Posts Tagged ‘Movies’

2012 in Review

Friday, July 5th, 2013

I’m getting better at this. It’s only July. Last year, my “year in review” came out in September. The year before in December. My review of 2009 didn’t come out until June of 2011. Hey, I got a kid. Maybe when she’s off to college, I’ll post my year-in-review while it’s still winter.

We’ll start in the usual place. Here are the list of films that were nominated for Best Picture:

Argo: I’m liking Affleck more as a movie maker than a movie star. While this was somewhat fictionalized, it was still tense and enjoyable. I’m not sure if it was the best picture of the year, but it was very good. 8/10

Amour: This is not yet out on DVD.

Beasts of the Southern Wild: I really liked this motion picture for its magical realism and excellent low-key acting. I was reminded of the equally excellent Winter’s Bone, which used local actors and a great performance from Jennifer Lawrence to craft a great low-key film. Had I been an Academy voter, I might have picked this one. 8/10

Djanjo Unchained: Django, like Tarantino’s previous picture, is beautifully shot with excellent acting and some great writing. But the ridiculously excessive violence, the great length and the completely unnecessary final half hour dragged this down. Tarantino need an editor badly. 7/10

Les Miserables: OK, maybe I would have tapped this for the Academy. It has its flaws, as I noted in the long-form review, especially an editing style that wastes the visuals. But I love the story, so … 8/10

Life of Pi: Visually excellent with great acting. It just manages to walk the tightrope of not being ridiculously pretentious. 8/10

Lincoln: This has faded a bit but I still found it very enjoyable, mainly for the performance of Lewis and Jones. A movie is doing a good job when you’re tensed up about a conflict where you know the outcome. Apollo 13 was the best at that; but Lincoln does pretty well. What makes this movie good is that it eschewed a “Highlights from Hamlet” approach to Lincoln’s life and focused on one specific event that illuminates everything. Its flaw — the unnecessary coda — is fatal precisely because it departs from that, making us feel we’re watching a History Channel special. (Note to Spielberg: we know that Lincoln died). The movie should have ended with Lincoln walking down the hall. I was reminded of Munich, which was excellent … right up until the unnecessary and uncomfortable closing sex scene, complete with flying sweat beads and Eric Bana’s horrifying orgasm face.

Ugh.

8/10, in any case.

Silver Linings Playbook: I would not have liked this movie, most likely, had it not been for Jennifer Lawrence. I found the script a bit weak and a lot of the acting hammy. But Lawrence is just so damned good in the lead role that she makes the movie worthwhile. 7/10

Zero Dark Thirty: Jessica Chastain is her usual excellent self and the directed is taut. One problem I had with the raid scenes, however, was that they were so dark I could barely see them, even on my plasma. Other than, it was enjoyable. 8/10

Looking at the IMDB rating for movies with over 20,000 votes, we add the following titles.

The Dark Knight Rises: I’ll return to this in a second, but this is why any IMDB rating from the last decade or so needs to be taken with some salt. DKR is the top-rated film of 2012 on IMDB. I liked it, but it was long and not nearly as compelling as the Dark Knight. I give it an 8/10 now, but it probably deserves more of a 7.

The Avengers: One of my favorite movies from 2012. Great action, yes, but leavened with really good writing and acting that is suited to the task. Joss Whedon needs to do more. 8/10

The Hunt: I have not seen this.

The Hobbit I: I wrote a long form review. I’ve now seen it four times and still like it a lot. Again — this seems to be a recurring theme — the movie is too long. But it does a lot right. 8/10

The Perks of Being a Wallflower: This movie hit close to home. While I didn’t have the protagonist’s mental health or life issues, I was a very lonely kid in high school. That was an improvement over elementary school, where I was relentlessly teased and bullied. While I did form a few friendships among outcasts, there was nothing like the group depicted in this tale nor did I know a teacher like the one played by Paul Rudd (who’s showing a bit more range these days). The only teacher who got involved with students’ lives was involved in a Christian prayer group. They invited me to things but … you know. Still, the movie surprised me by avoiding the worst cliches and managing to be original. The acting is uniformly good; the kids seems like real kids. The dialogue works. I gave it a 7/10 out of Twitter, but don’t be surprised if I raise that in the future. This might grow on me. (And … seriously? Not one nomination for this movie? Just in case you didn’t already think the Academy Awards were stupid).

