Pacific Rim
Pacific Rim is pretty much exactly what a fun summer blockbuster should be. It doesn't require much thought, necessarily, but it also doesn't require its audience to roll its eyes at gratuitous nudity or juvenile potty humor. Yes, it's about giant robots punching monsters in the face, but it's also about empathy and teamwork. It may have more flash than substance--a little more character development (or, in fact, character) in its hero would've helped--but in a film peopled with characters named Stacker Pentecost and Hercules Hanson, that's about in line with expectations. It was never going to be the best film of the year, but it's an original story with original characters and original villains. That's got to count for something.
The World's End
The third of the Edgar Wright/Simon Pegg/Nick Frost Cornetto Trilogy, following Shaun of the Dead and Hot Fuzz. Each follows the same basic premise: friends in a seemingly normal town surrounded by seemingly normal people when things start to go weird. Maybe supernaturally weird. Shaun saw itself populated with listless zombies, Fuzz took off on buddy cop comedies. The World's End follows five old friends trying to relive one glorious night from their youth by hitting all twelve pubs in the hometown they've all left behind. Throw in a touch of Invasion of the Body Snatchers and you've got yourself a very fun film. TWE may not have as many laughs pound for pound as the other two films, but its bittersweet story and a very strong performance by Simon Pegg make it a very strong addition to the trilogy indeed.
The Way, Way Back
This summer coming-of-age story from the Academy Award Winning writing team behind The Descendents isn't exactly groundbreaking, but it doesn't pretend to be. Its story isn't filled with twists and turns and shocking revelations; instead, it focuses on its smaller, more human moments. Liam James stars as young Duncan, dragged along for a summer with his mother (an always-excellent Toni Collette) and his mother's boyfriend (Steve Carrell). He finds refuge from the adults in his life at a local waterpark, where he immediately finds a new idol in slacker Owen (Sam Rockwell). The Way, Way Back doesn't have anything new to say, but its strong performances and well-written smaller moments make it worth consideration.
Monday, July 22, 2013
Friday, April 5, 2013
Movies of 2013 -- April through June
Stoker
More flash than substance, Stoker is nonetheless an interesting, stylistic horror/suspense film. The casting and editing are especially affecting, and where the script lacks, the style persists nicely. Not great, but certainly good.
Trance
Strikingly filmed, Trance relies a little too heavily on its what's-real-and-what's-not (PLUS its who's-playing-who) techniques to come together quite satisfactorily, but it's a fun ride until you get there.
42
This Jackie Robinson biopic had great potential (and some great moments) but it falls short of where it could have been. Characters are introduced and dropped without notice, sentimentality is spread on far too thick, and the story seems to imply that ending segregation ended racism. It's a safe movie about a man whose story is anything but safe.
The Place Beyond The Pines
Though it's not quite as cohesive as I'd like, The Place Beyond The Pines tells its three interconnected stories (each following a different protagonist) in three artfully shot, beautifully performed acts. Its themes may be a little too broad and its acts may each be a little too long, but this is a film that absolutely sticks with you. Director Derek Cianfrance (and cinematographer Sean Bobbitt) masterfully build tension in long, tracked shots and beautiful, dialogue-free stretches, and Ryan Gosling and Bradley Cooper (along with the rest of the cast) turn out remarkable performances.
The Great Gatsby
A surprisingly faithful adaptation, Baz Luhrman's The Great Gatsby still fails to reach the heights of its literary inspiration. It is flashy, excessive, and over-the-top--and while a great argument could be made that these traits tie in nicely with the themes of the novel, that thread gets lost somewhere. The oddest decision made in this adaptation is the framing device placing narrator Nick (Tobey Maguire) in a sanitarium, writing the story as a form of therapy. On one hand, this decision reflects F. Scott Fitzgerald's issues with sanitariums and also gives a cause to include some of his beautiful prose. On the other, it seems a betrayal of Nick's whole character.
Iron Man 3
As written and directed by Shane Black, Iron Man 3 is almost as reminiscent of his and Robert Downey Jr.'s (excellent) previous film together, Kiss Kiss Bang Bang, as it is of the other Iron Man movies. The cheeky voice-over narration, the witty banter between henchmen, and even the timing all call back to KKBB. The best decision this film makes is to focus less on the Iron and more on the Man; the suit itself (not unlike girlfriend Pepper Potts and best friends James Rhodes) is relegated mostly to the sidelines of the film, making Iron Man 3 a good exploration of Tony Stark himself. The weakest decision the film makes is to rely so heavily on the Cute Little Kid as a part of that exploration. I've never been a fan of that particular trope, and Iron Man 3 has done nothing to change my mind in that regard. Not as good as the original but certainly better than the first sequel. Oh, and make sure to stay after the credits.
