Er, ok. The Wachowskis and J. Michael Straczynski announce the cast of their new Netflix series, Sense 8, including Doona Bae of Cloud Atlas, Darryl Hannah, Naveen Andrews, Doctor Who‘s Freema Agyeman, and a bunch of relative unknowns (above).
In other notable casting news, the Wachowskis’ most recent leading man, Channing Tatum, has joined the cast of the Coens’ next, Hail Caesar — a project they’ve been circling since 2005 — along with Tilda Swinton and Ralph Fiennes. (George Clooney and Josh Brolin are also attached.)
“Tatum’s role is described as a Gene Kelly-type star while Fiennes will play Laurence Lorenz, a studio director. Swinton…will play a powerful Hollywood gossip columnist. Clooney, we’re supposing, is playing Eddie Mannix, a fixer who works for the studios in the 1950s. But it could be Brolin.” Didn’t this used to be about Shakespeare in the ’20′s?
Update: And another I missed on the first sweep: David Strathairn gamely rallies the paratroopers in the atmospheric trailer for Gareth Edwards’ Godzilla reboot, also with Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Juliette Binoche, Sally Hawkins and Ken Watanabe. I prefer the leaked one with the Oppenheimer voiceover (“I am become Death, Destroyer of Worlds,” bringing the thunder lizard back to its Hiroshima roots), but I can see how that might’ve been too edgy for a summer blockbuster.
Update 2: Tom Cruise cosplays Starcraft, and gets some mechanized infantry pro-tips from Emily Blunt, in the first trailer for Doug Liman’s The Edge of Tomorrow, a badly-named adaptation of Hiroshi Sakurazaka’s All You Need is Kill. Eh, maybe.
Update 3: Matthew McConaughey and Christopher Nolan celebrate the dream of flight in a brief and relatively vague teaser for Interstellar, also with Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, Michael Caine, Matt Damon, Casey Affleck, Topher Grace, John Lithgow, David Gyasi, Wes Bentley, and David Oyelowo. As it says, one year from now.
Update 4: Speaking of gamely rallying folks, Gary Oldman tries to get San Francisco’s few remaining humans to chin up against those damn dirty apes in the first teaser for Matt Reeves’ Dawn of the Planet of the Apes, also with Jason Clarke, Keri Russell, Judy Greer, and, of course, Andy Serkis. The first one was surprisingly ok, and this can’t be worse than Oldman’s last dystopian epic, The Book of Eli, so I’ll likely matinee it.
Update 5: A few more come down the pike for the holiday film season: First up, computer genius Johnny Depp goes the way of the The Lawnmower Man in this short teaser for Wally Pfister’s Transcendence, also with Rebecca Hall, Paul Bettany, Morgan Freeman, Kate Mara, Cillian Murphy, Clifton Collins Jr., and Cole Hauser. The Matrix-style binary is a bit of a cliché at this point, but Pfister has done memorable work as Nolan’s cinematographer, so I’m optimistic.
And, following up on the first trailer of a few months ago, Wes Anderson introduces us to the cast of characters of The Grand Budapest Hotel, among them Ralph Fiennes, F. Murray Abraham, Mathieu Almaric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Saiorse Ronan, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson, and Tony Revolori.
Whatever its other faults, 2012 was actually a pretty solid year at the cineplex. In terms of great movies, the crop wasn’t as rich as, say, 1999. (To name just a few from that year: Being John Malkovich, Fight Club, The Matrix, Three Kings, The Iron Giant, Election) But, in general terms, I thought most of the movies that came out this past year avoided obvious pitfalls and delivered at or better than the level they promised.
For example, almost all of the year’s superhero movies were surprisingly good — no real Green Lantern-y whiffs this year. Most of 2012′s unnecessary sequels and even-more-unnecessary remakes — MIB III and Amazing Spiderman, say — turned out better than expected. Horror moved out of the serial killer/torture pr0n ghetto in both conventional (The Women in Black) and unconventional (Cabin in the Woods) ways. Lowbrow, could-be-terrible comedies like 21 Jump Street and Ted actually had some solid laughs to them. And even the intentional B-movies — like Dredd, Lockout, or Abraham Lincoln: Vampire Hunter — all had their moments, even if I can’t recommend some of those in their entirety.
In any case, now that the last few 2012 films have hit DC theaters, and my dissertoral defense obligations are now behind me, it’s at last time for the usual end-of-year list ’round here. Since I didn’t do any individual reviews this past year — I still haven’t decided if those will return for 2013 — I’ve upped the 2012 list to 25 movies, and, at the end, added a few thoughts on some of the others that crossed my field of vision over the past twelve months. Without further ado…
1. The Dark Knight Rises: “Theatricality and deception, powerful agents for the uninitiated. But we are initiated, aren’t we, Bruce?” I know Christopher Nolan’s TDKR wasn’t as well-received in many circles as The Dark Knight, and for understandable reasons — the Joker will always be Bat’s #1 nemesis. Still, I loved this closing chapter of Nolan’s trilogy — its audacious scope, its Occupy Gotham meets the French Revolution ambience, its tight connections back to Batman Begins, its menacing yet loopy villain, its repudiation of the ends-justify-the-means arguments of TDK. (So much for the contention in that earlier film that “sometimes the truth isn’t good enough…Sometimes people deserve to have their faith rewarded.” That dubious line of thinking backfires for Alfred, Commissioner Gordon, Wayne, and everyone else who partook of it in the last film.)
I don’t know how The Dark Knight Rises plays to the uninitiated, since, like most fans, I went in presuming that (a) Bane would break the Bat and (b) Talia al Ghul was involved in some capacity. And admittedly there are some problems here, as in all of Nolan’s Batman movies. As soon as Alfred starts going on about French cafes in the first reel, it’s pretty clear where the film will end up eventually. (And that closing doesn’t make sense anyway, since billionaire Bruce Wayne is likely recognizable all around the world, certain Chinese prisons notwithstanding.) And speaking of prisons, how, exactly, did barefooted Bruce get back from somewhere in the Middle East into a Gotham City on lockdown?
All that being said, there was a lot to like here. I enjoyed the intricate plotting of TDKR, and how some of its central points hearkened back to lessons learned in the previous films. (For example, Bruce’s concern, in light of Joker-style escalation, about the fusion reactor becoming a weapon.) I liked how Anne Hathaway was introduced as a prototypical Anne Hathaway character — the Nervous-Nellie maid — before revealing her decidedly-unHathawayesque Selina Kyle. I was consistently entertained by Tom Hardy’s sing-songy Bane voice, including goofy flourishes like his admiring the pre-game rendition of the Star-Spangled Banner. (“He has a beautiful voice!” If only Bane had subsequently gotten a chance to freestyle.) And I thought there were moments of real poetry, such as when, to suggest the passage of time while Bruce’s back healed, a Bane-commandeered Batmobile prototype rolls along a snowy Gotham side street.
One common complaint I heard about TDKR is that it’s a Batman movie without Batman — that the Caped Crusader completely disappears in the second act of the film. I don’t get it, and my theory is people who hold this view have never, personally, been broken. Granted, we all expect that Bruce Wayne will get his back fixed and get back in the game. Still, even if it’s weirdly the most mutually supportive prison on Earth (which makes more sense once you realize Bruce throws down a rope once he got to the top), I like the Lazarus Pit detour, and the ultimate payoff of seeing Bruce/Bats back in action in Act III. Fall down, get back up. Get your back broken, have Tom Conti punch that vertebrae back in. Get the s**t kicked out of you, get rid of that rope and rise.
2. The Hobbit: An Unexpected Journey: “Saruman believes it is only great power that can hold evil in check, but that is not what I have found. I found it is the small everyday deeds of ordinary folk that keep the darkness at bay…small acts of kindness and love. Why Bilbo Baggins? Perhaps it’s because I am afraid and he gives me courage.”
I can see why some folks didn’t cotton to TDKR, but I really can’t get my head around all the Haterade that’s surrounded Peter Jackson’s excellent and entertaining first installment of The Hobbit. This was a great movie! And it was easily as faithful to Tolkien’s book in both tone and story as the latter two Rings films. (For people complaining about the inclusions of Radaghast the Brown, Dol Guldur, and the White Council, I submit to you Osgiliath and Far-from-the-Bookamir. Pale Orc, meet Lurtz.)
Particularly bewildering to me is all the whining about 48 FPS. I thought An Unexpected Journey looked amazing. Granted, I spent a childhood watching Doctor Who, Blake’s 7, and the like, and so I’m used to suspending my disbelief while watching images that seem video-immediate. But still. All the kvetching about the new standard was, in my opinion, totally over the top. (In terms of snapping my abilty to engage with a universe on screen, I had more issues with the operetta-ness of Les Mis. Er…are they really going to sing every single line of this movie? Russell Crowe too?)
As for all the complaints about the pacing, admittedly this first chapter was languidly told — Three and a half hours and we only got to Out of the Frying Pan, Into the Fire. But, y’know, I like spending time in Middle Earth — If the dwarves want to sing again, have at it, good fellows. (Just don’t go all operetta on us.) And given that, for example, GRRM’s Song of Ice and Fire books are getting ten hour adaptations each, or Treme or Boardwalk Empire are enjoyable 35-hour stories where, often, not much happens plotwise, I had no problem at all with the expanded length — particularly as the additions were straight from Tolkien’s notes and not, say, 40 minutes of dwarf-tossing jokes. Let’s hope that holds through the third film, which is the one I’m really worried about.
In any event, I thought An Unexpected Journey was a great adaptation of the first third of The Hobbit, and that it threaded the needle quite well between feeling like it took place in the same world as the LotR trilogy and bringing a more lighthearted and jovial tone to Middle Earth, in keeping with the children’s book nature of The Hobbit. Bring on the incident with the Dragon.
3. Beasts of the Southern Wild: “I hope you die and when you die, I’ll go to your grave and eat birthday cake all by myself!” I tend to consider myself a cynical and curmudgeonly fellow, so I was quite surprised that Beasts of the Southern Wild — a film I expected to find aggravatingly twee — kinda knocked me sideways. I’m not even sure if the movie would hold up to a second viewing — When I reflect on it now, those scenes in Beast that don’t feel like scraps of dream seem like they probably shouldn’t have worked.
But, at least that first time around on the big screen, this fairy tale of a young girl living on the wrong side of the Louisiana levees (a.k.a. “the Bathtub”) had a strange sort of magic to it. I particularly liked the End Times conflation of Katrina and global warming, and vibed with the film completely around the time Hushpuppy feared that the melting ice sheet would inadvertently unleash the four boar-monsters of the apocalypse. Pretty soon, we’ll all live in the Bathtub.
4. The Avengers: “Shakespeare in The Park? Doth mother know you weareth her drapes?” In the 2011 list, I voiced my sneaking suspicion at #14 that Joss Whedon’s The Avengers wasn’t going to work. Consider that crow eaten. Even despite a bland opening sequence and a third act alien invasion that felt weightless, this was a surprisingly fun time at the movies, and perhaps the best popcorn film of the summer.
In particular, I liked that this was never a particularly “dark” movie. The Avengers aren’t tortured souls like Batman or even the X-Men, and Whedon, a former X-Men writer, didn’t portray them as such. Instead he was able to capture the voice of each of Earth’s Mightiest Heroes — Cap the boy scout, Thor the thunder god, etc. — throw them in a hovering aircraft carrier together, and let shenanigans and shawarma ensue.
True, Hawkeye in particular got short shrift, Scarlett Johansson was still woefully miscast as the Widow (Olga Kurylenko anyone?), and Cobie Smulders, a.k.a. your Aunt Robin, just isn’t much of a film actress. (Exhibit A: this alternate opening.) Still, I liked the balance Whedon came up with here, where Robert Downey’s Iron Man was given the dramatic arc befitting his star wattage, but Chris Evans’ Captain America still ended up leading the team. And, arguably for the first time on film, Whedon got the Hulk exactly right.
5. Looper: “I’m from The Future. You should go to China.” Speaking of Marvel comics, Looper [moderate spoilers] may just be the best Franklin Richards movie we see in awhile. In any case, I wasn’t much for either Brick or especially The Brothers Bloom, but I thought Rian Johnson’s third film was a smart, well-crafted science fiction story that was very worthwhile.
As in most time travel tales outside of 12 Monkeys, Looper‘s final few scenes don’t make any sense. (Spoiler: JGL’s decision at the end would seemingly have to result in everything Bruce Willis did being rolled back — Thus, none of that carnage at Jeff Daniels’ compound or along the road would ever have happened, and there would be no money lying around, etc. etc.)
