// archives

Michael Douglas

This tag is associated with 10 posts

2015 in Film.

Hey, remember 2015? Syrian refugees and the Iran nuclear deal, the Paris attacks and the Paris accords. Taylor Swift had bad blood and The Weeknd couldn’t feel his face. Donald Trump was leading in all the polls, but, lolz, we all knew wiser GOP heads would prevail in the end. And, hey — while it wasn’t a great film year by any means — some movies came out too!

One of the reasons I’ve been thinking about getting back on the horse around here is that I never did write up the 2015 movie list, which seems a shame after fifteen years running. (The 2014 list is still on the front page!) So, yeah, this is real late…but since I caught so many of these On Demand, I couldn’t have written this list up at the end of 2015 regardless. And besides, no matter how tardy I am in posting this each year, there’re always still a few more possible additions languishing unseen in the DVR and Amazon Prime queues — right now it’s Slow West and Chi-Raq on the slow burners. (I’ve also tried to watch Jupiter Ascending twice now, but haven’t made it past the first twenty minutes, right around the point Oscar Winner Eddie Redmayne starts doing his cut-rate Ming the Merciless bit.)

At any rate, of the films I did see, these below were my…

Top 25 Films of 2015
[2000/2001/2002/2003/2004/2005/2006/2007/
2008/2009/2010/2011/2012/2013/2014/The Oughts]

1. Ex Machina: Having already written a few worthy genre contenders like Sunshine and Dredd, The Beach author Alex Garland put on the director’s hat and and tore up the 2015 dance floor with this perfectly contained sci-fi-noir. A wry amalgam of Isaac Asimov and James M. Cain, Ex Machina is smart all the way through — I thought crowdsourcing AI was a particularly clever touch, until we actually tried to do it this year — and it possesses a secret weapon in Oscar Isaac’s amusingly dickish fratbro billionaire. In a can-you-top-this era of CGI excess, Ex Machina is a valuable reminder that sometimes the most satisfying science fiction tale is simply a small story told well.

2. It Follows: Speaking of simple ideas done well, how about David Robert Mitchell’s It Follows? Granted I don’t watch much horror anymore — tho’ I’m looking forward to catching The Witch sometime soon — but this was the first movie in ages that had me unsettled for a good while afterward, suspiciously eyeing slow-moving randoms on the street and keeping an eye to an exit strategy.

It Follows gets under your skin by making the most of a basic premise that’s been a subtext of the horror genre for years (and one that can carry all kinds of allegorical weight as needed, from aging to adulthood to AIDS): have sex and you’re a goner. And like the original Blob — or Death, for that matter — the creature may move slow here, but it is inexorable. Quentin Tarantino has a point about the problems with the goofy third act (tho’ he doesn’t really have a leg to stand on this year — see below), but man is this film creepy. Extra points for the very John Carpenter-y score by Disasterpeace.

3. Anomalisa: If there’s a fear more primal than the slow-stalking beast of It Follows, perhaps it’s the one haunting this business trip to the solipsistic hellscape of stop-motion Cincinnati: Forget not escaping Death for a second, you’re never going to escape you. Without any actors gracing the screen (and Tom Noonan taking up the bulk of the characters), Anomalisa is a bracing shot of distilled Charlie Kaufman — mournful misanthropy with plenty of anxiety and a dash of sweetness, coming right up — and seems like the movie John Cusack’s puppeteer was working toward in Being John Malkovich.

4. The Big Short: The best of this year’s Oscar contenders, Adam McKay’s chronicle of the traders who bet big on America’s financial collapse succeeds in being both informational and, often, quite funny. Even better, McKay vastly improves on the source material by infusing it with no small amount of righteous anger. Michael Lewis is compulsively readable, but he tends to flinch from interrogating his class, and so you end up with books like The Big Short, which are, in essence: “Look at these smart guys who beat the system! (never mind that the system was corrupt to the core.)” [Or, for that matter, The Blind Side: “Look at these great rich white people who took in an at-risk black youth! (never mind they only did it because he was a football prodigy.)”] McKay’s film restores the balance by re-emphasizing that the mortgage meltdown was about more than just hubris and assholery — it was systemic corruption all the way down. And yet, nobody went to jail — The Big Short has the confidence to let that last laugh curdle.

5. Spotlight: Speaking of which, this year’s Oscar winner could stand to have a few more dollops of righteous anger added to the mix as well. Instead, Spotlight chooses to tell this incendiary story of cover-up and corruption in the Catholic Church as a journalistic procedural. So, while it’s all very sober and well-made, the overall experience feels akin to watching Law and Order re-runs. (While it’s a subplot throughout, I also wish they’d done more with how Michael Keaton et al missed this story for so long. There’s a come-to-Jesus moment near the end that felt to me like a big fat ¯\_(ツ)_/¯ before getting back to the regularly scheduled media back-patting. The Church isn’t the only once-venerable institution crumbing from within these days.) I don’t want to be too down on Spotlight — I’m putting this at #4, after all — but it’s ultimately high-quality Oscar bait, and doesn’t feel like a movie we’ll be talking about much in years to come.

