as Kane walks into the bar, an uncomfortable feeling emerges from everyone present. The bartender talks poorly of Kane as he walks inside. Kane then punches the bartender to the ground as most western heroes would do, but then immediately apologizes and offers to help him up. Admitting any wrong doing is not a practice that mythical western heroes tend to practice since they always do the right thing, at least according to their own code. Therefore, by apologizing Kane admits a sort of defeat.

Standing alone in the middle of the room, Kane then asks for volunteers to help him in his struggle. By the look on Kane’s face he knows that he does not stand a chance at finding any help in the bar, but also knows that he must try anyway, if only out of a sense of desperation. The bartender even points out that many of the patrons present were friends of the man that Kane must fight. As the men simply stare at him in silence, Kane’s level of authority becomes clearly diminished throughout the scene. As he leaves the men start to laugh at Kane for even attempting to acquire their help. Such treatment of Kane, the man who symbolizes law and order, was unheard of in western films.

The scene in the church is one of the pivotal points in the story. In this scene the viewer does not see an idealized gathering of people who unite for a common cause, but one that shows what people really care about. This scene is important because the townspeople are allowed to voice all of their opinions and the viewer gets to understand their logic. All of them seem to think that Kane is a good man, but ultimately decide not to help him. Their reasoning that the town would be better off without a gunfight and all its publicity may have some truth, but ultimately they are just turning their backs on a man they know has been good for the town. In this way the scene plays out like a microcosm for the whole film.

At the end of the film, after the villains are killed, Kane effectively does to the townspeople what they had done to him by throwing his badge to the ground in disgust. Just as the townspeople return to accept him as a hero after the fight, he turns his back on the town. By throwing down his badge he is basically saying “Thanks for nothing” to the entire town. The hypocritical townspeople can only stand in silence as Kane rides away. They know that they have forsaken a decent man during his time of need and, as a result, a feeling of guilt follows as Kane leaves. As with Neo-Realist films such as De Sica’s The Bicycle Thief (1948), High Noon contains an anti-climatic ending. The action plays itself out in a realistic manner without any melodramatic elements.

Overall, High Noon broke many precedents for the western genre. The uncertain sheriff, conflicted townspeople, and outlaws who have some of the town’s admiration are just some of the aspects the film turns against the conventions of the genre. After the success of the film, other westerns began to focus more on interior psychological aspects of its heroes. The criticisms of Hawks and Wayne and the resulting film, Rio Bravo, a popular film in its own right, have failed to diminish this film as one of the great examples of American filmmaking. Through its departures in character portrayal and influences in European cinema, High Noon changed the way that people thought about the western.

Works Cited
Prince, Stephen, "Historical Perspective and the Realist Aesthetic in High Noon," Film Criticism (Spring-Fall, 1994): 59-71.

Schatz, Thomas. “The Western.” Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: Random House, 1981. 45-80.

Happy Birthday, Mr. Scorsese

2009-11-17T22:53:00.003-06:00

Mr. Martin Scorsese, always a favorite director of mine, turns 67 today. I always looks forward to whatever project he becomes involved in and enjoy revisiting his past work. His enthusiasm and passion for cinema helped inspire my own interest in film. So happy birthday, Mr. Scorsese. Here's to many more great films to come!

They Don't Make 'Em Like That Anymore: Dirty Mary, Crazy Larry

2009-11-16T22:55:00.001-06:00

“Back in the all or nothing days, the Vanishing Point days, the Dirty Mary, Crazy Larry days, the White Line Fever days, they had real cars crashing into real cars and real dumb people driving ‘em.” - Stuntman Mike in Grindhouse

I first heard of Dirty Mary, Crazy Larry (1974) through Quentin Tarantino’s half of the Grindhouse double-feature, Deathproof. Tarantino name-checks the film for good reason, as it’s exactly the type of film he was attempting to emulate. Dirty Mary, Crazy Larry acts as a gritty, campy, down-and-dirty, romp of a story which exemplifies the type of genre filmmaking that simply doesn’t get made much these days – at least not in this form. And that form is the road movie, more specifically the chase film filled with fast cars wildly driving to avoid the authorities. Now, I’m no gear-head, but I appreciate a good car chase, and Dirty Mary, Crazy Larry features some fine footage along those lines. The fact that all the driving stunts had to be accomplished without the aid of CGI or any other modern-day trickery allows viewers to truly become involved in what they’re watching – if not from a story point-of-view, then at least from a filmmaking point-of-view.

Although simplistic, the story serves as an adequate launching point. As it begins, two thieves, Larry and Deke, plan to rob a grocery store and then “head south” (presumably to Mexico). Their plans become complicated, however, when a girl named Mary, who Larry had slept with the night before, almost casually decides to join them as they make their getaway. The rest of the film follows our protagonists as they attempt to avoid the authorities, making for some solid action and car crashes.

