Thursday, January 31, 2008

Michael Clayton

Last year, I only managed to get my sorry ass into a movie theater a few times. Less than a dozen, I think; can’t even remember why anymore. One of those times was for Michael Clayton. I enjoyed it, I recognized its successful qualities, especially several of the performances, but it didn’t quite resonate with me as a filmgoer. It didn’t sink in. I didn’t even review it. But the more I thought about it, the more it seemed to be a very strong and moving story, well told and admirable. I even put it in my top five of the year, despite my lack of intensity regarding its impact on me at the time. Now that it’s received seven Oscar nominations and been re-released into theaters, I had an opportunity to see it once more (thanks, Jen!) with a new perspective...and the true strength of this film has finally sunk in.

I mentioned the performances; I knew they were good the first time, but now I’m simply amazed at what these actors did with their roles. Tilda Swinton completely disappears inside Karen Crowder...her insecurity, her sense of responsibility, and guilt, and inability to feel comfortable with anything she’s doing, good or bad. I hardly know what to say about Tom Wilkinson; he’s always good, and a british actor playing an american (which he does often), as well as portraying a serious chemical imbalance, is certainly going to acquire a lot of critical praise...but he’s doing so much more than that. There is such depth to his character; his performance is a great deal more than the mechanics of mental instability. Even the supporting actors without Oscar nominations - Michael O’Keefe, Merritt Wever, the young Austin Williams as Michael’s son Henry, the always wonderful Sydney Pollack...they make a strong impression, and without them the movie wouldn’t carry the weight it needs to.

And of course, there’s the man himself, George Clooney...he gets away with playing a lot of characters using his natural (and naturally overflowing) charm and charisma, like the Ocean’s Eleven series...none of that is in evidence here. I’m pretty sure he doesn’t smile once throughout the entire movie. Everything Michael Clayton is dealing with, all the trouble resting on his shoulders, is clearly evident in every expression, every movement Clooney makes. The film ends with an extraordinarily long take as he sits in the back of a moving taxi, his very soul on display; he seems to be reliving every heart-crushing moment of the story we’ve just seen play out. It’s the kind of thing you never see an actor do; merely sit there and be, in character. This is not George Clooney the heartthrob, the gotta-love-him movie star; this is Clooney the actor...and I’m truly enthralled by what he does in the role.

So what is there to say about the screenwriting, the direction? There’s a plethora of plot events and story points, but I wouldn’t call it intricate. It’s the kind of story that could easily end up convoluted and useless, but Tony Gilroy is better than that. He brings you into it, tells you everything you need to know...there are no secrets, no twists, no sudden surprises that bring everything to new light. It’s all right there, and you’re with him every step of the way. There is tension even when you’ve already seen what happens next, and I’m still trying to figure out how he did that. It’s simply a great way to tell a story, and I admire this experienced screenwriter for taking on his own script as a first-time director. That shows a lot of passion for the film, a true understanding of what he wants to get across and how to do so. It’s definitely something any filmmaker would aspire to.

I’m glad I was able to see this a second time, and in the theater, and with someone who was certain to take notice of the great performances. When seeing a good film a second time, it’s nice to share it with someone who’ll have a strong and unique perspective. That way, you know you’re not saying to yourself, "Gee, this really is good; why didn’t it sink in before?" Instead, you learn to appreciate what you knew was there but didn’t quite feel, and you have someone who can impart a more comprehensive first-time experience. It’s never as simple as just seeing a movie; not for me, anyway. If it were, I couldn’t possibly be writing this.

Go see Michael Clayton, before the Oscars! And tell me what you think!

Sunday, January 27, 2008

Great Bad Movies

So it sucks, but you love it anyway. You watch it, you enjoy it, you know how stupid it is but you don’t care. People laugh when they see the DVD in your home. All the blood rushes to your face when you defend it, because you’re acutely aware of how stupid you sound with every word, but you don’t care because you simply can’t get enough of that movie, awful though it may be. These are mine.

Cliffhanger
Occasionally I can accept an excess of spectacle at the expense of substance, as long as the spectacle is actually good, and I can absorb the minimal substance without taking it seriously, even if the characters do. Precisely the case here. Who cares about the plot, the drama, the backstory...this is a visual movie, and the images don’t disappoint. Neither does the sound; I am always entertained by one particular moment as a bad guy is blown away, with his own shotgun, as he’s being tossed off the side of a very tall mountain, and the moment of his blood spattering the clean white snow is accentuated in crisp, clear sound. Ya gotta love stupid action-movie bullshit like that.

