First and foremost, I'm not some political nut. I vote because I feel it is my right to have my voice heard. I have never been a big fan of George W. Bush. He's made poor decisions and was not the best person to represent the most powerful country on the planet. Needless to say, I was skeptical when I heard there was not only going to be a movie about Bush, with a release date in campaign season, but that the greatest propagandist not named Moore was behind the helm.
W. tells the the story of the last President of the USA, George Bush, as he tackles the September 11 terrorist attacks. Through brief flashbacks, we see how he developed from a booze swilling malcontent to the charismatic politician who convinced a nation he could run it.
With Oliver Stone behind the camera, one would expect Bush to be portrayed as a dumbed down version of the man. However, Josh Brolin plays Bush very accurately. Bush is as much a product of his daddy complex as his poor vocabulary. Brolin has Bush down to a T, but doesn't exaggerate or emphasis the worst characteristics. In fact, the movie is more critical of Bush government and subordinates. Thandie Newton as Condoleeza Rice was so overdone I thought Thandie's face would cramp up from all the squinting she does. In fact, Colin Powell played by Jeffrey Wright comes off as the smartest person in the film. You can tell what Oliver thought of him....
All in all, it was enjoyable look at arguably the most controversial President ever. For the most part, Stone plays it with a deft hand. One can't expect Oliver Stone to keep a hold on himself for too long however, and he loses the film for long stretches.
Wednesday, February 25, 2009
Sunday, February 22, 2009
Pineapple Express- *cough, cough* I don't get it...
The current trend of mainstream pot use has seen a subsequent rise in main stream stoner comedies. Movies that glorify the pot experience are becoming cool. That's nothing new. Movies have often been a vehicle for what is deemed main stream and provide a portrait of the generation.
Pineapple Express is one of the latest Judd Apatow productions. Since the uber-succesful 40 Year Old Virgin, he's been Hollywood's go-to guy for comedies. His right hand man, Seth Rogen, co-wrote Pineapple Express and one gets the feeling it's a personal one for him. Rogen has always been outspoken about his pot use, so you get the feeling he's put in serious work. It's too bad because honestly, it didn't work for me.
I thought it was genius to cast against type with James Franco and Rogen. The problem is that there really wasn't that much funny. I got more laughs out of the way they acted than anything they said. Rogen coughing after his first hit on the tri-joint was very funny. Franco's body language throughout the whole movie. Yet a lot just did not work. Half of the 'stoned' ad libbing was amusing, but hardly hilarious. The whole concept of spoofing action flicks is good in theory, but is too straight laced and inconsistent to be funny at times. Unless that was the idea. Then I guess all that was accomplished was a poor action flick.
If you're looking to see a great stoner comedy, I guess you could do worse but you can most definitely do better. If you're looking for an action spoof, rent Hot Fuzz. Either way, it's worth a look but I wouldn't take the relationship further.
Pineapple Express is one of the latest Judd Apatow productions. Since the uber-succesful 40 Year Old Virgin, he's been Hollywood's go-to guy for comedies. His right hand man, Seth Rogen, co-wrote Pineapple Express and one gets the feeling it's a personal one for him. Rogen has always been outspoken about his pot use, so you get the feeling he's put in serious work. It's too bad because honestly, it didn't work for me.
I thought it was genius to cast against type with James Franco and Rogen. The problem is that there really wasn't that much funny. I got more laughs out of the way they acted than anything they said. Rogen coughing after his first hit on the tri-joint was very funny. Franco's body language throughout the whole movie. Yet a lot just did not work. Half of the 'stoned' ad libbing was amusing, but hardly hilarious. The whole concept of spoofing action flicks is good in theory, but is too straight laced and inconsistent to be funny at times. Unless that was the idea. Then I guess all that was accomplished was a poor action flick.
If you're looking to see a great stoner comedy, I guess you could do worse but you can most definitely do better. If you're looking for an action spoof, rent Hot Fuzz. Either way, it's worth a look but I wouldn't take the relationship further.
Saving Private Ryan- what was sacrificed
For the records, I have only cried in a movie twice. The first time was Cinema Paradisio, which is one of the most beautiful movies ever made. The second time was Saving Private Ryan. I had the flu and the film made me think of my late grandfather who flew planes in WWII. So I wept.