While nothing outstanding, the actors involved work to elevate the material into something entertaining. A long-haired Peter Fonda stars as the rebellious Larry, while the other titular character Mary is played by Susan George. These two enjoy a love-hate relationship throughout the film, bickering one minute and making up the next. This dynamic may be formulaic, but it serves the movie well. Adding to that dynamic is Adam Roarke as Deke, the more professional of the two crooks. He’s annoyed that Mary has wound up on the run, but begrudgingly puts up with it. Vic Marrow kind of steals the show as the aging policeman in charge of apprehending the delinquents. His renegade policeman stops at nothing to complete his assignment, essentially attempting to prove his worth.

The real highlights of the film come partially from the dialog. Some of the one-liners thrown out are both cheesy and awesome at the same time. The level of swagger from Larry alone brought a smile to my face. The ending also counts as a highlight. Without spoiling anything, it’s one of the most abrupt endings I’ve ever seen and one that I won’t soon forget. After the credits began rolling, I simply sat there, mouth wide open, at what I had just witnessed.

Mini-Review: Swimming with Sharks

2009-11-14T17:24:00.001-06:00

Movies about the movie industry have been fairly common for many years now – some would even say they’re to the point of becoming worn-out. So when I watched Swimming with Sharks, I was pleasantly surprised to discover a film that stands out from the ordinary. It’s a dark, cynical film that reminded me of Sunset Blvd. in its level of pessimism (and that’s really saying something). Certainly not a film for everyone, Swimming with Sharks cuts deep into the volatile world of the Hollywood machine, where even the best intentions fail for those attempting to succeed.

This low-budget film features some fine performances from its stars, Kevin Spacey and Frank Whaley. Each one attempts to outdo the other in their scenes together, working side-by-side to create an increasingly contentious relationship. The story took me places I was surprised to go and brought up some angles that typically wouldn’t be explored. Although dark, the film provides many comedic moments that are just odd enough to come from real life. Ultimately the film acts as a cautionary tale, asking us to be careful what we wish for.

An Ode to Emmerich

2009-11-11T19:46:00.003-06:00

I'm by no means a poet. In fact, it's a subject I know nothing about. But, I was suddenly struck with the idea to try my hand at it anyway. So, in honor of this week's big release of 2012, I decided to write a poem on its director, Roland Emmerich. He's the modern-day Irwin Allen, the king of disaster films, and the poem reflects this lofty position.

An Ode to Emmerich:

O Mr. Emmerich
How I love to see
Gigantic disasters
On my TV

Those buildings you crumble
With explosions to spare
You destroy existence
Without a care

That gleeful abandon
Which you spread about
Causes everyone
To scream and shout

You’re truly the master
Of all you survey
In your cinema playground
You alone hold sway

So, should people complain
About all the clatter
You can just say the word
And they’ll be part of the splatter

Teaser Trailer for Clash of the Titans Remake

2009-11-10T21:22:00.002-06:00

Well, yet another remake has been shaping up and this time it's a remake of the 1981 fantasy-epic Clash of the Titans. I watched the original recently and thought that it could benefit from a retelling. Visually-speaking, the film looks promising. The creature designs seem interesting and the story appears to be action-packed. And if that's all the film really offers, I can't be too disappointed. The '81 version felt at least partially like a cash-grab opportunity with the studio targeting a Star Wars type audience. They even included a little mechanical owl which blatantly called to mind R2-D2, as it chirped and clicked itself into humorous situations.
The movie stars Sam Worthington, Liam Neesan, Ralph Fiennes, and Gemma Arterton. We'll find out more details in the coming months, but in the meantime, check out the trailer at the link below.

http://www.youtube.com/watch?v=pcBNHZEiX0g

This Could Get Messy: Top 10 Poop/Fart Jokes in Film

2009-11-07T18:35:00.003-06:00

Finding a truly universal joke can prove to be a tricky task. With all the cultural differences in the world, many types of jokes simply do not translate from country to country. People miss out on the subtleties and nuances of verbal gags; misunderstand situations that are unique to a particular area, and essentially fail to identify with the cultural norms that jokes are constructed from. So, in order to find humor that anyone can enjoy, you must look toward the most basic functions in life; things that everyone deals with.

Bathroom humor falls under that limited category. Let’s face it, everyone goes to the bathroom, it’s a part of life – and it makes for some of the best laughs.

Now, I know that some people may look down at this type of humor, thinking that it’s simply crass, juvenile, or just plain gross. To those people I would say, “Get off your high horse!” I think everyone has laughed at some form of bathroom humor in their lives. If it isn’t your style, then that’s fine, but just remember, when it comes down to it, bathroom humor is one of the few things that connects us all. As a wise man once said, “Everyone poops.”

