“The pilot is about a bunch of intersecting lives in the world of horse racing,” Milch told Daily Variety. “It’s a subject which has engaged and some might say has compelled me for 50 years. I’ve joked that if I just can make $25 million on this show, I’ll be even on research expenses.” This might be interesting — Deadwood‘s David Milch and Michael Mann are coming together for Luck, a new 1-hour pilot for HBO.
Sure, Milch’s John from Cincinnati basically went off the rails and was close to unwatchable. Still, with this, Tom McCarthy’s A Game of Thrones, and David Simon’s Treme on the docket, I might actually re-up for HBO one of these days.
Merry Christmas, everyone. As we’re at the halfway point of the big decade list — Pt. 1, Pt. 2 — now seems like a good time to uncork the usual end-of-year movie list. Think of it as a new-stuff sorbet before we move to the final fifty.
I should say before we start that there are a few movies I’ll very likely see from 2009 — most notably The Lovely Bones, A Single Man, and The Imaginarium of Dr. Parnassus — that aren’t included due to their limited release schedule — most don’t arrive around these parts until 2010. The better-than-expected Sherlock Holmes, which I saw yesterday and have not yet reviewed in full, is also not here, although I did think of slotting it in at #20 before the Victorian-era tazer and remote-controlled cyanide bomb showed up. And there are still a few other stragglers I wouldn’t mind catching at some point, most notably Invictus and The Messenger. But if any of these are really, really great, they’ll either get backdated in or show up in next year’s list, as per usual. So don’t worry — credit will get paid where due.
In the meantime, as has been the standard — and although the decade list has been working differently — we start at #1 and proceed from there. And without further ado, the…
1. In the Loop: “Tobes, I don’t want to have to read you the Riot Act, but I am going to have to read you some extracts from the Riot Act, like: Section 1, Paragraph 1: Don’t leave your boss twisting in the wind and then burst in late, smelling like a pissed seaside donkey.” Even if I hadn’t moved back to DC this year for a ringside seat to the clusterfrak, Armando Ianucci’s In the Loop would’ve been at the top of my list. I’m not normally a huge laugher at movies, but this flick had me rolling.
Basically, In the Loop is Office Space for people in politics, and it’s a smart, wickedly funny entertainment. And like Judge’s film and The Big Lebowski, I expect it will enjoy a long, happy, and very quotable renaissance on DVD. If you find The Daily Show or Colbert Report at all enjoyable, this is a must-see. And, even if you don’t, well the choice Scottish swearing should get you through.
2. Moon: While Michael Bay, McG and their ilk tried to top each other with gimongous explosions this summer, Duncan Jones’ moody, low-key Moon just aimed to blow our minds. A throwback to the seventies big-think sci-fi that has fallen out of favor in the post-Star Wars-era, Moon‘s big special effect, other than Sam Rockwell, of course, was its clever ideas. And in a year of hit-or-miss (mostly miss) blockbusters, Rockwell’s quiet two-man show turned out to be the sci-fi extravaganza of 2009.
3. A Serious Man: Oy vey. This existential disquisition into wandering dybbuks, sixties Judaica, quantum mechanics, and Old Testament justice was yet another triumph for those devilishly talented brothers from Minnesota. The Job-like travails of Larry Gopnik introduced us to several colorful, Coenesque personages (Sy Ableman, Rabbi Nachtner) and offered vignettes (the Goy’s Teeth) and quotable philosophy (“Receive with simplicity everything that happens to you“) that cinephiles will ponder for awhile to come. The Coens abide.
4. The Hurt Locker: Bombs away, and we’re not ok. Other than Modern Warfare 2 and Generation Kill, this immersive, nail-biting account of an IED team’s travails in the midst of the suck was the best pop culture simulator out there for feeling embedded in Iraq…and stuck at the wrong Baghdad street corner at just the wrong time. And with the tension ratcheting to uncomfortable levels in each of the ordnance disposal scenes, Kathryn Bigelow’s The Hurt Locker — sorry, King of the World — was the action movie of the year.