I think if you cry in the same movie on more than one occasion, it's cool to count the first cry as the only cry because it was the same flick. I watched Saving Private Ryan for the first time since that last cry and I made for a good encore.
Saving Private Ryan was groundbreaking when it hit screens in 1998. It was far ahead of it's time for it's genre. The sheer scale of it was beyond any war movie seen before. Yet more importantly, it is a reminder of the things sacrificed and lost to oppress tyranny. No other film represents this better. It's brutal reality provides us with the knowledge of just what our forefathers experienced to keep our world free. The tragic consequences are on full display, back dropped by beautiful cinematography.
I feel no embarrassment for having cried watching this film. They are tears shed for the memory of someone I cared about who fought for what was right. What he fought for is why I you and I are here today.
I think if you cry in the same movie on more than one occasion, it's cool to count the first cry as the only cry because it was the same flick. I watched Saving Private Ryan for the first time since that last cry and I made for a good encore.
Saving Private Ryan was groundbreaking when it hit screens in 1998. It was far ahead of it's time for it's genre. The sheer scale of it was beyond any war movie seen before. Yet more importantly, it is a reminder of the things sacrificed and lost to oppress tyranny. No other film represents this better. It's brutal reality provides us with the knowledge of just what our forefathers experienced to keep our world free. The tragic consequences are on full display, back dropped by beautiful cinematography.
I feel no embarrassment for having cried watching this film. They are tears shed for the memory of someone I cared about who fought for what was right. What he fought for is why I you and I are here today.
Sunday, February 15, 2009
Fight Club- philosophy for the 21st century
I have watched a movie a day for the last three days, so here's a quick rundown:
Fight Club- There is a moment in David Fincher's Fight Club when a roomful of men listen intently to every word spoken by their leader, Tyler Durden. While Tyler Durden is no president or religious leader, he might as well be to them. Tyler Durden is their prophet. Fight Club has always been to me a movie of profound depth. There is much to take from it if one is so inclined to pay attention and look past the brutality. Not to mention, Bad Pitt at his charismatic finest.
Kill Bill- the epitome of style over substance. More like style takes a hatchet and hacks substance into a bloody, screaming mess. For once though, this stylistic direction does not make Quentin Tarantino come off as a conceited goof. Tragically it was a sign of things to come as Quentin spiraled madly into the oblivion of style, culminating in the horrifically intentional campiness(and squandered greatness) of Death Proof.
Panic Room- another Fincher flick. I've always liked this one. I loved how it takes place in one building and doesn't try to burst out of the seams like many films do. Not to mention Raul being one of the most cold-blooded house robbers in film.
Fight Club- There is a moment in David Fincher's Fight Club when a roomful of men listen intently to every word spoken by their leader, Tyler Durden. While Tyler Durden is no president or religious leader, he might as well be to them. Tyler Durden is their prophet. Fight Club has always been to me a movie of profound depth. There is much to take from it if one is so inclined to pay attention and look past the brutality. Not to mention, Bad Pitt at his charismatic finest.
Kill Bill- the epitome of style over substance. More like style takes a hatchet and hacks substance into a bloody, screaming mess. For once though, this stylistic direction does not make Quentin Tarantino come off as a conceited goof. Tragically it was a sign of things to come as Quentin spiraled madly into the oblivion of style, culminating in the horrifically intentional campiness(and squandered greatness) of Death Proof.
Panic Room- another Fincher flick. I've always liked this one. I loved how it takes place in one building and doesn't try to burst out of the seams like many films do. Not to mention Raul being one of the most cold-blooded house robbers in film.
Friday Night Lights- best sports flick?
Anytime the word 'best' precedes a statement, that statement is looked at under immense scrutiny. How often is anything unanimously the 'best'? Never, probably. Yet I can confidently say Friday Night Lights is the best football movie. It contends for best sports flick, as well.
Friday Night Lights is as real a sports flick there is. Most sports movies are exaggerrations of the truth. This is a story of a town built around a singular thing: football. The pressure of expectations weighs heavily on the people. For the kids playing, it's as close to life or death as there is. It is life. Every moment has built up to that final year of high school. Director Peter Berg captures this from the minute the title roll to the closing credits.
