Recently in Guillermo del Toro Category
"I'm glad they took their time, and are trying to make the best zombie movie they can," said Brooks. 'I'm so glad they stayed with the project and so glad they found the right team.'" In Comic-Con news, Brad Pitt will star in Marc Forster's adaptation of World War Z, the zombie-apocalypse-by-way-of-Studs-Terkel novel by Max Brooks. Move over, True Blood and Team Edward: Between this and AMC's version of The Walking Dead, zombie apocalypses are the new sparkly vampires.
"'We are not returning Eddie Murphy's calls,' del Toro said, making a surprise appearance onstage, '...and we are not making it a comedy... We are making it scary and fun, but the scary will be scary.'" Also at Comic-Con, Guillermo del Toro announces he's rebooting The Haunted Mansion for Disney. Uh, you dropped The Hobbit for this? I would've preferred Cthulhu.
"In light of ongoing delays in the setting of a start date for filming The Hobbit, I am faced with the hardest decision of my life. After nearly two years of living, breathing and designing a world as rich as Tolkien's Middle Earth, I must, with great regret, take leave from helming these wonderful pictures."
As a result of the continuing fiasco at MGM (complicating any projects moving forward), Guillermo del Toro leaves The Hobbit. FWIW, the project is still moving forward, with Del Toro still writing the scripts with the LotR team and Peter Jackson saying he'll direct if it comes down to it.
Del Toro's leaving is unfortunate, but it sounds like the films are far enough along in pre-production already that they'll carry some of his vision and ingenuity regardless. Still, this brings us back to 2007...Sam Raimi? Alfonso Cuaron? Peter Weir? Neil Blomkamp?
"We've decided to have 'The Hobbit' span the two movies, including the White Council and the comings and goings of Gandalf to Dol Guldur," says Del Toro." Peter Jackson and Guillermo del Toro announce they've done away with the idea of a second "filler" movie (an idea I never cottoned to) after The Hobbit, instead choosing to expand Tolkien's tome over 4-5 hours. This is good news, precious. Good news indeed.
Well, now that we're in the second month of 2009, and since I'm *mostly* caught up on last year's prestige crop, it seems arguably the last, best time to write up the belated Best of 2008 Movie list. (I did see one more indy film of 2008 Sunday morning, but as it was after my arbitrarily-chosen 1/31 cutoff, it'll go in next year's list.) Compiling the reviews this year, it seems my October hunch was correct: For a combination of reasons, I went to the movies a lot less than usual in 2008. (The review count usually clocks in around 45. Last year, I only saw 30 films on the big screen.) And, looking over the release schedule, I see lots of movies I had every intention of viewing -- Appaloosa, Be Kind, Rewind, Blindness, Choke, Leatherheads -- and never got around to.
At any rate, given what I did see, here're the best of 'em. And here's hoping the 2009 list will be more comprehensive. As always, all of the reviews can be found here. (And if a movie title doesn't link to a full review, it means I caught it on DVD.)
[2000/2001/2002/2003/2004/2005/2006/2007]
1. The Dark Knight: Yes, it's the obvious fanboy pick. And, admittedly, TDK had pacing problems -- it was herky-jerky at times and the third act felt rushed. Still, in a not-particularly-good year for cinema, Christopher Nolan's operatic reimagining of the Caped Crusader and his arch-nemesis was far and away the most enjoyable experience i had at the movies in 2008. And if Candidate Obama was America's own white knight (metaphorically speaking) this past year, Heath Ledger's Joker was its mischievous, amoral, and misanthropic id. If and when the economic wheels continue to come off in 2009, will stoic selflessness or gleeful anarchy be the order of the day? The battle for Gotham continues, and everybody's nervously eyeing those detonators. Let's hope the clown doesn't get the last laugh.
2. Milk: What with a former community organizer turned "hopemonger" being elected president -- while evangelicals, conservatives and sundry Mormons inflicted Proposition 8 on the people of California -- Gus Van Sant's vibrant recounting of the tragedy of Harvey Milk was obviously the timeliest political movie of 2008. But, in a year that saw entirely too much inert Oscar-bait on-screen in its final months, Milk -- romantic, passionate, and full of conviction -- was also one of the most alive. While it extends some measure of compassion even to its erstwhile villain (Josh Brolin), Milk is a civil-rights saga that harbors no illusions about the forces of intolerance still amongst us, and how far we all still have to go.
3. The Wrestler: Have you ever seen a one-trick pony in the fields so happy and free? Me neither, to be honest, but Aronofsky's naturalistic slice-of-life about the twilight days of Randy "the Ram" Ramzinski was likely the next best thing. I don't know if Mickey Rourke will experience a career resurrection after this performance or not. But he won this match fair and square, and nobody can take it from him.
4. Let the Right One In: As if living in public housing in the dead of a Swedish winter wasn't depressing enough, now there's a nosferatu to contend with... My Bodyguard by way of Ingmar Bergman and Stephen King, this creepy and unsettling tale of a very unsparkly pre-teen vampyrer will leave bitemarks long after you step out into the light.
5. 4 Months, 3 Weeks, & 2 Days: A 2007 release that made it stateside in 2008, 4 Months, 3 Weeks, & 2 Days is a movie that I probably wouldn't ever want to watch again. Still, this grim, unrelenting journey through the seedy hotels and sordid back-alleys of Ceaucescu's Romania is another hard one to shake off. And, tho' I caught it early on, it remained one of the very best films of the year.
6. WALL-E: If you saw one movie last year about a boy(bot) from the slums meeting -- and then improbably wooing -- the girl(bot) of his dreams, I really hope it was WALL-E. Hearkening back to quality seventies sci-fi like Silent Running, Andrew Stanton's robot love story and timely eco-parable is a definite winner, and certainly another jewel in the gem-studded Pixar crown. I just wish it'd stayed in the melancholy, bittersweet key of its first hour, rather than venturing off to the hijinx-filled, interstellar fat farm. Ah well, bring on Up.