5. Coraline: In an auspicious year for both regular (see #10) and stop-motion (see #13) animation, Henry Selick’s adaptation of Neil Gaiman’s Coraline was the pick of the litter. It sorta got lost in the early-year shuffle, but Selick & Gaiman’s dark, twisted fairy tale delivered the goods, and hopefully it’ll find more life on DVD.
6. District 9: For those who find Moon a little too talky and slow, I direct you to Neil Blomkamp’s little (ok, $30 million) South African indie that could. Alien Nation meets Cry Freedom with healthy dollops of Cronenberg body horror and old-school Peter Jackson viscera-splatter, District 9 came out as more than the sum of its parts, and (with #8) was one of the most purely enjoyable films of the summer.
7. (500) Days of Summer: “This is a story of boy meets girl. The boy, Tom Hansen of Margate, New Jersey, grew up believing that he’d never truly be happy until the day he met The One. This belief stemmed from early exposure to sad British pop music and a total mis-reading of the movie ‘The Graduate’.” Speaking of said music, here’s a movie the early Elvis Costello would love. Sure, (500) Days is unabashedly for folks who’ve been on the wrong end of a break-up. But, even if it is ultimately Annie Hall-lite in a lot of ways, it had more truths to tell than most of the rom-coms out in any given year…combined.
8. Drag Me to Hell: Shaking off the Spidey 3 doldrums, Sam Raimi went back to his gross-out Evil Dead roots for this carnival concoction. Besides being easily the most explicitly anti-gypsy film since Borat, Drag Me to Hell was also, in its own way, as much of a Great Recession cautionary tale as Up in the Air. One hopes that when the Senate takes up financial services reform next year, our erstwhile reformers in that esteemed body will note what happened to Alison Lohman when she, against all better judgment, decided to do the bidding of the Banks.
9. Star Trek: There was admittedly a whole lotta stupid in J.J. Abrams’ Star Warsy revamp of the Star Trek franchise — Once exposed to the light, the movie’s basic premises completely fall apart. But, like the stomachache that accompanies eating too much candy, those regrets come later. In the moment, Star Trek was more fun than you can shake a stick at, and as solid and entertaining a franchise reboot as 2006’s Casino Royale. Let’s hope The Revenge of Khan or whatever it’s called turns out better than Quantum of Solace.
10. Up: If the movie were just the first ten-fifteen minutes, this might’ve been in the top five. But even more than WALL-E, the good stuff in Up is front-loaded. And, after the story of a lifetime ended a quarter hour in, I wasn’t much in the mood for talking dogs and big, funny birds (even birds named Kevin) anymore. Still, Pixar is Pixar, and Up carried their usual mark of quality.
11. The Damned United: Frost/Nixon for the futbol set, Tom Hooper’s ballad of Clough and Revie was a low-key character study that made up for an awkwardly-frontloaded bromance with another great performance by Michael Sheen and plenty of “Life in a Northern Town” local color to spare. You can practically smell the mud off the cleats in this one.
12. Duplicity: Perhaps I’m giving too many props to well-made breezy entertainments this year (see also Nos. 8 & 9). Nonetheless, Tony Gilroy’s Duplicity was a sleek espionage caper and a decently sexy love story that was all the more amusing because the stakes were so small. As it turns out, Clive Owen had just taken on evil corporations with a global reach a few weeks earlier in The International (a movie I caught on DVD, and which was most memorable for its Gunfight in the Guggenheim) — He’s more fun when he’s on the payroll.
13. The Fantastic Mr. Fox: If you see one clever stop-motion adaptation of a sardonic children’s novel this year…well, see Coraline. Nonetheless, The Fantastic Mr. Fox was also one of the better entrants in the 2009 line-up. It was ultimately a little too Wes Anderson saccharine for my tastes, but, of course, your mileage may vary. And at least Fox didn’t wallow in the emo like, you know.
14. Inglourious Basterds: After a decade of languishing in the shallows, Quentin Tarantino found a bit of his old magic in this sprawling alternate history of WWII. Yes, it needed a good and ruthless editor, and some rather longish scenes don’t really work at all (I’m thinking mainly of Shoshanna’s lunch with Goebbels and Linda.) But at certain times — the basement cafe snafu, for example, or the memorable finale — Basterds is the best thing QT has done since Jackie Brown. Let’s hope he stays in form.