But until then, Looper is a satisfying and stylish mishmash of time travel, telekinesis, and the Chandler and Hammett-isms (by way of Miller’s Crossing) that inspired Johnson’s Brick. It also included the creepiest time travel outcome I’ve seen since people were ‘porting into walls in The Philadelphia Experiment. (That would be the grim fate of Paul Dano’s future-self.)
6. Lincoln: “I wish He had chosen an instrument more wieldy than the House of Representatives.” I’ve already noted my problems with the history here: It’s rather ridiculous to argue that the lesson of the Civil War is that compromise is awesome, or that the constitutional amendments that emerged from it are a product of such. Quite the contrary, really. Spielberg and Kushner also vastly overstate the danger that the Thirteenth Amendment would not pass here, and Kushner, given the comments cited in that earlier post, unfortunately doesn’t seem to understand Reconstruction at all.
That being said, Daniel Day-Lewis’s eerie evocation of our sixteenth president is the performance of the year, and I remain impressed that this film, while a touch too Spielberg-y in its opening and closing moments, nonetheless forewent the traditional biopic route and embraced a narrowcast, nineteenth-century CSPAN aesthetic instead.
7. Oslo, August 31st: “Look at my life. I’m 34 years old. I’ve got nothing. I don’t want to start from scratch.” A movie that made it here via Netflix, Oslo, August 31st is a well-observed day in the life of a recovering heroin addict (Anders Danielsen Lie), as he returns to his old haunts and tries to make peace with the shambles he feels he’s made of his existence.
Looking desperately for a way to reconnect to the world at large, or at least to transcend his current despair, Anders has a series of conversations with former friends and enemies, during which he discovers that even those who didn’t miss the train of life going by are, by and large, just going through the motions. Everything here feels uncomfortably true, from Anders’ visit to see a former partner in crime, now a married academic, to his self-defeating job interview, to his plaintive calls to the woman who disappeared, to his falling back into old habits. A quietly devastating film.
8. Moonrise Kingdom: “I love you, but you don’t know what you’re talking about.” True, this Wes Anderson film could not be any more Wes Anderson-y — I’m looking at you, Bob Balaban the omniscient narrator — so if that’s a problem for you, I wouldn’t expect Moonrise to change your opinion of the man’s work.
As with the less-successful Life Aquatic and Darjeeling Limited, Anderson is ensconced in his usual sandbox. Nonetheless, this story of two tweenagers enjoying a summer love, and the problems this causes for all the conflicted and compromised adults around them, ranks up there with Rushmore, The Royal Tenenbaums (#46), and The Fantastic Mr. Fox among Anderson’s best. It’s also a beautifully shot film, redolent of the sun-drenched afternoons of years gone by.
9. Cabin in the Woods: “Cleanse them. Cleanse the world of their ignorance and sin. Bathe them in the crimson of – Am I on speakerphone?” When it comes to Joss Whedon, I’m not at all what you’d call a browncoat. I liked Firefly and Serenity alright, but much prefer Farscape when it comes to Blake’s 7 knockoffs, and neither Buffy nor Angel spoke to me like it speaks to many. (The West Wing is another show I never understood all the love for, but I digress.)
At any rate, consider me as surprised as anyone that both of Whedon’s 2012 films ended up in this year’s top ten. Sure, this outside-the-box take on teen slasher tropes is a gimmick movie, and one that’s more wry than it ever is frightening. Still, at least the first time around, what a ride Cabin turned out to be — It’s rare to watch a third act of a film feeling like just about anything could happen. I just wish we’d seen more of “Kevin.” (see pic above)
10. Killing Them Softly: “This guy wants to tell me we’re living in a community? Don’t make me laugh. I’m living in America, and in America you’re on your own. America’s not a country. It’s just a business. Now f**kin’ pay me.” This is another movie that racked up a lot of negativity for some reason, presumably due to it being mis-marketed as an action/gangster film.
Since I knew going in that this was Andrew Dominik’s follow-up to the strange and languid Assassination of Jesse James by the Coward Robert Ford, I got about what I expected – a dark character piece that almost-but-not-quite-successfully tries to fuse Cogan’s Trade with a commentary on the Iraq War, the financial crisis, and general disillusionment in the Age of Obama. Personally, I liked spending time with these guys — Scoot McNairy and Ben Mendelsohn’s twin screw-ups, Richard Jenkins’ officious middleman, Gandolfini’s broken assassin. And, while the political angle didn’t quite gel, I still admired what Dominik tried to do here.
11. Amour: “Things will go on, and then one day it will all be over.” Not exactly the best time you’ll have in a theater this year — Cristian Mungiu’s 4 Months, 3 Weeks, & 2 Days comes to mind as a similarly unrelenting two hours at the movies. Still, Michael Haneke’s unflinching study of an elderly couple staring dementia and death in the face has a grim power to it, as well as two mesmerizing performances by Jean-Louis Trintignant and Emmanuelle Riva.
I can assure you, I don’t plan to sit through this film again any time soon. Still, Amour puts the lie to so many other depictions of love you see at the movies, and I left E Street afterwards both somewhat shaken by it and thinking it was time to carpe some diem (or as the kids say, YOLO) right now, before it’s too late.
12. The Grey: “Once more into the fray. Into the last good fight I’ll ever know. Live and die on this day. Live and die on this day.” And if old age doesn’t get ya, there’s always wolves, y’know? First, let me be clear: This movie is as wrong about wolves as another film I’ll get to in a bit is wrong about torture. All the Canis lupus stuff in here is abject nonsense.
But, to me, the wolves were really just the dispatching agents in this often-gripping existential drama. The real story of The Grey isn’t about wolves at all. It’s about Liam Neeson and his pack of tough-guy survivors coming to grips not just with their looming mortality, but with the reasons they wanted to live in the first place. In the Alaska wilderness, as in Paris or anywhere else, nobody gets out alive.
13. The Deep Blue Sea: “Beware of passion, Hester. It always leads to something ugly.” Just as past years have seen dueling underwater monster movies (Leviathan/Deepstar Six), asteroid disaster flicks (Armageddon/Deep Impact), and Truman Capote bios (Capote/Infamous) and 2013 will have two separate attacks on 1600 Penn (Olympus Has Fallen/White House Down), 2012 featured three quite good movies about women forsaking their kind, boring husbands for passionate, simpleton lovers, and subsequently running into a social buzzsaw as a result.
All of ‘em made this list, but in the end The Deep Blue Sea, Terence Davies’ lush evocation of postwar England, garners the top spot among them. Along with memorable turns by Rachel Weisz and Tom Hiddleston, occasionally dream-like scenes like Londoners awaiting the Blitz in the subway tunnels or singing along to “You Belong to Me” have stuck in my memory this year.
14. Argo: “Brace yourself; it’s like talking to those two old f**ks from The Muppets.” Ben Affleck’s well-made chronicle of a successful CIA operation along the fringes of the Iran hostage crisis often felt like transparent Oscar bait to me. The Hollywood stuff felt it like needed to be more fleshed out and, since the history is well-known, the many attempts to ratchet up the suspense in the third act just didn’t work for me personally. (YMMV.)
Still, I was impressed by how well-balanced Argo came out — From its opening storyboard sequence, the movie doesn’t mince words about our many misadventures in Iran, making what could have been simply a depressing jingoistic exercise into a more thoughtful story of diplomatic blowback. Overall, I prefer Affleck’s Gone Baby Gone and The Town — Still, as a director, he’s now 3-for-3.
15. Celeste and Jesse Forever: “You know what your problem is? Contempt before investigation. You think you’re smarter than everybody else.” Full disclosure: Writer-star Rashida Jones was an acquaintance of mine in college, so I went in to Celeste and Jesse hoping more than usual that I would like it. Nonetheless, after a rough 10-15 minutes at the outset, this well-observed and wistful after-the-rom-com, about the break-up of a longtime couple, gradually gets to work on you.
It seemed like bit players like Elijah Wood (as Rashida’s gay boss/BFF) needed more to do, and Chris Messina has played the surprisingly wise frat-bro so many times by now that I can’t really take him seriously anymore. But otherwise, Celeste and Jesse earns it emotional beats and, by the time the final reel rolled, I felt quite invested in it.
16. Cloud Atlas: “Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future.”
Here’s yet another 2012 film where it feels like critics just began to pile on mercilessly at a certain point. The Wachowskis and Tom Twyker’s adaptation of David Mitchell’s high-brow sci-fi novel doesn’t quite gel, and some of the plotlines — Ben Whishaw’s amanuensis, Tom Hanks after the Fall — were more interesting than others, most notably Jim Sturgess in the South Pacific and Jim Broadbent’s nursing home jailbreak. (Also, no nice way to put this, but much like Keira Knightley, Halle Berry is an A-list actress who’s never all that good.)
But even if it doesn’t live up to its ambition, Atlas is still an impressive and intellectually (if not emotionally) engaging feat. Granted, it wasn’t subtle about its message, but the degree of difficulty here should count for something. At least Atlas was reaching for something totally new — and every so often, especially during the occasional montage bringing together the six tales, you can catch a glimpse of it.
17. Take This Waltz: “Life has a gap in it… It just does. You don’t go crazy trying to fill it.” The second of this year’s adulterous love triangles — this one set to one of Leonard Cohen’s many classics and The Buggles — Sarah Polley’s follow-up to Away From Her has a low-key, natural, and lived-in feel that’s hard to fake.
True, Michelle Williams and Seth Rogen felt a little too baby-talk-schmoopy in their scenes together, and Luke Kirby’s handsome pedicabbie always just seemed like a self-absorbed creepshow to me. But one of the strengths of this film is how all the characters here seem like three-dimensional human beings, with all the needs, vulnerabilities, and suspect decision-making attending.
18. Rust and Bone: “We’ll continue…but not like animals.” Speaking of follow-ups, Jacques Audiard’s second film after A Prophet felt like the movie the much-hyped Silver Linings Playbook wanted to be. This rough-and-tumble romance between a street fighter (Matthias Schoenaerts) and a damaged whale instructor (Marion Cotillard) after a terrible accident is never as good as A Prophet, and it goes seriously off-the-rails in its third act, around the time Cotillard tattoos her leg-stumps “gauche” and “droit.” But up until then, Rust and Bone manages to sidestep a surprising number of movie-of-the-week pitfalls and keep its gutter-punch rawness intact.
19. Seven Psychopaths: “No, it doesn’t! There’ll be one guy left with one eye. How’s the last blind guy gonna take out the eye of the last guy left?” I didn’t like In Bruges as much as a lot of people, and occasionally this new film by playwright Martin McDonagh suffers from the same outrageousness-for-its-own-sake. (Case in point: the scene where Woody Harrelson interrogates Gabourey Sidibe.)
Still, I kinda liked how this increasingly loopy and laconic film seemed to realize it would be more fun just to hang around with its gaggle of likable actors (Sam Rockwell, Christopher Walken, Colin Ferrell, Tom Waits, Zeljko Ivanek, Harrelson) for awhile and just dropped the plot. I only wish McDonagh had found more to do with Olga Kurylenko and especially Abbie Cornish, who are (literally and figuratively) wasted here.
20. Anna Karenina: “Is this about my wife? My wife is beyond reproach. She is, after all, my wife.” Like Killing Them Softly and Cloud Atlas, Joe Wright and Tom Stoppard’s adaptation of Anna Karenina is a film I admired for its ambition, even if the conceit — here, that all of the Russian society scenes take place on a nineteenth century stage — doesn’t end up quite working. And even if there’s some of the same unnecessary grandstanding that marred Atonement‘s Dunkirk scene (intricate shots are fun and all, but they should serve the story), this is quite a beautiful picture.
While Keira Knightley unfortunately doesn’t make much of an impression in the title role, and Aaron Taylor-Johnson of Kick-Ass and Savages just seems out of his element as Vronsky, Jude Law brings pathos to a character that could’ve just seemed like the villain, and there are a number of enjoyable turns in the margins of this story, from Domhnall Gleeson (son of Brendan) covering the sociopolitical elements of the book to Matthew MacFadyen — who seemingly jumped right into late-Alec Baldwin mode right after his stint as Mr. Darcy in 2005 — as the oafish Oblonsky.
21. Skyfall: “Do you see what comes of all this running around, Mr. Bond? All this jumping and fighting, it’s exhausting!” Speaking of beautiful films, Daniel Craig’s third outing (and Sam Mendes’ first) as 007 doesn’t match the heights of Casino Royale, but it’s looks like the billion dollars it made, and it’s a far sight better than the sophomore misstep of Quantum of Solace. (It also features an instant classic Bond song in Adele’s title track.)