Demolition Man
‘93 was a hell of a year for Stallone, by golly. Cliffhanger in the early summer, Demolition Man in the fall. This is by far my favorite sci-fi action movie that doesn’t take itself seriously...let the world have its 2001 Space Odysseys and Blade Runners (both of which I also like, btw); I’m certain to give more viewings over a lifetime to a movie that successfully makes fun of the very genre it perpetuates. This movie is funny, cool, and just silly enough to get away with its massive ridiculousness. Plus, Sandra Bullock kicking ass pre-superstardom, and Denis Leary verbally abusing people! Who can argue with that?

Dante’s Peak
It’s so dumb. It really is. But it’s that perfect balance of spectacle over substance that actually works, if you don’t take it seriously. Just go into it expecting to laugh at the parts played with the most melodrama, and to say "That sucks for them!" about every ten minutes...you’ll be fine. The effects are good, anyway; they still hold up.

Evolution
I don’t care what anybody says; this movie is funny. And a good thing, too; it was originally written as dramatic sci-fi action, with no jokes whatsoever. Imagine that! It would have sucked alien cytoplasm with that tone. Playing it goofy means everyone is in on the same joke - that this movie is beyond ridiculous. So just go with it, baby!

Identity
So its big mystery is easy to figure out, and that’s certainly not how SPOILER SPOILER SPOILER a multiple personality disorder works, and the actions of pretty much everyone, real or imagined, are generally quite stupid...so what, man; the actors chew up the scenery and spit it at each other. That’s fuckin’ fun to watch. Great lighting, too.

Paycheck
I suppose I could put any one of John Woo’s american films on this list, but honestly, I don’t like the rest of them quite enough to call them bad but good. They’re neither bad nor good, but moderately enjoyable; I like them all to some degree. But this one stands out because it seemed to get more lousy press, more bad word-of-mouth, more public vituperation than any of the others. Probably due to Ben Affleck. But whatever; it’s a fun movie in a long line of Philip K. Dick adaptations, many of which are less-than-brilliant. It’s a turn-off-your-brain-and-just-let-the-images-and-sound-impact-you movie. So do that, and you’re all right.

The Running Man
Where would this list be without the crap of Arnold’s "acting" career? I could have picked so many...Total Recall comes to mind, after that Philip K. Dick comment, but this is probably the worst movie of Arnold’s that’s actually any good. It’s better than Commando, but more ridiculous than...well, Total Recall. Its very stupidity is what makes it enjoyable. And that’s not an easy trick to pull off, so...ya gotta respect it.

Soldier
This movie is so full of cliches and plot holes, I don’t know what it is that kept me from rolling my eyes and wishing it were over when I first saw it, but...I didn’t. It just looks good, I guess; it’s simply a treat to focus your eyes on. If you can disconnect the logic center of your brain (which I don’t often do, but I’m capable), you might be able to appreciate the pure cinematic gut-punch that is this movie. Don’t think about it, just watch it. That pretty much goes for every movie on this list. Tell your inner film student / movie critic / cineaste to shut the fuck up, sit the fuck back, and enjoy it. If I can do it, anyone reading this can do the same.

Next time: cult classics!

Tuesday, January 15, 2008

Prozac Nation

I remember hearing about this movie while it was in production, back in 2000, and learning the next year that it would not be released...not even on DVD. Who knows why these things happen? Typically there are legal issues, as I believe was mainly the case here, but more often, the movie is hideous, and the studio cuts their losses before distribution, to avoid the embarrassment and expense of failure. Once this movie was eventually released, a couple years ago, I don’t think it was quite a failure, but it didn’t make much of a splash, either. And that’s too bad, because it’s quite solid drama, and it deserves attention.

Reportedly, Elizabeth Wurtzel hates the movie. She thinks it’s horrible. I can’t say I blame her; it’s her book, her life, her psyche being opened up and put on display...but it couldn’t possibly come across the same way as her own personal truth, which I assume is in the book. Is the movie going to be accurate in regards to her feelings, her emotional pendulum, her turmoils and triumphs? Of course not. It wouldn’t play. If she stays tied to what she feels, she’s going to hate the movie. It’s a different animal, and will do what it must to grow strong and survive. This is why I’ll probably never read the book...because the movie may not be the same as what she went through, but it reveals the truth of her experience. And that’s what I’m really interested in.