15. Public Enemies: Michael Mann’s high-def retelling of The Last Days of Dillinger was a strange one, alright. Like Basterds, it was long and languid and sometimes seemed to move without purpose. But, like Mann’s last grainy-digital foray into tales of manly men and the women they love, Miami Vice, Public Enemies has stuck with me ever since. Say what you will about the hi-def video aesthetic, it somehow seems to match Mann’s haunted, Hemingwayesque sense of poetry.
16. The Informant!: The tragedy of The Insider retold as farce, The Informant!, like many of Steven Soderbergh’s films, was experimental in a lot of ways. Some things worked (the ADM-buttery sheen); Others didn’t (the distractingly peppy Hamlisch score); Others still were hit-or-miss (the in-head bipolar voiceover). Nonetheless, The Informant! is mostly a success, and it’s good to see Soderbergh out there trying new things — I wish I’d gotten around to catching The Girlfriend Experience. (Ahem, the movie, that is. Sheesh, some people.)
17. Bad Lieutenant: Port of Call New Orleans: I had definite doubts going in, but Werner Herzog’s Grand Theft Auto: New Orleans turned out to be a surprisingly fun gonzo trip. After years of hanging with the Kinski, good ole Werner sure knows his way around the crazy, and by pairing Nicholas Cage on a savage burn with hyperreal iguanas, voodoo breakdancers, and the like, he’s done Abel Ferrara’s Gloomy Gus version of this tale one better. There’s no Catholic angst for this Lieutenant — just reveling in sordidness…but then again, isn’t that the whole point of Carnival?
18. Watchmen: “At midnight, all the agents and the superhuman crews go and round up everyone who knows more than they do.” True, Zack Snyder’s attempt to recreate the Alan Moore graphic novel on film is flawed in a lot of ways. (The longer DVD version smooths out some of these issues while introducing others.) And I still wish the project had stayed in Paul Greengrass’ hands. But, give credit where it’s due — For all its many problems (most notably the fratboy-indulgences into “cool” violence), Snyder’s Watchmen got a lot of things right, from Dr. Manhattan sulking on Mars to Jackie Earle Haley’s turn as Rorschach. Snyder couldn’t match the degree of difficulty involved in the end, but Watchmen was still a worthy attempt.
19. The Road: In the Future, There Will Be Cannibals: John Hillcoat’s film version of Cormac McCarthy’s dabbling in the apocalyptic form definitely captured the resonances of the book. And this is a quality production through and through, with solid performances by Viggo, the kid, Charlize Theron, and all of the HBO All-Stars (with particularly big ups to Robert Duvall.) Unfortunately, I didn’t think much of the book either, and in its monochromatic grimness, The Road never seems as memorable as Hillcoat’s earlier film, The Proposition. All work and no play makes Hobo Viggo somethin’ somethin’.
20. The Men Who Stare at Goats: I’m sure a lot of lists would’ve found room for Avatar or Up in the Air in their top twenty, and both have their merits (even if Avatar‘s are almost completely technical.) But if Avatar was too flat and Air too glib, The Men Who Stare at Goats was a frothy excursion that delivered on basically the terms it promised at the onset. Ok, there’s not much there there, but sometimes a couple of likable actors having an extended goof will go farther than Big, Oscar-Worthy Messages and World-Beating Tech. Hmmm, if you think about it, the “sparkly eye” technique probably would’ve gone over better with the Na’vi than all those Aliens-loaned cargo-loaders anyway. Score one for the First Earth Battalion.