The desperation on screen is overwhelming. One scene takes place after the star player has suffered an injury, he's sitting in a car with his uncle and begins crying. It's a heartbreaking picture. The realization crashing down on a young man who has been robbed of his only talent. FNL is full of elements like this.
On top of that, the game scenes are fluid. Most sports flicks, especially football, do not capture the overall look of the games. They're choppy and feel unfinished. Friday Night Lights stays simple. Very few cuts allow shots to play out and let the viewer actually see whats going on.
For anyone who has ever suffered failure, Friday Night Lights will touch you.
Friday Night Lights is as real a sports flick there is. Most sports movies are exaggerrations of the truth. This is a story of a town built around a singular thing: football. The pressure of expectations weighs heavily on the people. For the kids playing, it's as close to life or death as there is. It is life. Every moment has built up to that final year of high school. Director Peter Berg captures this from the minute the title roll to the closing credits.
The desperation on screen is overwhelming. One scene takes place after the star player has suffered an injury, he's sitting in a car with his uncle and begins crying. It's a heartbreaking picture. The realization crashing down on a young man who has been robbed of his only talent. FNL is full of elements like this.
On top of that, the game scenes are fluid. Most sports flicks, especially football, do not capture the overall look of the games. They're choppy and feel unfinished. Friday Night Lights stays simple. Very few cuts allow shots to play out and let the viewer actually see whats going on.
For anyone who has ever suffered failure, Friday Night Lights will touch you.
Tuesday, February 10, 2009
Best Long Shots
Like a good glass of chilled milk, few things are as satisfying as a good long shot. Now don't confuse this with a shot characterized by the distance of the shot. The kind I am talking about related to the duration of the shot. This could range from a shot of five seconds to one of five hours. I can think of a few that stick out in my mind. Therefore I present in no particular order, the best long shots:
1. Children of Men- hard to believe, Children of Men has not one, not two, but three superb long shots. This movie has always stood out for me because of the complexity of each one. The first is a camera swiveling inside a car as the car is ambushed along a road, the second follows two characters as they infiltrate a containment camp, and the third moves through that same camp as has devolved into a literal war zone. While these shots are aided with the help of CGI, the overall effect is breathtaking.
2. Goodfellas- just a classic, old-school long shot. It's a masterclass of coordination and blocking, following tightly in behind the main character as he moves through a cramped kitchen out into a restaurant. Easily one of Scorsese's best shots.
3. Boogie Nights- in the same vein as that of Goodfellas. This one moves
4. Panic Room- this long shot is great because of it's complexity. Most of the features of the shot are aided with the hep of CGI, but it is still awesome. Moving through the spaces between staircase railings, going from the bottom floor of a building up to the fourth, it pretty much covers a whole building. Very complicated.
5. The Cook, The Thief, His Wife, and Her Lover- this is a tracking shot that stands out because of the set work. It covers three rooms, all vibrant colors, and out into the street as it follows the path of two of the title characters. Quite easily one of the most striking long shots. It's quite beautiful.
6. Hard Boiled- more or less the entire gunfight at the end of the movie is one shot. To say it's perhaps the most exciting of all the ones on this list is to underrate it. The two main characters are followed through the halls of a hospital as throngs of armed baddies pour into the halls. All manner of items are exploding in the gunfire, bodies litter the ground, pretty much total chaos. To think that one shot came to be because there wasn't enough money left in the budget.
7. Kill Bill- this long shot is very well done and mostly is done from a elevated camera perspective, which makes it very cool stylistically. It follows one of the baddies and her gang as they waltz into a restaurant. This shot features live music and some crafty coordination making for a tight and excellent shot.
8. The Player- right at the start of the film, this shot introduces all the major players in one go. In addition, it directly satirizes the long-take and it's pretentiousness. Which is what makes The Player awesome. The most amazing thing about this shot is the sheer amount of ground covered by the camera crew throughout the fake studio.
9. Funny Games- the only one on my list that is nothing but a still cam. The shot goes on for so long without any movement on screen, it almost makes you wonder if your DVD is messed. However, it's effect is undeniable. Let's just say if you don't watch the movie you won't understand how I still shot of nothing moving is effective.