Star Trek
A fun, fairly light take on the classic series. The cast remains likeable (if sadly underdeveloped in the minor characters), the effects remain shiny, and the storyline features fun twists and turns. A good popcorn movie.
Now You See Me
My first true disappointment of the summer movie set. Fun magic scenes and an admittedly clever ending do not make up for horrendous dialogue, continually stupid police work, and the need to explain every little detail, nuance, and attempt at subtext to the audience.
This Is The End
So dumb. So funny.
Much Ado About Nothing
Joss Whedon's homemade adaptation of this Shakespeare comedy is full of heart, laughs, and some good old fashioned pratfalls. Filmed over only a few weeks and all in black and white, Much Ado may not add significantly to the great canon of Shakespeare adaptations, but it's a fun film with some striking performances from Whedon favorites.
More flash than substance, Stoker is nonetheless an interesting, stylistic horror/suspense film. The casting and editing are especially affecting, and where the script lacks, the style persists nicely. Not great, but certainly good.
Trance
Strikingly filmed, Trance relies a little too heavily on its what's-real-and-what's-not (PLUS its who's-playing-who) techniques to come together quite satisfactorily, but it's a fun ride until you get there.
42
This Jackie Robinson biopic had great potential (and some great moments) but it falls short of where it could have been. Characters are introduced and dropped without notice, sentimentality is spread on far too thick, and the story seems to imply that ending segregation ended racism. It's a safe movie about a man whose story is anything but safe.
The Place Beyond The Pines
Though it's not quite as cohesive as I'd like, The Place Beyond The Pines tells its three interconnected stories (each following a different protagonist) in three artfully shot, beautifully performed acts. Its themes may be a little too broad and its acts may each be a little too long, but this is a film that absolutely sticks with you. Director Derek Cianfrance (and cinematographer Sean Bobbitt) masterfully build tension in long, tracked shots and beautiful, dialogue-free stretches, and Ryan Gosling and Bradley Cooper (along with the rest of the cast) turn out remarkable performances.
The Great Gatsby
A surprisingly faithful adaptation, Baz Luhrman's The Great Gatsby still fails to reach the heights of its literary inspiration. It is flashy, excessive, and over-the-top--and while a great argument could be made that these traits tie in nicely with the themes of the novel, that thread gets lost somewhere. The oddest decision made in this adaptation is the framing device placing narrator Nick (Tobey Maguire) in a sanitarium, writing the story as a form of therapy. On one hand, this decision reflects F. Scott Fitzgerald's issues with sanitariums and also gives a cause to include some of his beautiful prose. On the other, it seems a betrayal of Nick's whole character.
Iron Man 3
As written and directed by Shane Black, Iron Man 3 is almost as reminiscent of his and Robert Downey Jr.'s (excellent) previous film together, Kiss Kiss Bang Bang, as it is of the other Iron Man movies. The cheeky voice-over narration, the witty banter between henchmen, and even the timing all call back to KKBB. The best decision this film makes is to focus less on the Iron and more on the Man; the suit itself (not unlike girlfriend Pepper Potts and best friends James Rhodes) is relegated mostly to the sidelines of the film, making Iron Man 3 a good exploration of Tony Stark himself. The weakest decision the film makes is to rely so heavily on the Cute Little Kid as a part of that exploration. I've never been a fan of that particular trope, and Iron Man 3 has done nothing to change my mind in that regard. Not as good as the original but certainly better than the first sequel. Oh, and make sure to stay after the credits.
Star Trek
A fun, fairly light take on the classic series. The cast remains likeable (if sadly underdeveloped in the minor characters), the effects remain shiny, and the storyline features fun twists and turns. A good popcorn movie.
Now You See Me
My first true disappointment of the summer movie set. Fun magic scenes and an admittedly clever ending do not make up for horrendous dialogue, continually stupid police work, and the need to explain every little detail, nuance, and attempt at subtext to the audience.
This Is The End
So dumb. So funny.
Much Ado About Nothing
Joss Whedon's homemade adaptation of this Shakespeare comedy is full of heart, laughs, and some good old fashioned pratfalls. Filmed over only a few weeks and all in black and white, Much Ado may not add significantly to the great canon of Shakespeare adaptations, but it's a fun film with some striking performances from Whedon favorites.