Worth a Rental: An Education, Avatar, Cold Souls, Eden (2006), Harry Potter and the Half-Blood Prince, The International, Paranormal Activity, Sherlock Holmes, A Single Man, Taken, Up in the Air, Zombieland
Best Actor: Sam Rockwell, Moon; Jeremy Renner, The Hurt Locker
Best Actress: Carey Mulligan, An Education
Best Supporting Actor: Christoph Waltz, Inglourious Basterds; Robert Duvall, The Road
Best Supporting Actress: Marion Cotillard, Public Enemies; Melanie Laurent, Inglourious Basterds
Unseen: 9, Nine, Adventureland, Angels & Demons, Amelia, Antichrist, Armored, Astro Boy, Black Dynamite, Blood: The Last Vampire, Bright Star, Brothers, Bruno, Capitalism: A Love Story, Cirque du Freak: The Vampire’s Assistant, Crank: High Voltage, Crossing Over, Everybody’s Fine, Funny People, Gentlemen Broncos, GI Joe, The Girlfriend Experience, Good Hair, The Education of Charlie Banks, The Great Buck Howard, Hunger, The Imaginarium of Doctor Parnassus, The Invention of Lying, It’s Complicated, Julie & Julia, Land of the Lost, The Limits of Control, , The Lovely Bones, I Love You Man, Me and Orson Welles, The Messenger, New York I Love You, Notorious, Observe & Report, Orphan, Pandorum, Pirate Radio, Ponyo, Precious, The Private Lives of Pippa Lee, The Proposal, Push, The Soloist, Surrogates, The Taking of Pelham1-2-3, Taking Woodstock, Thirst, The Time Traveler’s Wife, Transformers: Revenge of the Fallen, The Twilight Saga: New Moon, Two Lovers, The Ugly Truth, Whatever Works, X-Men Origins: Wolverine, Year One
2010: Alice in Wonderland, All Good Things, The American, The A-Team, The Book of Eli, Brooklyn’s Finest, Clash of the Titans, A Couple of Dicks, Daybreakers, The Expendables, Greenberg, The Green Hornet, Green Zone, Harry Potter and the Deathly Hallows Pt. 1, I Love You Phillip Morris, Inception, Iron Man 2, Jonah Hex, Kick-Ass, Knight & Day, The Last Airbender, Legion, The Losers, Percy Jackson & The Olympians: The Lightning Thief, Morning Glory, Predators, Prince of Persia: The Sands of Time, Red, Robin Hood, Salt, Season of the Witch, Shanghai, Shutter Island, The Sorcerer’s Apprentice, Toy Story 3, The Voyage of the Dawn Treader, Wall Street 2: Money Never Sleeps, The Wolf Man, Youth in Revolt, more needless ’80s remakes than you can shake a stick at. (Footloose, The Karate Kid, A Nightmare on Elm Street, Red Dawn), and…
TRON 2. 2010, y’all. It’s the future, and no mistake.
But what I found most interesting in Public Enemies were the parallels to probably my favorite Mann film, Last of the Mohicans. Both are tales of American history, of course, and both involve unbounded loners — Mann-ly men beholden to no one but themselves — who find their priorities and “no-strings” life philosophy challenged once they meet that certain special woman, be it Cora Munro (Madeleine Stowe) or Billie Frechette (Marion Cotillard). (Now that I think about it, that same dynamic holds for the DeNiro (Amy Brenneman) and Colin Farrell (Gong Li) characters, and to a lesser extent even those of Val Kilmer (Ashley Judd) and Jamie Foxx (Naomi Harris), in Heat and Miami Vice respectively.)
But, even beyond that, Public Enemies is, like Last of the Mohicans, mainly about the demise of a certain type of freewheeling individual, a man who cannot continue to exist under the tenets of the New World Order being born at that very moment. In this case, it’s not the armies of Europe, and the mores and treaties of “civilization” that they carry with them, that are ratcheting up the pressure. Rather, it’s the swiftly emerging enforcement arm of Big Guvmint, and the corresponding reaction by Organized Crime, as personified here by Capone underboss Frank Nitti, that are hemming our (anti-)hero in. (While I don’t think he ended up being that successful at it, Martin Scorsese seemed to be going for much the same idea at the close of Gangs of New York, when the arrival of the Union army from Gettysburg basically makes the gang war brewing all movie irrelevant. There’s a new boss in town, and it’s called the U.S.A.)