Wreck-It Ralph: My daughter loved this movie. I found it clever and appealing, certainly a better film than Brave (which was a fine film). 7/10

Moonrise Kingdom: I’m not a big fan of Wes Anderson, but the two leads made this work well. 7/10

Skyfall: Also in the running for my favorite movie of 2012. The best Bond since Casino Royale. 9/10 (fanboy rating).

Cloud Atlas: I put up a long-form review. I should watch this again. 8/10

End of Watch and Conquest 1453: Have not seen these.

Looper: This was a really good science fiction movie and really should have gotten a lot more respect. This is the sort of classic sci-fi that is slowly emerging from the rubble of the Action Movie Era: a movie about ideas and people more than it is about action and CGI. 8/10

One thing you may have noticed: the movies of 2012 were ridiculously bloated. Almost every movie on that list ran a bit long and some ran long by more than half an hour. I don’t mind a long movie when it earns that length; Cloud Atlas earned it because of its complexity. But several movies — The Hobbit, Dark Knight Rises and Django in particular — could have been hoved down with no real loss. The biggest villain here is endless action scenes. It’s no longer enough to have a good action scene; now every possibly stunt you can think of has to be included; everyone has to get his moment to kick ass, everyone has to get their one liner. Writers used to make up their mind about how they wanted a movie to be resolved. Now they don’t; they just resolve it both ways by some ridiculous plot twist.

But here’s the big thing. Of the movie on that list, the only ones I currently own on DVD are Hobbit, The Avengers, Skyfall and The Dark Knight Rises — all fan purchases. If money were no object, I might add Les Mis, Looper and Cloud Atlas to that. But none of those movies screams for me to buy them.

I noted before that the Dark Knight Rises is the top-rated picture of 2012. That’s fan-bloated; it will sink. But right below that is Django, which is also fan-bloated. You have to get down to Life of Pi before you find a genuinely well-regarded movie.

In short, while 2012 was a good year for movies, it was not a great year. I don’t believe any of those films above are destined to be classics. I would frankly rate Before Midnight, which I saw two weeks ago, over any of them.

Now it’s tough to guess the judgement of history. But I’m not seeing the kind of classic that people watch for generations coming out of Hollywood these days. Look at IMDB’s top films since 2000. Almost all of them are action movies. Now Lord of the Rings may be destined for classic status, but is The Dark Knight? Inception? City of God?

OK, OK, IMDB is bloated by fan boys. Fine. But even if we strip those out, we have Memento, Spirited Away, The Pianist, The Lives of Others … Look at Roger Ebert’s Great Movies and narrow it down to the last decade. Not a lot there and not a lot that I think he’s absolutely right about.

Look, it’s Friday, I’m tired, I have a summer cold. I’m 1200 words in. Maybe I’m being too pessimistic. But I’ve been thinking this for a long time. I see a lot entertainment. A lot of solid popcorn movies. But the only time in recent memory I’ve watched a film and said, “Wow, they’ll be watching this for the next fifty years” was when I saw Lord of the Rings. OK, maybe a couple of Miyazaki or Pixar titles, too. But I have no inclination to rewatch Argo or The Artist or The King’s Speech or The Hurt Locker. Slumdog Millionaire maybe.

Well, as I said, it takes a long time for history to judge. No one thought 2001 was a classic when it came out and the Academy once awarded Shakespeare in Love over Saving Private Ryan. Ask me in a decade and maybe I’ll be saying that one of those films above was truly great. But at my desk at 11:35 at night? Doesn’t seem like it.