Monday, March 18, 2013
Movies of 2013 -- January through March
Zero Dark Thirty
Excellent lead performance by Jessica Chastain. Raised a lot of questions it didn't answer. I also agree with Kathryn Bigelow that portrayal is not the same as endorsement and that this wouldn't be a very realistic account if torture wasn't acknowledged at all, given the way it overshadowed the ongoing wars themselves in many ways.
Escape from Planet Earth
Just not very good.
Side Effects
A very intriguing movie that takes an unexpected plot turn about halfway through. Very good performance by Rooney Mara as a young woman dealing with depression and the titular side effects her drugs have left her with.
Jack the Giant Slayer
The cast had great potential, but ultimately the film falls flat. A promising female protagonist quickly turns into just a princess in peril who needs rescuing. The cast does at least seem to be having fun, but the gory (and often just-off-screen) deaths don't match that tone.
Oz the Great and Powerful
Also a story with potential, but James Franco is annoying, smug, and not at all fun to watch as the lead. Ultimately disappointing.
Admission
Tina Fey and Paul Rudd are both likable, affable leads, but it's easier to root for the actors than the characters in this fine but not great romantic comedy.
Excellent lead performance by Jessica Chastain. Raised a lot of questions it didn't answer. I also agree with Kathryn Bigelow that portrayal is not the same as endorsement and that this wouldn't be a very realistic account if torture wasn't acknowledged at all, given the way it overshadowed the ongoing wars themselves in many ways.
Escape from Planet Earth
Just not very good.
Side Effects
A very intriguing movie that takes an unexpected plot turn about halfway through. Very good performance by Rooney Mara as a young woman dealing with depression and the titular side effects her drugs have left her with.
Jack the Giant Slayer
The cast had great potential, but ultimately the film falls flat. A promising female protagonist quickly turns into just a princess in peril who needs rescuing. The cast does at least seem to be having fun, but the gory (and often just-off-screen) deaths don't match that tone.
Oz the Great and Powerful
Also a story with potential, but James Franco is annoying, smug, and not at all fun to watch as the lead. Ultimately disappointing.
Admission
Tina Fey and Paul Rudd are both likable, affable leads, but it's easier to root for the actors than the characters in this fine but not great romantic comedy.
Tuesday, January 8, 2013
Les Miserables
As a kid, I was obsessed with the musical Les Miserables. When I finally saw it on stage as a high schooler, I was entranced. The staging, the music, the passion--I loved it all.
Les Miserables tells the later-in-life story of Jean Valjean, played throughout the years by Hugh Jackman. A parolee just getting out of prison after nineteen years, Valjean ultimately breaks parole, changing his identity and becoming quite successful. He owns a factory and becomes mayor of a small town where, years later, the Inspector Javert (Russell Crowe) is assigned. Javert recognizes Valjean from his years in prison. Valjean must go on the run again, but not before he vows to help the daughter of dying former employee-turned-prostitute Fantine (Anne Hathaway). Valjean runs, goes to get the daughter Cosette (played later by Amanda Seyfried), and raises her. There are plenty of other story lines and characters to follow, and while the economy of characters leads to some unlikely coincidences and interactions, it's a story rich with emotion and (occasionally over-) dramatics.
When I heard there was a film version coming out of Les Mis, I was at first excited and then almost immediately dismayed, as how could it possibly live up to the stage version? I braced myself for disappointment, just as I'd done for another widely anticipated December release in The Hobbit.
Ultimately, it was the right choice. There are some things Les Miserables does quite well, but there are others that severely disappointed me. To begin with, Tom Hooper was the wrong choice for director. Hooper, who won the Best Director Academy Award for The King's Speech, fell into the same distracting tics like oddly tilted camera angles without purpose, extreme close-ups pushed to the corners of the screen, and lackluster blocking for songs like Bring Him Home and Stars.
He also encouraged quiet, almost whispered singing in several songs. For some, like Fantine's I Dreamed A Dream, it works beautifully. Fantine is a pathetic character at the end of her rope, after all. At other times, however, it feels that Hooper won't just let his singers really sing. It's not until halfway through the film when we meet the revolutionaries led by Enjaloras (Aaron Tveit) and Marius (an impressive Eddie Redmayne) that we finally seem to meet the real, grandiose singers this story calls for.