7. Iron Man: Much better than I ever anticipated, Jon Favreau's (and Robert Downey Jr.'s) Iron Man kicked a summer of superheroes off in grand fashion. In the end, I preferred the gloomy stylings of Gotham in 2008, but there's definitely something to be said for this rousing, upbeat entrant in the comic movie canon. It delivered on its own terms, and it was a much better tech-fetishizing, boys-and-their-toys type-film than, say, 2007's Transformers or (I suspect) 2009's GI Joe. Bonus points for the Dude going all Big Jeff Lebowski on us here...now quit being cheap about the sequel.
8. Man on Wire: 4:40pm: Two foreign nationals and their American abettors successfully navigate past the guard checkpoint of the World Trade Center's South Tower. Their fanatical mission: To use the WTC as a symbol to transform the world...through an act of illegal, death-defying performance art. Although it never explicitly mentions 9/11 (of course, it doesn't need to -- the towers themselves do most of the work, and reconstructing its story as a heist does the rest), the stirring documentary Man on Wire, about Phillipe Petit's 1974 tightrope-walk between the towers, gains most of its resonance from the events of that dark day in 2001.
After seventy minutes or so, just as it seems this unspoken analogy is starting to wear thin, Petit finally steps out onto that ridiculous wire, and Man on Wire takes your breath away. Nothing is permanent, the movie suggests. Not youth, not life, not love, not even those majestic, formidable towers. But some moments -- yes, the beautiful ones too -- can never be forgotten. (Note: Man on Wire is currently available as a direct download on Netflix.)
9. U2 3D: One of two 2008 films (along with #16) which seemed to suggest the future of the movie-going experience, U2 3D was both a decently rousing concert performance by Dublin's fab four, and -- more importantly -- an experimental film which played with an entirely new cinema syntax. Just as students look back on D.W. Griffith films of a century ago as the beginnings of 2D-movie expression, so too might future generations look at this lowly U2 concert and see, in its layering of unrelated images onto one field of vision, when the language of 3D really began to take off. At which point someone might also say, "Man, I wish they'd played 'So Cruel' instead of some of these tired old dogs."
10. The Visitor: I wrote about Tom McCarthy's The Visitor (which I saw on DVD) some in my Gran Torino review, and my criticism there stands: As with Torino, the central thrust of this story is too Bagger Vance-ish by half. Still, it's fun to see a likable character actor like Richard Jenkins get his due in a starring role, and he's really great here. And, if the "magical immigrant" portions of this tale defy reality to some extent, McCarthy and Jenkins' vision of a life desiccated by years of wallowing in academic purgatory -- the humdrum lectures, the recycled syllabi, the mind-numbingly banal conferences, all divorced from any real-world interaction with the issues at hand -- is frighteningly plausible.
11. Synecdoche, New York: Long on ambition and short on narrative coherence, Charlie Kaufman's directorial debut is the There Will Be Blood of last year's crop, in that it's a film that I think will inspire a phalanx of ardent defenders among movie buffs, who will argue its virtues passionately against all comers. For my own part, I admired this often-bewildering movie more than I actually enjoyed it, and ultimately found it much less engaging than Kaufman's real magnum opus, Eternal Sunshine of the Spotless Mind. Still, I'm glad I made the attempt, and it's definitely worth seeing.
12. Frost/Nixon: Two man enter, one man leave! More a sports movie than a political one, Ron Howard and Peter Morgan's Frost/Nixon is a decently entertaining depiction of two hungry down-and-outers locked in the debater's version of mortal kombat. That being said, I kinda wish the stakes had seemed higher, or that the substance of the issues at hand -- Vietnam, Cambodia, Watergate -- had been as foregrounded as the mano-a-mano mechanics of the interview. Plus, that scene where Tricky Dick sweeps the leg? That's not kosher.
13. Snow Angels: David Gordon Green's quiet, novelistic Snow Angels is an early-2008 film I caught on DVD only a few weeks ago, and it's been slowly sneaking up the list ever since. Based on a 1994 book by Stewart O'Nan, the movie depicts the intertwined lives of a small New England community, and recounts the tragic circumstances that lead to two gunshots being fired therein one winter afternoon. (If it sounds like Atom Egoyan's The Sweet Hereafter, it's very close in form, content, and melancholy impact.)
In a movie brimming over with quality performances -- including (an ever-so-slightly-implausible) Kate Beckinsale, Nicky Katt, Amy Sedaris, and the long-forgotten Griffin Dunne -- three actors stand out: Michael Angarano and Olivia Thirlby fall into one of the most honest, believable, and affectation-free high school romances I've seen in a movie in ages. And the always-watchable Sam Rockwell sneaks up on you as a perennial loser who tries to be a good guy and just keeps failing at life despite himself. At first not much more than an amiable buffoon as per his usual m.o., Rockwell's gradual surrender to his demons -- note his scenes with his daughter, or in the truck with his dog, or at the bar -- gives Snow Angels a haunting resonance that sticks with you.
14. Burn After Reading: As I said in the original review, it's not one of the all-time Coen classics or anything. But even medium-grade Coen tends to offer more delights than most films do in a given year, and the same holds true of their espionage-and-paranoia farce Burn After Reading in 2008. From John Malkovich's foul-mouthed, (barely-)functioning alcoholic to George Clooney as a (thoroughly goofy) lactose-intolerant bondage enthusiast to, of course, Brad Pitt's poor, dim-witted Chet, Burn introduced plenty of ridiculous new characters to the brothers' already-stacked rogues' gallery. This is one (unlike The Ladykillers) that I'm looking forward to seeing again.
15. Vicky Cristina Barcelona: Another catch-up DVD rental, this was Woody Allen's good movie last year (as opposed to the woeful Cassandra's Dream), and a smarter-than-average relationship film (as one might expect from the man behind Husbands and Wives and Annie Hall.) There're some definitive Allen tics here that take some getting used to in the new environment of Barcelona -- a very Woody-ish omniscient voiceover, some Allenesque quips emanating from Scarlett Johannson and the striking Rebecca Hall (late of Frost/Nixon and The Prestige), and, as per Match Point and Scoop, some rather outdated depictions of the class system. (Hall's fiance, played by Chris Messina of Six Feet Under, is basically a caricature of the boring, born-entitled Ivy League grad, circa 1965.)
Still, if you can get past all that, Vicky Cristina is quite worthwhile. (And, as far as the Oscar buzz goes, I'd say Javier Bardem makes more of an impression here than does Penelope Cruz.) Whether you're as old as Woody or as young as Vicky and Cristina, the story remains the same: love is a weird, untameable thing, and the heart wants what it wants.