Update: Yes, I’m aware that people have been saying the above since movies became talkies. Maybe I’m in a “get off my lawn” mood. But it honestly does feel like the great artists are moving away from film and more toward other media.

Cloud Atlas

Saturday, June 29th, 2013

Cloud Atlas is, if nothing else, ambitious. Clocking in at just under three hours, it actually earns that length (unlike a lot of recent bloated movies) because it tells six related stories spanning a time of half a millenium, ranging from a 19th century slaving ship to a 24th century post-apocalyptic tale. It uses a small group of actors to play multiple roles in the various stories and the tagline is that all these stories are connected.

I liked Cloud Atlas quite a bit and intend to watch it again. In time, I may grow to love it. But, for right now, I admire it more than like it. I feel it falls just a bit short of its lofty ambitions.

The biggest problem is that the connections between the six stories seem kind of weak. My understanding is that the book has nested stories, where each one is being read or watched by those in the next story, so that it becomes a story within a story within, etc. six times. The movie seems to be trying to do something grander and more imaginative: have the stories play off of each other or feed each other in a karmic sense so that we feel we are seeing the same souls interact as they try to reach a glimmering future. But … and maybe I need to watch it again … I felt the connections were between the stories were tenuous at best. Doona Bae and Jim Sturgess are lovers in three of the stories, but this isn’t really revealed until the end. Tom Hanks and Halle Berry only interact in two of the stories and their connection seems tenuous. The birthmark seems to link the six protaganists — Adam, Robert, Luisa, Timothy, Sonmi and Zachry. But their stories are different and the six actors who play them don’t seem to be playing reincarnations of the same character. The over-arching plot doesn’t seem to have the resolution and catharsis that the eloquent voice-overs promise. So, in the end, this seems less like six interconnected stories spanning 500 years than six stories juxtaposed together. I felt like one more pass through the script might have tightened those connections and made a much more emotionally deep picture.

However, although the film’s reach exceeds its grasp, it’s still a very good movie and at least it’s reaching. All six of the stories are compelling in some way. Reading through the reviews, I’ve noticed that the critics always napalm or praise different segments, never the same ones. That’s probably because all six works pretty well. Even when the script is a bit weak (the Luisa Rey sequence), the acting and directing carry it. And when the story is strong — Sonmi 451, the Pacific Crossing and Sloosha’s Crossing were my favorites — it’s very good.

All three directors do a fine job: the film is always visually and narratively compelling. The acting is strong, even if the makeup that allows the actors to change races and genders isn’t always up to par. But it is rarely outstanding. It’s fun to watch the actors slip in and out of roles (although that muddies the supposed karmic connections between the stories). And watching Hugh Grant and Hugo Waving slither through six villains is a treat. But no performance in the film really grabbed me as particularly inspired.

As has become par for the Wachowskis, there are many striking visual images: Luisa’s dizzying plunge into the river, the Abbess’s eyes changing color, the chase of Sonmi and Hae-Joo. Thankfully, the visuals are mated to good stories and good acting, so they never grow tiresome.

So, overall, a good film. Maybe, in time, a very good one. But it falls just short of greatness for me, so I have to give it an 8/10. It will probably rank as one of my Best of 2012 in the post I’ll cook up over the next few days.

You know what excited me most about Cloud Atlas, though? It hints that the Wachowskis have at least one more great film in them. The Matrix is a great film, of course. Its sequels are a bit disappointing but have their moments. V for Vendetta is a visually excellent film and has a strong narrative. Speed Racer was a commercial and critical flop that I have yet to see. But Atlas hints that they have something great in them, that their talent for visual flair an imaginative ideas is going to come together into something really jaw-dropping in the near future. Maybe it will be Jupiter Ascending. Or maybe Jupiter will stink and we’ll have to wait ten years for it. But I think there’s greatness there. And perhaps Cloud Atlas is where we’ll say we first saw it.