6. Star Wars: The Force Awakens: ZOMG Star Wars y’all! J.J. Abrams’ reboot of the original fanboy/tentpole universe has the benefit of great casting and instantly likeable characters in Daisy Ridley, John Boyega, Adam Driver, Oscar Isaac, and BB-8. This is also clearly a labor of love for Abrams — just look how he Wars-ed up Star Trek a few years ago. At the same time — and, to be fair, this becomes more pronounced after the first viewing — The Force Awakens also feels like an exceedingly cautious retread of the original trilogy at times, a sensation exacerbated by both too many unnecessary Chris Farley Show-style callbacks (hey, remember that thing? That was so cool! Here it is again!) and that ultra-stupid, basic-physics-defying Starkiller Base in the third act. (Seriously, do not get me ranting about Starkiller Base. It is a silly place.) Still, the important thing here is, after the prequel misfire, Star Wars feels back. Bring on Rogue One and VIII.

7. Kingsman: The Secret Service: Stardust notwithstanding, Matthew Vaughn films tend to do well on this list –See: Layer Cake, Kick-Ass, X-Men: First Class— and Kingsman is no exception. This anarchic, occasionally snotty send-up of Bond tropes was a visceral blast that didn’t take itself too seriously, didn’t overstay its welcome, and didn’t try to be anything it wasn’t. (And how about that cuh-razy church melee?) This would’ve been one of the most fun times I had in a movie theater this year, had I not actually caught it on a plane.

8. Mad Max: Fury Road: He lives, he dies, he lives again! Speaking of visceral melee-fueled thrill rides, and given that George Miller has been an excellent filmmaker over the years, Fury Road was a far better Mad Max sequel after thirty years off than we had any right to expect. Miller’s crazy gamble paid off and then some — however hard to shoot, there is some strikingly beautiful cinematography throughout this film. That being said, and with the caveat that I’m not much of a Road Warrior or car guy, I thought Fury Road was a bit overrated by the end of 2015. It was the best of the summer blockbusters by several lengths, but even a chase sequence as masterfully constructed as the one here gets old after two hours. Er…how long are we riding shiny and chrome again?

9. The Revenant: I avoided this movie for awhile since I presumed, like Birdman, 21 Grams, and the rest of Inarritu’s output, it would be interminably pretentious. And, yeah, it is. The story here is also absurd in its Mountain Man, quien es mas macho survivalism. (Twice, Di Caprio’s character goes to town on raw and/or wriggling flesh when there’s a fire literally right next to him.) But, unlike Birdman and its claustrophobic hallways, The Revenant also has the advantage of really first-rate nature cinematography, provided by Emmanuel Lubezki. I wasn’t particularly engaged by the revenge tale here, but this is an often beautiful-looking film, and no mistake.

10. Ant-Man: Some day, Marvel will really drop the ball on one of these B- or C-level hero stories. (Perhaps that’s why they’ve postponed The Inhumans.) Today is not that day. Like its star, Ant-Man is a charming, low-key, and amiable addition to the ever-expanding Marvel-verse, with a secret weapon in consistent scene-stealer Michael Pena. It’d have been nice to see what Edgar Wright was cooking up for this character for, lo, so many years, But, to his credit, gun-for-hire Peyton Reed managed to steer this bug away from the zapper. Best of luck on the sequel.

11. Creed: For all intent and purposes, Creed is basically The Force Awakens of the Rocky world — this is another 21st century update of a 70’s classic — and it suffers from many of the same strengths and weaknesses as Abrams’ reboot. Like Episode VII, Creed boasts a lively young cast and solid support from an aging veteran of the earlier films. And, like VII, it follows the contours of the original story to a fault. Still, worth catching, even if it made me wonder how soon we can expect Richard Dreyfuss teaching Chadwick Boseman or Felicity Jones or the like how to catch sharks. (In fact, they could just digitally insert old Hooper into Blake Lively’s new shark flick.)

12. Inside Out: Like Marvel, Pixar is another corner of the Disney empire consistently churning out quality product. My main issue with Inside Out at the time was that it felt reductive, and needed many more emotions rattling around Riley’s (and everyone else’s) head than just the five presented. But, a year or so later, that seems like a quibble. Yet another excellent Pixar outing.

13. Bridge of Spies: I had hopes this well-made Spielberg prestige picture about James Donovan and the U-2 spy plane would be a little more overtly Coen-y, given that the brothers wrote the screenplay. (The only time it really comes through is when Donovan (Tom Hanks) is introduced to Abel’s fake family.) But, even if it’s a bit staid throughout, what we got here is a worthwhile throwback of a movie, with Hanks well-cast in what would be the Gregory Peck/Jimmy Stewart role.

14. Macbeth: “Stars, hide your fires; Let not light see my black and deep desires.” Foul is fair indeed in this often gorgeous retelling of the famous play, with Michael Fassbender and Marion Cotillard headlining as the ambition-wracked titular couple (she’s amazing, he’s a bit much) and several ringers in the wings, including Paddy Considine, Sean Harris, and David Thewlis. Another film on this list, like The Revenant and Fury Road, that’s worth seeing for the cinematography alone…tho’ the Bard’s not half-bad either.

15. What We Do in the Shadows: Several good laughs to be had in Taika Waititi and Jemaine Clement’s warm-hearted, cold-blooded mockumentary of Kiwi vampire roommates. Even if early hype had me expecting something even funnier, it’s impressive that Waititi, Clement et al made such a fresh-feeling film out of what’s been one of the more well-mined corners of genre of late. I’m in for We’re Wolves (tho’, with Murray (Rhys Darby) playing the leader of those swearwolves, why wasn’t Bret invited to the plastic pantomime?)

