In my mourning of the greatest football team ever to play the game’s tragic loss, I’ve been given a chance to catch up on some films I had skipped from the previous year, and some films that are still in the theater. As some of you know, I have access to my own private theater, which has been a great opportunity to watch these films without interruption from the peanut gallery that currently makes up the movie-going public. It’s been great. No screaming kids, cell phones or crowds.
Anyway, all these movies are floating around in my brain, and I have to let out my opinion on some of them. I’m very opinionated, and this is a good venue to rant, so read on if you want. But I do have to warn you, I’m going to try not to give away too much or ruin any of the films for you, if you haven’t seen them, but I may bitch about or commend a certain scene or act. I will try to remain as vague as possible.
So here are some movies that I’ve seen over the last few weeks, in vague order from worst to best. No numbers or anything formal, as this is art, and who am I to judge the filmmakers?
Cloverfield (2008):
I’ll be the first to admit that the first ¾ of this movie was a lot of fun and really intense. That said, you really have to suspend disbelief to choke down some of the decisions made by these characters. Then, with a sequence of about 5 minutes, they manage to kill the movie. Now, if you’ve seen the film, you know what I’m taking about. There is a scene that is so gratuitous, obviously meant to throw the audience a bone, and clearly aimed at the crowd that was convinced that The Blair Witch Project should have ended with a woman in a plastic green mask jumping out of the bushes as she cackles on her broom. What about those of us who were smart enough to realize that our imagination would never be trumped by CGI?
I am Legend:
Again, don’t judge a book by its cover. I had a chance to see this movie, for free, any night I wanted, but continually passed on it. It looked that bad. But then I gave it a chance, and I was surprised at the outcome. I loved the way the narrative was told, and Will Smith was great in the role I thought he was terrible for. Now, don’t get me wrong, I’m by no means recommending this movie over the several outstanding films that are available to watch. I’m just saying; if you’re home and watching TV some late night, and this movie comes on HBO or some channel, give it a shot. And, for those that have seen it – How much better a movie would this have been without the use of CGI mutants? I still can’t wrap my head around this decision. Also, props for having the saddest scene in any film last year. When he calls Sam, “Samantha”, I almost lost it, and walked out.
The Bourne Ultimatum:
I loved this series, especially the last two. The second film, The Bourne Supremacy, was my favorite. This movie was the best representation of what the books were meant to be. They were beach books. Entertainment. This film, at times seemed a little gimmicky, as Bourne relived all his turning points and decisions in the first two films, backwards. But all in all, it was a satisfying end to the trilogy, and they should leave it at that. Paul Greengrass really has a head for that kinetic action and violence, and Matt Damon was perfect in this role. If you have not scene these films, skip the next action blockbuster, and rent this trilogy. I dare you not to like them.
Alright, on to award bait:
Sweeny Todd:
If you are going to see this movie, don’t worry about missing the first half. Bathroom breaks, make yourself a snack, whatever. They beat the exposition to death, and the movie does not really start until it’s half over. That said, the last half is great. Very Tim Burton, lots of stylized violence and set pieces to admire. Even though it is extremely predictable, it’s still fun. The last half of this movie restored some faith in Tim Burton for me. His last few movies I thought were tough to watch. But seriously, skip the first half.
3:10 To Yuma:
This one fell slightly below my expectations. I thought the story was great. The acting and casting was spot on. Christian Bale, Russel Crowe and Ben Foster were fantastic. The problem I had, was with the directing. The story telling if you will. James Mangold, who also directed the equally disappointing Walk the Line, never seemed to commit to a narrative. In every scene, it was like he could not decide what he was trying to say. I’m not saying that every scene has to be complete with a moral, or pose a question. But not one scene throughout the film managed to do this. I kept waiting for some twist. Something I missed. But it never came.
American Gangster:
Not what I expected. I guess I was thinking this would be a very stylized movie, filling the gap in the public consensus where a combination Scarface and Superfly could pepper the DVD racks on every episode of MTV’s Cribs. Instead, this was a pretty bare bones Biopic. Russel Crowe’s character had obviously been played up a little to make him a formidable antagonist to Denzel’s bad ass gangster. But they both seemed very real. And kind of boring because of that. Maybe a little over the top exploitation was just what this film needed. Don’t know who bares the blame for this film not being the pop culture hit that was expected. Probably Steven Zaillian. Not for writing a bad script, but for being the wrong person to write it. But let’s give the guy a break, he did write Schindler's List.