As such, when you think about it, Mann and Depp’s John Dillinger is not unlike Hawkeye (Daniel Day-Lewis) from Mohicans. In fact, he’s what you might call the Last of the Honest Bank Robbers. It used to be a fella in trouble with the law could just jump the state line and find respite over in, say, Ken-tuck-ee. But that’s not how it’s plays anymore, not after J. Edgar Hoover (Billy Crudup) gets through fashioning a brutally effective and fully federal law enforcement system to hunt down Dillinger and his cohort of “Public Enemies.” (Yep, in his own way Crudup is as much of a paradigm-changer here as he was in Watchmen. Instead of heralding the Atom, he’s now the harbinger of Federal Power. Either way, the new age he represents makes the old ways of doing business irrelevant.)
Just to help get this point across, Mann has Bale’s Melvin Purvis shoot gangster Pretty Boy Floyd (Channing Tatum, blink-and-you-miss-him) dead early in the first reel. Best remembered from the Woody Guthrie social protest ballad (“Some will rob you with a six-gun, and some with a fountain pen“), “Pretty Boy” Floyd is another member of the same dying breed, so of course he’s brought low by Hoover’s G-men right away in this telling. The new Federal state has no use for charismatic outlaws, even if they are rumored occasionally to dole out “a whole car load of groceries” to “the families on relief.” (Why is this telling of Mann’s purpose? Well, mainly because it’s blatantly wrong. Floyd, like fellow outlaws “Baby Face” Nelson (Stephen Graham) and Homer Van Meter (Stephen Dorff) actually all outlived Dillinger, which, frankly, are some rather large liberties to play with a supposedly true story.)
Anyway, if the last few paragraphs have seemed more unmoored and stream-of-consciousness than a lot of the reviews around here, well, so is the movie. Public Enemies is a strange bird, an alternately compelling and occasionally lumbering biopic that moves to a beat of its own. In the end, I’d definitely recommend the film, if nothing else than for its hi-def visual flair, occasional moments of real grace, and documentary recreation of the thirties. But particularly in the film’s first hour, it’s sometimes hard to get a grasp on what exactly is going on. (Our couple runs into some trouble at the track, for example, which seemingly comes out of the blue if you weren’t already familiar with the contours of Dillinger’s story.) And eminently recognizable faces — Giovanni Ribisi, Lili Taylor, David Wenham, Emilie de Ravin, Leelee Sobieski, Herc and Judge Phelan of The Wire — often flit in and out without introduction, such that it sometimes becomes hard to keep track of who’s important and who’s not.
Still, I’d almost always be challenged by a movie by being given too little information rather than have it overexplain everything. I expect some people will find Public Enemies maddening (and others maddeningly dull), but it’s undoubtedly pure, undiluted Michael Mann. And — like Billie — I’m glad I took this ride.
“All he wanted to do was go to the movies.” In the most recent trailer bin, John Dillinger (Johnny Depp) has a little too much fun as Public Enemy #1 in the second trailer for Michael Mann’s Public Enemies, also with Christian Bale, Marion Cotillard, and Billy Crudup. Siblings Adrien Brody and Mark Ruffalo ill-advisedly go for one last — complicated –heist in the trailer for Rian Johnson’s The Brothers Bloom, also with Rachel Weisz, Rinko Kikuchi, and Robbie Coltane. There’s more trouble at work (this time of the factory variety) for Michael Bluth and Office Space/King of the Hill creator Mike Judge in this first look at Extract, starring Jason Bateman, Mila Kunis, Ben Affleck, Kristen Wiig, Beth Grant, and Clifton Collins, Jr. And writer-director Robert Rodriguez continues in the Spy Kids vein in the cloying new preview for Shorts, with a gaggle of kids, Jon Cryer, James Spader, and William H. Macy.
Last but not least, seemingly content they’ve got a winner on their hands, J.J. Abrams and Paramount begin an early publicity rollout for their big summer tentpole with this collection of new clips from Star Trek. Still unsure about both SylarSpock and the general tone of this thing, but Chris Pine’s Kirk and especially Karl Urban’s Bones look like they’ll be good fun here.
A late addition to today’s trailer bin: Lawman Christian Bale tracks down the nefarious and freewheelin’ John Dillinger, nee Johnny Depp, in the new trailer for Michael Mann’s Public Enemies, also with Marion Cotillard and Billy Crudup. Looks like Mann is continuing in the hi-def verite style of Collateral and Miami Vice. (By the way, if you watch High Fidelity between now and July, be careful: Cusack spoils the ending.)