16. MI: Rogue Nation: Chris McQuarrie’s impossible mission doesn’t quite hit at the level of Brad Bird’s Ghost Protocol, but it’s right up there. With a smart choice of villain in Sean Harris, more for Simon Pegg to do, and an impressive newcomer in Rebecca Ferguson, MI:RN was the second-best summer ride after Fury Road, and feels like a franchise that, well after the first installment, is still going places. And loath as I am to agree with Donald Trump, what I said about Edge of Tomorrow applies here as well: For all of his personal faults, Tom Cruise remains a surprisingly committed movie star.

17. Avengers: Age of Ultron: A messier and more frazzled foray than the superb first installment, Joss Whedon’s Age of Ultron unfortunately carries the weight of its blockbuster-ness around like a sack of potatoes. James Spader’s quippy turn as the Big Bad felt genuinely unconventional — weirdest Less Than Zero sequel ever, by the way — but everything else here felt both rushed and strained, sometimes to the point of incoherence. (I’m looking at you, Thor’s hot tub time machine.) The good news is, if Winter Soldier and Civil War are any indication, the brothers Russo are more than ready to take up this burden for the Infinity War.

18. Kumiko the Treasure Hunter: The first hour of this film is slooooow, and I might’ve felt that way about the second hour too if I had known where we were headed. But lucky for me going in, I had no inkling this tale, about a lonely Japanese woman obsessed with finding the buried suitcase from Fargo, was based on a “true” story. So I had no idea where this movie was going, and was honestly expecting something much more whimsical and magical realist than the depression case study we have here. Either way, the film has some truly haunting moments (Bunzo on the Metro, for example), picks up steam once Kumiko arrives in the Northlands, and has a wallop of an ending that will stay with you after the credits.

19. The Martian: Once again, saving Matt Damon proves the critical spending stimulus America needs. I read the Andy Weir book first and thought, while the science lectures were great fun, the writing and especially the characters were flat-out terribad. (Like, how many disco jokes do we need?) This movie skips over a lot of the fun science that made Weir’s book memorable, but improves on the people part of the equation, so it’s a wash. In any event, seriously, as the Buzzfeed quiz says, “put a bell on this guy”…wait, you lost him AGAIN?!

20. Sicario: Admittedly, this movie gets dumber and more formulaic as Benicio del Toro turns into a gloomy, cartel-smashing superhero. But, for most of its run, Sicario is a surprisingly poetic piece of cinema, and one that manages to keep a frisson of the same sort of this-fustercluck-is-actually-happening-right-now immediacy as Traffic or Syriana. Not sure we need a sequel here, tho’.

21. Carol: I tend to like Todd Haynes movies and was looking forward to this one…so I’m a bit bummed to relate that I was kinda bored by Carol. It has moments of loveliness, but for all intent and purposes this May-December romance felt to me like a less-Sirk-y remake of Far from Heaven. (Forbidden love vs fifties mores, etc.) Therese (Rooney Mara), the ingénue of this story, is a cipher, and thus not very interesting. As for Carol (Cate Blanchett), she not a particularly sympathetic character — if the couple here were straight, she’d seem like a middle-aged predator — and attempts to make her so mostly fall flat. (As Carol’s angry, insecure ex-husband, Kyle Chandler is given one note to play and he just keeps banging on it throughout.) I get that Patricia Highsmith’s novel was groundbreaking for the time, but, in 2016, this story seems a little more rote. But at least Carol feels like the era it’s set in, unlike…

22. Brooklyn: Another well-made fifties love story-turned-tragedy, about a young Irish woman (Saiorse Ronan) who starts a new life in America, but chooses to throw away her only real chance at happiness by marrying an Italian plumber (Emory Cohen) and moving to Levittown. (Sorry, I’m #TeamGleeson all the way.) Seriously, though, this is another throwback picture like Bridge of Spies, and it’s an enjoyable immigrant tale, even if it tends to act like Eilis came to the New World in 1880 or 1920 at various points. (It’s 1952, y’all. Back-and-forth transatlantic travel is an established thing.)

23. Crimson Peak: As all the moths and butterflies everywhere attest, this sumptuous Gothic romance/ghost story is basically Guillermo del Toro playing with his toys, so not in the league of say, The Devil’s Backbone. But, even if the story is all over the place at times — apparitions come and go whenever the movie needs a jolt — it’s all very pretty to look at. It’s just too bad del Toro likes seeing sharp objects slicing and penetrating people so much, since every gory slash ruins the otherwise lush atmosphere here.

24. Room: A well-made adaptation of a 2010 book by Emma Donoghue (which I haven’t read), Room kept me off-kilter throughout mainly because I’m so used to American movie tropes. Here, a woman (Brie Larson) and her child (Jacob Tremblay) ultimately escape from the shed they’re locked in for years, a la Kimmy Schmidt. And yet, the movie never turns into Sleeping with the Enemy (he’s still out there!) or a courtroom procedural (you have to testify against him!) It simply tells the story of their escape and the psychological aftermath. Both Larson and Tremblay are very good here, even if, to be honest, I spent a lot of the shed period of the film rooting for the Babadook to show up.