I was thoroughly amazed by Christina Ricci's performance in Black Snake Moan last year...not because I didn’t know she was that good an actress; I did. She was simply that amazing to watch. So it’s fascinating to see her with the same intensity here as Lizzie, the same immersion in her character, considering this movie was filmed more than five years earlier, when she was barely twenty years old. Every moment of pain, her constant emotional anguish, the occasional bout of elation or clarity...it comes pouring out of her, except when it needs to drip, slowly. I can always feel what the character is going through.

Now that might have something to do with my own experience, depression, insomnia, mania, awareness, self-analysis...everything the character finds herself doing throughout the story, except the drug use. Maybe that’s why I like the movie. I always understand what she’s dealing with, why she doesn’t want to deal with it, and why she does want to. People who don’t understand depression, especially the idea that those afflicted often can’t do anything about it, will get a very clear picture after seeing this film. I think that’s what Elizabeth Wurtzel may be missing in regards to the movie: it isn’t about being right, or wholly true; it’s about making the impression come off the screen. It’s about getting a viewer to understand the feeling from the inside. I believe the movie succeeds in this, and I think more people should see it.

I also think more people should consider what an anti-depressant is really for, and what it does, before opting to take one every day for years and years. The movie isn’t even about Prozac, or pharmaceuticals of any kind; it’s about a girl with emotional problems and the family and friends in her life. The movie doesn’t make any statements or take any positions on any issues. It’s a character study, and a good one. Christina Ricci is definitely the center of attention here, but takes nothing away from the performances of all the other actors, who are equally admirable. I always enjoy drama when it comes from somewhere real, which is all too rare, but it’s that much better when I find something beautiful and true. I’ve found that here, and I’m pleased to share it.

Sunday, January 6, 2008

Bad, Bad, & Worse

I am often more disappointed in lousy movies when I want to see them, when I think they might actually be good. Expectation does play a part. With the best movies, there are some I left out because they were as good (or even better) than I expected, and I was not alone in that. Ratatouille, for example. I loved it, but I thought I would, so it didn't make the list. Still a great movie.

But the bad ones, even if I expect not to like them, are often so terrible that they exceed my expectations in their badness, just as the good ones can exceed my expectations of their goodness. And that is why the bad list has a top five (or bottom five, depending on how you look at it) and a big list of runners-up. Despite my recent reviews for Haute Tension and No Country For Old Men, they didn't make this list because they're not quite bad enough. The reviews are negative, but High Tension is well-made, despite being such crap, and No Country is really quite excellent until 3/4 of the way into it, which I reiterate is not a bad story, but a bad way of telling it. Go read the review if you want to know why.

Also, I again mention the means by which I saw the movie. Keep in mind, on this list, many of those I borrowed from the library were checked out because they were there, and they were free; I would otherwise not have bothered to see it, thinking it was probably not a good movie. Same deal with some of the cable viewings. Others I'd heard good things about and was in utter shock how seriously awful the movie turned out to be. A prime example...


Babel (rented, full price)
I made an effort last year to see each of the Best Picture nominees before the Oscars, and as many of the other major nominees as well. Some, like Showgirls, I refuse to ever see, because it looks SO awful I know I can't sit through it. It amazes me how anyone can look at a performance in that movie and award it. But, that's a rant for another post. This is about Babel - A highly respected movie that I picked up at the video store on Saturday, one night before the Oscars. I couldn't believe how terrible it is. Most of the various characters do the stupidest possible thing to get into these situations, then they do even stupider things to make them worse. It was horrible. I can't remember ever seeing a movie so contrived that wasn't a dumbass low-budget horror movie one might see spoofed by MST3K or Svengoolie. And when the characters aren't doing the dumbest thing they could possibly do, they're caught up in five-minute music video-type segments, that seem to go on much, much longer, and do nothing to advance the story...what story there is, anyway. I feel sorry for the decent actors in this mess, made to look stupid by the pathetic excuse for storytelling. They deserve better.