16. Speed Racer: Easily the most unfairly maligned movie of 2008 (and I'm not a Wachowski apologist -- I thought Matrix: Revolutions was atrocious), Speed Racer is an amped-up, hypercolorful extravaganza of the senses, and, this side of the original Matrix, one of the more interesting attempts I've seen at bringing anime to life. Critics derided it pretty much across the board as loud, gaudy nonsense, but, then as now, I'm not sure what they went in expecting from the film adaptation of a lousy sixties cartoon involving race cars and silly monkeys. This is where some readers might ask: "Um, are you really saying Speed Racer is a better movie than Revolutionary Road?" And I'm saying, yes, it's much more successful at what it aimed to accomplish, and probably more entertaining to boot. Sure, Racer is a kid's movie, but so was WALL-E. And, given most of the drek put before the youths today, it's a darned innovative one. Plus, I've seen a lot of filmed laments about quiet-desperation-in-the-suburbs in my day, but for better or worse, in my 34 years of existence, I had never seen anything quite like this.
17. Gran Torino: Alas, Speed Racer, it seems, grew old, got ornery, and began fetishizing his car in the garage instead. Good thing there're some kindly Hmong next door to pry open that rusty heart with a crowbar! Like The Visitor, Torino suffers from an excess of sentiment when it comes to its depiction of 21st-century immigrants and their salutary impact on old white folks. But, as a cautionary coda to a lifelong career glorifying vigilantism, Eastwood's Gran Torino has that rusty heart in the right place, at least. And while Eastwood's Walt Kowalski may be a mean old cuss, Eastwood's performance here suggests that the old man's got some tricks in him yet.
18. A Christmas Tale: I wrote about this movie very recently, so my thoughts on it haven't changed all that much. A bit pretentious at times, Arnaud Desplechin's anti-sentimental holiday film has its virtues, most notably Chiara Mastroianni eerily (and probably inadvertently) channeling her father and the elfin Mathieu Almaric wreaking havoc on his long-suffering family whenever possible. It's a Not-So-Wonderful Life, I guess, but -- however aggravating your relatives 'round christmastime -- it's still probably better than the alternative.
19. Tropic Thunder: Its pleasures were fleeting -- I can't remember very many funny lines at this point -- and even somewhat scattershot. (Tom Cruise as Harvey Weinstein by way of a gigantic member was funny for the first ten minutes. Less so after half an hour.) Still, give Tropic Thunder credit. Unlike all too many comedies in recent years, it didn't try to make us better people -- it just went for the laugh, and power to it. And when the most controversial aspect of your movie turns out not to be the white guy in blackface (or, as we all euphemistically tend to put it now, "the dude disguised as another dude"), but the obvious Forrest Gump/Rain Man spoof, I guess you've done something right.
20. W: Nowhere near as potent as Stone's early political forays, JFK and Nixon, W still came close to accomplishing the impossible in 2008: making the out-going president seem a sympathetic figure. I suppose several other films could've sat with distinction in this 20-spot -- In Bruges or Benjamin Button, perhaps -- but none of them would've afforded me the opportunity to write these lovely words once more: So long, Dubya.
Honorable Mention: It wasn't a movie, of course. But 2008 was also the year we bid farewell to The Wire. Be sure to raise a glass, or tip a 40, in respect. (And let's pray that -- this year, despite all that's come before -- a "New Day" really is dawning.)
Most Disappointing: Indiana Jones and the Kingdom of the Crystal Skull
Worth a Rental: The Curious Case of Benjamin Button, In Bruges, Revolutionary Road, Valkyrie
Don't Bother: Cassandra's Dream, Cloverfield, The Chronicles of Narnia: Prince Caspian, Doubt, Hellboy II: The Golden Age, The Incredible Hulk, Quantum of Solace, Slumdog Millionaire, Wanted
Best Actor: Mickey Rourke, The Wrestler, Sean Penn, Milk, Richard Jenkins, The Visitor
Best Actress: Anamaria Marinca, 4 Months, 3 Weeks, and 2 Days, Lina Leandersson, Let the Right One In, Rebecca Hall, Vicky Cristina Barcelona
Best Supporting Actor: Heath Ledger, The Dark Knight, Josh Brolin, Milk, Jeff Bridges, Iron Man, Sam Rockwell, Snow Angels
Best Supporting Actress: Marisa Tomei, The Wrestler, Tilda Swinton, The Curious Case of Benjamin Button
Unseen: Appaloosa, Australia, The Bank Job, Be Kind, Rewind, Blindness, Body of Lies, Cadillac Records, Changeling, Choke, The Class, Defiance, Eagle Eye, The Fall, Funny Games, Hancock, Happy Go Lucky, Harold and Kumar Escape from Guantanamo, Leatherheads, I Loved You So Long, The Lucky Ones, Miracle at St. Anna, Pineapple Express, Rambo, The Reader, Redbelt, RockNRolla, The Spirit, Traitor, Waltz with Bashir
- A Good Year For:
- Billionaire Do-Gooders (The Dark Knight, Iron Man)
- Lonely Old White Guys (Gran Torino, The Visitor, The Wrestler)
- Magical Immigrants (Gran Torino, The Visitor)
- Rebecca Hall (Vicky Christina Barcelona, Frost/Nixon)
- Richard Jenkins (The Visitor, Burn after Reading)
- Robert Downey, Jr. (Iron Man, Tropic Thunder)
- Romance at the Junkyard (WALL-E, Slumdog Millionaire)
- Sam Rockwell (Choke, Frost/Nixon, Snow Angels)
- Teenage Vampirism (Let the Right One In, Twilight)
- Tosca (Quantum of Solace, Milk)
- A Bad Year For:
- GOP Ex-Presidents (Frost/Nixon, W)
- Political Do-Gooders (The Dark Knight, Milk)
- Pulp Heroes (The Spirit)
- Vigilantism without Remorse (Gran Torino, The Dark Knight)
- Would-Be Assassins (Valkyrie, Wanted)
Hrm.
"Literally, like every week, what you discover writing the two movies...it changes. So, every week there's a discovery, and anything we say this week would be contradicted next week. Certainly that would be true in casting. Why create hopes or why create expectations if down the line you're going to go, 'You know what? That was not a good idea."
