The LotR team — PJ, Fran, and Phillipa — have announced their first post-Kong project and, as rumored, it’ll be The Lovely Bones. Judging a book by its cover blurb, the story — about a murdered 14-year old girl watching her killer from Heaven — sounds Oprah-esque and precious to me (and not in the Gollum sense.) But then again, I haven’t read it. If nothing else, the project does seem ripe for some Heavenly Creatures-like FX throughout.
Category: Cinema
Blue (and Red) Crush.
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.
The Wine Sours.
As 2004-roundup season draws to a close, the Sideways backlash begins in earnest, with A.O. Scott calling it out as “the most drastically overrated movie of 2004…It both satirizes and affirms a cherished male fantasy: that however antisocial, self-absorbed and downright unattractive a man may be, he can always be rescued by the love of a good woman. (What’s in it for her is less clear.)” Salon‘s Charles Taylor is also quite harsh on it in the Slate movie club, but he loathed it from Day 1. Still, I’m never going to trust Taylor after he picked Mission to Mars as a top film of 2000.
Quit while you’re a head.
Also up today, some highly spoilerish Episode III images (and a very naughty ESB-era Chewbacca.) Hey, Zaphod, if you’re not using that second head, can Chris Lee borrow it? Update: Elsewhere in Star Wars news, The Force.Net gets their hands on the forthcoming Ep. III Vanity Fair cover, with everyone from Jar Jar to Billy Dee Williams featured.
Arthur’s Amigos.
From the bottom of a locked filing cabinet stuck in a disused lavatory with a sign on the door saying “Beware of The Leopard,” Dark Horizons manages to procure the first two publicity stills from Hitchhiker’s Guide to the Galaxy. From left to right we have Zaphod (1-headed Sam Rockwell), Trillian (Zooey Deschanel), Marvin (Warwick Davis, with terrible pain in all the diodes down his left side), and Ford (Mos Def)…In case you were wondering, Arthur (Martin Freeman) is in the other one.
2004 in Film.
Happy New Year, everyone. Inauspiciously for 2005, it looks like I’m starting the year a day late on the end-of-2004 movie roundup…but better late than never. As you probably already guessed, this year’s film list will be the first in four years without a Peter Jackson Tolkien adaptation in the #1 spot (although I’m still keeping it warm for The Hobbit in 2008.) Nevertheless, my top choice this year was an easy one, and those of y’all who come ’round here often can probably figure it out.
[2000/2001/2002/2003]
1) Eternal Sunshine of the Spotless Mind. The one true classic of 2004, Eternal Sunshine has only grown in my estimation since its initial release in March. (David Edelstein’s take on it as one of Harvard philosopher Stanley Cavell‘s remarriage comedies is well worth reading.) A heartfelt examination of love, loss, and memory, Eternal Sunshine was also a strikingly adult take on romance and relationships, the kind you usually don’t get from Hollywood. With great performances from a caged Jim Carrey and an electric Kate Winslet, the film managed to be both an earnest, passionate love story and a wistful paean to those person-shaped holes we all carry in our hearts and memories. Along with Annie Hall and High Fidelity, it goes down as one of my all-time favorite films about the mysteries of love. (Why even bother? We need the eggs.)
2) Garden State. Writer-director Zach Braff’s “anti-Graduate” debut was a small but touching ode to home that, along with reviving Natalie Portman as an actress and offering the best soundtrack of the year, delivered exactly what it promised. A bit hokey at times, sure, but Garden State wore its heart on its sleeve and, for the most part, got away with it. It was a witty and eloquent voyage to the Jersey burbs and a testament to the proposition that as Paul Weller put it, it’s never too late to make a brand new start.
3) The Incredibles. Pixar has been delivering well-constructed eye-popping wonders since Toy Story, and The Incredibles is the best of the lot. I figured it might be awhile before a movie topped Spiderman 2 as a sheer comic book spectacle, but, as it turned out, The Incredibles did it only a few months later. One of the best comic book films ever made, The Incredibles was two hours of unmitigated fanboy fun. I’m going to go out on a limb and say it’s probably also the best Fantastic Four film we’re ever going to see.
4) Sideways. Like a fine 1961 Cheval Blanc, Alexander Payne’s elegiac toast to California wine country and the regrets and indignities of middle-age has a tendency to linger in the senses. Paul Giamatti must tire of playing depressive, barely sociable losers, but he’s great at it here…Sideways isn’t as funny as Election, but it is a memorable trip.
5) Spiderman 2. A definite improvement on the first adventure of your friendly neighborhood wallcraller, Spiderman 2 was a perfectly made summer film that stayed true to the spirit of Peter Parker. Along with X2, this is the gold standard for comic book-to-film adaptations right now…let’s hope Batman Begins is up to snuff.
6) Shaun of the Dead. Although it lost its footing shambling to its conclusion, Shaun of the Dead was great fun for the first two-thirds of its run, and it’s now probably my favorite zombie movie (everyone should have one.) A much-needed dry British humor fix to tide us over until Hitchhiker’s Guide.
