Tag Archives: drama

50/50

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Meanwhile[1], I saw another movie tonight! It’s because I’ve been kind of way behind on them, y’know? Horror is just about all that’s left to me at this point[2], though there are a couple of interesting things on the horizon. 50/50, on the other hand, was pretty much an interesting thing on the opposite horizon, only showing in a handful of local theaters by now. So it’s good that I caught up to it in time!

Especially good because of how it was, you know, good. I cannot help but draw a comparison to The Road. Just as that novel was a meditation on the end of the world, this movie was (when not being funny, which it also managed quite well, but really, can you expect less from Seth Rogen at this point?) a meditation on the end of the world writ small: really, can you see 50% odds of beating the cancer in your spine that you didn’t know you had until earlier today as anything less than the end of your world? The fundamental difference between that book and this movie is, of course, the presence of hope. There are dark moments, horrible people, and of course lame Hollywood misunderstandings about the way the world actually works, because, despite anything going on in the plot or theme, that’s how Hollywood rolls. But put all that aside, and there’s still an undercurrent of fundamental hope. I guess what I’m [still] saying is that it doesn’t matter how either story turns out; what matters is what the road was paved with.

[1] The game is still on, in extra innings now. It is really hard to think about other things, much less write them.
[2] He says, as though complaining. Ha!
[3] This review is complete, and the game is still going. I guess, if you are a historian with extremely limited access to first- and second-hand documentation, you will never know how the 2011 World Series turned out, Dammit.[4]
[4] Don’t start with me about how footnote 3 wasn’t referenced. Seriously. You can go fuck yourself.

Contagion (2011)

MV5BMTY3MDk5MDc3OV5BMl5BanBnXkFtZTcwNzAyNTg0Ng@@._V1__SX1859_SY893_I do not have a whole heck of a lot to say about Contagion, but that is mainly because it is so well-packaged that it does most of its speaking for itself. First, you take a ridiculously powerful cast (well, it’s also extremely large, so I guess the dilution might make it a merely powerful cast, but then again, through the powers of homeopathy, it may instead be the strongest cast imaginable), then you put them into a terrifying script where an unknown disease is running rampant through pretty much the whole world. But it’s not like The Stand, because instead of proceeding to tell a religious story, they tell the story of how the world might really look in such a circumstance. Sure, it wasn’t a horror movie, but it was tense and dramatic all the time. But it was also really damn scary.

Rise of the Planet of the Apes

I caught a movie last night with an outsider / coming of age theme. The young, unusually intelligent student (played by Andy Serkis) is befriended and mentored by surrogate father figure James Franco, but despite all of their efforts, the student’s outsider status reigns supreme as he is gradually shuffled through a system that understands him no better than the inhabitants of the various locations into which he is placed by it. Can he find a way to make himself understood and grab onto happiness somewhere in the world? Can Franco make the student understand his own connection, his own love, and can that connection be enough?

Oh, also they tacked on a science fiction framework around that basic storyline, based as a prequel to a classic movie with Charlton Heston that you may have heard of[1], and also some really significant special effects and a pretty cool actiony climax. So that part was alright too.

[1] Hint: it’s not “people”.

Ôdishon

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What’s that, you say? You want to see a really, really weird movie? Let me recommend Audition, in which an aging Japanese widower mocks up a TV show in order to get girls in to audition for one of the parts, when in reality they are auditioning to be his new girlfriend. And… well, the thing is, anything beyond the premise is a spoiler, including honestly the ways in which I have categorized the type of movie. But on the other hand, I’m pretty sure we both know you aren’t gonna go see this, so I am obligated to make this a conversation by elaborating. If you are in fact planning to see it, therefore, please disregard anything below this paragraph. (Oh, and my short answer is that it is worth seeing, I’m not trying to trick you over here.)