My biggest problem with Skyfall, and it’s a hard one to overlook, is that, in a transparent effort to capture some of that Dark Knight cachet, they effectively turned James Bond into Batman here. So Bond is now a rich orphan who grew up in Scotland’s version of Wayne Manor? Erm, ok. It doesn’t help matters that Javier Bardem’s ridiculous villain — The Joker + gay panic, basically — has exactly the same goofy plan as the Clown Prince of Crime did. (The next Big Bad to get captured on purpose, apparently? Gary Mitchell Garth Khan Gruber.)
But this is a Bond movie, so set your low expectations accordingly. Even if it feels like we’re already approaching Moonraker or Octopussy territory only three movies into the Craig era, this is still among the better outings in this long and storied franchise.
22. Django Unchained: “Gentlemen, you had my curiosity. But now you have my attention.” From the opening moments of Quentin Tarantino’s Django Unchained, it’s clear this film is going to be a bit of a mess. (Our title card reads: “1858. Two Years Before the Civil War.” Uh…that’s three years before the war, Quentin.) And, to be honest, I liked this movie better when it was called Inglourious Basterds — Here, we have basically the same experience, with QT once again righting history’s wrongs with a blood-spattered vengeance.
I actually liked that Tarantino decided to put the evils of American slavery front and center in this film, since it’s an ugly underside of our history that, cinematically, has been pretty much buried. (One admirable exception to prove the rule: CSA.) The funniest scene in the movie is probably QT riffing off both Blazing Saddles and Birth of a Nation with his Klansmen complaining about their eyeholes.
Nonetheless, I’m not sure why, given all the very real horrors of slavery QT often draws from, we ended up with the exceedingly fake Mandingo Fighting as a centerpiece of this story, other than it was in some blaxsploitation films QT used to enjoy. With that in mind, and more egregiously, a good hour of this movie makes absolutely no sense: Why wouldn’t Schultz and Django just be like, “I’m a lonely German guy who will pay top-dollar for a slave that speaks German?” (Tarantino tries to address that particular question here. I don’t think it works.)
Still, however sloppy and self-indulgent, Django was a decently enjoyable movie for most of its run. It would be nice, tho’, to see Tarantino take a stab at another Jackie Brown-style project at some point. As it is, it feels like he’s continuing to disappear up his own ass.
23. Holy Motors: “Weird! Weird! Weird!” I’m usually not one to end a movie once I’ve started it, but I turned off David Cronenberg’s Cosmopolis, via OnDemand, well before the end. (I hear Paul Giamatti shows up at some point.) Far more entertaining — and much, much stranger — was Leo Carax’s bizarro stab at the wandering limousine genre this year.
As with Django, it seemed like there was a lot of name-dropping and inside baseball, of the cinema history variety, going on in Holy Motors, which is behavior I find irritating a lot of the time. But I found Denis Lavant’s mad misadventures here compulsively watchable, even if we passed basic coherence two or three lefts ago.
24. The Woman in Black: “I believe even the most rational of minds can play tricks in the dark.” This wasn’t a Cabin in the Woods-style reinvention of horror tropes by any means. That being said, I quite enjoyed this played-straight Hammer films throwback, with Daniel Radcliffe unwisely investigating ghostly happenings at a mansion along the moors.
Rather than relying solely on blood, guts, and jump cuts, The Woman In Black resurrects classic cinema techniques and all the old standbys of this particular genre — rocking chairs, Victorian dolls, creepy children and whatnot — to put the audience ill at ease for ninety minutes. In sum, a slight but effective scare machine.
25. Dredd: “In case you have forgotten, this block operates under the same rules as the rest of the city. Ma-Ma is not the law… I am the law.” As with every year, a lot of films could have gone in this final spot on the list — Bernie, Life of Pi, Savages, Marley, ParaNorman. But I’m giving it to Pete Travis and Alex Garland’s Dredd, because it’s a good example of what went right at the movies in 2012.
There are better movies than Dredd this and every year, but you’d be hard-pressed to find a better Dredd movie. Travis and Garland took what was distinctive about this character – give or take his Watchmen-like satire of American superheroes — and transported an issue of the comic to the screen, no more, no less. Extra points for a likable cast (Olivia Thirlby, Wood Harris, Lena Headey) and for Karl Urban — unlike Stallone back in the day — never taking off the helmet.
Prometheus: Pretty much everything that needs to be said about the dumb-as-dirt disaster this turned out to be has been encapsulated by the Red Letter Media guys. Whhhhyyyyyy? Why does a movie with such a terrible script ever get greenlit? Why does Damon Lindelof, after putting out an idiotic film like this, continue to get work in Hollywood?
It’s sad, since even notwithstanding the greatness of Alien and Aliens (and I’d submit that Alien 3 and Alien: Resurrection are more admirable failures than this film), there are elements of a much better movie here — most notably Michael Fassbender’s T.E. Lawrence-loving android and the sheer look of the picture. Otherwise, however, this was just a terrible, nonsensical movie, and I ended up just feeling embarrassed for Fassbender, Charlize Theron, Idris Elba, and everyone else involved. For shame.
Silver Linings Playbook: I like David O’Russell. I like Jennifer Lawrence. I have no issues with Bradley Cooper. But, Lordy, I hated this film, and I just can’t figure out where all the hype is coming from. Granted, SLP falls into a very specific genre of movie I despise, whereby some severely damaged dude is suddenly saved from loneliness, madness, and/or general despair by a perfectly unique and perfect girl for him. (See also: Sideways, Punch-Drunk-Love, and all the other many iterations of the Manic Pixie Dream Girl.) Honestly, all of you who keep making this same movie, go see Amour or something.
But even notwithstanding that sort of ubiquitous rom-comminess, SLP just seemed really by-the-numbers to me. The only variation on the same-old stale tale, as far as I could tell, is that this time there’s a really important game AND a really important dance competition at the end. And while Jacki Weaver does some memorable things as Bradley Cooper’s long-suffering mom, I didn’t take DeNiro seriously here at all. Just a bad movie.
Zero Dark Thirty: As it happened, I kinda hated Zero Dark Thirty too, but at least here I get where the positive reaction is coming from. To be honest, I expected going in that I’d leave ZD30 conflicted — that it would be a good movie undone by its egregious lies about torture. As it turned out, this is not even a good movie — it’s strongest pleasure consists of watching quality character actors — Mark Strong, James Gandolfini, Stephen Dillane – in brief turns as suits. (Tom Donilon is English?)
For one, ZD30 is far too blatant in its CIA embeddedness. Every CIA character here is a well-meaning tortured soul, heavy-hearted with the burden of saving the world. There’s no mention of, say, Tora Bora. The CIA’s egregious, world-historical fuck-ups, like arguing there were WMD in Iraq, are brought up only in passing. The agency’s outright crimes, like, say, waterboarding a guy 180 times to obtain a false positive, aren’t even mentioned. Watching Type-A go-getter Jessica Chastain and her ponytail flounce around for America for two and a half hours, you’d have no idea that her real-life counterpart and her ilk have been found guilty of, among other things, torturing and sodomizing an innocent man.
Admittedly, it could be because this pro-torture distortion of the history put me in an increasingly foul mood. Still, even as a movie Zero Dark Thirty has serious problems. As one of Chastain’s co-workers, poor Jennifer Ehle has to offer up some of the most ridiculous telegraphs of her impending death since Lt. Deadduck in Hot Shots. And I found the last forty minutes or so of the film, which depicts the actual raid on bin Laden’s compound in excruciating detail, to be a total snooze.
We know what’s going to happen here. And since we’re already in Fantasyland as far as the efficacy of torture goes, why not add sharks or tigers or man-eating bears to this war pr0n raid on OBL’s Afghan fortress? Or how about a badass female #2 (Maggie Q? Olga Kurylenko?) to fight Chastain, martial-arts style, over a deep chasm or conveyor belt or something? Might as well, since we’re already far afield from anything approaching the Real World. In sum, this film is sheer propaganda, and ham-handed agitprop at that.
The Master: Going into this film, I was rooting for Paul Thomas Anderson to build on the promise of the first hour of There Will Be Blood. Unfortunately, The Master is a pretentious bore, and not nearly as deep as it thinks it is. Get past all the Kubrickian grand-standing — Kubrick has clearly replaced Scorsese and Altman as PTA’s object of homage these days — and Anderson has made another variation of the same movie he’s always made, from Hard Eight to Boogie Nights to Magnolia to TWBB: People create fake families for themselves, look for validation in those families, and are ultimately let down by those families. It wasn’t a very interesting point three movies ago.
Poor Joaquin Phoenix sweats Method blood to give his character some resonance, and Philip Seymour Hoffman and Amy Adams have their (brief) moments of note — To his credit, PTA always does seem generous with his actors. But none of them can do anything with what they’ve been given. The Master, unfortunately, is yet another solid case of the Emperor’s New Clothes.
MOST UNFAIRLY MALIGNED:
John Carter: Peter Jackson’s first installment of The Hobbit could go here, as could Cloud Atlas. But, in the end, it seems like no movie got a tougher racket this year than Andrew Stanton’s estimable adaptation of John Carter. True, I watched this on Netflix rather than in the theater, which tends to be a more forgiving experience. But still, this film was a well-made, decently intelligent, and reasonably faithful and engaging adaptation of its source.
It wasn’t my favorite movie of the year or anything — it wasn’t even in my top 25, as we just saw — but it was totally fine for what it was. I have no clue why everyone pounced on this movie like they did. But, as with all the detest in some circles for An Unexpected Journey, it speaks poorly of what the Internet has done to movies in some ways. There’s a rush-to-judgment and piling-on effect that, at least in this case, wasn’t merited at all.
Coriolanus: Not sure if this would have broken the 2011 list last year or not. Still, Ralph Fiennes’ bloody cover-version of a relatively unknown Shakespearean history, modernized by way of CNN and Afghanistan, has a lot to recommend for it. Along with Fiennes himself, Coriolanus features fine performances from James Nesbitt, Jessica Chastain, Gerard Butler and especially Vanessa Redgrave (as the general’s scheming mother) and Brian Cox (as the most hail-fellow-well-met of Senators). Definitely worth a Netflix.
Margaret: Whether you want to call it a holdover from 2011 (when it came out) or from the 2005 list (when it was filmed), Kenneth Lonergan’s Margaret is also worth catching up with sometime. Here, Anna Paquin — better than I’ve ever seen her — is a self-absorbed NYC teenager forced to come to terms with the ramifications of a terrible bus accident she helped to precipitate. Along for the three-hour ride through this distinctively New York tale are Mark Ruffalo, Matt Damon, Matthew Broderick, J. Smith-Cameron, Jean Reno, Allison Janney, Olivia Thirlby, Kieran Culkin, and Rosemarie DeWitt. (FWIW, the provenance of the film’s name is also the best tell for what it’s ultimately about.) Well worth seeing.