Hugh Jackman does a fine, if not grand, job with Valjean. Crowe often felt like he was so busy trying to sing right that he forgot to act--but admittedly, the boring, unmotivated blocking Hooper saddles him with doesn't help. Redmayne and Seyfried do well with their generally less interesting characters. In fact, as a general rule, the more recognizable the actor, the less impressive the singer. The exception is Anne Hathaway, who may well be getting a Best Supporting Actress Oscar nod out of the film.
It's possible that my purposely lowered expectations led me to be more critical of the film than others, but I couldn't help but feel that while it was pretty good, it could have been a lot better.
And don't get me started on the fact that the film's official soundtrack doesn't even include "Do You Hear The People Sing?"
Les Miserables tells the later-in-life story of Jean Valjean, played throughout the years by Hugh Jackman. A parolee just getting out of prison after nineteen years, Valjean ultimately breaks parole, changing his identity and becoming quite successful. He owns a factory and becomes mayor of a small town where, years later, the Inspector Javert (Russell Crowe) is assigned. Javert recognizes Valjean from his years in prison. Valjean must go on the run again, but not before he vows to help the daughter of dying former employee-turned-prostitute Fantine (Anne Hathaway). Valjean runs, goes to get the daughter Cosette (played later by Amanda Seyfried), and raises her. There are plenty of other story lines and characters to follow, and while the economy of characters leads to some unlikely coincidences and interactions, it's a story rich with emotion and (occasionally over-) dramatics.
When I heard there was a film version coming out of Les Mis, I was at first excited and then almost immediately dismayed, as how could it possibly live up to the stage version? I braced myself for disappointment, just as I'd done for another widely anticipated December release in The Hobbit.
Ultimately, it was the right choice. There are some things Les Miserables does quite well, but there are others that severely disappointed me. To begin with, Tom Hooper was the wrong choice for director. Hooper, who won the Best Director Academy Award for The King's Speech, fell into the same distracting tics like oddly tilted camera angles without purpose, extreme close-ups pushed to the corners of the screen, and lackluster blocking for songs like Bring Him Home and Stars.
He also encouraged quiet, almost whispered singing in several songs. For some, like Fantine's I Dreamed A Dream, it works beautifully. Fantine is a pathetic character at the end of her rope, after all. At other times, however, it feels that Hooper won't just let his singers really sing. It's not until halfway through the film when we meet the revolutionaries led by Enjaloras (Aaron Tveit) and Marius (an impressive Eddie Redmayne) that we finally seem to meet the real, grandiose singers this story calls for.
Hugh Jackman does a fine, if not grand, job with Valjean. Crowe often felt like he was so busy trying to sing right that he forgot to act--but admittedly, the boring, unmotivated blocking Hooper saddles him with doesn't help. Redmayne and Seyfried do well with their generally less interesting characters. In fact, as a general rule, the more recognizable the actor, the less impressive the singer. The exception is Anne Hathaway, who may well be getting a Best Supporting Actress Oscar nod out of the film.
It's possible that my purposely lowered expectations led me to be more critical of the film than others, but I couldn't help but feel that while it was pretty good, it could have been a lot better.
And don't get me started on the fact that the film's official soundtrack doesn't even include "Do You Hear The People Sing?"
Sunday, December 30, 2012
The Hobbit
In The Hobbit: An Unexpected Journey, the titular Hobbit, played by Martin Freeman, is invited to join an unusual quest to help a bunch of dwarves regain their home from the dragon that invaded it and drove them away decades ago. Accompanied by the wizard Gandalf, they encounter friendly elves, not-so-friendly goblins, hungry trolls and plenty of in-fighting. Based on the popular children's novel by J.R.R. Tolkien and brought to life by Tolkien fanatic Peter Jackson, An Unexpected Journey tells the first third of the Hobbit's story.
The problem is, there is absolutely no reason for The Hobbit to be three movies. I write this as a person who is a big fan of Peter Jackson's extended editions of The Lord of the Rings trilogy and who tries to watch them about once a year. That story may not have needed twelve hours to tell, but it rarely felt as though it was dragging or stretching out what didn't need to be stretched.
The Hobbit feels like that for most of the film.
Like many, the more successful he becomes, the more impervious Peter Jackson becomes to a judicious editor (see also, J.K. Rowling, Tom Clancy, others). And a judicious editor would have helped The Hobbit immensely.
After all, the film has a lot going for it. Martin Freeman is perfectly cast as Bilbo, the cautious but quietly brave protagonist. Ian McKellen and Andy Serkis reprise their roles from The Lord of the Rings with aplomb. The music and production values are simply lovely. The story is an interesting one, full of twists and humor and action.