25. Straight Outta Compton: It was a close race for this last spot between two reasonably satisfying music biopics featuring Paul Giamatti as an industry leech: Love and Mercy and this F. Gary Gray overview of the rise of hip-hop’s N.W.A. I went with Compton in the end since it has more of a social message and, even despite the serious whitewashing here, at least it doesn’t keep telling us in every. single. scene. that the protagonists are musical geniuses. (Yes, yes, Pet Sounds is amazing and ahead of its time, I get it.)

MOST DISAPPOINTING:

The Hateful Eight: Welp, Tarantino has disappeared up his own ass again. This overlong chamber piece purports to have big ideas about history and the Civil War, not to mention the stark chasm between the mythology surrounding American heroes and the inglorious basterds they in fact often were. But there’s no there there – Hateful isn’t nearly as profound as it thinks it is. Worse, Tarantino botches the actual story here. Eight ne’er-do-wells trapped in a lodge during snowstorm should’ve played out as a decent Agatha Christie mystery. Instead, the big twist is revealed in the opening credits, and so many suspects end up being part of the ultimate conspiracy that the narrative just feels like a cheat. Of course, QT is more interested in the dialogue than the plot anyway, but, even then, the profane, inane chatter gets old well before everybody start bleeding all over the floor. Maybe Tarantino should pull a Jackie Brown and do an adaptation of someone else’s work for a change.

WHAT IS THIS I CAN’T EVEN:

Fantastic Four: I mean, there’s no use to piling on at this late date, but Josh Trank’s FF reboot is just an out-and-out disaster. Miles Teller, Michael B. Jordan, Toby Kebbell, Reg E. Cathey — there are some very likable actors in this picture. And yet the movie feels both amateurishly-made and as if the studio suits took the keys away in a panic move mid-production. Whatever happened, this FF is so bad it makes the two Tim Story movies feel like modern Marvel…who should really get this property back already.

THE REST:

Worth On Demand-ing::

Best of Enemies: A good documentary on the 1968 Vidal-Buckley feuds, though, to be honest, watching them debate feels like watching the NBA before Bill Russell. You can tell me Buckley is brilliant over and over again, but it doesn’t make it true. Meritocracy killed the Firing Line star.

The Hunger James: Mockingjay, Part 2: Fine and admirably downbeat like the third book, this still seems like it should’ve been one movie with the first part, and that the franchise overstayed its welcome by a year.

Love and Mercy: Well-done, but see Compton, above.

Our Brand is Crisis: Rather preachy by the end, but I still enjoyed it.

Spy: Better than I expected, but, then again, Paul Feig has been admirably consistent.

Tomorrowland: Brad Bird sure does love Ayn Rand, doesn’t he? Still, worth seeing just for Hugh Laurie’s rant about contemporary pop culture.

Don’t Bother:

Aloha: The kerfuffle over Emma Stone’s casting aside, this film is inert from the first reel. What’s happened to Cameron Crowe?

Black Mass: The world doesn’t need any more gangster movies. This one adds nothing new to the mix. The best scene is the one from the trailers, with Depp’s Bulger bullying a Fed at the dinner table.

Dope: Tries too hard, and I found it cloying in the manner of Diablo Cody. Tho’ I did like the section where Bitcoin gets involved.

Fifty Shades of Gray: Terrible. Not even sexy. And yet still an improvement on the book! C’mon, America, get it together – France did this all better sixty years ago.

Jurassic World: Ho-hum. A by-the-numbers product of the reboot machine. But it’s competently made, so Episode IX has that going for it.

The Last Five Years: A not-very-good adaptation of the recent divorce musical. I was bored by it.

Spectre: This is a pretty good Bond movie for awhile, but it completely skips the rails once 007 and his most recent muse end up at that bus station in Africa. Just as Skyfall Bruce Wayne-ified Bond, now we get Blofeld as The Joker. Doesn’t work, doesn’t make any sense, is egregiously dumb.

Steve Jobs: Typical Sorkin walk-and-talk-fest, all in the service of getting to know a guy whose main claim to fame was marketing gimmickry. Not my cup of tea.

Terminator: Genisys: Kind of a disaster, was ruined by the trailers, and feels made for TV. Also needs more Matt Smith and J.K. Simmons. But at least it’s weird.

Trainwreck: LeBron James is a surprisingly good comic actor. This still wasn’t particularly funny however.

    A Good Year For:
  • 70’s Reboots (The Force Awakens, Creed)
  • Domhnall Gleeson (Ex Machina, Brooklyn, The Revenant, Star Wars)

    A Bad Year For:
  • Timely End-of-Year Lists
  • Walks In the Woods (Kumiko The Treasure Hunter, The Revenant)