Worth Netflixing: 21 Jump Street, Ai Weiwei Never Sorry, The Amazing Spiderman, Bernie, The Bourne Legacy, Detachment, Haywire, The Hunger Games, The Life of Pi, Les Miserables, Magic Mike, Marley, Men in Black III, ParaNorman, The Raid: Redemption, Savages, The Sessions, Snabba Cash, Ted, To Rome With Love
Don’t Bother: Abraham Lincoln: Vampire Hunter, Casa de mi Padre, Chronicle, Compliance, Cosmopolis, Dark Shadows, Flight, The Hunter, Hyde Park on Hudson, Jeff Who Lives at Home, Jiro Dreams of Sushi, Killer Joe, Lawless, The Loneliest Planet, Lockout, Rampart, Red Hook Summer, Safe House,Snow White and the Huntsman, Total Recall
Best Actor: Daniel Day-Lewis, Lincoln; Liam Neeson, The Grey; Dennis Lavant, Holy Motors; Anders Danielsen Lie, Oslo, August 31st; Jean-Louis Trintignant, Amour
Best Actress: Rachel Weisz, The Deep Blue Sea; Emmanuelle Riva, Amour; Marion Cotillard, Rust and Bone; Quvenzhane Wallis, Beasts of the Southern Wild
Best Supporting Actor: Ben Whishaw, Cloud Atlas; Ben Mendelsohn, Killing Them Softly; Jude Law, Anna Karenina; Clarke Peters, Red Hook Summer
Best Supporting Actress: Anne Hathaway, Les Miserables; Samantha Barks, Les Miserables; Frances McDormand, Moonrise Kingdom
Unseen: 2 Days in New York, Act of Valor, Alex Cross, American Reunion, Arbitrage, Battleship, The Best Exotic Marigold Hotel, Brave, Butter, The Campaign, The Cold Light of Day, Contraband, Deadfall, The Devil Inside, The Dictator, Dr. Seuss’s The Lorax, End of Watch, The Five Year Engagement, For a Good Time Call…, Friends with Kids, Ghost Rider: Spirit of Vengeance, The Guilt Trip, Hitchcock, Hope Springs, How to Survive a Plague, The Impossible, The Intouchables, Jack Reacher, Joyful Noise, Not Fade Away, One for the Money, Man on a Ledge, The Man With the Iron Fists, Mirror Mirror, The Odd Life of Timothy Green, On the Road, Parental Guidance, The Perks of Being a Wallflower, The Pirates: Band of Misfits, Premium Rush, Project X, The Raven, Red Dawn, Red Tails, Robot and Frank, Rock of Ages, Safe, Safety Not Guaranteed, Salmon Fishing in the Yemen, The Secret World of Arietty, Seeking a Friend for the End of the World, Step Up: Revolution, Taken 2, This is 40, The Three Stooges, Tim & Eric Billion Dollar Movie, This Means War, Trouble With The Curve, Twilight: Breaking Dawn Part II, The Watch, W/E, The Words, Wrath of the Titans
2013: 2 Guns, 42, 47 Ronin, 300: Rise of an Empire, About Time, After Earth, All is Lost, Anchorman: The Legend Continues, The Angriest Man in Brooklyn, As I Lay Dying, August: Osage County, Before Midnight, Better Living Through Chemistry, The Black Marks, The Bling Ring, Broken City, Bullet to the Head, The Butler, Byzantium, Captain Phillips, Carrie, Chavez, Closed Circuit, Closer to the Moon, The Colony, The Company You Keep, The Congress, The Counselor, The Dallas Buyers Club, Dead Man Down, Devil’s Knot, Diana, The Disappearance of Eleanor Rigby: His & Hers, Dom Hemingway, Don Jon’s Addiction, The Double, Elysium, Ender’s Game, The Europa Report, Evil Dead, Fading Gigolo, Fast Six, Filth, Foxcatcher, The Frozen Ground, Gambit, Gangster Squad, Girl Most Likely, A Glimpse Inside the Mind of Charles Swan III, Gods Behaving Badly, A Good Day to Die Hard, The Grandmaster, Grand Piano, Gravity, Great Expectations, The Great Gatsby, The Hangover Part III, Hansel and Gretel: Witch Hunters, The Heat, Her, Homefront, Horns, How I Live Now, The Hunger Games: Catching Fire, Hummingbird, I, Frankenstein, The Incredible Burt Wonderstone, Inside Llewellyn Davis, Iron Man 3, Jack the Giant Slayer, Jack Ryan, Kick-Ass 2, The Last Stand, The Lone Ranger, Lovelace, Mama, Man of Steel, Monster’s University, Monuments Men, Movie 43, Oblivion, Oldboy, Olympus Has Fallen, Only God Forgives, Oz the Great and Powerful, Pacific Rim, Pain and Gain, Parker, The Place Beyond the Pines, Red 2, Riddick, R.I.P.D., Side Effects, Sin City: A Dame to Kill For, Star Trek: Into Darkness, Stoker, This is the End, Thor: The Dark World, The Tomb, To the Wonder, Trance, Twelve Years a Slave, Upstream Color, Warm Bodies, The Wolf of Wall Street, The Wolverine, The World’s End, World War Z, and
You have nice manners for a thief and a liar…
The New Yorker delves into the Wachowskis’ adaptation of Cloud Atlas, soon to be at a theater near you with Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Doona Bae, Susan Sarandon, Hugh Grant, Jim Sturgess, Keith David, David Gyasi, and Ben Whishaw. (The extended trailer is above.) “‘The problem with market-driven art-making is that movies are green-lit based on past movies,’ Lana told me. ‘So, as nature abhors a vacuum, the system abhors originality. Originality cannot be economically modelled.’ The template for ‘The Matrix,’ the Wachowskis recalled, had been ‘Johnny Mnemonic,’ a 1995 Keanu Reeves flop.“
Hey all. So, this has turned out to be a rather massive undertaking, one that’s had to be split up into five parts so as not to destroy Movable Type. And, while the 2009 list hasn’t yet been posted (although I have written it, pending a few more films I expect to see in the next week, such as Sherlock Holmes and The Lovely Bones), I thought I’d go ahead and throw out the first installment of my promised Best-of-Decade list right now. A few caveats before I start:
1) This is my list, obviously. Meaning these are the movies I enjoyed, cherished, or otherwise been entertained by over the past decade. So, if you vehemently disagree, that’s cool, but that’s just like your opinion, (wo)man.
2) Movies are being judged — in part — on how well they succeed on their own terms. So, to take an example below, am I really saying that Drag Me to Hell (#79) is a better film than Brokeback Mountain (#80)? And I’m saying yes, it’s either [a] more entertaining or [b] to my mind, accomplishes better what it sets out to do.This way, a really funny Z-grade comedy might just beat out an expensively manicured piece of Oscar bait. Ya never know.
3) Since I’ve already posted extensive reviews of most of the movies here, I’ve gone ahead and included excerpts from those in the gray boxes for each film. Feel free to re-read or ignore these as you see fit.
4) Speaking of those reviews, some of the movies below may do better or worse than they did in their respective end-of-year lists. Some move up, some move down, such is the passage of time.
5) Finally, before we begin and in alphabetical order, some honorable mentions that didn’t quite make the top 100 list, with brief explanations:
And now, the real list. Here we go…
|From the original review: “[I]t’s hard to come up with a better ‘first-day-of-spring’ movie than th[is] wickedly funny, rousingly optimistic hip-hop concert flick…Block Party bounces with cool, infectious verve and power-to-the-people, DIY exhilaration…Chappelle’s wry irreverence and broad, encompassing good humor are contagious. Often, it seems, he can’t believe his luck at becoming the jester-king of Brooklyn for a day, and he grounds and permeates the film with his antic enthusiasm and sardonic, puckish charm.“
From the year-end list: “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.“
A case could be made that Michel Gondry’s Dave Chappelle’s Block Party should be even higher on this list — Few movie experiences of the decade were as out-and-out pleasurable as my spring afternoon viewing of this flick. That being said, Block Party seemed like a good way to kick off this best-of-decade list — It’s just a happy, goofy, groovy, fun movie, teeming with great music, optimism, and the open possibilities of any given day. Particularly if you have any affinity for hip-hop, give it a whirl.
|From the original review: “Well, that was a happy surprise. Star Wars Episode III: Revenge of the Sith is by no means a perfect film. But, the reviews are right — this one’s miles above the other two prequels, and definitely can be considered in the same breath as Jedi. Sure, there’s a bad movie occasionally lingering in the shadows like a Sith, but for the most part this entry manages to capture some of that ole Star Wars feel.“
From the year-end list: “Thank the Force for small kindnesses: George Lucas put the Star Wars universe to bed with far and away his best outing of the prequels. The film flirts dangerously with the Dark Side, particularly in the ‘let’s take a meeting’ second act, but for the most part Sith felt — finally — like a return to that galaxy long ago and far, far away.“
How George got his groove back. In a perfect world, the Star Wars prequels would’ve carried some of the vim and verve of Peter Jackson’s LotR trilogy or the first Matrix. Alas, as you all know, that didn’t happen. Like many SW fans of my generation, I walked out of 1999′s middling The Phantom Menace confused about where George Lucas was intending to go with all this, and desperately trying to convince myself that, Jar Jar Binks, midichlorians, and pod racing notwithstanding, I’d just sat through a really good movie. (The still-very-good Maul/Obi-Wan/Qui-Gon duel helped a good bit with the denial.)
Alas, the atrocious Attack of the Clones of 2002, the pre-Clone Wars nadir of the Star Wars franchise (Holiday Special notwithstanding), put that reverie to bed. Something terrible had happened — disastrous, even. All across America, millions of fanboy and fangirl voices suddenly cried out in terror and were suddenly silenced.
But, with expectations suitably lowered, then came Sith in 2005, which at least carried some small glimmers of the old magic. I won’t try to defend the film’s many faults — they’re there, all right. But every so often during Sith, you could feel something, as if Lucas had finally managed to take his first step back into a larger world.
|From the year-end list: “A little slower than I would have liked, and it had no second act, but this languid, contemplative film spoke to the comic fan in me.“|
It seems weird from the perspective of 2009, after drek like Signs and The Village. (I didn’t see Lady in the Water or The Happening, but…I’ve heard bad things). Nonetheless, back in 2000, M. Night Shyamalan still seemed like he had the potential to be a first-rate genre filmmaker, maybe even the new Spielberg. True, 1999′s The Sixth Sense ended up being massively overhyped — Due mainly to box office, one presumes, it even bypassed The Matrix, Being John Malkovich, Three Kings, and Fight Club for an Oscar nod. But it still came out of nowhere to make for a surprising and unsettling ghost story that year.
And, belying the usual curse (that would come later, in spades), Shyamalan turned out a quality sophomore follow-up in Unbreakable. I haven’t seen the movie since it came out, but I still remember it as a unique take on the superhero origin story in a decade that would be full of them. True, the Mr. Glass monologuing at the end should have telegraphed to us Shyamalan’s overreliance on the 11th-hour plot twist. But that wouldn’t really come to seem a problem until later films. As it was, Unbreakable showed that M. Night wasn’t afraid to follow-up a box-office monster with a movie that felt quite different in tone, and it suggested — probably wrongly, it turns out — that he might have a few more tricks up his sleeve after “I see Dead People.”
|From the original review: “I don’t really feel the inclination to write the usual three-paragraph review for Borat…so I’ll just leave it at this: It’s really funny…[U]nless you’re offended by ridiculously over-the-top anti-semitism or have a problem with truly grotesque displays of male nudity, you should find it verrry nice. (But leave the gypsys at home.)“
From the year-end list: “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.“
The Cotton Kingdom of the Dubya era. I had this quite a bit further up the list at first, but decided to switch it out with one of its memorable antecedents. (More on that demented travesty later.)
I missed Bruno this year, so I don’t know how it compares. Still, Borat has slipped quite a bit from its 2006 ranking, if only because [a] I’m not sure a lot of the comedy holds up on repeat viewings, and [b] I still think Cohen went for mostly easy targets here. In its picking off the low-hanging fruit in the Red States — bible-thumpers, rednecks, and whatnot — the movie also feels very much an artifact of the post-2004 election grimness. Although, now that I think about it, a strong case could be made that Cohen was just prepping us for the teabagger vanguard.
|From the original review: “All in all, very well done, and a battered, despairing Michael Caine deserves an Oscar for this much more than he ever did for his turn in the schlocky Cider House Rules.“
From the year-end list: “A bit by-the-numbers, perhaps, but Phillip Noyce’s take on Graham Greene’s novel was blessed with timeliness and two great performances by Michael Caine and Brendan Fraser, both of whom expertly exemplified their homelands’ diplomatic tendencies without becoming overly tendentious.“
I watched about half an hour of The Quiet American again a few weeks ago while flipping through the channels, and I still think it has a bit too much of an austere, “from-the-classic-novel” feel to it, the sort of movie one might be forced to watch in a high school class (be it English or History). Still, it’s very well-done, Caine and Fraser are both exceedingly well cast, and you could do worse as a quality intro to our blundering in Vietnam than Graham Greene’s ripe and pungent allegory here.
|From the original review: “[W]hat Six Feet Under is to dying, The Savages is to the final stages of aging. It’s something we don’t really want to think about, but it’s there, somewhere over the last ridge. If we’re going to dwell on this subject, it’s probably best to confront that fact with the mordant humor of [this film] (while keeping in mind that, however inevitable that final end, it’s never too late to teach an old dog some new tricks.)“
From the year-end list: “[F]ew other movie endings this year hit me in the gut quite like this one…[T]his comedy about an ornery lion in winter, and the battling cubs who have to come to his aid, is a worthwhile one, and particularly if you’re in the mood for some rather black humor. As Lenny the senescent and slipping paterfamilias, Philip Bosco gives a standout performance, as does Hoffman as the miserable Bertholdt Brecht scholar trapped in deepest, darkest Buffalo.“
Tamara Jenkins’ The Savages is an uneven film, and at times it gets overwhelmed by its televisionish tendencies (be they sitcom or Lifetime movie-of-the-week-oriented.) But when it’s on, it’s on, and it’s a film that’s stuck with me in the two years since I caught it on the back-end of an Angelika double-bill (along with another mortality-drenched movie further down the list.) I still have some issues with its Bagger Vancing of The Wire‘s Gbenga Akinnagbe, but in its depictions of siblings, senescence, and seriously bummed-out academics, The Savages rings true.