To cut to the point, one of the best places to find some good bathroom humor is in the movies. I’ve compiled my own personal top 10 list of these jokes – not an easy task as there are many films to choose from. So, here it is, in no particular order, the best of best, the cream of the crap!

Austin Powers: International Man of Mystery
Every entry in the Austin Powers series contains its share of bathroom humor, but I think the gag that tops them all comes from the first film. When an assassin attempts to strangle Austin while seated in a men’s room stall, hilarity ensues. This joke is so well set up and paid off (“What did you eat?”) that no matter how many times I see it, it makes me laugh.

Dumb and Dumber
Turbo Lax: “one spoonful for fast, effective relief.” Harry (Jeff Daniels) gets his share of laxative and then some when his buddy Lloyd attempts to sabotage his date. His scramble into the bathroom and the resulting effects of the Turbo Lax are a highlight of the film. As he learns that the toilet is broken, the look of horror on Jeff Daniels’ face adds the perfect closer to the scene.

Rocket Man
Do people remember this one? Well, they should. I’ve always been a big Harland Williams fan and this film was his attempt at a starring vehicle. While the film didn’t fare so well financially, it left a lasting impression on me as a kid. Williams’ specific style of humor shines throughout the film, but there was one particular scene which I immediately thought of when compiling this list. If you’ve seen the film, then you know what I’m talking about. But for those who haven’t, I’ll give you two words: space farts. Yeah, you’re sold now, aren’t you?

Blazing Saddles
This film is, perhaps, the pioneer for fart jokes in cinema, so I must include it. We watch as a bunch of grizzled cowboys consume plates full of beans while sitting around a camp fire – all accompanied by a multitude of fart sound-effects that build in frequency. This scene is brilliant in its simplicity and Slim Pickens delivery of the line “I think you’ve had enough” never fails elicit a smile. Thank you, Mel Brooks.

Lethal Weapon 2
We all dread this situation: dying on the toilet. And that’s exactly what Sergeant Roger Murtaugh (Danny Glover) comes dangerously close to experiencing in this film. Someone wants our hero dead, so they plant a bomb on his toilet. The second he stands up, the bomb will go off. Fortunately, Roger’s got Riggs (Mel Gibson) to help him out. This scene plays out with both humor and intensity; not an easy combination to achieve. If nothing else, it will make you think twice the next time you go to the can.

Me and You and Everyone We Know
I won’t give away the context for this scene, simply because I couldn’t do it justice. Instead, I’ll just quote the signature line of dialog: “Back and forth, forever and ever.” While one of the oddest scenes I’ve ever witnessed, it’s one of the most memorable as well. ))<>((

Caddyshack
You know it, you love it, it’s the Swimming Pool Scene. This Jaws parody delivers every time as a Baby Ruth candy bar becomes mistaken for feces floating in the country club swimming pool. The mad dash out of the pool, followed by its clean-up, remains one of the highlights from this comedy classic.

Zack and Miri Make a Porno
Many of Kevin Smith’s films could qualify for a place on this list as he deals heavily with “low-brow” comedy, but I’ve chosen his most recent work as it goes a bit further than the rest. This is definitely the most visually graphic scene on this list, but funny nonetheless. I won’t describe the details, but suffice it to say that a cameraman is put in a most compromising position while filming a low-angle shot of a constipated porn actress. Things get messy…very, very, messy.

Borat
Sasha Baron Cohen would have us believe that when those from Kazakhstan excuse themselves to go to the restroom at a dinner party, they typically return with their waste wrapped up in a bag. While I doubt this is a custom in any country, it does make for one of the most awkward dinner conversations I’ve ever seen. Like most of the material in the film, the real joy in this scene generates from the reactions of the unsuspecting dinner guests – those poor, unfortunate people.

Billy Madison
In a gleefully juvenile scene, Billy and his two friends light a bag of crap on fire in front of an old man’s house and watch as he angrily stomps it out. Their laughter throughout is infectious and the fact that the old man is pants-less while stomping out the bag adds a slightly bizarre element to the situation. Truly, this is a sublime moment.

Shamefully Unseen

2009-11-05T21:06:00.003-06:00

Even though I consider myself a major fan of film, I'm always hesitant to describe myself as a connoisseur. You see, no matter how many films I watch, there will always be thousands that go unseen. Of course, there are those films for which I simply don't have an interest. I could live my entire life without seeing Dude, Where's My Car? and be perfectly content. But, then there's also a large list that I've wanted to watch, only to remain unseen for one reason or another. Some of these films are well-known, award-winning hits like Ghandi and Malcolm X. Others are smaller, more off the beaten path such as Paris, Texas or The Saragossa Manuscript. Whatever the level of popularity, I think everyone has at least a few films that they've always wanted to see.