So, there are a number of open debate topics around the way the movie played out. First, there’s the widower guy. His whole plan sounds really damn creepy in a one-line sentence, no denying. And he is clearly entrenched in what is apparently Japan’s paternalistic relationship culture. But I couldn’t bring myself to look too unfavorably upon him, because despite his wealthy-version-of-a-stalker means, his heart really did seem to be in the right place. So I wonder if I’m taking that all wrong[1], and one of the points of the movie is that he did in fact deserve… well, okay, that’s too much spoiler even for me.

And then there’s our star auditioner, about whom… well, she is in fact my biggest open question. The only solid hints of her history we get seem to be from the perspective of someone else’s hallucination, so she is by and large a complete cipher to me. Does she believe herself wronged by, well, various people? Has she been extensively wronged in the recent and/or distant past? Is she simply insane? Is it a hefty combination of all of the above? Perhaps it’s okay that I don’t know, and perhaps, as per my footnote below, she plays a role instead of a character. I hope not, as it’s the same trap that her role is being used to punish, if so; just a different angle on it.

Anyway… by and large, the thought exercise presented here was better than the movie itself. Probably this is because it bucked my expectations via its near glacial pacing, and for no other reason directly related to the plotting or acting. But even if I’m objectively right, I will never call a movie that put this much contemplation into my brain anything less than good.

[1] For one thing, I started to say that there’s no counter-example in the film of someone interacting with the opposite sex on more equal footing[2], but then I remembered that his son seems to do fine. And while I will be the first to take notice of how meeting people only gets harder as time passes, there are still reasons to believe his counter-example is central to the themes of the film.
[2] Heh.

Dread

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Dread marks another powerful entry in the fourth Horrorfest. Note that I chose that word carefully, though. See, there are these college art students[1] who want to do a study on fear in peoples’ lives. What do they fear, what is their earliest memory of fear, how does it affect them? And all of this goes on camera in first-person interviews that, though wholly unrelated to reality TV, would not be at all out of place there.

And of course there are revelations among the main characters that push boundaries and change relationships in unexpected and frequently awkward and unsustainable ways, but that wouldn’t be enough to make a horror movie. It’s when someone decides to change the rules and force people to start facing and overcoming their fears that things take a turn for the ugly. And even then, it’s closer to tragedy than horror, I think? But either way: quite powerful, and quite disturbing.

[1] I’m pretty sure they were art students rather than psychology students, since one of them paints a lot of nudes (though he may technically not have been enrolled) and another was I think a film student, but maybe I imagined that? I suppose it bears pointing out that even the fact of them being involved in the college was only an excuse to have a few dorm shots and a ready supply of subjects, so the lack of clarity on this point isn’t really a big deal.

American Psycho

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I’ve started another movie night, which is cool and all, but I now face the challenge of reviewing American Psycho, it being redoubled by my failing to plan for it as I watched. (I think it would not have been easy to review if I’d planned for it in the first place, so.) The weird thing is that although I would have sworn I’d seen it before, I only remembered bits and pieces and nearly nothing related to plot and outcome. I wonder if I forget so much, or have merely fooled myself this time?

Anyhow, the Christian Bale of a decade or so ago portrays a Wall Street tycoon of another decade or so earlier who, in addition to his penchant for popular musical criticism and banal interactions with his even more banal circle of acquaintances, is, well, murderously insane. And the movie explores that insanity, mostly through the lens of his interactions with a private detective hired to find one of his missing banal acquaintances, whose fate I expect you can deduce from the rest of the premise as I’ve laid it out.

I was never able to discern that there was a particular theme I was meant to draw from the film, nor that a particular moral judgment was being pushed; or perhaps the problem was that there were too many options for these lines of inquiry. At any rate, I was left with more questions than answers at the higher levels of thought, and with a plot I do not feel right revealing any more than I already have at the lower levels. But to apologize my inability to commit to much of anything so far, I will say that the movie was a decently acted and sharply funny blood-soaked satire of ’80s excesses. You probably know if you’d dig that or not?

Battle: Los Angeles

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I went into Battle: LA only really knowing two things. 1) It was going to be an alien invasion movie, somewhere in the range between Independence Day and Skyline. 2) Michelle Rodriguez has never in the history of cinema survived to the end of a speculative fiction movie. (Well, okay, and 2a), Michelle Rodriguez is in this particular example of cinema.) I didn’t really need to know any more than that, since, y’know, if aliens invade, things will explode, and that pretty much is enough to satisfy me on the time-and-money aspects of things.