Unseen: 99 Homes, The Age of Adaline, American Ultra, Amy, Beasts of No Nation, Blackhat, Chappie, Child 44, Chi-Raq, Clouds of Sils Maria, Concussion, Cop Car, Daddy’s Home, The Danish Girl, The End of the Tour, Entourage, Far from the Madding Crowd, Furious 7, Get Hard, The Gift, The Good Dinosaur, Grandma, Hot Pursuit, Infinitely Polar Bear, Insidious Chapter 3, Insurgent, The Intern, In the Heart of the Sea, Irrational Man, Jem and the Holograms, Joy, Jupiter Ascending, Kill Me Three Times, Krampus, The Last Witch Hunter, The Lazarus Effect, The Look of Silence, Love the Coopers, Magic Mix XXL, The Man from U.N.C.L.E, Maps to the Stars, Max, The Maze Runner: The Scorch Trials, Me and Earl and the Dying Girl, Minions, Mortdecai, Mr. Holmes, No Escape, The Overnight, Paddington, Pan, Pawn Sacrifice, The Peanuts Movie, Pitch Perfect 2, Pixels, Point Break, Poltergeist, Rikki and the Flash, Rock the Kasbah, Run All Night, The Runner, San Andreas, The Second Best Exotic Marigold Hotel, Secret in their Eyes, Self/Less, Sisters, Slow West, Southpaw, The Stanford Prison Experiment, Stonewall, Suffragette, Taken 3, Ted 2, Trumbo, Victor Frankenstein, The Visit, A Walk in the Woods, The Walk, War Room>, We Are Your Friends, Wild Tales, Woman in Black 2: Angel of Death, Woman In Gold

(The Rest of) 2016: The Accountant, Assassin’s Creed, Bad Santa 2, Ben-Hur(?), Billy Lynn’s Long Halftime Walk, Collateral Beauty, The Cure for Wellness, Doctor Strange, Fantastic Beasts And Where to Find Them, Finding Dory, The Founder, Ghostbusters, The Girl on the Train, Inferno, Jack Reacher: Never Go Back, Jason Bourne, The Legend of Tarzan, Lion, The Magnificent Seven(?), A Monster Calls, Neighbors 2, The Nice Guys, Passengers, Pete’s Dragon, Snowden, Star Trek Beyond, Suicide Squad, Warcraft, War Dogs, X-Men: Apocalypse, and…

What will you do when they catch you? What will you do if they break you?”

Reboots and Spy-Rings.

With summer coming ever earlier — are we really only two weeks away from Avengers: Age of Ultron? — the trailer machine is in overdrive of late. Among them…

Zack Snyder pours on the grimdark (and, as per 300 and Watchmen) lifts liberally from the visual iconography of The Dark Knight Returns) in the first offical teaser for Batman vs. Superman: Dawn of Justice.

Eh…I’ll definitely see it, but this seems to have the same tonal problems as Man of Steel. Not really one for the brooding demigod Superman — he should be more like how Chris Evans is playing Captain America over at Marvel — the last boy scout. And speaking of tonal problems…

FF is grimdark now too? To keep the rights from reverting, Josh Trank glooms up Marvel’s first family for Fox in the trailer for Fantastic Four, with Miles Teller (Mr. Fantastic), Kate Mara (Invisible Woman), Michael B. Jordan (Human Torch), Jamie Bell (Thing), Toby Kebbell (Dr. Doom, the Ultimate version apparently), and Reg E. Cathey (Basil Exposition.)

I like the casting here, but I’d like this a lot more if FF were being folded back into the Marvel universe (a la teenage Spidey — Andrew Garfield, we hardly knew ye.) As it is, this still looks like a money grab to me, albeit one with quality production values. And speaking of money grabs…

I can’t even with this Terminator: Genisys reboot or reimagining or whatever it is. Depending on what you think of Terminator 3, this is either the second or third time they’ve tried to wring more bling from James Cameron’s baby (and, Arnold, if you want to make bank reliving past glories, get moving on King Conan.)

All that being said, I wish actors like Emilia Clarke, Jason Clarke, Matt Smith, and J.K. Simmons all the best — Jai Courtney’s alright too, I suppose, but it sure seems like he came off the same bland-actor production line as Sam Worthington — so I was hoping this wouldn’t be a disaster. But the fact that this trailer seems to give away every single beat of the film (including, I presume, the main twist) while still feeling like a re-tread of T2, does not bode well. If you want to save yourself two hours/12 bucks, go ahead and click above.

Meanwhile, across the pond, Agent 007 is recovering from Skyfall Begins, and carrying his sorrows around with him again, in the teaser for Sam Mendes’ second Bond outing, S.P.E.C.T.R.E, with Daniel Craig, Monica Bellucci, Lea Seydoux, Christoph Waltz, Ralph Fiennes, Naomie Harris, Ben Whishaw, Dave Bautista, Andrew Scott, and Rory Kinnear.

Waltz was born to play a Bond villain, and Bellucci an (age-appropriate for once!) Bond beauty, so this could be good fun if Mendes has the sense to let it breathe. We don’t need invisible cars and whatnot, but four films into the Craig era, they could stand to be a little less dour.

S.P.E.C.T.R.E, S.C.H.M.E.C.T.R.E…what about T.H.R.U.S.H? In a world where every past property from Full House to Galaxy Quest gets a reboot — including, one hopes, Twin Peaks — it’s Napoleon Solo and Illya Kuryakin’s time in the sun in the first trailer for Guy Ritchie’s The Man from U.N.C.L.E, with Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Jared Harris, and Hugh Grant.

I was more intrigued by this when it was a Steven Soderbergh film, but Guy Ritchie channeling Peyton Reed might be amusing.

But can we say the same for Peyton Reed channeling Edgar Wright? Paul Rudd suits up for Michael Douglas as the titular Avenger in the official trailer for Ant-Man, also with Evangeline Lilly, Corey Stoll, Michael Pena, Judy Greer, Patrick Wilson, Bobby Cannavale, and Wood Harris. This one might be a tough sell for Marvel, but fingers crossed they can work some Guardians magic for this. (And is Evangeline Lilly playing Wasp? Because that’s good casting, and she’s been AWOL over at the Avengers so far.)