7) The Aviator. A bit on the long side, Scorsese’s life of Howard Hughes is most fun when it stays away from the airfields and lounges about Old Hollywood. Two very clean thumbs up.
8) The Assassination of Richard Nixon. A dark, unflinching 90-minute descent into violent futility. I originally had this before The Aviator, then figured the degree of difficulty on Scorsese’s flick was much, much higher. Nevertheless, this funereal biopic for non-billionaire crazies, while grim and not much fun, was well-made and well-performed, and I expect it’ll stay with me for awhile.
9) The Bourne Supremacy. Perhaps a bit too much like its predecessor, Bourne II was still a better Bond than anything we’ve seen in the past 20 years. Paul Greengrass’ shakicam work here bodes well for Rorshach in The Watchmen.
10) Harry Potter and the Prisoner of Azkhaban. It’d be hard to make a better film of Harry Potter’s adventures at Hogwarts than Alfonso Cuaron did here — Azkhaban managed to capture the dry wit and subversive spirit of the books that’s so missing in the Chris Columbus movies. That being said, Azkaban also made it clear that much of the fun of Rowling’s tomes is uncapturable on film. What was great fun to read on the page ended up seeming like Back to the Future II on the screen. With that in mind, Year 6 begins on 7/16.
11) Ocean’s 12. Two swollen hours of Soderberghian glamour and inside baseball. Not everyone’s cup of tea, I know, but I found it an agreeable improvement on Ocean’s 11. (Don Cheadle’s accent is still terrible, tho’.)
12) Touching the Void. Snap! Aigh! Crunch! Aigh! It’d be hard to forget anything as memorable as Shattered Femur Theater. Well worth seeing, if you can stand the pain.
13) Fahrenheit 9/11. Hmmm…perhaps this should be higher. I definitely left the theater in an angry froth (not that it takes much)…unfortunately, apparently so did all the freepers.
14) My Architect. An excellent documentary on Louis Kahn, brilliant architect and terrible family man. Alas, it’s also a less-excellent documentary on Kahn’s son, and his Oprah-like quest for self-acceptance.
15) Kinsey. Take that, red staters.
16) Hero. A memorable meditation on love, power, and kick-ass kung-fu, until its train-wreck derailing in the last half-hour.
17) The Life Aquatic with Steve Zissou. As I said yesterday, Aquatic was a jaunty Wes Anderson joyride that nevertheless gets a little lost in its terminal cuteness. When you care more about the leaving-behind of Cody the three-legged dog than you do the death of a major character, there’s a problem.
18) I Heart Huckabees. Huckabees had its heart in the right place, and made for a decently appealing night at the movies…but it also had a terminal-cute problem.
19) Collateral. If the movie had maintained the promise of its first hour throughout, Michael Mann’s Collateral would have been a top ten contender. Alas, it all falls apart once Tom Cruise goes bugnut psycho in da club.
20) Kill Bill, Vol. 2. There was probably one really good movie somewhere in the two Kill Bills. The second half was closer to it than the first.
Not Seen: Bad Education, Before Sunset, Finding Neverland, Friday Night Lights, Harold and Kumar, Hotel Rwanda, Maria Full of Grace, Million Dollar Baby, Ray, Spanglish
Worst Movies of the Year: Van Helsing, Sky Captain and the World of Tomorrow, The Chronicles of Riddick, The Village, Code 46, Closer, Alexander, 21 Grams (2003)
Biggest Disappointment: The Ladykillers
Ho-Hum: Team America: World Police, The Alamo, House of Flying Daggers, Troy, King Arthur, Anchorman, Blade: Trinity, Shrek 2
Worth a Rental: Mean Girls, The Manchurian Candidate,
Hellboy, The Machinist, City of God (2003)
Best Actor: Jim Carrey, Eternal Sunshine; Paul Giamatti, Sideways; Sean Penn, The Assassination of Richard Nixon.
Best Actress: Kate Winslet, Eternal Sunshine.
Best Supporting Actor: Thomas Haden Church, Sideways
Best Supporting Actress: Cate Blanchett, The Aviator; Virginia Madsen, Sideways.
2005: On paper, it’s looking like a better year for film, fanboy and otherwise, than 2004. The slate includes Star Wars Episode III, Batman Begins, The Chronicles of Narnia, All the King’s Men, PJ’s King Kong, Burton’s Charlie and the Chocolate Factory, Spielberg’s War of the Worlds, Gilliam’s The Brothers Grimm, Polanski’s Oliver Twist, Malick’s The New World, Harry Potter and the Goblet of Fire, Constantine, Sin City, Fantastic Four, and my own most-anticipated project, Hitchhiker’s Guide to the Galaxy. So here’s to the new year!
Death of a Salesman.