I feel obligated to say a little more than that to you, though, not least because I already know of at least one person who would have benefited from altered expectations. The main thing I didn’t know that maybe would have helped is that it’s unlike Independence Day or Skyline in important ways. Where ID4 was a nation-spanning inspirational take on the concept and Skyline was a giant, overflowing sack of crap, this one owes more of its existence to Black Hawk Down. Gritty, hard-bitten marines have been sent to rescue civilians ahead of a massive bombing run, with only the faintest idea of what they’re up against, and the situation is portrayed pretty realistically, which is to say, with a great deal of grimness and doom in the air. But also aliens, so, y’know, that is probably easier to deal with than local insurgents. At least, it was for me, the viewer.

Couple of random thoughts to close with. The first is, if such an invasion did occur, on a rapid timeline? We’d be so boned, what with our military forces scattered all over the world. I guess that’s what happens when your nation is the most powerful one around and hasn’t faced a threat on its soil in 150 years. I’m glad the movie wasn’t about that, as it would have been a lot more boring, but I couldn’t help thinking it. The second is potentially a spoiler, depending on your viewpoint. I think not, but now you’re warned. Anyway, the second one is that I did have a brief moment of chilly fear, when one of the invaders was dragging an injured fellow out of the line of fire. These aren’t Star Trek humanoids with bumpy heads to distinguish them from us, not by a long shot, and it made the fight a whole lot more real to me, very suddenly, when the bad guys — however… well, there’s a reason why the best word in my lexicon right now is “alien”, and however unprovoked their villainy — have friends and families and care about each other too.

I Am Number Four

MV5BMjI0NDI1MTMyM15BMl5BanBnXkFtZTcwMDMzMTcyNA@@._V1__SX1859_SY847_Let me say off the bat, the CGI was a little bit terrible. I’m not sure how good expensive CGI can get, either because I haven’t seen it or don’t remember, but cheap CGI[1] just can’t do mammals at all. It can do reptiles okay, but fur is just a complete show-stopper. The reason for that disclaimer, as you may otherwise have been asking, is that I Am Number Four was mostly enjoyable, contrary to what expectations I had been given. And that’s always pretty cool, right?

Plus, it had what I believe is a unique premise in the annals of Hollywood history. Well, no, that’s not true at all, but I think this particular combination of two premises is unique[4]:  prince on the run from alien assassins combined with high school angst. It sounds a lot more like a TV show, right? But I think it would have been too angsty to work on TV; the forced speed of the movie format made up for a lot of what might otherwise have been annoying digressions, and it only barely gave me a chance to think about the worst, most teenaged part of the plot. And corollary to those improvements via limited screentime, I hope it doesn’t do well enough for people to pick up the pie-sized bread crumbs of sequel bait and start running with them.[5]

I won’t say much more about the plot beyond acknowledging the premise, both halves of which are visible within ten minutes of screen time anyway, but I should say a bit about the acting. Dianna Agron from Glee (who has a broader résumé than I’d have guessed) did a nice job as the outcast shutterbug love interest, and I suspect that someday soon she might be able to get herself a role that isn’t defined by another member of a cast. And Timothy Olyphant[6], easily the best of the bunch as the aforementioned prince’s guardian, manages to maintain the amusedly-detached-with-flashes-of-intensity hyper-competence I’m used to from his characters without ever giving the impression that he’s above either the cast or the angsty half of the plot, despite that he so clearly is.

Anyway, I dug it. Except for the mammalian CGI. Just saying, that was a bad idea, way worse than the angst or a sequel would be. (Probably not worse than a TV show, though.)