|From the original review: “[W]hile it was quite good for its genre (and Hugh Grant was surprisingly palatable), I do have some problems with its underlying premises…Since when is one’s identity primarily formed by holding down a job you hate?…I don’t remember the protagonist of Hornby’s book being nearly so shattered by his presumed nothingness.“
From the year-end list: “A surprisingly good translation of Nick Hornby’s third book. A bit fluffy, perhaps, and…I’m not sure how I feel about some of the underlying premises, but very well done nonetheless. After all, making both Hugh Grant and a precocious young British lad palatable at the same time is no easy task.“
Now this one to me is almost exactly the opposite of The Savages, in that — more than any other film on this list — I can barely remember About a Boy at all, other than Toni Collette being very good, the kid (Nicholas Hoult, soon of A Single Man and Clash of the Titans) also being quite solid, and Hugh Grant singing acapella, drinking a lot of Red Bull, and somehow magically not getting on my nerves. And because of this memory hole, I came very close to putting another very similar-feeling Weitz production, In Good Company, here instead. But just because the high has mostly evaporated doesn’t mean the initial experience wasn’t grand. So I’m trusting my notes here somewhat (which had About a Boy at #3 for 2002) and putting it here at #94. Hopefully, I know what I’m talking about.
|From the original review: “To be sure, the first forty minutes of the film, including everything that takes place in Zion, is almost unwatchable…But, right about the time Neo gets a call from the Oracle and reenters the Matrix in Chinatown…the film finally starts to find its rhythm…Alas, Neo and Trinity still don’t really work as an onscreen couple, but most of the action setpieces are breathtaking (particularly the highway chase and truck fight…in the midst of all the new characters showing up, it’s nice to see the Agents still getting their due.) And as expected, Hugo Weaving is just wicked good fun as Agents Smith…they steal every scene they’re in.“
From the year-end list: “I won’t defend the first forty-five minutes or the ridiculous rave scene. But, right about the time Hugo Weaving showed up to do what he does best, Revolutions found a new gear that it maintained right up until the arc-twisting Architect monologues at the end. And, as far as action sequences go, it’s hard to beat the visceral thrill of the 14-minute highway chase.“
I can envision getting some grief for this one, but what I said in these two reviews stand. As a whole, this first sequel to 1999′s The Matrix has serious problems in its first hour — I’m looking at you, Bacardi-Benetton rave. But once you get to the (now rather dated looking) “Burly Brawl,” (i.e. Neo vs. a legion of Smiths) The Matrix: Reloaded kicks it up a notch.
Sure, nothing could match the initial shock of seeing Neo wake up in that gooey biopod in the first movie — That was the first indicator that the heretofore unknown Wachowski brothers (Bound notwithstanding) were really playing on a broad canvas here. But from the Burly Brawl on — through the Merovingian and Swiss Chalet stuff, the albino Milli Vanilli twins, the highway chase, and on to the Architect’s rambling in the final moments, Reloaded is easily as propulsive and occasionally mind-bending as the second half of the first film. (And, without a doubt, it’s far better than the woeful Matrix: Revolutions, out later that year.)
|From the original review: “L’Auberge was funnier, sexier, and more intelligent than any of the assorted American Pies or their ilk…This movie seems to understand that it’s possible to capture the joys of youth and friendship without resorting to a constant stream of lame, mostly unfunny gross-out jokes.“
From the year-end list: “[W]hile Lost in Translation trafficked in existential detachment, L’Auberge Espagnole showed the fun Scarlett Johannson could’ve been having, if she’d just lighten up and get out of the hotel once in awhile. This paean to the pan-Continental culture of the EU captured the excitement and possibilities of youth in a way that was both sexier and funnier than any of the teen shock-schlock emanating from our own side of the pond. Road Trippers, take a gander.“
Now, having roundly derided domestic gross-out comedies, I should say that I just came very close to pulling an audible and putting the very funny Harold & Kumar Go to White Castle in this spot. (Sorry guys, you got screwed. A few Sliders should help ease the pain.) Nonetheless, L’Auberge Espagnole is a jaunty European escapade that matched the sexy frankness of Y Tu Mama Tambien (minus its existential pretensions — remember that goofy car crash?) with the joy and possibility of foreign travel you find in, say, Before Sunrise. I remember seeing this flick on a dismal Match.com date, and even that couldn’t diminish the experience. Salut.
|From the original review: “In essence PJ’s King Kong is the Mother of All B-Films — the Skull Island action sequences are spectacular, Kong’s adventures in New York seem appropriately mythic, the special effects throughout (particularly the Great Ape himself) are mind-blowing…[But] the film has some serious pacing problems, particularly in the first hour, and at times I thought it seemed almost too reverent of its source material. At the very least, Kong, while definitely a Wonder of the World and no mistake, could have benefited from some minor grooming.“
From the year-end list: “I had this film as high as #2 for awhile, and there are visual marvels therein that no other movie this year came close to offering, most notably Kong loose in Depression-Era New York City. But, there’s no way around it — even given all the B-movie thrills and great-ape-empathizing that PJ offers in the last 120 minutes, the first hour is close to terrible, which has to knock the gorilla down a few notches.“
Yep, that about covers it. Like The Matrix: Reloaded a few spots ago, King Kong is an eye-popping visual feast that ultimately falls several steps shy of greatness thanks to all the excess baggage on the front end. I don’t have much of an attachment to the 1933 version (or the 1976 Jeff Bridges/Jessica Lange/Charles Grodin version for that matter, although Lange looks stunning in it), but almost all of the Kong-in-NYC stuff in PJ’s version is marvelous, give or take the ice-skating, and feels like something ripped from the pages of myth.
That being said, it feels like we’re on Skull Island for a really long time in this Kong, and that doesn’t even get into all the deadly dull happenings before they even reach the King’s domain. For all its strengths, this Kong is too self-indulgent to go down as one of the decade’s greats. It’s clearly a labor of love by PJ (and he earned it after knocking LotR out of the park), but the movie would’ve benefited from quite a bit more tough love at some point in the process.
|From the original review: “[A] somber and compelling character study of the eponymous author…Hoffman’s Capote cuts a complex and striking figure that’s hard to take your eyes from — He’s at once vainglorious and needy, extroverted and remote, compassionate and manipulative, convivial and detestable.“
From the year-end list: “I think it’d be awhile before I want to watch this movie again, but, still, it was a dark, memorable trip into bleeding Kansas and the writerly id.”
“Every artist is a cannibal. Every poet is a thief. All kill their inspiration and sing about their grief.” In fact, I haven’t seen Capote since it came out in 2005 (nor did I ever see Infamous, with the Trumanesque Toby Jones.) But the moral darkness of this film lingers, as does Clifton Collins, Jr.’s haunting portrayal of Perry Edward Smith, who, to Capote, is both the Spider and the Fly.
|From the original review: “Blessed with a charismatic and appealing cast that smooths over much of the choppy writing turbulence therein, Abrams’ Trek reboot isn’t only a rousing, over-the-top, sometimes patently absurd space opera that borrows as much from Lucas’ original trilogy as it does from its erstwhile source material — It’s also probably the best of the Star Wars prequels. The more I’ve thought about it over the past few days, the less sense the movie makes, and the more and more shamelessly derivative Trek seems. But darned if I didn’t have a good time during the Big Show itself, which, of course, is what really matters in the end.“
From the year-end list: “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.“
Sure, it’s a cotton candy movie, but, like I said, Star Trek had more of that Star Wars magic than any of the prequels, including Sith. I haven’t seen Trek again since that first time in the theater, and it’s entirely possible a lot of the general dumbness of the movie — Spock hanging ’round the ice cave, all the nonsensical red matter/black hole stuff — will weigh everything down more on a second viewing. Still, it was definitely fun that first go. Bring on Javier Bardem as Khan.
|From the original review: “Hearkening to the halcyon days of Dog Day Afternoon and Serpico, Spike Lee’s Inside Man is a clever contraption indeed — a sleek, intelligent, well-acted NYC heist flick whose central scheme is more about subterfuge, cunning, and misdirection than technical gimmickry. (In too many films in the genre — The Score, or Ocean’s 11, for example — the robbers seem to be spending more on state-of-the-art equipment than they’d actually make in the grift.)…True, some of the plot mechanics in Inside Man could be considered contrived, but, Jodie Foster’s corporate ninja notwithstanding, at least here the people seem real.“
From the year-end list: “[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.)…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.“
I love it when a plan comes together. In a decade that sometimes seemed full of them, Spike Lee’s crisp, no-nonsense Inside Man was one of the most purely entertaining heist movies of the oughts. And with primo talent like Willem DeFoe and Chiwetel Ejiofor working as support, you know you have an A-list cast on your hands.
To be honest, his von Trapp roots notwithstanding, Christopher Plummer seemed a bit young to be plausible as a ex-Nazi in the 21st century. (Max Von Sydow might’ve worked, I guess, but he also was born in 1929.) But take that — and Foster’s Fixer — with a grain of salt, and Inside Man made for a great afternoon at the movies. It was a seventies cop yarn set in 21st-century Gotham, expertly assembled by one of NYC’s great directors.
|From the original review: “Munich is a movie well worth-seeing, the rare thriller that’s not afraid to grapple with today’s thorniest political questions, and without insulting the audience’s intelligence by giving easy, simple-minded answers to seemingly insoluble problems. The film may at best be a long triple, but, to his credit, at least Spielberg is swinging for the fences.“|
True, Steven Spielberg’s Munich includes some major missteps. I still wince when I remember Eric Bana and a pregnant Ayelet Zurer trysting while the Munich kidnappings go south. (The only equally terrible sex scene I can think of offhand would be Patrick Wilson, Malin Ackerman, and Leonard Cohen’s “Hallelujah” in Watchmen.) Nonetheless, Munich was a decently compelling thriller with its heart in the right place and an important message to convey in these dark times: An eye for an eye makes the whole world blind.
The memorable last shot of the film, with the World Trade Center in the background, suggested that Munich was also intended as a pointed response to our foreign policy, post-9/11. But, of course, given how we ended up in Iraq soon after 9/11, a closer movie parallel would have shown Israel responding to the 1972 Olympics massacre by killing a bunch of random Belgians.
|From the year-end list: “[S]urprisingly good. I expected schlock, and got a genuinely funny fall film.“|
I didn’t see the sequel (Meet the Fockers), and definitely don’t plan to see the threequel (Little Fockers), which is on the dock for next year. But I remember Meet the Parents being a pretty quality time at the movies, all in all. (FWIW, other than Robert DeNiro generally hamming it up by trading in on his Taxi Driver cachet, the scene that first comes to mind these days is the water polo scene involving Owen Wilson and a slow-motion spike.) Maybe Noah Baumbach can give him a lift in next year’s Greenberg, but, as it is, this was also as funny as Ben Stiller got all decade.
|From the original review: “Forgive me, Father, for I have sinned…and, whatsmore, I liked it. Without a shred of redeeming social value, Frank Miller and Robert Rodriguez’s Sin City is a film very noir. It’s a sick, depraved, and smutty ride into a crime-ridden hellhole of a metropolis, exactly as it should be…Sin City turned out to be a visual marvel and easily Rodriguez’ best film since El Mariachi.“
From the year-end list: “One of the most faithful comic-to-film adaptations on celluloid also made for one of the more engaging and visually arresting cinematic trips this year. I don’t know if the look and feel of Sin City can sustain a bona fide franchise, but this first outing was a surprisingly worthwhile film experience (with particular kudos for Mickey Rourke’s Marv.)“
The movie that anticipated Mickey Rourke’s later Wrestler resurgence, Sin City was a crazy-sexy-cool stylistic experiment that remains the best thing Robert Rodriguez has ever been involved with. I missed The Spirit, which obviously went for a very similar look, and from everything I hear that was probably for the best. But in a perfect world, this is what Warren Beatty’s Dick Tracy would have looked like back in 1990.