While promoting the Hellboy II Blu-Ray, Guillermo del Toro gives a brief status update on The Hobbit, and, in discussing Smaug, once again sings the praises of Matthew Robbins' 1981 Dragonslayer. "The design of the Vermithrax Pejorative is perhaps one of the most perfect creature designs ever made. So, what you have to be careful is not to try to be distinctive just to be distinctive, but Smaug has certain characteristics that make him unique already." (FWIW, along with Excalibur, Clash of the Titans, Tron, and The Black Hole, Dragonslayer is one of the films in that first post-Star Wars genre boom that I count among my earliest movie theater memories. It was also featured prominently in the fan-made Hobbit teaser of several years ago. Good stuff, that.)
Update: Apparently, del Toro is still thinking on Lovecraft as well.
"'It's tangible, the misery and hopelessness and the bleakness,' Mortensen says. 'It gives you much more to work with if you're filming in that world instead of a green screen.' Well, they know where they're going, but they don't know where they've been...USA Today scores the first official still from John Hillcoat's take on The Road, with Viggo Mortensen, Kodi Smit-McPhee, Robert Duvall, Charlize Theron, Guy Pearce, Michael K. Williams, and Garret Dillahunt. I found McCarthy's book decent enough but considerably overpraised -- As with mainstream critics' overheated embrace of Pan's Labyrinth, I thought The Road was post-apocalyptic sci-fi for people who normally condescend to the genre, and thus haven't read/seen very much of it. And, more than most McCarthy, I found the style seriously grating after while: "The Man, ashen-faced, sifted through the ash-gray ash. The Child whimpered. His mouth tasted like ash."
All that being said, I really like the cast they've put together here, and, given The Proposition, John Hillcoat sounds like an intriguing choice for this. So, count me in.
Give the devil his due: I said of the underwhelming Hellboy in 2004 (which I watched again last week, and remained underwhelmed by) that hopefully, like Bryan Singer and the X-Men series, Guillermo del Toro would be able to work out the kinks in time for the sequel. Well, four years have passed, and Hellboy II: The Golden Army is now upon us. And the verdict? Well, HB-II: TGA is by almost every reckoning a brisker, more confident, and more satisfying movie than its predecessor. (I say "almost" because, with the transition from Nazis and Lovecraft to the World of Warcraft, Hellboy seems slightly out of his milieu this time.) That being said, I felt The Golden Army, while entertaining throughout, didn't quite cohere for me as a film: It plays more like a sprawling collection of fun ideas, haphazardly strung together, than a movie of a piece. Now, originality goes a long way, and I'll give del Toro bonus points for really letting his freak flag fly this time 'round. (If nothing else, HB-II occasionally seems like a test FX-reel for The Hobbit.) Still, while I was impressed by the breadth of del Toro's imagination, I can't say I ever felt absorbed by it. For whatever reason, and not for lack of trying, Hellboy II: The Golden Army left me reasonably amused and distracted for two hours, and not much else.
The films begins with a stop-motion fairy tale. As a (goofily-designed) preadolescent in 1955, Hellboy was told the tale of the Golden Army, an unstoppable goblin-forged force commanded by an elven king in his war against that teeming, grasping nuisance, humanity. But dismayed by the carnage wrought, said king ultimately decided to sign a truce with humankind -- men get the cities, elves get the forests -- much to the consternation of his son, Prince Nuada. Cut to the present day: The humans have, as WALL-E foreshadowed, plowed through the forests for their strip malls and parking lots, and thus Nuada (Luke Goss) has returned to fight the ancient war anew.
But, standing in his way, for better or worse, are the motley protectors of humankind, the BPRD (Bureau of Paranormal Research and Development). Among their number, the kindly, bookish fish-man Abraham Sapien (Doug Jones, not too far removed from Threepio), the powerful pyrokinetic Liz Sheridan (Selma Blair, all blue fire and bedroom eyes), and, of course, Big Red himself, the kitty-loving, cigar-chomping spawn of Lucifer, Hellboy (Ron Perlman, clearly having fun). But, one must ask, in a war between the freaks and the humans, why are Hellboy et al on the side of the latter, particularly when mankind seems to fear and despise their lot? Clearly, the BPRD gang have some considerations to make.
That's arguably the main thread of Hellboy II, but there's quite a bit else going on -- too much, in fact. Y'see, Hellboy very much wants to take the team public, and he and Liz are having some space issues, and Liz has a secret of her own, and Abe may have met the (elvish) girl of his dreams, and, along with last film's comic relief (Jeffrey Tambor), there's a new freak in town, an ectoplasmic German martinet named Johann Krauss (Seth McFarlane, of Family Guy). Oh, and let's not forget the Troll Market (a showy cantina-style setpiece in the middle going), a (IMHO, strained) Barry Manilow musical number, and even an encounter with the Angel of Death.
Now some might rightly argue that I'm looking the gift hellspawn in the maw here, and that one should just sit back and relish the cornucopia of imaginative riches on display. Fair enough -- There are some memorable images throughout (I particularly liked the autumn of the elemental), and this is miles more interesting than, say, The Incredible Hulk. But I still think the movie would've been more captivating had it been less episodic. Despite the many innovative ideas on display, The Golden Army -- much like Terry Gilliam's The Adventures of Baron Munchausen -- at times feels more like a notebook dump than a movie. (But as I said, if this what it takes for del Toro to clear the mental decks pre-Hobbit, I'm all for it.)
Nevertheless, if Hellboy was too little, and Hellboy II turned out to be too much, I'd still probably be up for a Hellboy 3, several years from now, on the other side of Middle Earth. Particularly if it goes back to plumbing the Cthulhian depths suggested in the original, the third film could end up being juussst riiight.
Will James McAvoy play Bilbo Baggins? That's the current rumor. "[D]irector del Toro adds, 'I can tell you it's down to a few names that we all agree upon. For our first choice, completely magically we all have the same name.'"