Michael Clayton:
The best part of this film is Tom Wilkinson. By far. Without him, this film would be a little flat. We’ve seen this same film a few times already. The Constant Gardener, which was fantastic. A Civil Action, which was okay. And several others. The performances make this movie what it is. And it’s a contender. Just like Juno, which I’m about to get to; this one probably doesn’t deserve all the accolades that it has been receiving. Chalk that up to the marketing machine behind these films. Worth seeing, but don’t expect a religious experience.
Charlie Wilson’s War:
I love anything with Aaron Sorkin’s name on it. Pre 9/11 West Wing, Studio 60, you name it. And his witty dialogue is always worth the price of admission. That said, while this film had his stamp on it from the start, it never came together as the big film it was supposed to be. Look at that cast. Maybe that’s what bothered me. The big movie stars in this little film. I was always waiting for some big revelation or action sequence, but this was formatted like a great episode of an HBO series. Not much longer than a scripted hour-long without commercials either. Maybe Sorkin should get his own HBO series, where there is no continuity, and big screen guess stars can act out some historical event in every episode. I’d pay to see that.
Atonement:
Talk about unexpected. This film is very different than its marketing would have you believe. It is not a sweeping love story paced throughout decades. It’s a very surreal, intimate film that takes some wild turns. The first half is a very slowly paced episode of Masterpiece Theatre, with a looming darkness. Then, the film veers into a war film that is so lyrical, and has such complex camera work that you almost expect the soldiers to suddenly break out into song and dance. Now, once it all comes together, the separate narratives make sense, but only when you look back at it. This is a good film, and I can understand why it is getting so much praise. The costumes, the designs, and the music all have a very vintage feel that is beautiful, and very reminiscent of classic films. This is not a great film though, and it does surprise me that it is the current favorite to win, and has already won the best picture award at several ceremonies.
Into the Wild:
Ten minutes in, and I was hating this film. I figured I was in for a lecture on what was wrong in society, and a film that was going to cause every rich suburban Fish Head to pack up and leave their cushy lifestyles. But then there were glimpses of greatness. Certain scenes where this film captured something rare and very real about being on the road. About meeting people and forming brief relationships that have a greater impact on each persons life, whether they know it at the time or not. This film had many instances of flaws, but an equal amount of truly great filmmaking. I’m still trying to process whether or not I think this was a great film. It was long, but at certain times I found myself wishing they would show more of the landscapes that made up the setting of this film, and practically served as a main character. There were several interactions that occurred between the main character and people he met along his journey that hinted at the mistake he was making, and I wish this had been explored more in the film. Too many Biopics do not show the flaws of the character in focus, and try too hard to pay homage. This film is worth a viewing, if only to see the response it triggers in you. I think everyone can relate to the main idea of this film, and that gives it a personal meaning. I’m still processing this one.
Gone Baby Gone:
Dennis Lehane stories are hard not to like. Especially if you’re from Boston. They just seem to resonate. And this film adaptation is no different. What a great story. It poses a question, which is far more challenging as a narrative structure. The worst and the best of humanity are in every character. The acting was outstanding, especially the brother/sister combo of Lionel and Helene McCready. Ed Harris was outstanding as always. The one flaw of this film was Casey Affleck. Not his acting, because he was great in this role. But the casting was off from the start. Sometimes this happens in movies. You can never get past the fact that the actor is wrong for the role, and it takes something away from the film. Still, this was a great film. I’ve seen it twice now, and it still holds up, even knowing the ending from the start. And that’s the sign of a great film.
Juno:
People are calling this, “the little movie that could” which is pretty accurate because of what it has accomplished. This is a very light, uplifting film with a good message. I’ve been trying to find the flaw, where some group of nutcases can use this film to protest something, and draw attention to themselves. But it’s not there. It’s not offensive to anyone, and it’s a story about the comedic side of teen pregnancy. Never thought I’d see that on film. It’s corny and funny and everything that makes a good movie to watch with the kids. Except for the premise. I’ve seen this movie 3 times already because so many people want to see it, and I have not talked to one person that did not like it. And while that should never be the intention of art, it works for this film. Ellen Page deserves the nomination, young as she is. I never once stopped believing her situation. As far as the rest of the praise and nominations? Don’t worry. It will not win anything important. But this is one instance where it should be an honor just to be nominated.