It's too bad everything feels so muddled and stretched out. The film begins in flash-forward, with Ian Holm's Bilbo writing down his story for nephew Frodo, again played by Elijah Wood. While I liked both of these actors quite a bit in Lord of the Rings, their parts were entirely unnecessary here. This was a continuing trend throughout the film. Two films with tighter editing and a few unnecessary pieces cut would have served this story quite well. Three is doing it a disservice.
The problem is, there is absolutely no reason for The Hobbit to be three movies. I write this as a person who is a big fan of Peter Jackson's extended editions of The Lord of the Rings trilogy and who tries to watch them about once a year. That story may not have needed twelve hours to tell, but it rarely felt as though it was dragging or stretching out what didn't need to be stretched.
The Hobbit feels like that for most of the film.
Like many, the more successful he becomes, the more impervious Peter Jackson becomes to a judicious editor (see also, J.K. Rowling, Tom Clancy, others). And a judicious editor would have helped The Hobbit immensely.
After all, the film has a lot going for it. Martin Freeman is perfectly cast as Bilbo, the cautious but quietly brave protagonist. Ian McKellen and Andy Serkis reprise their roles from The Lord of the Rings with aplomb. The music and production values are simply lovely. The story is an interesting one, full of twists and humor and action.
It's too bad everything feels so muddled and stretched out. The film begins in flash-forward, with Ian Holm's Bilbo writing down his story for nephew Frodo, again played by Elijah Wood. While I liked both of these actors quite a bit in Lord of the Rings, their parts were entirely unnecessary here. This was a continuing trend throughout the film. Two films with tighter editing and a few unnecessary pieces cut would have served this story quite well. Three is doing it a disservice.
Wednesday, December 26, 2012
Silver Linings Playbook
David O. Russell's new film, Silver Linings Playbook, is at times chaotic--but purposely so. The chaos helps the audience understand, on some level, the mindset of the main character and those who surround him. Overlapping dialogue builds a sense of unease in an audience, and the more it builds, the harder it can be to watch.
When Pat (Bradley Cooper) is released from the mental hospital following a court-ordered eight month stint, he moves back in with his parents and stays fixated on his one major goal: get back in his estranged wife's good graces so they can be together again. Those around him know it's not a very realistic goal, but Pat will not be persuaded. He reconnects with some of the people from his old life, including his psychiatrist and a good friend's sister-in-law Tiffany (Jennifer Lawrence)--herself a medicated, depressed young widow--trying to piece his life back together. Tiffany and Pat share a connection most can't understand and some actively try to disrupt, but while their story doesn't hit the typical notes it seems to work well enough for them.
Unlike most romantic comedies (though there's much more to it than that label would suggest) Silver Linings Playbook feels honest and, for the most part, unforced. These characters are messy, and not in cute or 'adorkable' ways. Everyone has issues he or she is dealing with--or pointedly not dealing with--and those considered crazy by most may just be the ones most in touch with themselves.
That's not to say that those crazy people are all that put together, either. Their problems don't have easy solutions, and while the film holds to that idea for the most part, it falters at its end. The film ends on a winning, if somewhat false, note--one that seems to solve things and thus doesn't quite feel earned.
It doesn't fit quite as "comedy" or "drama," but does a great job mixing tones and averting typical expectations.
When Pat (Bradley Cooper) is released from the mental hospital following a court-ordered eight month stint, he moves back in with his parents and stays fixated on his one major goal: get back in his estranged wife's good graces so they can be together again. Those around him know it's not a very realistic goal, but Pat will not be persuaded. He reconnects with some of the people from his old life, including his psychiatrist and a good friend's sister-in-law Tiffany (Jennifer Lawrence)--herself a medicated, depressed young widow--trying to piece his life back together. Tiffany and Pat share a connection most can't understand and some actively try to disrupt, but while their story doesn't hit the typical notes it seems to work well enough for them.
Unlike most romantic comedies (though there's much more to it than that label would suggest) Silver Linings Playbook feels honest and, for the most part, unforced. These characters are messy, and not in cute or 'adorkable' ways. Everyone has issues he or she is dealing with--or pointedly not dealing with--and those considered crazy by most may just be the ones most in touch with themselves.
That's not to say that those crazy people are all that put together, either. Their problems don't have easy solutions, and while the film holds to that idea for the most part, it falters at its end. The film ends on a winning, if somewhat false, note--one that seems to solve things and thus doesn't quite feel earned.
It doesn't fit quite as "comedy" or "drama," but does a great job mixing tones and averting typical expectations.