Bloody Sunday was the first of many great movies made by Paul Greengrass in the Oughts, and it ably showed off the hyperreal, you-are-there documentary style he’d use to such great effect throughout the decade. True, it’s as yet unclear whether Greengrass has any other trick in his stylebook: Both of his forthcoming movies — Green Zone (Bourne IV, basically) and They Marched in Sunlight (on Vietnam-era protests) — sound very close to his previous projects, in terms of lending themselves to this hi-def documentarian conceit. Still, it’s a neat trick alright, and one I never grew tired of from Bloody Sunday on.
|From the original review: “The movie is mostly episodic vignettes in the life of a broken family and at times suggests a more misanthropic Me, You, and Everyone We Know. But it also feels scarily authentic and is probably one of the most convincing — and wryly funny — depictions of divorce I’ve ever seen on film, with particular kudos going to Jeff Daniels as the sad sack father in this outfit.“
From the year-end list: “The Squid and the Whale made ugly, embittered divorce about as funny as ever it’s likely to get, thanks to Jeff Daniels’ turn as the pretentious, haunted Bernard Berkman.“
He went off the rails a bit with 2007′s Margot at the Wedding, but Noah Baumbach (also the co-writer of The Fantastic Mr. Fox and a few other Wes Anderson projects) struck inky black gold with The Squid and the Whale, loosely based on his semi-famous parents’ smash-up. Squid is a bit broad at times — I’m thinking of Billy Baldwin’s tennis instructor in particular — but Jeff Daniels’ Oscar-overlooked performance as the poster child for pretentious (and miserable) academics makes up for a lot of mistakes.
|From the original review: “We never really understand what’s going on, and I could see some folks getting frustrated with this film — usually, incomprehensibility is not a strong suit in movies. Still, for some reason, Primer works as a heady sci-fi tone poem about the cryptic (and dire) consequences of mucking about with the timestream. Mostly unfathomable, sure, but if you’re a fan of the genre, it’s definitely worth catching sometime…perhaps yesterday.“
From the year-end list: “A completely inscrutable sci-fi tone poem on the perils of time travel. Kevin and I saw it twice and still have very little clue as to what’s going most of the time — but I (we?) mean that in the best way possible“
2009′s Paranormal Activity made the bigger box-office splash this decade, but Shane Carruth’s Primer was the original no-budget movie that could. A weird and trippy little number alright, Primer once again proved that smart ideas usually trump expensive FX when it comes to memorable sci-fi, even when those ideas are devilishly complicated. Who knows? If I ever write one, it might make my best of the Nineties list too.
Before Christian Bale was the Dark Knight, he made his (adult) name as another deeply nutty rich fella. Mary Harron’s jet-black satire of ’80s yuppie-dom, American Psycho, is one of those rare adaptations that improves on the source material (in this case, a rather lousy book by Bret Easton Ellis) in pretty much every way. It’s ultimately a slasher flick, sure, but from disquisitions on the Huey Lewis back-catalog to the high-stakes status war of business card fonts, there’s a lot of humor to be had amid the slaughter. And to his credit Bale, displaying the intensity he’d henceforth be known for both on-screen and off-, just goes for it, naked chainsawing and all.
|From the original review: “Heath Ledger’s performance is engrossing, in part because you spend much of the film just trying to figure out what he’s thinking. At times, his character is taciturn to the point of being inarticulate. This speaks in favor of the film’s realism, I suppose — Ennis’s whole life after Brokeback is about caution, misdirection, and concealment….At the same time, though, Ledger seems like he’s underplaying an underwritten character…And that’s ultimately the modest problem with Brokeback Mountain, which is otherwise an excellent film — at times, it feels as somber, restrained, and delicate as Kabuki theater. Particularly in a film that warns of the dangers of bottling up passion, it’d be nice to have seen less Big Sky Country pageantry and more emotion from all the characters on-screen. If that wouldn’t have played in Peoria, so be it.“
From the year-end list: “A beautifully shot and beautifully told love story, although admittedly Ang Lee’s staid Brokeback at times feels like transparent Oscar bait.“
If “the Batman” broke out of the Newsies ghetto with American Psycho, the portrayer of his eventual arch-nemesis moved into the A-list with this Ang Lee romance. With its breathtaking Wyoming vistas, Brokeback looks amazing, and it has moments of real grace (like the haunting closing moment.) But, as J. Hoberman so well put it, this was also the “straightest love story since Titanic” Even more than Jonathan Demme’s Philadelphia, Brokeback seems like it won’t age very well. And, even if bottled-up passion is Ang Lee’s usual m.o., the movie’s demureness seems less an artistic choice than a product of its time, particularly when put up against Gus Van Sant’s more vibrant Milk, made only a few years later.
|From the original review: “A loving throwback to the director’s Evil Dead days, and an audience film if there ever was one, [it] delivers a solidly entertaining two hours of low-budge comic mayhem, if you’re in the mood for it. It doesn’t really aspire to be anything more than what it is — a B-movie carnival funhouse. But taken as such, Drag Me to Hell offers thrills, chills, and (gross-out) spills with plenty of Raimi’s old-school tongue-in-cheek.“
From the year-end list: “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“
Drag Me to Hell isn’t up to the caliber of Sam Raimi’s magnum opus, Evil Dead 2. But it’s in the same goofy-scary key, even without Bruce Campbell around this time. Basically Drag Me to Hell works because it’s unabashedly no more or less than what it aspires to be — a fun, turn-your-brain-off, midnight B-movie. And taken as such, it’s pretty darned entertaining.
|From the original review: “An intelligent, well-made throwback to the conspiracy-minded thrillers of the 1970s (such as The Parallax View and Three Days of the Condor), first-time director Tony Gilroy’s Michael Clayton is a withering and mostly plausible excursion into the ethical dead zone that can emerge at the top levels of the money game…It’s an adult, believable thriller that’s well worth checking out, and George Clooney, as per the norm, is excellent.“
From the year-end list: “Clooney’s impeccable taste in projects continues with this, Tony Gilroy’s meditation on corporate malfeasance and lawyerly ethics (or lack thereof.)…A small film, in its way, but a worthwhile one.“
Here’s a movie that one could argue should be higher on the list. A study in grays, Tony Gilroy’s Michael Clayton is an adult movie about conspiracy and compromise that has a lot going in its favor, including a solid anchoring performance by George Clooney and great work in the margins by Tom Wilkinson, Danny O’Keefe, and the late Sydney Pollack. I take off points for the convenient business with the horses and some of the artsy kerfuffling surrounding Tilda Swinton’s character, but Michael Clayton is nonetheless a very good film.
|From the original review: “I found it a bit broad at times, particularly in the early going, and I definitely had to make a conscious decision to run with it. That being said, I thought The Fountain ultimately pays considerable dividends as a stylish, imaginative, and melancholy celebration of the inexorable cycle of life, from birth to death ad infinitum…I’m not sure you’ll like it — it’s very possible you’ll love it — but I’m willing to bet, either way, that it’ll stick with you.“
From the year-end list: “Darren Aronofsky’s elegiac ode to mortality and devotion was perhaps the most unfairly maligned movie of the year…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.“
Here’s another one I haven’t seen since that first screening in 2006, and I have a suspicion my positive reaction may not hold up so much on a second viewing. (Sitting next to Famke Janssen generally makes a movie seem better, no doubt.) Still, I admire The Fountain for what it tried to do, even if it doesn’t all quite work at times. There’s something to be said for a movie that so nakedly wears its heart on its sleeve.
|From the original review: “As a documentary, The Fog of War sometimes gets clouded by its own cinematic devices…[but] the film works best when it’s simply an engaging monologue by an intelligent, evasive, and often frustrating Cold Warrior as he muses over a life perhaps not-so-well lived. “
From the year-end list: “[A] spry McNamara succeeds in penetrating the fog of time to examine how he himself became lost in the maze-like logic of war. If you can withstand the frequent Phillip Glass-scored barrages, it’s worth a see.“
Robert McNamara may have left us this past July, but his ghost haunts us still. The Oughts saw America engaged in two long wars that have moved in directions their planners did not intend or anticipate, and that we continue to wage this very moment. And, like almost all wars in human history, they’ve both been easier to start than finish. With another conflagration on his mind, T.S. Eliot once wrote: “Between the Idea and the Reality falls the Shadow.” Well, as McNamara and Errol Morris remind us here, when it comes to conflict, Between the Planning and the Execution lies The Fog of War. It’s something we’d do well to remember in the decade to come.
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.)
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.)
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.
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
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
Maybe, maybe not, but Speed Racer really doesn’t merit all the contempt being heaped upon it this morning. Mind you, Racer is definitely a movie for children, but that in and of itself shouldn’t argue against it. (I’ve sat through considerably worse kids’ movies in my day.) Basically, Racer is a preteen-friendly, maybe slightly overlong, summer pop confection, and it’s no better or worse, narratively-speaking, than the Spy Kids flicks (all three of which did significantly better with critics.) And, in terms of eye candy, it pushes the envelope and showed me things I’d never seen before in a film, and at breakneck speed to boot. What, exactly, were all these critics expecting? Did they miss that this movie was based on a 1960′s Japanese cartoon, and that one of the characters was a chimp wearing overalls? Speaking of which, I have even less fondness for Racer as a pop-culture product than I did Iron Man — I wasn’t born when the cartoon aired, I was living overseas at the age when I would have enjoyed it, and found it kitschy, dated, and dumb when MTV brought it back in 1993. So, this isn’t the “nerdstalgia” talking: If I was between the ages of 5 and 11, I’d probably think this movie was just about the coolest thing I’d seen since…well, since Iron Man, I guess, but I still would’ve dug it. And, as a 33-year-old, there were more enough splendidly weird wipes, flashbacks, and fades to keep me interested through the rough spots.
Oh, you want more? Ok, well, Speed Racer (Emile Hirsch, eventually), the second son of a car-crazy family (conveniently named the Racers), spends his school hours day-dreaming of the track and hanging with his pixie-cute (girl)friend, Trixie. (Christina Ricci, eventually.) But Speed’s life takes a tragic and Kennedyesque turn when his older brother Rex (Scott Porter) is vaporized in an ugly car accident, some time after he’d left home angry with Pops (John Goodman) and Mom (Susan Sarandon). As such, Speed grows up to inherit the family racing mantle instead, and, as it turns out, he’s pretty darn good at it, so much so that the ruthless head of an obviously evil corporate conglomerate (Roger Allam of V for Vendetta, still looking exactly like Chris Hitchens) wants Speed to race for his well-funded team. But, when Speed decides to stick with the mom-and-pop outfit instead, he incurs the wrath of the insidious Bad Guys, who now set out to destroy him. But, with the help of the mysterious Racer X (Matthew Fox…I think that’s his jawline), the racing scion Taejo Togokhan (Korean pop star Rain…shouldn’t this be Stephen Colbert?), and, of course, his loving family (also including little brother Spritle, handyman Sparky, and monkey Chim-Chim), Speed sets out to beat the odds regardless. And, hey, maybe he’ll learn a few things about racing — and life — in the process.
And that’s about it, folks…Like, I said, it’s a kids’ film. (And while maybe Speed Racer and his friends versus the Big Bad Oligarchy isn’t nuanced enough for the likes of Anthony Lane, I’m guessing it’ll resonate well enough for eight-year-olds.) Helping things along are a bevy of solid performances: Hirsch is a bit of a cipher as Speed, but it’s hard to see how it could’ve been otherwise. Better are John Goodman and Susan Sarandon as the Racers. Both are excellent actors in their own right, of course, but it’s good to see neither suffer from the Portmanitis that has afflicted other otherwise-respectable thespians in heavy-green-screen productions. And then there’s Matthew Fox as Racer X, which is funny for several reasons. Not only is it absurdly perfect casting — Fox looks and sounds exactly like the cartoon character — but the sight of Fox intoning blandly (and occasionally bringing the kung-fu) in his leather Racer X outfit almost seems like it has to be a self-deprecating knock by the Wachowskis on their earlier franchise. (Well, at least I hope they’re in on the joke. The Neo-isms of the final act are way over the top, and a lot of the secondary performances, from Speed’s teacher to the goons dressed like From Hell extras to the fellow playing Inspector Detector, often seem like Eurotrash rejects from the heady days of Zion raving too.)
All that being said, you’re not going to walk out of Speed Racer talking about the performances. The real star of the show is the hypersaturated, zippity-quick look of the whole enterprise. And, while I easily see how people could feel overstimulated to the point of nausea by it (or that it might very well be less captivating on a non-IMAX-sized screen), I was consistently diverted by the look of Speed Racer, and particularly when the brothers Wachowski experiment with some all-new tricks. The cartoonishly-integrated flashback wipes, while perhaps overused, are definitely a neat effect, as are the squiggly-enhanced kung-fu/romance scenes and the “radio” zooms. And the whole movie just has a bizarre wonder to it: Note the sequence just before the start of the desert race, for example — It’s like something out of a fever dream, The Sheltering Sky by way of mescaline-laced Skittles.
So, after all this, am I recommending the film? Well, it really depends on how much you [a] prize visual invention over everything else and [b] can hang with a story pretty clearly pitched at pre-teens. (Having played and enjoyed F-Zero, Wipeout, or SSX will help too, I’d wager.) As I said above, however cotton-candy-thin and dumbed down the plot, I’d never seen a movie that looked like Speed Racer before, and that counts for something in my book. Whatever its faults as a film, I feel I saw something…quite new…last night, and as such I’m willing to forgive Speed Racer probably having too many notes. In any case, it’s definitely not as uniformly terrible as the press is making it out to be.