Also on the reboot tip, Colin Trevorrow’s Jurassic World, and just like Crichton and Scorpy back in the day, Chris Pratt is now colluding with the former Big Bads, the velociraptors, to take down an even greater menace. Bryce Dallas Howard and two kids (Ty Simpkins, Nick Robinson) are also in the mix, as are a collection of fine actors that will no doubt be treated like hors d’oeuvres: B.D. Wong, Vincent D’Onofrio, Omar Sy, Irrfan Khan, Jake Johnson, David Oyelowo, and Brian Tee.

Jurassic Park nostalgia somehow missed me — I was probably too old for the original film, which I found so-so — so I’ll likely be OnDemand’ing this at some point. But, hey, good to have these opportunities for Chris Pratt to work his scoundrel edge before donning the fedora. It’s not the years, it’s the mileage.

Want another top-secret, sinister spy organization at your multiplex? Ok, how about the Syndicate? Tom Cruise and various IMF agents of films past (Simon Pegg, Ving Rhames, Jeremy Renner) team up with Rebecca Ferguson to take down more Illuminati types in the trailer for Christopher McQuarrie’s Mission Impossible: Rogue Nation, also with Alec Baldwin and Sean Harris.

I saw the trailer for this a few weeks ago during Better Call Saul and had no clue it was already in the can, much less coming out this summer. In any event, Brad Bird’s Ghost Protocol revitalized this franchise, so will lightning strike again here? The return of those goofy “perfect masks” from the De Palma and Woo outings don’t inspire confidence.

Finally, and speaking of Brad Bird, he’s left IMF to explore Tomorrowland with George Clooney, Britt Robertson, Hugh Laurie, Judy Greer, Tim McGraw, Raffey Cassidy, Chris Bauer, Kathryn Hahn, and Keegan Michael-Key. Given Bird’s mostly stellar track record in the past, I’ll probably catch this at some point, tho’ hopefully it sidesteps the weird Ayn Randisms of The Incredibles and Ratatouille.

B-Movies Go A-List.

In the trailer bin of late:

  • If Contagion wasn’t enough for 2011, Steven Soderbergh has assembled an impressive cast for some straight-to-video-ish action in the new trailer for Haywire, with Gina Carano, Ewan MacGregor, Michael Fassbender, Bill Paxton, Channing Tatum, Antonio Banderas, and Michael Douglas. It doesn’t look all that great, but with Soderbergh and that cast, you never know.

  • Speaking of A-list casts down for some B-movie action, Ryan Gosling is a stunt driver by day and wheelman by nightin the red band trailer for Nicholas Winding Refn’s Drive, also with Carey Mulligan, Bryan Cranston, Christina Hendricks, Oscar Isaac, Ron Perlman, and Albert Brooks. This got great reviews at Cannes, and, like Haywire, I’m intrigued by the personnel involved. But Oldboy has already cornered the market on hammer shenanigans.

  • In the not-too-distant future, Justin Timberlake has time on his side — or does he? — in the Comic-con trailer of Andrew Niccol’s In Time, also with Cillian Murphy, Amanda Seyfriend, Olivia Wilde, and Vincent Kartheiser. The timestamp thing is rather goofy, but Niccol (Gattaca, The Truman Show) is usually good for a smart sci-fi premise. I’m in.

  • Luke constructs a lightsaber, Han shoots up a shield generator, and wampas and sandstorms attack in this preview of the Star Wars Original Trilogy deleted scenes, coming soon to a Blu-Ray player near you. Sorry, I think you have to buy the prequels as well to get these.

  • And, not a movie trailer per se, but Rick Grimes and the gang are as ready as they’ll ever be for another round of the zombie apocalypse in the new trailer for Season 2 of The Walking Dead. I’m more excited about S2 of Game of Thrones personally, but this’ll do until the trouble gets here.

Soderburnt.

When you reach the point where you’re, like, ‘if I have to get into a van to do another scout I’m just going to shoot myself,’ it’s time to let somebody else who’s still excited about getting in the van, get in the van.‘”

Director Steven Soderbergh says he’s retiring after his next two films, Liberace (with Michael Douglas) and The Man from U.N.C.L.E. (with George Clooney.) “[S]o it’s just time. For the last three years, I’ve been turning down everything that comes my way, so you’re not going to have Steven Soderbergh to kick around anymore.” That’s too bad…but we’ll see. This sounds to me like one of those Anthony Hopkins retirements.

Sympathy for the Devils.

Like W before it, Oliver Stone’s peppy, decently enjoyable, and ultimately far too convivial Wall Street: Money Never Sleeps, which I caught as the first leg of a three-film swing two weeks ago, suggests the director has moved out of the near-decade-long nadir that brought us Any Given Sunday and World Trade Center. (Rock bottom was, without a doubt, Alexander.)