As an atmospheric and consistently engaging police procedural that’s well above the mean of this year’s tepid summer crop, Miami Vice — which I caught several days ago and haven’t had the time to write anything about — is definitely worth a look-see. The plot is wafer-thin — two tough cops go undercover with an impressive arsenal of sleek, speedy vehicles at their disposal — and at times well past implausible, but, much like the first half of Collateral, Michael Mann mostly makes up for it by layering on the captivating high-def ambience thick. If you’re a fan of Mann’s film work — Manhunter, Last of the Mohicans, The Insider, Heat, Ali, Collateral — and don’t go in expecting anything like his ’80s TV show (which I saw exactly never — when it started, I was living overseas, and I was probably too young for it anyway — in any case, this movie feels more like Mann’s short-lived Robbery Homicide Division), I think you’ll definitely find it rewarding. (Indeed, some Manniacs are raving about the film.)
The film begins without credits and in media res, with vice detectives Sonny Crockett (Colin Farrell, rocking a grotesquely bad ‘do) and Ricardo Tubbs (Jamie Foxx) in da club, dressed to the nines, and apparently looking to break up a prostitution ring. As the scene progresses, we intuit that Messrs. Crockett & Tubbs are the no-nonsense heads of a crack Miami police unit made up of Naomie Harris (of 28 Days Later and POTC 2) and the HBO All-Stars: The Wire‘s Herc (Domenick Lombardozzi), Brenda’s boyfriend Joe on Six Feet Under (Justin Theroux), and — indirectly — Deadwood‘s Sol (John Hawkes) and Blazanov (Pasha Lynchnikoff) and Rome‘s Julius Caesar (Ciaran Hinds). But before this hardy team of television thespians can capture their quarry, a frantic call from one of Crockett & Tubbs’ regular CIs (Hawkes) eventually sets the squad on a new target: Latin American drug lord Jose Yero (John Ortiz), who appears to be using nasty Aryan Brotherhood types as muscle. Soon, Miami’s dynamic duo find themselves deep undercover without a net in Yero’s organization, only to discover that he may only be a stalking horse for even Bigger Bad Arcangel de Jesus Montoya (Luis Tosar), and his beautiful majordomo Isabella (Gong Li), whom Crockett has his eye on…
That’s the setup, but as I said, it’s basically all just an excuse for Farrell and Foxx to wear nice duds, get behind the wheels of some really fancy people-movers, and seethe, flex, canoodle, and ruminate like the typical bevy of manly Mann men. To be honest, I’m more fascinated by gritty, street-level Wire-like depictions of the drug trade than I am this sort of fast-cars-and-million-dollar-tech type stuff. But for the most part, all this ends up being more entertaining than it sounds on paper, drenched as it is in a moody atmosphere of perpetual dusk and lightning flashes on the horizon (and, as in Heat Mann can do quality shootouts like no other.) Only when Farrell and Li lose their heads and fall head over heels in love does the film really slip off the rails — Basically the movie stops cold a few times so Sonny and Isabella, the latter acting particularly out of character, can get mojitos in Havana or go salsa dancing in South Beach. (Foxx’s relationship with Naomie Harris is equally formulaic, but less time is spent on it, until a third-act rescue which feels more than a bit like well-made television.) In sum, Miami Vice isn’t the type of movie that’ll knock your socks off, but it is consistently diverting throughout. And, as a worthwhile reimagining of the TV show, it earns its place among the very few recent television-to-movie remakes worth checking out.
Today’s trailers: Crockett & Tubbs reunite as Colin Farrell and Jamie Foxx respectively in the full trailer for Michael Mann’s film version of Miami Vice (This isn’t much of an improvement on the teaser, frankly.) And, Dell offers seven minutes of clips from X3: The Last Stand, of which all but 90 seconds or so (thanks to Ian McKellen, who’s clearly at home scenery-chewing his way through this badly-written drek) looks and sounds cringeworthy. From this, it seems the real problem with X3 may be less Ratner than the so-far really clunky script by Simon Kinberg & Zak Penn.