[1] My premise may be wrong, and all CGI has this problem? But I’m guessing not. (Or hoping not.)
[2][3] It must be a problem with all CGI, though, since obviously Michael Bay can afford the good shit.
[3] I know what you’re thinking, and you’re wrong. Consider it an easter egg hunt.
[4] Not the practice of mashing-up, clearly.
[5] I also hope I stop with the metaphors, because, wow. I am so, so sorry.
[6] If you are not familiar with his work in Deadwood and Justified, you’re doing it wrong.

Love and Other Drugs

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The sad part of the whole story is that I really only went to see Love and Other Drugs because I’ve had a crush on Anne Hathaway since Ella Enchanted, and she was reported to be extremely hot in this film[1]. Instead of the romantic comedy I expected, I ended up watching a heartfelt, romantic struggle against the odds set against the backdrop of the late ’90s pharmaceutical boom. If it happened to be funny now and again, so is every movie and every real life situation, for that matter; this doesn’t make them comedies! Enough with the pigeonholing, Hollywood advertisers. But, anyway, where was I? Oh, right, the movie: Jake Gyllenhall plays a young rising star pharmaceutical representative, in the heady days of Prozac, Zoloft, and of course, Viagra. If you’ve ever seen one of these people out in the wild, you know they’re all sexy, driven young professionals who haves sales in their blood, and the only things that like more than money are alcohol and intercourse. So, he’s like that, and then he meets an early-onset Parkinson’s patient, Anne Hathaway, who sees right through him. They clash, and then they, um, clash, and then, you know, the romance part of the movie kicks off. And from there, all the characters worth paying attention to[2] evolve in relatable ways while telling a story that left me jealous, introspective, and a little moody, instead of riding on the high of naked Anne Hathaway. Which, seriously.

Probably, this is no more than I deserved.

[1] Well. That’s just not true. She’s extremely hot in every film, but she was reported to be naked in this one. Plus, the previews looked interesting; I mean, I have the internet if that was really my only goal.
[2] You might think I mean both of them, but I consistently enjoyed Hank Azaria and Oliver Platt, too. Good supporting cast, really!

Faster (2010)

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Remember when there used to be tons of action stars? I mean, there still are, but there are no longer tons of young action stars. Really all you’ve got is Jason Statham and The Rock.[1][2] Anyway, the next one has Jason Statham, so necessarily Faster has The Rock. And while I think he’s really quite a good actor, most of the awesomeness in this movie happened when he wasn’t speaking at all. But I’m ahead of myself. What you should ought to know is that said Rock has just been released from prison and is on a mission of revenge against the people who murdered his brother right before he went to prison. And, man, what a mission. His first victim is felled within maybe an hour of his release, which I “spoil” only to make it clear (as the previews did identically before me) that this is a movie that is not fucking around.

Everything from there forward is a race between our anti-hero, an assassin hired by one of his impending victims, and a broken down cop at the end of his career, to see which of the three missions will be completed first. The Rock really is the star of the show, and not just because the script dictates it. The first shot shows him pacing across his tiny prison cell, waiting for the moment of release, and it’s easy to believe that, like a shark in a goldfish bowl, he’s been pacing those same steps all ten years. And after release, he never really seems to stop moving, not to emote, hardly ever even to speak, and that’s what I meant earlier. The only really deep theme of the movie is that (again, like a shark) motion equals life, and any time spent away from that, the character is diminished.

It’s a spare movie with almost monomaniacal focus, but what it is doing, it does very well. It’s not that important or anything, but it’s quite good. My only real complaint is with the assassin character, and it’s a weird one. He was over-developed, which of course you want character development, right? But he’s really an outsider to the plot, and to the extent that you care about the plot, every scene that delves into his backstory is fingernail-on-chalkboard levels of out of place. As a foil to The Rock’s non-stop brutality, his careful planning and finesse would work really well. As an alternative main character, and that really is the amount of development he receives, it feels like he wandered into the wrong movie by mistake. Which is too bad, as either movie might have been decent (though I’m sure this one was the better of the two options); but both of them suffer by being crammed together like this.

[1] Vin Diesel kinda disappeared; I can only assume he is in the middle of a really excellent D&D campaign and will rejoin us by 2012.
[2] Shia LaBeouf? Seriously? I can end you, you know.