No Country for Old Men:
I was completely surprised at the response this film has received. After the first viewing, I figured the public in general would hate this film, and that the critics would pan it because of the violence, and overall bleak outlook this film leaves you with. Shows what I know. I think this film is going to win the Oscar for best picture, and the Coen Brothers will take home the top prize for director. I don’t know if it deserves it. I do know that this is not the Coen’s best film, no matter what people are saying. This is a great film. One with a strong message. The acting was superb. Tommy Lee Jones and Josh Brolin were both great, even though Javier Bardem gets all the press. It’s funny, 6 years ago, Roger Deakins won an Oscar for cinematography in A Beautiful Mind, when he should have one for The Man Who Wasn’t There, a Coen Brothers film that same year. This year, he’s going to win for No Country for Old Men, a Coen Brothers film, when he should win for The Assassination of Jesse James. More on that later. Anything else I can say has been said over and over already. Go see it if you haven’t already.
There Will Be Blood:
If there were an award for performance by an actor in this decade, maybe century, Daniel Day Lewis would have it locked up. He was Daniel Plainview. And Daniel was a train wreck of a human being. One that was horrible and grizzly, but impossible to look away from. This movie probably frustrates a lot of people. It is a film that spits in the face of modern filmmaking. It is utterly simplistic in its narrative, and follows the protagonist from point A to point B. And that is what sets Paul Thomas Anderson above the rest of us. The scope of his vision. If I had read this as a script, I may have dismissed it as too simple. But combine the greatest, most intense actor of his generation along with a Director with a singular vision and love of film, and you have the modern day Citizen Kane. Let’s not forget the score either. Absolutely haunting. If any portion of this film moved slow, you would never know it because of the tense music, never letting you let your guard down. Never once do you feel safe during this film, as though the title is a promise you are constantly expecting to drop like a bowling pin to the head. This is arguably the best film in a year filled with good films. Probably in the last couple of years. It may not be my favorite, as of now, but it is probably the best.
I’m Not There:
Anyone who has discussed film with me over the last decade knows too well my disdain for the Biopic. If they are autobiographical, they will almost always be in the vain of “Poor me, look what awful things I endured”, or the “Everyone but me is evil and bad and I’m really just a misunderstood, stand up drug dealer” (see Blow). If they are done post-mortem, they are the classic homage, where all the deceased’s relatives and friends tell the 2 dimensional story of how absolutely perfect this person was. And if it’s historical, then it’s almost always a collage of what people have researched and too often veers in the direction of too much historical accuracy, too little drama/story. I’m Not There sets the bar pretty high from now on. This is not a Biopic. It’s something new. It is a story about the myth of a man. A man that is still living. Each Character plays a completely different, complex individual, resulting in a mosaic of what it is to be a realistic human being. And if that was not enough for some people, the narrative structure actually works as a fluid, complete story. This was not an easy task to accomplish. There is an argument, and a mission statement made in the beginning of the film, that plays out until the end, leaving the question open. And in the segment where Cate Blanchet plays Jude Quinn, this question is most relevant. Does celebrity make one part of the collective, social consciousness? Is what you think of as self or personality decided by you, or by everyone around you? Who are you to think that you decide who you are, when millions think of you as one way or another? Who’s right, you or everyone else? This was not just a great film, but it also sets a precedent for what a Biopic, or just a creative film, can achieve.
The Assassination of Jesse James by the Coward Robert Ford:
How did this film fall through the cracks? Is it that unapproachable? Is it the cast? Casey Affleck and Brad Pitt don’t exactly scream period drama. I don’t know why this film has been so overlooked and why I can barely find a soul who has even scene it. It is the most beautifully shot film of the year, by far. I said it before, but it bears repeating; it’s funny, 6 years ago, Roger Deakins won an Oscar for cinematography in A Beautiful Mind, when he should have one for The Man Who Wasn’t There, a Coen Brothers film that same year. This year, he’s going to win for No Country for Old Men, a Coen Brothers film, when he should win for The Assassination of Jesse James. This film had Terrance Mallick written all over it. There were scenes that looked like they were cut from Days of Heaven. And, like I’m Not There, the concept of celebrity is the focus of the film. Here, celebrity is viewed almost like a disease, where one character catches it from the other and they are both worse off for it. The film somehow manages to be predictable and tense at the same time. As though you are hoping the inevitable is not as obvious as it would seem. But the story and the characters all manage to twist and turn in unexpected ways, resulting in the same conclusion. This is filmmaking at its finest, not often seen by an unknown director. Keep an eye on Andrew Dominik. I think we will be hearing his name quite a bit in the future.
Anyway, you probably stopped reading a while back, as this is an extremely long rant. So I can say anything I want at this point and no one will know. I hope a lot of people read this though, and I hope to get some angry responses from equally opinionated people. Cheers.
-Ryan