When I think of the areas in which I'm most deficient, I'd have to say foreign films top the list. Although I attempt to watch a fair number of them, I know there are plenty of quality titles I've yet to experience. I've seen a few from the likes of Renoir, Kurosawa, Bergman, and Truffaut, but zero from other often-named greats like Ozu, Almodovar, or Ray. I'm certainly not averse to these types of films, but I do sometimes wonder what holds me back from seeking out more than I do. Perhaps it's the sense of familiarity; or ,rather, the lack of it in some instances. Without a full understanding of other cultures, it's impossible to grasp everything a foreign film presents to you. The sense that there will always be something missing from my experience might, therefore, cause me to shy away at times. In any case, foreign films only account for one area of lacking film knowledge.

Some of the other types of films I don't watch as much of include a number of the more lengthy bio-pics, such as the aforementioned Ghandi and Malcolm X. I'm not opposed to longer films either; they just require a little more committment and preparation. Also, I don't get around to watching many musicals. It's usually just not my genre - although, again, I'm not averse to them.

And then there are some films simply fall through the cracks...

Here's a small sample of films on my "to see" list:
Destry Rides Again
The Magnificent Ambersons
A Tree Grows in Brooklyn
The Red Shoes
Ikiru
The Man with the Golden Arm
Elmer Gantry
High and Low
Band of Outsiders
Take the Money and Run
McCabe and Mrs. Miller
Lenny
Barry Lyndon
Opening Night
Diner
Empire of the Sun
The Last Temptation of Christ
Leaving Las Vegas
Big Night

What are some of your "shamefully unseen" films?

This Year's Oscar Ceremony Hosted By...

2009-11-03T22:50:00.002-06:00

Well, it looks as if the Academy Awards will change it up a bit this year since both Steve Martin and Alec Baldwin will be hosting. Yep, two hosts for the price of one. It's been quite some time since the Oscars have had multiple hosts - in fact this will be my first opportunity to witness such an event. I'm not exactly sure how the whole multiple host thing will play out, but the change seems in keeping with Academy's tendencies lately, what with the expansion of the Best Picture category from 5 to 10 nominees. I like the choice of Martin, who has hosted previously, and Baldwin seems like an inspired choice. After watching the two of them together on SNL, I think they'll have a good chemistry and I look forward to seeing them perform side-by-side again. This year's show is shaping up to be an interesting one, shaking things up from the usual. The ratings have been down in recent times, so maybe this year will be the shot in the arm that the Oscars need. Only time will tell.

Mini-Review: The Blob (1958)

2009-11-02T18:21:00.004-06:00

Sometimes it's nice to look back on the film's that, while influential and revered by some, typically get dismissed by most. The Blob (1958) provides a classic example of this situation. Starring a young Steve McQueen, The Blob acts as a prototypical sci-fi/horror film. When people think of 50's sci-fi, this film is exactly what comes to mind.

The story is simple. When a meteor crashes onto Earth, a strange creature begins to creep its way into the nearest town, devouring anyone who comes into contact with it. Soon, the responsibility falls on McQueen and his teenage friends (all played by twenty-somethings) to warn the townspeople of this new threat. Of course, the adults don't believe the kid's wild story, instead blaming them for the disturbances that go reported. McQueen and the gang must find a way to either defeat the creature or warn others of their impending doom.

I suppose the story elements seem all too familiar and it certainly doesn't go above and beyond the typical films of its genre, but The Blob contains enough elements to make it a worthwhile watch. The film was independently financed, with a good deal of the money going towards the effects. While they may seem shoddy by today's standards, I think the only fair way to look at them is through the context of the time in which the film was made. By those standards the effects seemed just fine to me. The blob itself looks alien enough (figuratively and literally) to create a eerie atmosphere. It's also interesting any time you can look back on a big-name star like McQueen early in their careers. If anything, it illustrates that everyone has to start somewhere. Oh, and I should mention the opening title song, which has been stuck in my head ever since I first heard it. The song really conflicts with the tone of the rest of the film, as it's this peppy, poppy number that seems added at the last minute (in fact, I believe it was). Still, I enjoyed the song, maybe because it simply defied expectations.

So, if you should come across The Blob some night on TV, I'd say go ahead and watch if science-fiction is your thing or if you happen to be a big fan of Steve McQueen and want to check out some of his early work. If your not interested, just wait for the eventual remake.

Horror Fest '09: Fright Night

2009-10-31T15:10:00.002-05:00

Picture this: a teenager begins to fear for his life when he suspects his new neighbor of being a vampire. Well, that’s exactly the situation Charley Brewster, the main character of Fright Night (1985), must face. While that scenario may seem standard, even cliché, the film handles it well, making the most out of common story elements. For this type of film the story becomes almost secondary to the tone, which was what ultimately won me over. There are certain sensibilities which run throughout; mostly a sense of fun and a sense of history, which hit the right chords for me.