Wall Street 2 turns out to be a brisk two hours, and its ability to explain some relatively complex financial goings-on in a crowd-pleasing format is admirable. Still, the movie also ends up feeling like a missed opportunity. Bringing 80’s corporate raider Gordon Gekko (Michael Douglas) back to comment on the amoral rapacity of today’s financial sector could be a stroke of genius, and the movie is most entertaining when it shows how the greed and corruption of today’s Wall Street has outpaced anything Gekko could ever have imagined back in the American Psycho era. (“Someone reminded me I once said, ‘Greed is good.’ Now, it seems it’s legal.“)

But even more than W, a movie which treated the many foibles of our 43rd president with kid gloves, Wall Street: Money Never Sleeps is a film that seems lacking in sufficient indignation. I mean, those venerable and self-proclaimed Masters of the Universe, the Titans of Wall Street, managed to plunge the entire American economy into a death spiral and pass the bill off to the increasingly jobless American taxpayer. And yet, they still managed to avoid any seriously damaging regulation as a consequence, and, at the end of the day, they give themselves record bonuses for two years running. And all Stone can muster up about it is this? Where’s the outrage?

To be fair, avarice and plunder are central to Stone’s story here, bubbles abound (Stone does love to beat a metaphor to death), and the film does dramatize the September 2008 collapse and subsequent bailout, with Wall Street tycoons Josh Brolin and Eli Wallach, among others, worriedly communing with Hank Paulson and Tim Geithner lookalikes in a darkly-lit Federal Reserve antechamber. The problem isn’t the content so much as the tone. Eventually, you get the sense that, despite all their bad behavior, Stone likes and looks up to these guys. (This may be because Stone’s father was a Wall Street banker, so this may be the film where a director who continually relies on characters with daddy issues is now trying to work out his own.)

As a result, Wall Street feels confused — It doesn’t really seem to know which tale it wants to tell. On one hand, we have the story I just mentioned — the obvious sickness and eventual collapse of the financial sector. But then we also have the story of our protagonist, Jake Moore (Shia LaBoeuf) — a savvier operator than Charlie Sheen ever was — who shuffles through various potential father figures (Gekko, Brolin, and, in the early going, Frank Langella) and woos the professional-blogger daughter of the fallen Gekko king (Carey Mulligan — By the way, Stone doesn’t seem to have a handle on what blogging’s about. We wear pajamas all day, and we don’t have sleek Facebook-looking offices.)

And then we have the Return of Gordon Gekko himself. Now on the CNBC book and lecture circuit, a seemingly chastened Gekko wants Jake’s help to reconnect with his prodigal daughter. In the meantime, he teaches Jake a thing or two about the way the Game is played at the top. And hewatches today’s unsustainable financial shenanigans with wry bemusement — he likes to discourse on tulips — and perhaps a little jealousy. Does Gekko want a seat at the table again? Well, he’s Gordon Gekko. What do you think? (For what it’s worth, Douglas is great fun here — let’s hope it’s not his last performance — but his character is getting a bit of the Ridley Scott’s Hannibal treatment. To my mind, Gekko makes for a better villain than he does an anti-hero.)

In any case, Stone has a lot of balls in the air throughout Money Never Sleeps and as the film goes on they become more and more clumsily handled. This flaw becomes glaringly obvious in the final reel, when the film suffers from more endings than Return of the King, including one — in front of Lady Gekko’s apartment — that comes out of nowhere and feels exceedingly cheap. (The movie even has three closing-credit sequences — one focused on time, one one family, and one on money — Four if you count all the bubbles floating around. Stone apparently couldn’t decide what his film was about.)

There’s a lot of upside to Money Never Sleeps — It’s a surprisingly fun movie at times, and the acting is solid across the board. (People like to hate on Shia LaBoeuf, but I actually think he’s a pretty good actor. Here, he even starts to seem a bit like his father from a more ill-conceived sequel, Harrison Ford — although with less finger and family issues.) Still, I wish the movie weren’t so confused about its purpose, and I definitely wish it took a more aggrieved stance towards its bankster subjects. I don’t want to watch these jokers having totally random Ducati races. I want to see them in jail. (Then again, be careful what you wish for: Gekko says several times here that it’s the next collapse we really need to worry about, and that could happen at any time…like, say, now.)

The Biggest Loser(s).

Ok, so there definitely is a Plan B. In the trailer bin this week, the Comedian, Stringer Bell, Johnny Storm, and Neytiri, among others, give The A-Team a run for their money in the trailer for Sylvain White’s The Losers, based on the DC comic and starring Jeffrey Dean Morgan, Idris Elba, Chris Evans, Oscar Jaenada, Columbus Short, Zoe Saldana, Jason Patric, and Holt McCallany.

And, speaking of big losers, Gordon Gekko has done his time and wants back in the big game — maybe with a new cellphone — in the teaser for Oliver Stone’s Wall Street 2: Money Never Sleeps, also with Shia LaBoeuf, Carey Mulligan, Josh Brolin, Eli Wallach, Susan Sarandon, Vanessa Ferlito, Frank Langella, and — word has it — Charlie Sheen. Might have to give the first one another whirl beforehand.

The Oughts in Film: Part IV (25-11).

Hello again, and a happy New Year’s Eve to you and yours. Well, I thought this Best of the Decade would end up being four parts, but now it’s looking like five. The recaps for this last twenty-five got so long that MT seems to be consuming the bottom of the entry as I write.