10. Touch of Evil- Never even seen this movie, but it is widely considered one of the most difficult shots ever coordinated, considering the times and technology. Orson Welles manages to move a camera from a crane onto a steady cam on foot back onto another crane all without a take. Yikes.
In closing, long shots are amazing. Because they go on for so long without a cut, they create the illusion of continuity which makes things seem more real and unscripted. This is why they rock. The next time you're watching a flick and you suddenly think, "Holy cow, they haven't cut yet." take a moment to appreciate what you are observing.
1. Children of Men- hard to believe, Children of Men has not one, not two, but three superb long shots. This movie has always stood out for me because of the complexity of each one. The first is a camera swiveling inside a car as the car is ambushed along a road, the second follows two characters as they infiltrate a containment camp, and the third moves through that same camp as has devolved into a literal war zone. While these shots are aided with the help of CGI, the overall effect is breathtaking.
2. Goodfellas- just a classic, old-school long shot. It's a masterclass of coordination and blocking, following tightly in behind the main character as he moves through a cramped kitchen out into a restaurant. Easily one of Scorsese's best shots.
3. Boogie Nights- in the same vein as that of Goodfellas. This one moves
4. Panic Room- this long shot is great because of it's complexity. Most of the features of the shot are aided with the hep of CGI, but it is still awesome. Moving through the spaces between staircase railings, going from the bottom floor of a building up to the fourth, it pretty much covers a whole building. Very complicated.
5. The Cook, The Thief, His Wife, and Her Lover- this is a tracking shot that stands out because of the set work. It covers three rooms, all vibrant colors, and out into the street as it follows the path of two of the title characters. Quite easily one of the most striking long shots. It's quite beautiful.
6. Hard Boiled- more or less the entire gunfight at the end of the movie is one shot. To say it's perhaps the most exciting of all the ones on this list is to underrate it. The two main characters are followed through the halls of a hospital as throngs of armed baddies pour into the halls. All manner of items are exploding in the gunfire, bodies litter the ground, pretty much total chaos. To think that one shot came to be because there wasn't enough money left in the budget.
7. Kill Bill- this long shot is very well done and mostly is done from a elevated camera perspective, which makes it very cool stylistically. It follows one of the baddies and her gang as they waltz into a restaurant. This shot features live music and some crafty coordination making for a tight and excellent shot.
8. The Player- right at the start of the film, this shot introduces all the major players in one go. In addition, it directly satirizes the long-take and it's pretentiousness. Which is what makes The Player awesome. The most amazing thing about this shot is the sheer amount of ground covered by the camera crew throughout the fake studio.
9. Funny Games- the only one on my list that is nothing but a still cam. The shot goes on for so long without any movement on screen, it almost makes you wonder if your DVD is messed. However, it's effect is undeniable. Let's just say if you don't watch the movie you won't understand how I still shot of nothing moving is effective.
10. Touch of Evil- Never even seen this movie, but it is widely considered one of the most difficult shots ever coordinated, considering the times and technology. Orson Welles manages to move a camera from a crane onto a steady cam on foot back onto another crane all without a take. Yikes.
In closing, long shots are amazing. Because they go on for so long without a cut, they create the illusion of continuity which makes things seem more real and unscripted. This is why they rock. The next time you're watching a flick and you suddenly think, "Holy cow, they haven't cut yet." take a moment to appreciate what you are observing.
Sunday, February 8, 2009
Rear Window- Voyeurism masterism
Hitchcock is widely considered the master of the thriller genre. For good reason. Psycho broke new ground when it was released in 1960. The Birds made people fear the skies much the way Jaws made people fear the water. Vertigo made people wonder how far the human psyche can be pushed. Yet I have always found Rear Window to be his best.
Hitchcock always understood the divide that the camera provides the audience. He uses it as a tool, almost to amuse himself as much as anything, to make the audience uncomfortable. In film, the viewer is essentially a voyeur privy to information regarding the lives of fictional characters but with no stake in it. When that barrier is broken down, i.e. a character looking into the camera, the viewer is now theoretically involved. To put it simply; imagine you are looking through binoculars at a crowded street corner when all of a sudden one of the bystanders looks directly at you. Boom, the barrier is broke, you become mortified.