"Like Guillermo says, apart from extreme circumstances, we would never recast a character who appeared in the LOTR trilogy. You can read The Hobbit and pretty much see which characters play a part. The unknown facter is Film Two, which we are still developing." Over the weekend, Peter Jackson and Guillermo del Toro ventured online to discuss The Hobbit. Not much in the way of news made (other than the quote above), although it's worth reading for Del Toro's thoughts on Smaug, among other things. It does sound like they're winging this second "filler" movie, tho', which could be real trouble.
A doctrinal schism in Wellington? Peter Jackson's The Lovely Bones goes on filming hiatus while PJ and his art director clash over their respective visions of Heaven. (Somewhere, Howard Shore nods ruefully.) Earlier, the project was stalled by Ryan Gosling leaving over "creative differences" the day before shooting, to be replaced by Mark Wahlberg (a la Stuart Townsend and Viggo Mortensen.) Take note, Mr. del Toro, before you rush to embrace animatronics...
Indiana is May 6. Indiana Jones is May 22. And, while WB's cadre of lawyers try to lock down various versions of the Dark Knight trailer, the new Kramerized Indiana Jones and the Kingdom of the Crystal Skull trailer has also popped up online. I'm still of 2 minds about Indy 4. It could be a great throwback, it could be Attack of the Clones...but at least we only have to wait a few weeks to know the score. (In fact, Indy IV will close out four weeks of Fanboy May(hem), beginning tomorrow with Iron Man, followed by Speed Racer (5/9) and Prince Caspian (5/16).
Regarding much-anticipated projects further down the pike, Guillermo del Toro has been confirmed for The Hobbit, as has Ian McKellen. "'Yes, it’s true,' he said. 'I spoke to Guillermo in the very room that Peter Jackson offered me the part and he confirmed that I would be reprising the role. Obviously, it’s not a part that you turn down, I loved playing Gandalf.'" I'm obviously hugely excited for this project, but, still...that second filler movie attached to The Hobbit sounds like it could end up being a colossally bad idea.
Update: Also out today, Edward Norton wrestles with the angry, powerful alpha male inside him in the new trailer for Louis Leterrier's Incredible Hulk. Pfff...Tyler could still take him in a fight.
It's the Burning Legion vs. the forces of Tempest Keep, with the U.S. of A. caught in the middle, in the full trailer for Guillermo del Toro's Hellboy II: The Golden Army. Looks like a healthy dollop of summer fun, if nothing else.
"Encouragingly, Peter and Fran Walsh have told me they couldn't imagine The Hobbit without their original Gandalf. Their confidence hasn't yet been confirmed by the director Guillermo del Toro but I am keeping my diary free for 2009!" Grey Havens be damned, Ian McKellen reports he's likely returning as Gandalf for The Hobbit (well, if he and producer Peter Jackson have anything to say about it, and they probably will.) Update: More good news: Composer Howard Shore is back as well.
Also in movie news, the viral marketing campaign for The Dark Knight is picking up again. As you may remember, a slew of new Gotham-related sites appeared last December. Now, more have arrived, of a distinctly Harvey Dent bent: A new edition of The Gotham Times, Dana Worthington for DA (a.k.a. Harvey Dent's opposition), Maiden Avenue Report (Gotham's Drudge, it seems), Citizens for Batman, St. Swithuns Church, and Gotham Cable News are all now online, along with the Dent campaign site linked to the other day. Also, apparently the original marketing plan was always to shift from the Joker to Harvey Dent, so this rollout hasn't necessarily been affected by the loss of Ledger. (That being said, viral text messages seem to indicate the Clown Prince of Crime will pop up yet again before April Fool's Day.)
"Few filmmakers have the cachet that del Toro has, as well as a deep love for the source material, an assured grasp of fantasy filmmaking and an understanding and command of geek culture as well as its respect." In a realm blissfully removed from the political fight engaging these lands, Guillermo del Toro seemingly gets the nod for The Hobbit. That works. I might've preferred Alfonso Cuaron, or a more adventurous pick, such as Peter Weir. Still, del Toro has proven he can probably do The Hobbit justice, and he seems just as Hobbity as PJ, in his own right.
"We have company." Big Red, Selma, Pa Bluth, Abe Sapien, & co are back fighting Cthulhuian monstrosities (and what look to be Warcraft blood elves) in the new trailer for Guillermo del Toro's Hellboy II: The Golden Army. I said of the first one that del Toro deserves another chance to tell a crackling Hellboy story without being burdened with all the origin stuff. So, hopefully, this'll be more fun from the word go.
Well, there are still a number of flicks I haven't yet seen -- David Lynch's Inland Empire, for example, which I hope to hit up this weekend. But as the Oscar nods were announced today, and as the few remaining forlorn Christmas trees are finally being picked up off the sidewalk, now seems the last appropriate time to crank out my much belated end-of-2006 film list (originally put off to give me time to make up for my New Zealand sojourn.) To be honest, I might've written this list a few weeks earlier, had it not happened that I ended up seeing the best film of 2005 in mid-January of last year, thus rendering the 2005 list almost immediately obsolescent. But, we'll get to that -- As it stands, 2006 was a decent year in movies (in fact a better year in film than it was in life, the midterms notwithstanding), with a crop of memorable genre flicks and a few surprisingly worthy comebacks. And, for what it's worth, I thought the best film released in 2006 was...
1. United 93: A movie I originally had no interest in seeing, Paul Greengrass's harrowing docudrama of the fourth flight on September 11 captured the visceral shock of that dark day without once veering into exploitation or sentimentality (the latter the curse of Oliver Stone's much inferior World Trade Center.) While 9/11 films of the future might offer more perspective on the origins and politics of those horrible hours, it's hard to imagine a more gripping or humane film emerging anytime soon about the day's immediate events. A tragic triumph, United 93 is an unforgettable piece of filmmaking.
[1.] The New World (2005): A movie which seemed to divide audiences strongly, Terence Malick's The New World was, to my mind, a masterpiece. I found it transporting in ways films seldom are these days, and Jamestown a much richer canvas for Malick's unique gifts than, say, Guadalcanal. As the director's best reimagining yet of the fall of Eden, The New World marvelously captured the stark beauty and sublime strangeness of two worlds -- be they empires, enemies, or lovers -- colliding, before any middle ground can be established. For its languid images of Virginia woodlands as much as moments like Wes Studi awestruck by the rigid dominion over nature inherent in English gardens, The New World goes down as a much-overlooked cinematic marvel, and (sorry, Syriana) the best film of 2005.