I admit that I should have known better; remember the BMW films of a few years ago? The worst one of the eight was as equally stupid and contrived and horrible as Babel. What I didn't realize until the Oscars were all over is that Babel and this BMW film Powder Keg were written & directed by the same two guys. So I looked up the other films they've made together, now no longer surprised to discover I'd heard good things about those too, and cleared them from my must-see list. Good riddance.

Little Children (rented, full price)
I'd seen In The Bedroom about a month before the Oscars, simply because I wanted to see Todd Field's first movie before I saw his second, and the first one had been up for a few Oscars in its time, much like the second one was this past year. In The Bedroom will show up further down this list, but I will also say that it was not as bad as Little Children, which again, I wanted to see before the Oscars. I love Kate Winslet, and she was very good in her portrayal of this character's emotions...too bad the character's actions were so stupid, as were those of pretty much everyone else. There was no reason for anyone in this movie to do anything that they did, say anything that they said, or feel what they were supposedly feeling. Bad, bad writing. No motivation. Dumb, dumb, dumb. I hate when movies like this are generally respected, because they're so awful, they're just so stupid...nobody acts like that, nobody thinks like that! Suspension of disbelief is for larger-than-life stories, not introspective dramas. There's a ridiculous voice over, and a whole scene devoted to the outcome of a football game played by about ten people. Three married women see their married friend suddenly kiss a married man they just met and they run away like they're in immediate physical danger. It's all just so stupid, I can hardly believe it.

The Fountain (rented, with coupon)
No big Oscar nominations that I recall, but still highly touted. And I like Darren Aronofsky's first two movies. Why he turned out pretentious garbage his third time around, who knows? And who cares. Even if the movie made perfect sense, it's still pointless. And I'm pretty sure I get it; it's not complete nonsense. But it's just stupid...except for the music, which is really good but not nearly enough to save the story from its own stupidity.

Here's an example - the modern character, Izzi, has some kind of brain tumor that affects her nervous system in such a way that she can't feel even extreme changes in temperature. That's not the ridiculous part; that's 100% medically feasible...the ridiculous part is that Aronofsky demonstrates this character trait to us by writing a scene in which her husband comes home to find her sitting on the snow-covered roof without a coat, and her feet bare. Hello?!? She may have lost sensation in her nerve endings, but she's not totally stupid, right? She does know that snow is cold, doesn't she? What really makes this lousy writing is a follow-up scene in the tub that demonstrates the same inability to feel extremes in temperature...except this second scene is actually touching and poignant and makes its point in a very natural way. If you take out the scene with the bare feet in the snow, this tub scene works great. But he had to do it twice. A big rule of screenwriting is: never say twice what you can get across saying once. He should know better.

Brick (library)
This is one I managed to find in the library that was actually on my must-see list. I'd heard so many great things about it, nabbing it for free was quite thrilling. That was the last thrill I had in relation to the film. The story is so stupid. Nothing these kids do makes any sense. Nothing these kids SAY makes any sense; I could barely understand a word. I had to turn on the subtitles. The language, with its made-up slang and pseudo-noir tones, was absolutely clear to me once I knew what words they were actually saying. But the constant mumbling and garbled tones and fast-speak is just lousy filmmaking. And as for setting a story in a modern high school but playing it as film noir...nothing but a gimmick. And it wears off real fast. The movie has no style, no flair, no reason for being. Skip it.

Wedding Crashers (rented, with coupon)
It made a lot of money; everyone said it was funny...what a sad group of moviegoers we have when this is what they call funny. Putting people in ridiculous situations and making them act silly is not comedy. Comedy is creating interesting characters who find themselves in situations of conflict and watching what they do, in character, to resolve it or get out of it. And the two main characters in this movie are such misogynist assholes in the beginning that there really is no way to overcome it. It's too extreme, because in movies these days, extremism is substituted for actual characters and actual comedy. All of the characters are extremes of one-dimensionality. Pick a personality trait, blow it up, give it to someone. It's pathetic. Some people will laugh at anything.



I believe those are the worst five. Here are some others that truly suck.

Must Love Dogs (library)
I didn't think it'd be super good, but I hardly expected it to be truly awful. Watching this movie is like watching a dog with no legs swim upstream...it tries so hard, but it's got nothing to work with.