The appreciation for film history starts right off the bat. The beginning of the film will bring Rear Window to mind for many fans of cinema, as Charley spies on his neighbor and struggles to convince others to believe his wild theory. Referencing Hitchcock’s work, whether intentional or not, sets a particular mood – one of intrigue and suspense that will carry the film. Since no one he knows believes him, Charlie sets out to find Peter Vincent, an aging horror film star who happens to be down on his luck. The Peter Vincent character brings up more references to films past as his name itself recalls horror icons Peter Cushing and Vincent Price. The filmmakers do well to pay tribute to the genre without letting their admiration interfere with telling their own story.

This film boasts some fine performances, especially from Chris Sarandon as the creepy new neighbor. He strikes both a sinister presence and a suave charisma as suspected vampire Jerry Dandrige; a tough line to walk. One minute he’s charming, the next he’s dangerous. Most of the film’s scares come courtesy of Sarandon, especially when Jerry confronts Charley alone at night for the first time. Another top performance comes from Roddy McDowall as Peter Vincent, helping represent the lighter side of the film. He seems to be having a fun time alternating between the horror host persona and true-life cowardly self of his character. William Ragsdale and Amanda Bearse function adequately in the lead roles, although nothing overly memorable comes from them.

I enjoy the relatively small scale of the story as it allows the film to focus on performing the few key aspects it needs to function effectively. As an example of the film’s small scale, essentially only six characters make up the bulk of the film. That aspect makes the film easily watchable, something to throw on when whenever you want. There’s something satisfying about watching a film use standard elements well. It’s like the cinematic equivalent of comfort food. Sure, it may not be the best thing for you, but it’s familiar and likable. Perhaps Roger Ebert put it best when he wrote, "Fright Night is not a distinguished movie, but it has a lot of fun being undistinguished.”

Sometimes the simple approach works best. That’s certainly the case when it comes to Fright Night, a film filled with well-executed conventions. While some may call it cliché-ridden, the film’s overall effectiveness and sense of fun pulls it from stale territory and into fresh.

A Double Dose of Damon

2009-10-28T18:48:00.003-05:00

Two new trailers premiered within 24 hours of each other, both of which star busy-man Matt Damon. The first trailer was for Green Zone, which essentially looks another Bourne film, only set in the Middle East (not that that's a bad thing). That comparison, aside from the Damon connection, is mostly due to director Paul Greengrass's presence as he brings his signature hand-held, kinetic style that he supplied in the Bourne sequels. The film's story, based on the book Imperial Life in the Emerald City: Inside Iraq’s Green Zone, involves a search for weapons of mass destruction. Other than that, I don't know that much about the plot, but that matters very little at this point. With Damon and Greengrass, as well as co-stars Greg Kinnear, Amy Ryan, Brendan Gleeson, I'm already sold based on the talent involved. Green Zone premiers on March 12, 2010.

The second trailer was for the latest Clint Eastwood film, Invictus. Based on actual events, the story follows Nelson Mandela’s first term as president of South Africa, and how he held hopes for uniting the country on the 1995 Rugby World Cup. Morgan Freeman plays Mandela, which is no big surprise. Not only does he seem like a natural for the part, he's worked with Eastwood in the past. Matt Damon plays South African team captain Francois Pienaar.
The trailer certainly looks like the Oscar-bait material that people have come to expect from Eastwood, especially of late. I'll definately see it, but the potential level of sentimentality has me slightly skeptical. Invictus will premier on December 11, 2009.

Criterion, You've Done It Again

2009-10-27T21:36:00.002-05:00

For some time now, it's been known that the Criterion Company would be releasing Steven Soderbergh's epic bio-pic Che, but details on the release had not been made until now. The film will arrive on Blu-ray and DVD in January with all of the great extra features that collectors have come to expect from the company. Interestingly enough, the film was originally intended as a December release, but was delayed when Soderbergh needed additional time to prepare some of the additional content for the discs. Of the delay, a spokesperson from Criterion stated that, "[it's] a trade we will always make, even if it means we don’t get the benefit of sales in the holiday season, and we think that’s the kind of decision our collectors would want us to make”. This attitude from Criterion deserves some praise. How many companies would choose to wait out a heavy buying season in order to ensure a quality product gets produced? I'm personally looking forward to Che as I'm a fan of Soderbergh's work. He's taken quite a few chances with his films and this one represents one of his biggest. The two-part film will hit stores on January 19, 2010.