Thursday, December 13, 2012
Skyfall
Patently ridiculous. Completely unrealistic. Bizarre and unsettling villains paired with gorgeous and exotic women. Intense, absurd fight sequences.
Yes, that's right--James Bond is back, and just maybe better than ever.
Skyfall, arriving with the 50th anniversary of Bond on film, is a blast. It's got all the great Bond moments: an action-packed opening sequence transitioning into a fever dream of a credits sequence, complete with a haunting Adele melody; beautiful and sexy women whose company Bond, well, enjoys; cleverly choreographed action and fight sequences; gorgeously shot exotic locales; and a suave, unflappable James Bond.
When some shadowy and powerful enemy (Javier Bardem) sets his sights on MI6--and particularly Judi Dench's M--an aging James Bond must, of course, come to the stylish and suave rescue. Aided (and challenged) by new cast members Ralph Fiennes (as a bureaucrat with whom Bond butts heads), Ben Whishaw (a geek chic Q), and Naomie Harris (a head-strong, sexy field agent), Bond travels to far-flung locations to track down and take out this creepy threat.
Bardem does a nice job as a Bond villain--he's over-the-top, he's unsettling, he's driven, and he's clearly crazy. He has ridiculous hair. He spouts off long monologues about rats and flirts with/threatens Bond with ease.
The cinematography of this film is frankly stunning. Back-lit fight scenes in Shanghai skyscrapers and captivatingly gorgeous shots along the Scottish moors in the film's climax enhance the movie's very cool, put-together feeling. Director Sam Mendes got his money's worth out of the location shooting, to say the least.
Sure, there are plot inconsistencies and questionable character choices one could look toward. Nothing about the film is particularly--or really, even remotely--realistic. Lines are delivered and plot points thrown in merely for the sake of being "cool."
And if you, as a film viewer, take issue with any of those things, well, a James Bond movie is probably not right for you.
Yes, that's right--James Bond is back, and just maybe better than ever.
Skyfall, arriving with the 50th anniversary of Bond on film, is a blast. It's got all the great Bond moments: an action-packed opening sequence transitioning into a fever dream of a credits sequence, complete with a haunting Adele melody; beautiful and sexy women whose company Bond, well, enjoys; cleverly choreographed action and fight sequences; gorgeously shot exotic locales; and a suave, unflappable James Bond.
When some shadowy and powerful enemy (Javier Bardem) sets his sights on MI6--and particularly Judi Dench's M--an aging James Bond must, of course, come to the stylish and suave rescue. Aided (and challenged) by new cast members Ralph Fiennes (as a bureaucrat with whom Bond butts heads), Ben Whishaw (a geek chic Q), and Naomie Harris (a head-strong, sexy field agent), Bond travels to far-flung locations to track down and take out this creepy threat.
Bardem does a nice job as a Bond villain--he's over-the-top, he's unsettling, he's driven, and he's clearly crazy. He has ridiculous hair. He spouts off long monologues about rats and flirts with/threatens Bond with ease.
The cinematography of this film is frankly stunning. Back-lit fight scenes in Shanghai skyscrapers and captivatingly gorgeous shots along the Scottish moors in the film's climax enhance the movie's very cool, put-together feeling. Director Sam Mendes got his money's worth out of the location shooting, to say the least.
Sure, there are plot inconsistencies and questionable character choices one could look toward. Nothing about the film is particularly--or really, even remotely--realistic. Lines are delivered and plot points thrown in merely for the sake of being "cool."
And if you, as a film viewer, take issue with any of those things, well, a James Bond movie is probably not right for you.
Thursday, November 29, 2012
Rise of the Guardians
Rise of the Guardians, based on a series of children's books by William Joyce, is a stylish piece of animation and good family holiday fare. The guardians (Santa Claus, the Easter Bunny, the Sandman, and the Tooth Fairy) are benevolent forces of good, protecting children by encouraging wonder and joy. When that wonder and joy are threatened by boogie man Pitch, the guardians are instructed by the omniscient Man in the Moon to bring a new member into their fold--mischievous sprite Jack Frost.
The film may be called Rise of the Guardians, but it's really Jack Frost's story. Jack doesn't fit in with the rest of the guardians. For one, no one really believes in Jack Frost. Unlike the others, who gain their power through the belief of children, Jack's simply exist. The children of the world don't see or hear him, but he makes sure they have plenty of fun nonetheless. He's just not all that invested in being a guardian, per se.