Happy Feet (cable)
Yes, I already bitched this movie out in a previous blog, but it's so, so horrendous, I had to mention it here. I found out after writing my review that this Oscar-winning Best Animated Feature used motion capture for the dancing. Sounds like a bullshit shortcut to me; why does that not disqualify it? Who cares, really; the movie is so boring and stupid. A friend of mine said even her three-year-old could not tolerate it. I love that kid.

Moulin Rouge (library)
So many people are so in love with this movie; how many times were they dropped on their heads as infants? It's just a mess. Why is it cut so fast even in non-active scenes? Why are they using known music & lyrics for songs and dialogue the characters are supposedly making up on the spot? That's damn close to plagiarism, not to mention just plain stupid, and not at all entertaining. Happy Feet did the same thing...not a pattern to emulate, if you ask me.

My Best Friend’s Wedding (library)
A friend of mine told me this is her favorite movie...she's still my friend, but, ouch...I have to question her sanity. People do not behave like these characters. And the plot was so utterly predictable. Not a good sign, when your characters are totally unrealistic yet their actions are completely predictable. That is not good writing. And when such talented and charismatic performers like Julia Roberts and Cameron Diaz do nothing but annoy the crap out of me...that's lousy direction. Toss this one into the fire.

American Dreamz (library)
I thought it would be stupid but entertaining...I was half right. It has a few good ideas, but the whole thing is very badly executed, and occasionally offensive. Nice going.

Bus Stop (library)
I thought this was supposed to be a classic! I can't help but love Marilyn Monroe, but the script is so awful, the characters so badly drawn, and the scenes so incredibly long...this story should never have left the stage.

In The Bedroom (coupon)
Same problems as Little Children, only not as bad. Unbelievable characters, lack of motivation, good performances. A conflict that nobody tries to resolve is not really a dramatic conflict; it's a device of the writers to keep their characters in jeopardy. Try again, please.

Catch and Release (paid)
Terrific screenwriter Susannah Grant becomes a director here, and forgets to work on the script until it's actually good. Quality performances can't save this mess.

The Black Dahlia (coupon)

Brian DePalma is one of those long-time directors who is generally considered an auteur, but only seems capable of doing half the job. He's great with camerawork and atmosphere, but is consistently unable to tell a decent story. Considering it's based on real events that remain unsolved, there's very little mystery in this predictable plot, less than half of which has anything to do with actual history. And the rest of movie, in following the lives of its fictional characters outside the pursuit of information related to the title character, is rather unfocused. A major disappointment.

Spider-Man 3 (coupon)

Sam Raimi used to be a real filmmaker, but the Spider-Man movies have half-assed screenplays, lousy acting, and over-direction. Three strikes; he's out. He should wait in the locker room with Bryan Singer until they're ready to do something good again.

My Super Ex-Girlfriend (cable)

I figured Ivan Reitman would be able to make this movie at least somewhat decent, but I was wrong. It isn't funny, or interesting to watch; not even to watch it fail. But it was expensive!

Borat (cable)
The jokes go on too long, and the bit isn't funny after the second time he acts like an ass in front of people who don't realize it's an act. The character is meant to be annoying so anyone who's in on the joke will find it funny, but it isn't funny; he's just annoying. I only laughed at the throwaway jokes, like hearing the pet bear ran away and seeing her head in the fridge. Now that's funny...because they did it in a wide shot, not a close-up. More gags like that and I'm closer to being on board.

Eragon (cable)
I knew it'd be kinda lame, but I overestimated the ability of anyone involved in its production to judge a story. I don't know how they can show themselves in public. It's so bad, it's practically a parody. If they played the Naked Gun theme over a couple action scenes, maybe it'd work better.

Miami Vice (cable)

Michael Mann is like DePalma in that he's a strong filmmaker in some areas (mood, design, research for his actors & department heads) and incredibly weak in others (geography of a scene, story development). There's no emotion here, like it's not even about anything. I gave this a chance because I like Collateral...my mistake.

Bats (Netflix)

This is one of those movies I've always wanted to see just to know how bad it is. And wow, does it suck. It's so laughable, it was totally worth it.

I expect to have less free time this year, and I'll be without HBO pretty soon, as they're going to want to charge me for it, so hopefully I'll see fewer crappy movies overall. It'd be a welcome change.