2. Letters from Iwo Jima: Having thought less of Flags of our Fathers and the woeful Million Dollar Baby than most people, I was almost completely thrown by the dismal grandeur and relentless gloom of Eastwood's work here. To some extent the Unforgiven of war movies, Iwo Jima is a bleakly rendered siege film that trafficks in few of the usual tropes of the genre. (Don't worry -- I suspect we'll get those in spades in two months in 300.) Instead of glorious Alamo-style platitudes, we're left only with the sight of young men -- all avowed enemies of America, no less -- swallowed up and crushed in the maelstrom of modern combat. From Ken Watanabe's commanding performance as a captain going down with the ship to Eastwood's melancholy score, Letters works to reveal one fundamental, haunting truth: Tyrants may be toppled, nations may be liberated, and Pvt. Ryans may be saved, but even "good wars" are ultimately Hell on earth for those expected to do the fighting.
3. Children of Men: In the weeks since I first saw this film, my irritation with the last fifteen minutes or so has diminished, and Alfonso Cuaron's Children of Men has emerged for what it is -- one of the most resonant "near-future" dystopias to come down the pike in a very long while, perhaps since (the still significantly better) Brazil. Crammed with excellent performances by Clive Owen, Michael Caine, Chiwetel Ejiofor and others, Children is perhaps a loosely-connected grab bag of contemporary anxieties and afflictions (terrorism, detainment camps, pharmaceutical ads, celebrity culture). But it's assuredly an effective one, with some of the most memorable and naturalistic combat footage seen in several years to boot. I just wished they'd called that ship something else...
4. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan: True, the frighteningly talented Sasha Baron Cohen spends a lot of time in this movie shooting fish in a barrel, and I wish he'd spent a little more time eviscerating subtler flaws in the American character than just knuckle-dragging racists and fratboy sexists. Still, the journeys of Borat Sagdiyev through the Bible Buckle and beyond made for far and away the funniest movie of the year. Verry nice.
5. The Prestige: I originally had this in Children of Men's spot, as there are few films I enjoyed as much this year as Christopher Nolan's sinister sleight-of hand. But, even after bouncing Children up for degree of difficulty, that should take nothing away from The Prestige, a seamlessly made genre film about the rivalries and perils of turn-of-the-century prestidigitation. (There seems to be a back-and-forth between fans of this film and The Illusionist, which I sorta saw on a plane in December. Without sound (which, obviously, is no way to see a movie), Illusionist seemed like an implausible love story set to a tempo of anguished Paul Giamatti reaction shots. In any case, I prefer my magic shows dark and with a twist.) Throw in extended cameos by David Bowie and Andy Serkis -- both of which help to mitigate the Johansson factor -- and The Prestige was the purest cinematic treat this year for the fanboy nation. Christian Bale in particular does top-notch work here, and I'm very much looking forward to he and Nolan's run-in with Heath Ledger's Joker in The Dark Knight.
6. The Fountain: Darren Aronofsky's elegiac ode to mortality and devotion was perhaps the most unfairly maligned movie of the year. (In a perfect world, roughly half of the extravagant praise going to Guillermo del Toro's Pan's Labyrinth would have been lavished on this film.) Clearly a heartfelt and deeply personal labor of love, The Fountain -- admittedly clunky in his first half hour -- was a visually memorable tone poem that reminds us that all things -- perhaps especially the most beautiful -- are finite, so treasure them while you can.
7. The Queen: A movie I shied away from when it first came out, The Queen is a canny look at contemporary politics anchored by Helen Mirren's sterling performance as the fastidious, reserved, and ever-so-slightly downcast monarch in question. (Michael Sheen's Tony Blair is no slouch either.) In fact, The Queen is the type of movie I wish we saw more often: a small, tightly focused film about a very specific moment in recent history. Indeed, between this and United 93, 2006 proved to be a good year for smart and affecting depictions of the very recent past -- let's hope the trend continues through the rest of the oughts.
8. Inside Man: The needless Jodie Foster subplot notwithstanding, Spike Lee's Inside Man was a fun, expertly-made crime procedural, as good in its own way as the much more heavily-touted Departed. It was also, without wearing it on its sleeve, the film Crash should have been -- a savvy look at contemporary race relations that showed there are many more varied and interesting interactions between people of different ethnicities than simply "crashing" into each other. (But perhaps that's how y'all roll over in car-culture LA.) At any rate, Inside Man is a rousing New York-centric cops-and-robbers pic in the manner of Dog Day Afternoon or The Taking of the Pelham One Two Three, and it's definitely one of the more enjoyable movie experiences of the year.
9. Dave Chappelle's Block Party: Speaking of enjoyable New York-centric movie experiences, Dave Chappelle and Michel Gondry's block party last year felt like a breath of pure spring air after a long, cold, lonely winter -- time to kick off the sweaters and parkas and get to groovin' with your neighbors. With performances by some of the most innovative and inspired players in current hip-hop (Kanye, Mos Def, The Roots, The Fugees, Erykah Badu), and presided over by the impish, unsinkable Chappelle, Block Party was one of the best concert films in recent memory, and simply more fun than you can shake a stick at.
10. Casino Royale: Bond is back! Thanks to Daniel Craig's portrayal of 007 as a blunt, glitched-up human being rather than a Casanova Superspy, and a script that eschewed the UV laser pens and time-release exploding cufflinks of Bonds past for more hard-boiled and gritty fodder, Casino Royale felt straight from the pen of Ian Fleming, and newer and more exciting than any 007 movie in decades.
11. The Departed: A very good movie brimming over with quality acting (notably Damon and Di Caprio) and support work -- from Mark Wahlberg, Alec Baldwin, Vera Farmiga, Ray Winstone, and others -- Scorsese's The Departed also felt a bit too derivative of its splendid source material, Infernal Affairs, to merit the top ten. And then there's the Jack problem: An egregiously over-the-top Nicholson chews so much scenery here that it's a wonder there's any of downtown Boston left standing. But, despite these flaws, The Departed is well worth seeing, and if it finally gets Scorsese his Best Director Oscar (despite Greengrass deserving it), it won't be too much of an outrage.