So, with that in mind, here’s #’s 25-11 for the Oughts, with the top ten of the decade to follow in due course. If you’re new to this overview, be sure to check out part 1, part 2, and part 3 before moving on to the…

Top 100 Films of the Decade: Part IV: 25-11
[The Rest of the List: 100-76 | 75-51 | 50-26 | 25-11 | 10-1]
[2000/2001/2002/2003/2004/2005/2006/2007/2008/2009]


25. Donnie Darko (2001)

From the original review: “All in all, this is a marvelously genre-bending film with wonderful anchoring performances by the Gyllenhaals. I think I liked this movie much more for not knowing a lot about it going in, so I won’t mention the particulars here. But it’s definitely worth seeing. Extra points for the soundtrack, which with ‘Head over Heels,’ ‘Love will Tear Us Apart,’ and ‘Under the Milky Way’…reminded me more of my own high school experience than any other film I can remember. (The Dukakis era setting helped, since that was my own eighth grade year.)

I almost took this movie out of the top 25 on account of its association with Southland Tales and The Box, and even the director’s cut of this film, which snuffs out a lot of this movie’s weird magic by slathering it in needless Midichlorian-style exposition. As I said in my recent review of The Box, Donnie Darko seems to be a clear and undeniable case where studio intervention saved a movie.

Nevertheless, part Philip K. Dick, part John Hughes, Darko was a touching coming-of-age story (thanks in good part to Mary McDonnell and Holmes Osborne as Donnie’s cranky but loving parents), a decently funny satire about the vagaries of small-town life (think Sparkle Motion, “sleep-golfing,” and the Love-Fear axis), and a trippy sci-fi/psychological thriller. (Was Donnie really talking to a demon-rabbit from the future, or was he just off his meds? The original version muddles this question a lot better than the Kelly cut.)

Whether or not Richard Kelly just got struck by lightning here, everyone else involved clearly brought their A-game to this production. Two Gyllenhaals got on the Hollywood board with this flick, although Maggie would have to wait for Secretary to really break out. The Michael Andrews score contributed mightily to the proceedings, as did the Gary Jules cover of “Mad World,” which got a lot of run in the Oughts, from Gears of War to American Idol. And there are plenty of quality performances in the margins, from the late Patrick Swayze riffing on his image, to Beth Grant typecasting herself for the decade, to Katharine Ross coming back for one more curtain call. Fluke or not, the original version of Donnie Darko was one strange and memorable bunny, alright.


24. High Fidelity (2000)

From the year-end list: “An excellent adaptation of a great book, even if I preferred the Elvis Costello britrock emphasis of Hornby’s tome to the indie Subpop scene of the movie.

Charlie, you f**king b**ch! Let’s work it out!” Arguably John Cusack’s finest hour (although 1999’s Being John Malkovich is right up there, and I know many might cite the Lloyd Dobler of old), Stephen Frears’ adaptation of Nick Hornby’s High Fidelity has continued to grow on me over the years. If it counts as one of David Denby’s slacker-striver romances (see the discussion of Knocked Up at #40), it’s definitely the one that hits closest to home for me.

The first thing people usually remember about this movie is all the Jack Black/Todd Louiso banter in the record store. (“It’s a Cosssssby sweater!“) And it’s true — All of that stuff is both really funny and all too telling about the elitism and obsessiveness inherent to the fanboy mentality — “Don’t tell anyone you don’t own ‘Blonde on Blonde’! It’s gonna be okay.” Besides, let’s face it, this entire end-of-the-decade list is really just an extended High Fidelity-style Top 5 (and I had a great time back in July organizing my history books chronologically, a la Rob’s record collection.)

Still, as with the book, High Fidelity‘s killer app is really the dispatches filed from Rob’s romantic life, as he ponders what went wrong with his Top 5 Crushes gone awry. (“We were frightened of being left alone for the rest of our lives. Only people of a certain disposition are frightened of being alone for the rest of their lives at the age of 26, and we were of that disposition.“) There’s a lot of truthiness throughout High Fidelity, from Rob’s catastrophic hang-up on Charlie (Catherine Zeta Jones) to his eff-the-world rebound with an equally besotted Sarah (Lili Taylor), to his single-minded infatuation about whether his ex, Laura (Iben Hjejle), has slept with the loathsome new boyfriend, Ian (fellow Tapehead Tim Robbins in a great cameo) yet.

In short, I’d argue High Fidelity gets the inner-male monologue closer to right than any flick this side of Annie Hall. In the immortal words of Homer J. Simpson, it’s funny because it’s true.


23. In the Mood for Love (2000) / 2046 (2004)

From the original review: “Since I spent Friday evening watching In the Mood for Love — a tale of a romance-that-almost-was, told in furtive hallway glances — and 2046 — a broader and more diffuse disquisition on love and heartache — back-to-back, here’s an

Visions



Kingsman: The Golden Circle (7/10)

Currently Reading


The Underground Railroad, Colson Whitehead

Recently Read

Annihilation, Jeff Vandermeer
Unfaithful Music & Disappearing Ink, Elvis Costello
Lincoln in the Bardo, George Saunders
Rise and Fall of the Third Reich, William L. Shirer

Uphill All the Way

Syndicate this site:
RSS 1.0 | Atom (2.0)

Unless otherwise specified, the opinions expressed here are those of the author (me), and me alone.

All header images intended as homage. Please contact me if you want one taken down.

GitM is and has always been ad-free. Tips are appreciated if the feeling strikes.

Archives