Horror Fest '09: The Howling

2009-10-25T16:46:00.005-05:00

Some people simply don’t get the credit they deserve. Case in point: director Joe Dante has spent his career crafting some solidly entertaining films, and yet he isn’t anywhere near a household name. Sure, he achieved prominent success with Gremlins (1984), but most people paid attention to executive producer Steven Spielberg’s name above the title. Mainstream success aside, Dante has continually generated films with his own personal sensibilities, paying homage to the history of the silver screen and winking at the audience members in on the nods. The film which gained him the attention of Spielberg, eventually earning him the Gremlins gig, was The Howling (1981), a low-budget horror flick with a bit more on its mind than most. It represents one of those under-seen films, the kind that you feel pleasantly surprised to discover. Released the same year as An American Werewolf in London, The Howling swiftly fell off audience’s radars in favor of the similarly themed film. Fortunately, hindsight allows us a chance to consider this film and its place within that most hallowed of genres: the werewolf movie.

The film commences with a somewhat odd set-up, playing out more like a police procedural than a horror film. News anchor Karen White assists the police in capturing a serial killer who had been preying on the homeless. Her role in apprehending the killer proves quite traumatic, leading Karen to experience intense nightmares. Needing a rest, her psychiatrist suggests she head to The Colony, his own clinic away from the trappings of civilization. Once at the clinic, however, strange events lead her to believe that her life may be in danger. From there the film paces itself fairly deliberately, slowly revealing the scares and setting up a sense of atmosphere.

The Howling may contain its share of scares, but a streak of black humor also carries on throughout the proceedings. Aiming for more sly moments of amusement than laugh-out-loud jokes, the film will play better for those who know the genre best. For instance, Dante and company decide to mess with the typical rules associated with werewolves, leading to a humorous scene with an occult book store owner as he discusses his theories on dealing with the creatures (“They’re worse than cock-a-roaches,” he says). Also undermined is the archetypal portrayal of the werewolves as sympathetic, instead depicting them mostly as bloodthirsty beasts who have few qualms with luring unsuspecting people as prey. This switch leads to some sinister moments of humor as the werewolves discuss hunting habits and encourage others to join them. And those especially in-the-know will notice some werewolf-related visual puns as well as small references to werewolf films past, such as the fact that many character’s names are those of old horror film directors.

To fill out the cast of characters, Dante called upon old character-actors like John Carradine, Slim Pickens, Kevin McCarthy, and Dick Miller, further illustrating an appreciation of film history by the filmmaker. It’s a real pleasure to watch these actors go to work. They’re experienced pros who know the exact tone the film calls for. As for the leads, each one performs adequately for what is required of them. Dee Wallace portrays Karen with an equal amount of sympathy and paranoia, making her a character that we care about following. A special mention should go to Robert Picardo who plays the mysterious Eddie, a patient at The Colony who provides the film with some of its creepiest moments. As with anything else, the actor’s performances work to enhance the other filmic elements at play to create just the right tone.

The level of craft behind the film has gone undervalued. In fact, I would go so far as to say that the scenes of transformation in this film nearly rival the innovative effects in An American Werewolf in London. As in London, practical effects were utilized to portray the change from human into beast, resulting in a more visceral feel than past films supplied. The transformations exhibit a great level of pain for the creatures as bones bend and curve to their wolf forms. And, once again, I think this film represents another case in which a low budget forced the crew into becoming more creative. For a majority of the film you only receive glimpses of the monsters, a tactic which assists in building up the tension. That way, when the creatures do appear in full view, all the built-up tension delivers as the audience has already developed a fear of them.

Thematically, the film plays out the usual dilemma of a werewolf story: the struggle between being civilized and letting animal impulses take over. The Howling manages to convey this standard idea interestingly, modernizing it to include aspects of media, self-help groups, and marital fidelity. The opening of the film frames the central conflict effectively by focusing on the words of a psychiatrist as he speaks about repression as “the father of neurosis, of self-hatred” and how people should return to more base instincts. Though not at the forefront of the film, these facets remain in the margin for those who wish to explore them. Not many horror films can be enjoyed on multiple levels like this one and for that I’ll give credit.

The Howling may not represent groundbreaking cinema, but it offers solid entertainment. Those with a taste for the genre shouldn’t be disappointed as there’s plenty to pick up on and enjoy. With this film Joe Dante may not have gained the attention of the masses at the time, but some people (like Spielberg) took notice. Now maybe a few more will give it a shot.

First Look At The A-Team

2009-10-23T20:46:00.003-05:00

The first official photo from the production of the new A-Team movie has been released, giving us a glimpse of the four leads. I'm not exactly what tone the film will take on, but if this picture gives any hint, the filmmakers will hopfully stick to the spirit of the TV series. They certainly have the looks to the characters down, slightly modernized, of course. The film stars Liam Neeson as Col John ‘Hannibal’ Smith, Bradley Cooper as Lt. Templeton ‘Faceman’ Peck, Sharlto Copley as Capt. ‘Howling Mad’ Murdock, and Quinton ‘Rampage’ Jackson as Sgt Bosco ‘B.A.’ Baracus.