[11.] Toto The Hero (1991): Also sidelined out of this top twenty on account of its release date, Jaco Von Dormael's Toto the Hero -- Terry Gilliam's choice of screening for an IFC Movie Night early in October -- is definitely one for the Netflix queue, particularly if you're a fan of Gilliam's oeuvre. It's a bizarre coming-of-age/going-of-age tale that includes thoughts of envy, murder, incest, and despair, all the while remaining somehow whimsical and fantastical at its core. (And, trust me: As with Ary Borroso's "Brazil", you'll be left humming Charles Trenet's "Boum" to yourself long after the movie is over.)
12. Tristam Shandy: A Cock and Bull Story: I guess this is where I should be writing something brief and scintillating about Michael Winterbottom's metanarrative version of Laurence Sterne's famous novel, one which gives Steve Coogan -- and the less well-known Rob Brydon -- a superlative chance to work their unique brand of comedic mojo. But I'm growing distracted and Berk has that pleading "I-want-to-go-out, are-you-done-yet" look and Kevin's still only on Number 12 of a list that, for all intent and purposes, is three weeks late and will be read by all of eight people anyway. (But don't tell him that -- In fact, I shouldn't even talk about him behind his back.) So, perhaps we'll come back to this later...it's definitely a review worth writing (again), if I could just figure out how to start.
13. Miami Vice: Michael Mann's moody reimagining of the TV show that made him famous isn't necessarily his best work, but it was one of the more unique and absorbing movies of the summer, and one that lingers in the memory long after much of the year's fluffier and more traditional films have evaporated. Dr. Johnson (and Hunter Thompson) once wrote that "He who makes a beast out of himself gets rid of the pain of being a man." I guess that's what Crockett and Tubbs are going for with the nightclubs and needle boats.
14. CSA: The Confederate States of America: I wish I were in the land of cotton...or have we been there all along? Kevin Wilmott's alternate history of a victorious Confederate America is a savvy and hilarious send-up of history documentaries and a sharp-witted, sharp-elbowed piece of satire with truths to tell about the shadow of slavery in our past. With any luck, CSA will rise again on the DVD circuit.
15. The Science of Sleep: Not as good or as universally applicable as his Eternal Sunshine (the best film of 2004), Michel Gondry's dreamlike, unabashedly romantic The Science of Sleep is still a worthy inquiry into matters of the (broken) heart. What is it about new love that is so intoxicating? And why do the significant others in our mind continue to haunt us so, even when they bear such little relation to the people they initially represented? Science doesn't answer these crucial questions (how can it?), but it does acutely diagnose the condition. When it comes to relationships, Sleep suggests, all we have to do -- sometimes all we can do, despite ourselves -- is dream.
16. Rocky Balboa: Rocky! Rocky! Rocky! I'm as surprised as anyone that Sly's sixth outing as Philadelphia's prized pugilist made the top twenty. But, as formulaic as it is, Rocky Balboa delivered the goods like a Ivan Drago right cross. Ultimately not quite as enjoyable as Bond's return to the service, Rocky Balboa still made for a commendable final round for the Italian Stallion. And, if nothing else, he went down fighting.
17. Pan's Labyrinth: A fantasy-horror flick occurring simultaneously within a Spanish Civil War film, Guillermo del Toro's Pan's Labyrinth ultimately felt to me like less than the sum of its parts. But if the plaudits it's receiving help to mainstream other genre movies in critics' eyes in the future, I'm all for it. It's an ok movie, no doubt, but if you're looking for to see one quality supernatural-historical tale of twentieth-century Spain, rent del Toro's The Devil's Backbone instead.
18. Little Miss Sunshine: Another film which I think is being way overpraised, Little Miss Sunshine is still a moderately enjoyable evening at the movies. It felt overscripted and television-ish to me, and I wish it was as way over yonder in the minor key as it pretends to be, but Sunshine is nevertheless a cute little IFC-style family film, and one that does have a pretty funny payoff at the end.
19. The Last King of Scotland: I just wrote on this one yesterday, so my impressions haven't changed much. Still, Forrest Whitaker's jovial and fearsome Idi Amin, and an almost-equally-good performance by James McAvoy as the dissolute young Scot who unwittingly becomes his minion, makes The Last King of Scotland worth seeing, if you can bear its grisly third act.
20. Thank You for Smoking: It showed flashes of promise, and it was all there on paper, in the form of Chris Buckley's book. But Smoking, alas, never really lives up to its potential. What Smoking needed was the misanthropic jolt and sense of purpose of 2005's Lord of War, a much more successful muckraking satire, to my mind. But Smoking, like its protagonist, just wants to be liked, and never truly commits to its agenda. Still, pleasant enough, if you don't consider the opportunity cost.
Most Disappointing: All the King's Men, X3: The Last Stand -- Both, unfortunately, terrible.
Worth a Rental: A Scanner Darkly, Brick, Cache, Cars, Curse of the Golden Flower, Glory Road, The History Boys, Marie Antoinette, Match Point (2005), V for Vendetta, Why We Fight
Don't Bother: Bobby, Crash (2005), The Da Vinci Code, Flags of our Fathers, The Good German, The Good Shepherd, Mission: Impossible: III, Night Watch (2004), Pirates of the Caribbean 2: Dead Men's Chest, Poseidon, Scoop, Superman Returns, The Wicker Man, World Trade Center
Best Actor: Clive Owen, Children of Men; Forrest Whitaker, The Last King of Scotland; Ken Watanabe, Letters from Iwo Jima
Best Actress: Helen Mirren, The Queen; Q'Orianka Kilcher, The New World
Best Supporting Actor: Mark Wahlberg, The Departed; Michael Caine, Children of Men/The Prestige
Best Supporting Actress: Pam Farris, Children of Men; Vera Farmiga, The Departed; Maribel Verdu, Pan's Labyrinth
Unseen: Apocalypto, Babel, Blood Diamond, Catch a Fire, Clerks II, The Descent, The Devil Wears Prada, Dreamgirls, Fast Food Nation, Hollywoodland, An Inconvenient Truth, Infamous, Inland Empire, Jackass Number Two, Jet Li's Fearless, Lassie, Little Children, Notes from a Scandal, The Notorious Betty Page, A Prairie Home Companion, The Pursuit of Happyness, Running With Scissors, Sherrybaby, Shortbus, Stranger than Fiction, Tideland, Venus, Volver, Wordplay
2007: The list isn't looking all that great, to be honest. But, perhaps we'll find some gems in here...: 300, 3:10 To Yuma, Beowulf, Black Snake Moan, The Bourne Ultimatum, FF2, The Golden Age: Elizabeth II, The Golden Compass, Grindhouse, Harry Potter and the Order of the Phoenix, Hot Fuzz, I Am Legend, Live Free or Die Hard, Ocean's Thirteen, PotC3, The Simpsons Movie, Smokin' Aces, Spiderman 3, Stardust, The Transformers, Zodiac.