Then again, Samuel Byck wasn’t like most people either…in fact, that may be the biggest problem with this otherwise haunting film. Played for laughs in the Sondheim Assassins, Byck here is portrayed as a beaten-down American Everyman of the Willy Loman/Travis Bickle school, albeit one with a Pulp Fiction-like problem with authority and a frozen run of luck like you read about. But, while the film’s hold lies in Sean Penn’s powerful portrayal of a down-on-his-heels, borderline-stable guy who gets one too many doors slammed in his face (to Penn’s credit, his performance never really feels like a stunt, as it might have with a lesser actor), the real Samuel Byck was an even stranger bird than this film lets on. For example, there’s no mention of Byck’s protesting outside the White House in a Santa suit here, and the whole tapes-to-Leonard-Bernstein angle is played as straight as it possibly can be.
But, historical veracity aside, The Assassination of Richard Nixon still makes for a grim and compelling 90 minutes of darkening gloom, anchored by Sean Penn’s slow, fidgety burn. (Watts, Don Cheadle, Michael Wincott, and Jack Thompson all do good character work here, but the film is Penn’s, and he’s the only one to leave a mark.) The movie’s unrelenting downward trajectory is clear from the opening titles, and the final scene at BWI airport probably played a few minutes too long, particularly as Byck awaits boarding for his final destination. All in all, though, The Assassination of Richard Nixon is a somber inquiry into a life of quiet desperation, and a sad reminder that, regardless of what our American dream may promise, there are no guarantees in this world, and all too often no respite for the damned.
House of Cards.
It’s clear early on in House of Flying Daggers that Zhang isn’t shooting for anything with the ambition and gravitas of Hero…Instead, we’ve got a plot strung together with a number of genre cliches, most notably the “deep” undercover cop (Takeshi Kaneshiro) questioning his motivation and the sixth-sense-laden blind girl (Zhang Zi Yi, lovely as always) who improbably kicks more ass than Rutger Hauer in Blind Fury. Hey, genre exercises are cool…let’s get to the fighting. Alas, there seemed to be a lot of filler between the action setpieces, and I found myself hoping through several unmemorable meet-cute scenes that more low-level flunky guards would show up and be efficiently dispatched.
With that in mind, I know it’s a little late to be complaining about the realism of kung-fu sequences. But the fights in House of Flying Daggers are so stylized and farfetched that I didn’t find them all that engaging — there was no real sense of danger to be had. In Crouching Tiger, Hero and countless lesser kung-fu films, I never found myself thinking so much about the logistics of what’s going on, but Daggers seems to beg questions like, “Where are these tree-flying policemen obtaining their inexhaustible supply of bamboo spears?” and “How straight and true could you throw a dagger if gravity was of absolutely no consequence?” Perhaps it’s unfair to call out this House for its fantastical fight sequences, but for one reason or another my disbelief was suspended less than usual.
At any rate, not to give the whole game away, but the movie does eventually contain some unexpected twists in the middle going. That being said, the denouement of the film also suffers from one of the most egregious dead-“not dead” reverses I’ve seen in recent memory. If martial arts films are your bag, then you’ll probably find House of Flying Daggers an operatic tale of love, passion, and betrayal. But, as for me, I kinda wish these two young lovers had spent less time being smitten and more time smoting.
Flame On.
20th Century Fox tries to counter that burning train wreck smell (the latest word: $20 million in additional effects and a de-Incredibles script rewrite) by offering a behind-the-scenes look at Fantastic Four with Stan Lee. Nope, still not feeling it.
Tintin meets the Tenenbaums.
One part Herge, two parts Cousteau, and all parts Wes Anderson, The Life Aquatic with Steve Zissou, alas for Bill Murray’s thwarted post-Lost in Translation Oscar hopes, doesn’t really work. In fact, at times it seems like someone’s parody of a Wes Anderson movie. But, if you dig Anderson’s penchant for artfully constructed shots crufted over with kitsch so precious it’d make Belle & Sebastien blush — and, frankly, I find it mildly endearing — then you’ll probably have a decent time aboard the Belafonte. The movie’s a complete non-starter, but it is a rather pretty and innocuous non-starter, a bland pleasure cruise of a film.
At least the cast appears to be having fun…except for Murray, who’s doing yet another amusing variation of the resigned, laconic, vaguely crestfallen wiseass that’s his signature. I never thought I’d see Willem DaFoe out-ham his turn as the Green Goblin, but by golly I think he’s done it. Cate Blanchett is luminous again, although she (and these seamen) are a world away from The Aviator. Owen Wilson doesn’t add much to the equation (and he’s a bit overexposed in my book these days anyway), but Michael Gambon, Bud Cort, and Noah Taylor are all enjoyable in brief supporting turns.
That being said, these actors are all dressed up in authentic Team Zissou gear with no place to go. The story — ostensibly an Ahab-like quest for a carnivorous jaguar shark — never amounts to much, and we are instead treated to a series of episodic vignettes of life at sea (albeit on a boat with a spa, interns, a recording studio, and a Brazilian Davie Bowie fan). Many of these individual scenes are diverting, and I remember smiling through a lot of ’em, but, to be honest, they don’t really add up to a movie. By the time The Life Aquatic starts trying to gain some dramatic headway at the end, it feels forced and unearned. Ultimately too clever by half and probably the least engaging of Wes Anderson’s films so far, Aquatic is cute but not very resonant. All in all, it makes for a blithe but instantly forgettable two-hour tour.