He also might just have more in common with Pitch than he does with the Guardians. This dichotomy leads to one of the most interesting themes in the film. Despite the presence of Santa Claus and the Easter Bunny, the film makes a point of staying away from religion--maybe. Jack begs for guidance and answers from the mysterious and pointedly distant Man in the Moon, while being courted and tempted by the very present Pitch.
In addition to its more serious moments, the film provides plenty of comedy, especially from its supporting characters. Each of the guardians have cute, funny henchmen--the elves and yetis for Santa Claus, the mini fairies for Tooth, large eggs for Bunny, and the beautifully animated dream creatures the Sandman creates. The Sandman sequences are probably the most impressive animation in the film; their detail and movement are wonderful to watch.
The film's story is serviceable enough; engaging and entertaining for kids without talking down to them or the parents who take them. The animation is stunning, the characters are intriguing, and the voice cast is game and energetic--and with all these elements in place, I can't help but feel like there is a better movie buried somewhere in there. Rise of the Guardians is good, but not quite great.
The film may be called Rise of the Guardians, but it's really Jack Frost's story. Jack doesn't fit in with the rest of the guardians. For one, no one really believes in Jack Frost. Unlike the others, who gain their power through the belief of children, Jack's simply exist. The children of the world don't see or hear him, but he makes sure they have plenty of fun nonetheless. He's just not all that invested in being a guardian, per se.
He also might just have more in common with Pitch than he does with the Guardians. This dichotomy leads to one of the most interesting themes in the film. Despite the presence of Santa Claus and the Easter Bunny, the film makes a point of staying away from religion--maybe. Jack begs for guidance and answers from the mysterious and pointedly distant Man in the Moon, while being courted and tempted by the very present Pitch.
In addition to its more serious moments, the film provides plenty of comedy, especially from its supporting characters. Each of the guardians have cute, funny henchmen--the elves and yetis for Santa Claus, the mini fairies for Tooth, large eggs for Bunny, and the beautifully animated dream creatures the Sandman creates. The Sandman sequences are probably the most impressive animation in the film; their detail and movement are wonderful to watch.
The film's story is serviceable enough; engaging and entertaining for kids without talking down to them or the parents who take them. The animation is stunning, the characters are intriguing, and the voice cast is game and energetic--and with all these elements in place, I can't help but feel like there is a better movie buried somewhere in there. Rise of the Guardians is good, but not quite great.
Monday, November 26, 2012
Lincoln
There are not many filmmakers who could make an engaging, thought-provoking film about the passing of a piece of legislation 150 years ago. Steven Spielberg is one of those few filmmakers. Lincoln is a beautifully-shot, well-acted, and captivating movie.
Rather than a biopic, Lincoln spans only a few short months as the Civil War wanes. Lincoln and others strive to pass the 13th Amendment to abolish slavery in the United States before the war is over and the amendment would seem less politically necessary. The film assembles an all-star cast to fill even the smallest of roles, playing as a Who's Who with nineteenth-century facial hair.
I often find Daniel Day-Lewis's performances overwhelming, but his Lincoln was perfect. Famed for the months of research and preparation he puts into every role, Day-Lewis embodies everything about his character, from his walk and voice to his quiet contemplation and flashes of emotion. Tommy Lee Jones offers another strong performance as the abolitionist Representative Thaddeus Stevens. One of the film's best scenes come between these two, who want similar things but work toward their goals in very different ways.
It's reassuring, in a way, to realize that the House of Representatives has always been crazy. The battles waged on the floor of Congress are filled with pithy insults and dramatic overtures. Lincoln is a surprisingly funny movie. It's easy to forget, in studying history, that people in the past could have great senses of humor as well. Lincoln does well to include the humor, keeping the potential history lesson from feeling too dry or wooden.
There are a few scenes that seem rather forced or even melodramatic--the opening scene among them--but for the most part the film balances these well. Some will criticize this movie as "Oscar bait," but I for one would much rather watch Oscar bait than Box Office bait. It may not be as sexy as James Bond or as showy as Twilight, but Lincoln hits its marks and does so with aplomb.
Rather than a biopic, Lincoln spans only a few short months as the Civil War wanes. Lincoln and others strive to pass the 13th Amendment to abolish slavery in the United States before the war is over and the amendment would seem less politically necessary. The film assembles an all-star cast to fill even the smallest of roles, playing as a Who's Who with nineteenth-century facial hair.