Well, I'm not very happy about being on the other end of the review spectrum for this film, which was one I'd been really looking forward to. But, I must confess, I'm somewhat mystified by the almost-universally stellar reviews that have accompanied Guillermo del Toro's Pan's Labyrinth. It's not a bad movie by any means, but I found it the least accomplished of this year's crop of A-list genre films (The Prestige, Children of Men, The Fountain -- the latter in particular seems to have been unfairly maligned in comparison to this one.) Billed as a "fairy tale for grown-ups," Pan's Labyrinth is a diverting but disconnected hodgepodge of fantasy, horror, and historical fiction, held together, if at all, only by occasional reference to Del Toro's usual visual affinities, such as creepy insects, yonic symbols, punctured/torn flesh, and Doug Jones in funny suits. And as far as fantastical tales of children during the Spanish Civil War go, Del Toro has tread this ground before with the haunting Devil's Backbone, and, to be honest, I preferred that film in almost every regard.
So, here's the setup: Once upon a time -- 1944, to be exact -- there was a young girl on the verge of adolescence named Ofelia (Ivana Baquero) who was forced to accompany her sickly, pregnant mother (Ariadna Gil) into the Spanish countryside, and to live with her wicked (Fascist) stepfather (Sergi Lopez of Dirty Pretty Things, and I do mean wicked -- he beats an old man's face into bloody fragments within the first twenty minutes.) Although befriended by a kindly maid (Y Tu Mama Tambien's Maribel Verdu) -- one who may have ties to Republican remnants in the nearby mountains -- Ofelia is deeply disconsolate in her new home. That is, until a congenial fairy-mantis she encountered on her way in takes her deep into the nearby garden labyrinth, where an unnerving faun (Doug Jones) discloses that she may in fact be a long-lost princess of an underground world. To claim her birthright, Ofelia must first accomplish three fairy-tale-type tasks, all the while evading her wicked stepfather and doing what she can to protect her ailing mother. But, much to her dismay, Ofelia soon finds that her fantasy world can be just as dangerous and even deadly as her stepfather's company, particularly once the two worlds begin to collide.
But do they collide? Perhaps I missed some vital subtext, but I found Ofelia's dreamworld adventures -- other than the "Girl, you'll be a Woman soon" flourishes, like the bloody book -- to be generally remote both from her problems at home and from the Republican-Fascist feud, other than that all three narrative strands grow increasingly grisly and grotesque. And, while certain scenes definitely linger in the senses like eerie reminiscences of a fever dream, most notably the Wraith's Table, they don't really serve the larger story in any way I could fathom. (Also, why does Ofelia suddenly decide to go all Augustus Gloop in that scene anyway? Dream logic, I guess, but it seemed out of character.) Throw in a few second-act torture scenes that are more off-putting than they are resonant or even necessary, and Labyrinth starts to wear thin well before the end. In sum, Pan's a decent film that's worth seeing if you're in the mood for it, but it's by no means the genre classic it's being made out to be. Perhaps the subtitles gave it gravitas in some corners, but, to my mind, Pan's Labyrinth gets a little lost in its own maze.
Guillermo Del Toro -- director of Blade 2, Hellboy, Devil's Backbone, and Pan's Labyrinth -- announces he's working on a remake of Tarzan with Master and Commander scribe John Collee. "'I'd love to create a new version that is still a family movie, but as edgy as I can make it,' Del Toro said. 'There are strong themes of survival of a defenseless child left behind in the most hostile environment.'"
In the movie bin, Robert Rodriguez wallows in 70's B-movie kitsch in the new trailer for Death Proof, his half of Grindhouse, with Rose McGowan, Freddy Rodriguez, Michael Biehn and several others. And, more promisingly, Guillermo del Toro's Pan's Labyrinth gets another trailer, albeit one with Mr. Movie Voice.
Several items for the trailer bin:
* Diane Lane and Thomas Jane go on the lam to escape hitmen Mickey Rourke and Joseph Gordon-Leavitt in this glimpse at John Madden's Tarantino'ed-up version of Elmore Leonard's Killshot. (Johnny Knoxville and Rosario Dawson are involved in some fashion as well.)
* Chow Yun-Fat and Gong Li gear up for some trademark Zhang Yimou wire-fu (a la Hero and House of Flying Daggers) in the new teaser for Curse of the Golden Flower.
* Nicole Kidman ventures through the photographic looking-glass as Diane Arbus in Fur: An Imaginary Portrait of Diane Arbus, the new film by Secretary's Steven Shainberg, also with Robert Downey Jr. (Mirrored here.)
* Helen Mirren jumps from Elizabeth I to Elizabeth II in this look at Stephen Frears' The Queen, concerning Buckingham Palace's reaction to the death of Princess Diana. (I have zero interest in the subject matter, frankly, but I do like Mirren, Frears, and James Cromwell, and there's an iffy Tony Blair impression here by Michael Sheen, to say nothing of the guy playing Prince Charles.)
* Finally, Guillermo del Toro returns to the faerie Spain of The Devil's Backbone in this rapid-edit teaser for Pan's Labyrinth. (Being on a lousy hotel connection, I couldn't get this link to work, but I believe the same teaser is mirrored here.)
It's not the best quality -- Still, the Spanish trailer for Guillermo del Toro's fantastical Pan's Labyrinth, seemingly a companion of sorts to The Devil's Backbone, is now online.
Who do? You do. The eerie new teaser for Guillermo Del Toro's Pan's Labyrinth, a sequel of sorts to Cronos and The Devil's Backbone, is now online. (Click through the ad.)