This film will depend heavily on the camaraderie between the leads. If they succeed in that department, then half the work is done. It's been awhile since we've seen a decent buddy-cop type of film and this could definately fit the bill. While The A-Team isn't among my favorite shows of all-time, I have fond memories watching reruns of it when I was a kid. It had a great mix of comedy and action, something you don't see as often today. I'll be looking forward to viewing a trailer to see how this project develops. Right now, a June 11, 2010 release date has been set, so stay tuned for more updates.

Trailer: The Wolfman

2009-10-21T19:56:00.003-05:00

With Halloween almost upon us, what better way to get in the mood than watching the latest trailer for the remake/reboot of The Wolfman? Starring Benicio Del Toro, Anthony Hopkins, Emily Blunt, and Hugo Weaving, the film tells the classic origin story of Lawrence Talbot, cursed to become the infamous werewolf. Directed by special effects guy Joe Johnston, the trailer certainly is a feast for the eyes, with plenty of transformation shots and glimpses of the wolf in action. And, I must confess, I have a hard time resisting a cast like this. Del Toro seems like a perfect choice for the lead. There's something primal about his look that lends itself well to the titular role. Although reshoots and delays on this project keep me skeptical, I'm still hoping that we get a decent, fun throwback to classic horror when The Wolfman is unleashed in theaters on Feb. 12, 2010.

Check out the trailer below:

http://www.youtube.com/watch?v=PVKyeMQcUNY

Mini-Review: Duplicity

2009-10-20T20:37:00.003-05:00

Tony Gilroy, writer/director of Michael Clayton, constructs something unique with his latest film, Duplicity. Starring Clive Owen and Julia Roberts, Duplicity comprises itself of equal parts romantic comedy and espionage films. Gilroy’s screenplay, while intricately constructed, may become too labyrinthine in its twists and turns for some people to follow. Luckily the real joy of the film doesn’t depend on following every little detail thrown in front of you. Instead, the real pleasure comes from the relationship between the main characters, two spies who decide to team up for an ultimate score. All the while, they play cat-and-mouse games with each other as neither one completely trusts the other.

This film reminded me of something like Charade; the kind of film that doesn’t get made much nowadays. Some of the exchanges between Owen and Roberts recalled the quick-fire dialog found in an old screwball comedy. And although I bring up these older references, Duplicity is thoroughly modern in its subject matter. The film takes a satirical look at corporate greed, bringing things to the most extremely ludicrous level.

In short, it’s a smart film, made for adults.

A Wild Weekend At The Box Office

2009-10-18T20:43:00.002-05:00

While I typically won't talk box office numbers too often on here, I thought this weekend provided some interesting results. Spike Jonze's Where The Wild Things Are achieved the #1 spot as most people thought it would, earning an estimated $32.5 million. This represents a solid opening for the big-budget art film, which had been plagued by some very public post-production troubles. It's nice to see a major studio take a gamble on what ultimately is a very personal film and one that won't appeal to everyone. Any time a movie like this can succeed, it gives me hope that more projects along these lines can be made.
Meanwhile, the Gerard Butler starring Law Abiding Citizen came in at #2 with a solid $21.3 million, proving once again that Americans have a thing for blood-lust.
The real surprise of the weekend was the #3 spot which went to Paranormal Activity, the independently financed horror film. Expanding to only 760 theaters the film grossed an estimated $20.2 million, representing an incredible achievement for the $11,000 budgeted project.
Rounding out the top 5 were Couples Retreat at #4 and The Stepfather at #5.

Ferrell To "Go" Dramedy

2009-10-16T20:03:00.002-05:00

After his next collaboration with Adam McKay on The Other Guys, which is currently shooting, Will Ferrell has signed on for a low-budget indie comedy called Everything Must Go. Based on a short story by Raymond Carver, the project represents the directorial debut of commercial director Dan Rush. The script was recently featured on the Black List, a list of Hollywood's best unproduced screenplays. Variety gives a quick description of the film:

"Ferrell will play a guy who loses his job and gets locked out of the house by his wife. She deposits his belongings on the front lawn, and he spends the next four days trying to sell his possessions."

I'm glad to see Will Ferrell attempting to branch out, mixing his mainstream films with something like this. Audiences have seen him do the dramedy thing before with Stranger Than Fiction, and hopfully this film will push him even further down that road. Some people may laugh, but I think Ferrell has a great performance in him. Whether or not this film brings it out remains to be seen. Regardless, though, I'll be pulling for him.