Rear Window thrives on this concept and uses it very well. No movie has made me more uneasy when a character on screen stares directly into the camera(ok, Funny Games aside). Like all Hitchcock films, Rear Window is slightly dated to the point where it's comedic at times. That's part of the charm, though. If you ever feel like spying on someone, just remember what happened to good ol' Jimmy Stewart. It'll probably change your mind.
Hitchcock always understood the divide that the camera provides the audience. He uses it as a tool, almost to amuse himself as much as anything, to make the audience uncomfortable. In film, the viewer is essentially a voyeur privy to information regarding the lives of fictional characters but with no stake in it. When that barrier is broken down, i.e. a character looking into the camera, the viewer is now theoretically involved. To put it simply; imagine you are looking through binoculars at a crowded street corner when all of a sudden one of the bystanders looks directly at you. Boom, the barrier is broke, you become mortified.
Rear Window thrives on this concept and uses it very well. No movie has made me more uneasy when a character on screen stares directly into the camera(ok, Funny Games aside). Like all Hitchcock films, Rear Window is slightly dated to the point where it's comedic at times. That's part of the charm, though. If you ever feel like spying on someone, just remember what happened to good ol' Jimmy Stewart. It'll probably change your mind.
Thursday, February 5, 2009
Oscar Snub 2.0
Did I mention that Bruce Springstein for the Wrestler was not nominated for best song? I mean, wtf? They've got two songs from Slumdog Millionaire and one from Wall-E. W.....T.....F. This category normally has like, 5 in it. What the heckism!? I am very angry at this one. Might actually be my biggest gripe.
Sunday, February 1, 2009
Eagle Eye- convulated awesomeness
I've always had a pet peeve with complicated plots. You know the whole thing where the bad guy actually set up all the events of the film leading to the shocking conclusion? I hate that stuff. The Saw movies are a prime example. The first one worked because it was simple, but the rest were so reliant on everything happening exactly the way they do for the finale to happen.
Eagle Eye, directed by the underrated D.J. Caruso, is about a young man and a single mother who become tangled in a plot orchestrated by a mysterious female who seems to know everything and be one step ahead all the time. Essentially, Eagle Eye is as convoluted a story as any out there. Yet it tries to explain this by having it's antagonist be literally an all-seeing, all-knowing entity thus 'explaining' why the conclusion is not dependant on character choices. Which is nice that for once it's not some regular schmo who has a godlike ability to predict human nature. The problem in Eagle Eye is that it builds itself up to the point that the ending is almost too unbelievable to work no matter the circumstances. You almost expect there is no way the heroes can win and (***SPOILER***) when they do it makes little sense.
Granted, I enjoyed Eagle Eye. It was a solid thriller. Shia Leboooof(or whatever) is witty and charismatic. He's one of those actors who doesn't ruin the film by being smart and quick with a line(See. Ryan Reynolds). He makes the dialogue and the character mesh. Anyways, I thought it was a cool movie. Not great. Definitely not an insult to it's genre.
Eagle Eye, directed by the underrated D.J. Caruso, is about a young man and a single mother who become tangled in a plot orchestrated by a mysterious female who seems to know everything and be one step ahead all the time. Essentially, Eagle Eye is as convoluted a story as any out there. Yet it tries to explain this by having it's antagonist be literally an all-seeing, all-knowing entity thus 'explaining' why the conclusion is not dependant on character choices. Which is nice that for once it's not some regular schmo who has a godlike ability to predict human nature. The problem in Eagle Eye is that it builds itself up to the point that the ending is almost too unbelievable to work no matter the circumstances. You almost expect there is no way the heroes can win and (***SPOILER***) when they do it makes little sense.
Granted, I enjoyed Eagle Eye. It was a solid thriller. Shia Leboooof(or whatever) is witty and charismatic. He's one of those actors who doesn't ruin the film by being smart and quick with a line(See. Ryan Reynolds). He makes the dialogue and the character mesh. Anyways, I thought it was a cool movie. Not great. Definitely not an insult to it's genre.
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