In case you haven’t already gotten the gist of it, a really long trailer for the Wachowski’s Speed Racer is now online. This still looks mostly headache-inducing to me, to be honest. But I’ve seen so few movies this spring (as in, well, none) that I expect I’ll probably indulge once the summer begins in earnest.
I missed these the other day, but via Bitten Tongue, two new international trailers for the Wachowskis’ Speed Racer are now online. You might want to stay away if you have any propensity for epileptic seizures. Also out today, the final trailer for Pixar’s WALL-E: Lonely boy-robot meets egg-shaped girl-robot, gets lost amid the stars. Pretty standard, really. Update: The full domestic trailer for Speed Racer is up, now with 95% more Susan Sarandon. (And, I’m not sure if I’ve mentioned it before, but Matthew Fox as Racer-X is a stroke of genius.)
The brothers Wachowski return to the fold with a bizarre new trailer for their live-action Speed Racer, starring Emile Hirsch, Christina Ricci, Matthew Fox, John Goodman, and Susan Sarandon. Ouch, my brain hurts…Not sure I see myself sitting through two hours of this one, even with the Wachowski imprimatur.
EW lists the top 25 sci-fi offerings (in tv and film) of the past twenty-five years. Pretty arbitrary, really, but it includes Brazil (at #6), BSG (at #2 — these two should have switched places), Children of Men (#14), Eternal Sunshine (#17 — same problem), Aliens (#9), The Thing (#10), The X-Files (#4), Galaxy Quest (#24), and Blade Runner (#3), so it’s by no means a bad list. (Both Lost and Heroes should be replaced, however.) Just from what’s missing above, you can probably guess #1…can’t you, Mr. Anderson?
Um, ok. The Brothers Wachowski sign on to make Speed Racer, a highly unnecessary reimagining of the old Saturday morning cartoon. So if Chim Chim ends up being an androgynous leather-clad existentialist kung-fu master, you’ll know why.
“People should not be ‘fraid of cookie. Cookies should be ‘fraid of people.” Guy Fawkes, meet Crazy Harry. By way of my sister, experience Jim Henson’s uncompromising vision of the future, C for Cookie.
“Nothing better illustrates the simplism of V for Vendetta, or better highlights the unflattering contrast with Brazil, than V’s motto: ‘There are no coincidences.’ The comic beauty of Brazil’s portrait of totalitarianism is that everything rests on random coincidence, which nudges the bureaucracy into its own blind and murderous momentum: A dead fly falls into a computer printer and — voila — poor law-abiding Buttle is mistaken for dangerous subversive Tuttle.” Slate‘s Matt Feeney compares Brazil and V for Vendetta.
Verily, my view on V for Vendetta vacillates. Even with visage veiled, the venerable Hugo Weaving’s voice brings vim and verve to the verbose, volatile, and vindictive vigiliante. Natalie Portman is vivacious enough as V’s volunteer, and varied English veterans (Stephen Rea, Stephen Fry, John Hurt) bring valuable versimilitude to V’s environs. But, various vignettes notwithstanding, this vaunted venture is less vibrant and versatile than I’d hoped. V is too virtuous, and the villains — from a venal vicar to a vainglorious video host — too vile. Vendetta is a viable version of Alan Moore’s violent vision, I suppose, but a vulgarized one.
If you thought the last paragraph was clunky, be prepared for more of the same in V. Vendetta is an enjoyable night at the movies, and definitely an above-average, smarter-than-usual actioner. And Weaving is amazingly dynamic behind the static mask — It’s hard to think of anyone else who could’ve pulled this off quite as well. But, like the last two Matrix films, V‘s bravura moments — the escape from the BBC, V’s talk with the botanist (Sinead Cusack), the domino scene — are too often interspersed with leaden, expository-heavy scenes where the pacing of the film just goes slack. Particularly egregious in this regard is our Batman-ish introduction to V very early in the film, where even Weaving’s mellifluous phrasing can’t salvage a similarly V-intensive monologue. (Frankly, the whole scene needed a rewrite.) The film does eventually recover from this Act I stumble, but it takes awhile.
And the larger problem with V for Vendetta is that, for all its pretense of moral complexity, it stacks the ethical deck in favor of our terrorist-protagonist. It’s been awhile since I’ve read the graphic novel, but I remember V coming across as a much more unlikable character. He’s a monster created by monstrous circumstances, and as much a symptom as the cure of his society’s larger sickness. But here, V is too (anti-)heroic and charismatic, even given the second act twist, and the government too Orwellian and depraved by far. Who wouldn’t sympathize with rising up against this Taliban-meets-the-Tories outfit? As such, the subtler elements of Moore’s moral economy have been flattened out, and all the choices have been made for us. But perhaps it’s a problem of medium — what worked well on the page comes across as overkill on the big screen. (Exhibit A: Big Brother John Hurt…I liked him better as Winston Smith.)
All in all, I’d say V for Vendetta is much better comic adaptation than LXG or, say, Fantastic Four, and on par with the other Vertigo films, From Hell and Constantine. But it’s not a slam-dunk: Vendetta‘s heart is in the right place, but, sadly, something doesn’t quite translate.
“V for Vendetta may be–why hedge? is–the most subversive cinematic deed of the Bush-Blair era, a dagger poised in midair. Unlike the other movies dubbed ‘controversial’ (Fahrenheit 9-11, The Passion, Munich, Syriana), it doesn’t play to a particular constituency or polarized culture bloc, it’s working on a deeper, Edgar Allan Poe-ish witch’s brew substrata of pop myth.” Vanity Fair‘s James Wolcott seems to really like V for Vendetta. (Via Blivet.)
The new trailer for V for Vendetta is now online. This premiered at BNAT 7 last week and got universally great reviews from the AICN fanboys, most of whom know their Moore…but, frankly, I’m not really feeling the “Matrix with knives” angle of this trailer, and John Hurt seems like he’s overdoing it.
Remember, remember, the…17th of March? Guy Fawkes teams up with St. Patrick this year as the ad blitz begins for the rescheduled V for Vendetta. Here’s one of four new teaser posters, with the rest to be released sometime today. Update: The others are here, here and here.
“Remember, remember, the 5th of November…” The Comic-Con trailer for V for Vendetta is now online, starring Natalie Portman, Hugo Weaving (formerly James Purefoy), Stephen Rea, and John Hurt. Look like it’s Winston’s turn as Big Brother.
As creator Alan Moore removes his name from the forthcoming V for Vendetta film, word leaks back that the Wachowskis’ shooting script substitutes Moore’s characters for Matrix 2/3-style ponderousness. Hmm. Well, perhaps they’ll tighten it up on set (and at least there’s still the possibility of Watchmen, if Paramount will get their act together.)
A thespian-terrorist connection? The upcoming film version of Alan Moore’s V for Vendetta receives an infusion of grade-A British talent, including Stephen Fry, John Hurt, Tim Pigott-Smith, and Sinead Cusack. (They join James Purefoy, Natalie Portman, and Stephen Rea.)
In the fanboy casting department, Kate Bosworth is set to play Lois Lane in Bryan Singer’s forthcoming Superman, while Natalie Portman purportedly joins V for Vendetta. Bosworth doesn’t scream Lois to me, but she’s talented (and, obviously a looker) and I’m sure she’ll do well. As for V, I could see it going either way at this point, although I do like the teaser poster (at right). Update: Regarding Superman, it’s official: Spacey is Lex.
Digital Bits releases the details of a new Matrix trilogy box set. As y’all might remember, I was cautiously positive about Reloaded and really down on Revolutions, but this box set sounds like hella fun. “There will be two audio commentaries for each film – one from philosophers Ken Wilber and Cornel West (who analyze the meanings behind the films), and one from three professional critics who hated all three films (no names given). According to Andy Wachowski, ‘It’s the best idea we’ve ever had. It’s hilarious. They just sit there and rip the s**t out of us for six hours.’”
Well, it’s that time of year again, New Year’s Eve. So, without further ado…
2. Lost in Translation. It was fun for a while, there was no way of knowing. Like a dream in the night, who can say where we’re going? I still think Sofia Coppola cut a little close to the bone here in terms of autobiography, particularly given her recent split with Spike Jonze. Still, I find this tale of chance encounters and foreign vistas has a strange kind of magic to it, and it has stayed with me longer than any other film this year. Bill Murray comes into full bloom in a part he’s been circling around his entire career, and while I suspect he’ll get some stiff competition from the Mystic River boys come award-time, I’d say he deserves the Oscar for this one. Lost in Translation has its problems, sure, but at it’s best it’s haunting, ethereal, and touching like no other film in 2003.
3. Intolerable Cruelty. I expect I’ll be in the minority on this pick – This more-mainstream-than-usual Coen joint only got above-average reviews, and hardly anyone I’ve spoken to enjoyed it as much as I did. Still, I thought Intolerable Cruelty was a pop delight, 99.44% pure Coen confection. George Clooney is used to much better effect here than in O Brother (gotta love the teeth thing), and everyone else seems to be having enormous amounts of fun along the way. Light and breezy, yeah, but I thought it was that rare breed of romantic comedy that actually manages to be both romantic and hilarious. In the post-Tolkien era, it’s good to know we can always rely on the Coens for consistently excellent work, and I for one am greatly looking forward to The Ladykillers.
(3. The Pianist.) A 2002 film that I caught in March of this year, The Pianist is a harrowing and unique survivor’s tale that’s hard to watch and harder to forget (and I can’t have been the only person who thought post-spider-hole Saddam bore a passing resemblance to Brody’s third-act Szpilman.) Speaking of which, I said in my original review of Adrien Brody that “I can’t see the Academy rewarding this kind of understatement over a scenery-chewing performance like that of Daniel Day-Lewis in Gangs of New York.” Glad to see I was wrong.
4. Mystic River.: The waters of the Charles are disturbed, something is rotten in the outskirts of Boston, and it’s safe to say the Fates are wicked pissed. Much like In the Bedroom in 2001 (and Clint Eastwood’s own earlier Unforgiven), Mystic River is inhabited and propelled by a spirit of lumbering, impending, inexorable doom…what Legolas might call a “sleepless malice.” It is that existential malice, rooted so strongly in local color, that gives this River its considerable power. And unlike Cold Mountain, where stars stick out here and there with showy turns, the ensemble cast of Mystic River never overwhelm the strong sense of place at the heart of the film — indeed, they sustain it with consistently excellent and nuanced performances. Big ups for all involved, and particularly Tim Robbins and Marcia Gay Harden.
5. X2: X-Men United. Laugh if you want, but I can’t think of any other movie where I had more fun this year. Arguably the most successful comic film since Superman 2, X2 improved over its rather staid predecessor in every way you can imagine. From Nightcrawler in the White House to the assault on the mansion to Magneto’s escape to Ian McKellen and Brian Cox chewing the scenery in inimitable fashion, X2 was ripe with moments that seemed plucked directly out of the comics, if not straight out of the fanboy id. To me, my X-Men.
6. Master and Commander: The Far Side of the World. It’s a long title, it’s a long movie. But a good kinda long…in fact, as I said in my initial review, it seemed to move to the langorous rhythms of a long sea voyage, one that I may not take again for awhile, but one that I still thoroughly enjoyed. And I’ll say this for Russell Crowe…somewhere along the way in each of his films, I tend to forget that he’s Russell Crowe. His Capt. Jack Aubrey was no exception.
7. The Matrix Reloaded. If we can, let’s try to forget the resounding thud on which the Matrix trilogy ended. For a time there, five short months, the fanboy nation was abuzz in trying to figure out exactly where the Wachowskis were going after the second chapter. Previous Matrices, previous Ones? How was Neo manipulating the real world? What was Smith up to? It all seems kinda pedestrian now, of course, but at the time Reloaded was a sequel that outdid its predecessor in pizazz while building on the questions that animated the first film. I won’t defend the first forty-five minutes or the ridiculous rave scene. But, right about the time Hugo Weaving showed up to do what he does best, Revolutions found a new gear that it maintained right up until the arc-twisting Architect monologues at the end. And, as far as action sequences go, it’s hard to beat the visceral thrill of the 14-minute highway chase.
(7. The 25th Hour.) Another 2002 hold-over, and the best film yet made about the aftermath of 9/11, (which only seems natural, given that it’s by one of New York’s finest directors.) Haunted by might-have-beens, what-ifs, and what-nows, The 25th Hour feels real and immediate in its attempt to grapple with both 9/11 and the slamming cage in Monty Brogan’s future. Only once, with the Fight Club-like fracas in the park, does the film flounder. Otherwise, it’s a thought-provoking meditation throughout.