Horror Fest '09: The Lost Boys

2009-10-15T20:05:00.003-05:00

The Lost Boys combines the horrific and the comedic in a way that only the 1980’s could produce. Director Joel Schumacher effectively updates the style and demeanor of vampires to fit the era. In fact, the film instantly becomes defined by the time in which it was made – from the clothing and hairstyles to the punk-influenced attitude. Although perhaps the style inadvertently sticks out for today’s audiences, The Lost Boys fortunately has more going for it than a bunch of hair gel.

Our story begins as divorced mother Lucy and her two sons, Michael and Sam, move to the small town of Santa Carla to get a fresh start. Little do they know that strange disappearances and killings regularly occur in the city, prompting some to dub Santa Carla the “Murder Capital of the World.” Despite such a dubious label, Michael and Sam quickly familiarize themselves with the area, hanging out on the boardwalk where many young people gather. Unfortunately some shady characters also explore the area with great interest. When Michael, the oldest boy, locks eyes with a girl named Star, trouble soon follows. As it turns out, Star associates with the shady bunch who patrol the boardwalk, headed by David (Kiefer Sutherland). Soon enough, Michael unwisely attempts to fit in with these new acquaintances, leading to a truly bizarre night that he can’t quite remember. Sam soon begins noticing unnatural changes to his brother (sensitivity to light, floating in mid-air, a thirst for blood, etc.) and the remainder of the film essentially focuses on getting Michael back to normal. Along the way, the film throws in plenty of jokes to balance out the horror aspects, as well as a few twists and turns dealing with vampire mythology.

While the story contains some interesting ideas, some aspects come across as clunky. The romance between Michael and Star, for example, barely develops and yet it becomes the catalyst responsible for launching the story forward. With the main thrust of the story lacking an adequate amount of depth, the overall stakes of the film aren’t as high as they could have been. The villains aren’t especially well-developed either, coming across as interchangeable and underdeveloped (except for Sutherland). Often times in horror films, a lack of knowledge of the monsters will benefit the effectiveness of the story. But with vampires, one of the few monsters who spend a significant amount of time mingling and associating with the living, I think a tad more character development is in order. These flaws by no means derail the film, though. In fact, The Lost Boys succeeds on several levels.

The film works most effectively in its tone. From the opening shot we get a strong sense of foreboding as an image of a nighttime boardwalk accompanied by an eerie song fills us with unease. Joel Schumacher and crew create a real sense of place that adds to the creep-factor. From empty parking lots to abandoned caves, the set-ups for scares put you in the scene. But, at the same time, the film switches smoothly between its creepy set-ups to humorous one-liners. The fact that it maintains this shifting tone throughout becomes the most impressive feature of the film.

The cast proves serviceable given the material. Kiefer Sutherland gives an effectively creepy performance as David, the lead vampire. Between this film and his bit in Phonebooth, I’m convinced this guy should play more villains. Jason Patrick probably has the most challenging role, switching from typical teenager to a psychologically tortured half-vampire, a change that he captures with skill. Corey Feldman and Jamison Newlander provide the film with a majority of its comedic relief as two comic book store employees who know a thing or two about dealing with vampires. It just goes to show that a vast knowledge of comics could potentially save your life; a comforting thought for all those collectors out there, I’m sure. Perhaps the unsung heroes of the cast would include performances by adult actors Dianne Wiest and Edward Herrmann as they provide a sense of balance against the adolescent performers.

All in all, I’d say The Lost Boys represents a solid entry in the sub-genre of vampire flicks. While the climax builds up to a pretty paint-by-numbers ending, there’s plenty of fun along the way. It’s already become one of those time-capsule films that couldn’t really be made anymore, at least not in the same spirit. For better or worse, they just don’t make them like this anymore.

Gary Ross at the Directing Helm

2009-10-14T21:01:00.004-05:00

Writer/director Gary Ross, whose credits include Pleasantville and Seabiscuit, looks for his next project to be a reboot of the Matt Helm series. This series centered on a slick secret agent who foiled criminal mastermind's plans, as well as making time to woo plenty of ladies in the process. Back in the 60's Dean Martin played the super-spy in a series of films essentially spoofing James Bond. Originally, Steven Spielberg had shown interest in the film, but backed out to pursue other projects. Now Ross has his chance at it, with the suddenly-high-in-demand Bradley Cooper in negotiations to star.

This project sounds interesting to me. If they can spoof today's spy films the way the 60's films spoofed Bond, then I'll be happy. Gary Ross turns in solid work and so does the screenwriter Paul Attanasio. So here's hoping they can make this a success. Oh, and if you haven't seen any of the 60's Matt Helm movies, then you might give them a try sometime. They're goofy and stupid, but pretty harmless fun.