I often find Daniel Day-Lewis's performances overwhelming, but his Lincoln was perfect. Famed for the months of research and preparation he puts into every role, Day-Lewis embodies everything about his character, from his walk and voice to his quiet contemplation and flashes of emotion. Tommy Lee Jones offers another strong performance as the abolitionist Representative Thaddeus Stevens. One of the film's best scenes come between these two, who want similar things but work toward their goals in very different ways.
It's reassuring, in a way, to realize that the House of Representatives has always been crazy. The battles waged on the floor of Congress are filled with pithy insults and dramatic overtures. Lincoln is a surprisingly funny movie. It's easy to forget, in studying history, that people in the past could have great senses of humor as well. Lincoln does well to include the humor, keeping the potential history lesson from feeling too dry or wooden.
There are a few scenes that seem rather forced or even melodramatic--the opening scene among them--but for the most part the film balances these well. Some will criticize this movie as "Oscar bait," but I for one would much rather watch Oscar bait than Box Office bait. It may not be as sexy as James Bond or as showy as Twilight, but Lincoln hits its marks and does so with aplomb.
Friday, November 16, 2012
Wreck-It Ralph
Wreck-It Ralph is in contention for my favorite film of the year. I enjoyed it from beginning to end and laughed so hard at some of the jokes that I'm going to have to see it again to catch up on the dialogue I missed in between.
John C. Reilly voices Ralph, the villain in the long-standing arcade video game Fix-It Felix Jr. One the thirtieth anniversary of the game's premiere, Ralph's frustration with his game--always being the bad guy, his isolation from the other characters in his game, the assumption of the other games that he's got to be a villain--finally causes him to crack. He goes "game jumping," invading other games in the arcade so he can experience something new.
One of the things that works so well for Wreck-It Ralph is the familiarity of the surroundings. Normally, I find comedy that relies too much on references to be rather stale--the jokes may be funny, but they're ultimately hollow. I don't find this to be the case with Wreck-It Ralph. There were references aplenty--be they to other video games or candy and sweets-related puns in the game "Sugar Rush"--but these were often used to comment on the state of the characters or even the deeper themes of potential loss and the need for acceptance. That is to say: many of these references were used for a point beyond just making an audience laugh because of their inclusion.
Also, they were genuinely funny.
The clever, brightly-colored style of animation did a lot not only to build the video-games world but to make clever comments on the nature of video games. From the minor characters only able to turn at right angles to the transition to an eight-bit style depending on one's location within the game to the arcade viewer box--giving characters a chance to see outside their own games, the style of the movie enhanced the story and characterization in the movie. The other major animated film I saw this year, Brave, may overall be a prettier film--but I could never discount the animation in Wreck-It Ralph.
Overall, this is a great film. It will play for just about any audience--though twenty- and thirty-somethings may get an extra boost recognizing games from their childhood--telling a truly heart-warming story with surprisingly high stakes. This is one of the few films I've seen this year that I would honestly recommend to anyone.
John C. Reilly voices Ralph, the villain in the long-standing arcade video game Fix-It Felix Jr. One the thirtieth anniversary of the game's premiere, Ralph's frustration with his game--always being the bad guy, his isolation from the other characters in his game, the assumption of the other games that he's got to be a villain--finally causes him to crack. He goes "game jumping," invading other games in the arcade so he can experience something new.
One of the things that works so well for Wreck-It Ralph is the familiarity of the surroundings. Normally, I find comedy that relies too much on references to be rather stale--the jokes may be funny, but they're ultimately hollow. I don't find this to be the case with Wreck-It Ralph. There were references aplenty--be they to other video games or candy and sweets-related puns in the game "Sugar Rush"--but these were often used to comment on the state of the characters or even the deeper themes of potential loss and the need for acceptance. That is to say: many of these references were used for a point beyond just making an audience laugh because of their inclusion.
Also, they were genuinely funny.
The clever, brightly-colored style of animation did a lot not only to build the video-games world but to make clever comments on the nature of video games. From the minor characters only able to turn at right angles to the transition to an eight-bit style depending on one's location within the game to the arcade viewer box--giving characters a chance to see outside their own games, the style of the movie enhanced the story and characterization in the movie. The other major animated film I saw this year, Brave, may overall be a prettier film--but I could never discount the animation in Wreck-It Ralph.
Overall, this is a great film. It will play for just about any audience--though twenty- and thirty-somethings may get an extra boost recognizing games from their childhood--telling a truly heart-warming story with surprisingly high stakes. This is one of the few films I've seen this year that I would honestly recommend to anyone.
Subscribe to:
Posts (Atom)