8. The Last Samurai: Breathtaking New Zealand landscapes, furious suicide cavalry charges, rustic untainted pre-modern villages…no, it’s not Return of the King, just the warm-up. [And, as I said earlier, I prefer my anti-modern nostalgia hobbit-like (peaceful, environmental, epicurean) rather than samurai-ish (martial, virtuous, stoic)] While I think Cold Mountain got the Civil War right, I ultimately found this film to be the more engaging historical epic of December 2003. So take that, Miramax.
9. Finding Nemo. Oh, my…I almost forgot about Nemo. (Just like Dory sometimes.) Pixar’s films have been so consistently good that there’s a danger of taking them for granted. They hit another one out of the park in this tale under the sea. As with the Toy Stories and Monster’s Inc. before it, just an all-around solid kid’s movie filled to the brim with eye-popping wonders.
10. Dirty Pretty Things. Although it becomes more conventional as it goes along, DPT starts very well, features a star-making turn by Chiwetel Ejiofor, and manages to include a Audrey Tautou performance that isn’t fingernails-on-the-blackboard bothersome. As with Hugh Grant in About a Boy last year, that deserves plaudits if nothing else.
11. L’Auberge Espagnole. Hmm…two Tautous in a row….perhaps I should stop playa-hatin’. At any rate, while Lost in Translation trafficked in existential detachment, L’Auberge Espagnole showed the fun Scarlett Johannson could’ve been having, if she’d just lighten up and get out of the hotel once in awhile. This paean to the pan-Continental culture of the EU captured the excitement and possibilities of youth in a way that was both sexier and funnier than any of the teen shock-schlock emanating from our own side of the pond. Road Trippers, take a gander.
12. The Quiet American. A bit by-the-numbers, perhaps, but Phillip Noyce’s take on Graham Greene’s novel was blessed with timeliness and two great performances by Michael Caine and Brendan Fraser, both of whom expertly exemplified their homelands’ diplomatic tendencies without becoming overly tendentious. I’m not sure if giving away the end before the credits was the right way to go, but otherwise the film rarely falters.
13. The Fog of War. From Alden Pyle to one of his real-life counterparts, Robert McNamara, who now only remains quiet when questioned about his own culpability over Vietnam. Despite this central failing, a spry McNamara succeeds in penetrating the fog of time to examine how he himself became lost in the maze-like logic of war. If you can withstand the frequent Phillip Glass-scored barrages, it’s worth a see.
14. Pirates of the Caribbean. My initial upbeat opinion on this one has faded somewhat over the autumn and winter months. Still, at the time PotC was a surprisingly good summer popcorn flick, and rollicking fun for about two of of its two and a half hours. Johnny Depp and Geoffrey Rush were great fun, Keira Knightley and Orlando Bloom make for great eye candy, and Sam Lowry was in it. I’m just going to assume it was much, much better than The Haunted Mansion.
15. The Station Agent. Ok, it’s got Sunday afternoon bored in front of the IFC Channel written all over it. And not much happens for the last forty minutes or so. Still, The Station Agent proves that if you write a few interesting, well-rounded, complicated characters and throw them in a situation together, the story almost writes itself.
16. American Splendor. The first of a couple of movies that I seemed to like less than most people. Sure, I thought Splendor was well-done, but it never really grabbed me, and I’d be more impressed by its breaking-the-fourth-wall daring if it hadn’t already been done twenty-five years ago in Annie Hall. (Similarly, I thought this kooky underground comic world was captured better in Crumb.)
17. Spellbound. Could you use it in a sentence? Again, people seemed to love this flick, and I was definitely entertained by it. But, when you get right down to it, what we have here is kids spelling for two hours…I couldn’t imagine ever sitting through this one again. And, as I said in my original post, I thought Spellbound was more manipulative than it lets on. Less kids and more complexity would’ve made the film more satisfying. S-A-T-I…
18. Cold Mountain. I’ve already written about this one at length today, so I’ll just refer you to the review. To sum up, occasionally beautiful but curiously uninvolving and way too top-heavy with star power distractions.
19. 28 Days Later. Great first third, ok second third, lousy finish. The film was much more interesting before our team makes it to Christopher Eccleston’s countryside version of Apocalypse Now. And I can’t stand horror movies where the protagonists make idiot decisions, like driving into tunnels for no reason or taking downers when surrounded by flesh-eating, spastic zombies. But the cast — particularly Brendan Gleeson — do yeoman’s work, and the opening moments in an empty London are legitimately creepy.
20. T3: Rise of the Machines. Before he was the Governator, he was the T-1000 one (last?) time. Let’s face it, this movie is mainly here by virtue of not being bad. I mean, c’mon, it was better than you thought, right? Well, me too. Claire Danes was insufferable, but Nick Stahl and Kristanna Loken give it the ole college try, and the story takes a few jags that weren’t immediately apparent. Bully to Jonathan Mostow for not running James Cameron’s franchise into the ground.
As Yet Unseen: 21 Grams, Bad Santa, The Cooler, House of Sand and Fog, In America, Love, Actually, Something’s Gotta Give.
Best Actor: Bill Murray, Lost in Translation. Sean Penn, Mystic River. Chiwetel Ejiofor, Dirty Pretty Things. Michael Caine, The Quiet American.
Best Actress: Scarlett Johannson, Lost in Translation (who’s sort of here by default…I expect competition from Diane “Something’s Gotta Give” Keaton, Samantha “In America” Morton, Jennifer “House of Sand and Fog” Connolly, and Naomi “21 Grams” Watts.)
Best Supporting Actor: Tim Robbins, Mystic River, Sean Astin, Return of the King, Billy Boyd, Return of the King, Ken Watanabe, The Last Samurai.
Best Supporting Actress: Renee Zellweger, Cold Mountain, Marcia Gay Harden, Mystic River, Patricia Clarkson, The Station Agent.
Like most of the fanboy world, I checked out Revolutions on Wednesday and, well, I guess Andrew O’Hehir of Salon might’ve said it best: It “isn’t a terrible movie, but it is a tremendous disappointment.” (Many people I’ve spoken to think that even this proclamation is being charitable.) As y’all may or may not remember, I actually liked The Matrix: Reloaded, and forgave it many of its considerable faults (the interminable first forty minutes in Zion, for example), because I assumed that much of the drier, talkier scenes were necessary for setting the stage for the final installment. And I thought that the Architect scene that closed Reloaded also opened many intriguing doors that promised future mind-bending plot twists in Revolutions.
But, sadly, Revolutions capitalizes on barely any of this promise. Instead the Wachowski, um, siblings give us a closing chapter that is almost breathtaking in its inanity. For one, much of the time spent in Reloaded making the Merovingian (Lambert Wilson), Persephone (Monica Bellucci), and for that matter, the phase-shifting albino twins (“We are getting very aggravated”) decently compelling adversaries seems to have been completely wasted. None of Merv’s existential menace or Persephone’s prophetic allure comes to anything here — instead, they’re used as throwaway devices to set up an exchange in a goofy S&M joint which I suppose is meant to approximate Hell but comes off more like the Prague nightclub in Blade 2. As with the characters, so with the plot twists — Virtually every one of the intriguing questions dropped at the end of Reloaded (multiple Matrices, Neo’s real world powers) are either completely left by the wayside or just accepted by the story — Neo has powers in the Real World now because he does. Hmm, that’s not that interesting. It eventually seems that the only point of the film’s first half-hour (aside from the introduction of karmic programs, which I’ll get to later) is to rectify the Neo-in-a-coma cliffhanger of Reloaded, a cliffhanger that ends up having little or nothing to do with the trilogy’s main arc.
Speaking of the main arc, I’d think even the most rabid Matrix fanatics out there have to admit that almost all of the fanfic endings to Revolutions turned out to be more intriguing and well-thought-out than the real thing. Now I don’t have a problem with the peace treaty aspect of the conclusion – after watching the Animatrix prequels, that seemed almost inevitable. But, as J. Hoberman noted in a mixed-positive review, what we end up with here is one-part Christ allegory (perhaps Mel Gibson should’ve taken the role), one-part Return of the King, with Neo and Trinity rushing to Mordor before the White City falls. There are no interesting permutations to this formula along the way, no Matrix-like plot twist to take the film up a notch — instead Revolutions just grinds along inexorably to its rote conclusion. It would’ve been well nigh impossible for the Wachowskis to match the shock of Neo’s pod awakening in the first Matrix, but I think they could’ve approximated something along the lines of the Architect scene if they’d just tried a little harder.
Moreover, Revolutions as written fails to engage us in the characters we’ve been following along the way. One of the main three is reduced to little more than a Nien Nunb impression, while another dies (slowly) in what amounts basically to a Keymaker-like chauffeuring mission. Instead, we spend most of the movie watching the exploits of a Zion filled with uninvolving stock character tropes — the can-do kid, the grizzled sergeant, the take-no-guff officer, the scrappy girlfriend — take your pick. Frankly, the Wachowskis should be ashamed at the depths of cliche wallowed in here, in both the dialogue and the characters. Just grisly stuff.
So why, after all these issues, am I still giving Reloaded a 2-star (6/10) review? Well, for one, I guess I am a sucker for big sci-fi spectacle, and the Zion invasion sequence does undoubtedly make for some compelling eye candy. It’d have been nice if the machines had relied on a variety of military mechs rather than just the ubiquitous Squiddies, but they are kinda creepy, and I did like the moment when they pour out of the dock breach like the blooming of a poisonous rose. And then there’s Agent Smith, who as per usual steals scenes every time he opens his mouth — His scene with the Oracle may be the high point of the film. Hugo Weaving (and Ian Bliss’s wicked Weaving impression) deserve high marks for bringing the type of grade-b, meglomaniacal fun to the table that this ponderous film so often needs (More Joe Pantoliano would’ve benefited both sequels too, I should think.) Alas, the rain battle between Smith and Neo at the end of the film also feels like a bust. It’s never as engaging as their fracas at the end of the first Matrix, and it definitely could have benefited from more Superman stylings (punching through buildings, swinging streetlamps like baseball bats, etc.)
But I’m trying to accentuate the positive here. I did enjoy the Philosophy 102 lectures, even if they also seem inserted in as usual. To add to the existential and behaviorist disquisitions of Reloaded, we now have an emotive program discoursing on karma (also one of the better moments of the film) and Smith making a case for nihilism. You could read Neo’s final fate as representing the necessity of all philosophies to grapple with the inevitability of death, although it seems more pertinent to explain it as simple messiah martyrdom, given all the throwing around of words like “faith” and “belief” through the film. (The kid’s “I believe in Neo!”, for example…ugh.) Actually, trying to interpret the ending of the film brings me to my biggest problem with Revolutions: the movie turned out to be so pedestrian in its execution that it almost undercuts the intellectual legitimacy of the earlier films.
Put another way, while I think David Denby should be taken to task for the ridiculous snobbishness exposed in his Revolutions review (Denby writes that it is “far too late to bemoan the obvious truth that…college-educated gents, and millions of others like them, will spend many hours debating the apocalypse as revealed by the Brothers Wachowski but would die before reading a single story by Chekhov or Cheever dealing with the sensual and spiritual quandaries of ordinary people“), the film does suggest that much of the philosophical ruminations on the meaning of the Matrix trilogy may have been misplaced when the writer-directors are so glib and ham-handed as to finish it off with a mighty dollop of Christ-figure bathos, a sunset, and a little girl.
In sum, while the intriguing but flawed Reloaded suggested that the Wachowskis were going to swing for the fences in the final installment, ultimately it seemed that — action spectacle aside — they were content to settle for a bunt. Boo hiss.
The Matrix publicity folks release the Revolutions posters. Very nice, although the goofy tagline – “Everything that has a beginning has an end” – smacks of the quasi-deep philosophizing that almost derailed the last film.
and She knows how to use them. The hour is finally at hand…Tomorrow the RotK trailer appears in front of Secondhand Lions (online Monday), and here’s what we’ll see. (Some screencaps here.) Update: Snippets of footage here, including an ethereal and jaw-dropping look at Minas Morgul. Come, Master, come to Smeagol… Update 2: The Wachowskis get in the game with the full Matrix: Revolutions trailer…A sci-fi sorbet before the fanboy main course. Update 3: A bootleg version of the trailer is now available, and it should hold ya until Monday.
Another new Matrix: Revolutions ad makes it online, with two more to follow tomorrow. What with the ponderous epic music and all, it takes itself way too seriously as usual…but there is some new and intriguing footage in here. Update: The other two spots are now online, and be warned – they’re starting to get spoilerific.