Saturday Linkorama

Sunday, June 23rd, 2013
  • This visualization of the Right of Spring is seriously seriously cool. Seeing the music like that, you start hearing the subtleties that elude you when you just hear it. This is one of the reasons I like to see classical music in performance. There is so much more going on than the ear can take in.
  • This map of linguistic divides in the United States, is something I could spend an entire post on. I match most of the pronunciations from Georgia except for “lawyer” and “pajamas”.
  • This story, about charities that just exist to raise money, should be getting national attention. It’s a disgrace.
  • I’ve used some of these.
  • Roman concrete was apparently better than the shit we’re using.
  • I think this is more or less true: the financial industry has stopped being about enabling economic progress and more about itself. When engineers can make more moving piles of money around than inventing things, we’ve got a problem.
  • Teenage boys killed the sex scene.
  • Les Miserables Review

    Tuesday, May 28th, 2013

    I have never seen the musical Les Miserables. I’ve never actually seen any film or stage representation before. I have however read, and deeply loved, the book by Victor Hugo.*

    (*I recently discovered, to my horror, that the version I read so long ago was, in fact, abridged. So I may have to read it again when I have a month to spare.)

    So my expectations were medium to high going into the recent Les Miserables film. I can say that while I didn’t love it, I liked it quite a bit. There are times when it creaks. It has a very serious editing problem, with lots of rapid cuts that distract from the sumptuous visuals, the serviceable singing and the excellent acting.

    But this is compensated for by the things the films gets right. The art direction is fantastic; 19th century Paris is recreated so well I felt like I needed antibiotics. The music is fine. I’m not as enamored of the score as most fan but it gets good when there is polyphony. The story, while stripped to its bare bones, retains the most important parts including the emotional wallop at the end. And the acting is uniformly good. Les Miserables has a great ensemble cast. One particular performance of note is that of Sacha Baron Cohen. His singing is OK, but his acting is a lot of fun. Between this and Hugo, he’s showing the makings of an excellent and versatile supporting actor. The more he does this and the less he does his characters, the happier I’ll be.

    The thing I kept thinking as I watched it, however, was that I wished it weren’t a musical. I’m not slamming the music or anything. As I said, it works great sometimes. And Les Miserables is such a massive sprawling tale that perhaps musical numbers are the only way to advance the plot and the emotional threads fast enough to squeeze it into three hours. But I think the spectacle and the singing sort of take away from the excellent actors that populate the film. Many of the film’s flaws — Hooper’s preference for quick cuts and extreme closeups — are the result of doing it as pure musical rather than pure drama or drama punctuated by the occasional song. A distillation of this problem can be found in Russell Crowe. Many critics napalmed his singing. I found that he lacked dynamic range but was perfectly adequate. His flaws as a singer only stand out because the rest of the cast are better. But the complaints about his perfectly serviceable singing distract from his excellent acting. A little less singing and a little more acting and he would really have nailed Javert. The same can be said for many of the cast. Only Redmayne, Barks and perhaps Jackman are really able to pull off the singing and acting simultaneously.

    One thing Hooper did right, however, was record the singing during filming. There is verisimilitude to the singing that is unique. Sometimes it’s distracting — Jackman in particular has a tendency to sing with a very open mouth. But I’m hoping the technique can be refined in the future because it really works much better than lip-synching.

    Overall, I would probably give it a 8/10. I have to think about it a little bit. I love the story so dearly that the film redeems its sins with the occasional great moment.

    Trekkie Thoughts

    Thursday, May 16th, 2013

    We’re getting a new Star Trek film tomorrow. I’ve been trying to avoid any expectations, but I can’t help it. I’ve been a fan for as long as I can remember, since watching reruns of the original series on Channel 17.

    Given tomorrow’s launch, I thought I’d finally publish my blog post on the Trek movies.

    (more…)

    Thursday Linkorama

    Thursday, January 24th, 2013

    I think I’ve spent the entirety of this week either on the phone or having a meeting or curled up in bed with a migraine. Sigh. Some weeks are like that.

  • I can’t say that I enjoy the retuning of some songs to different keys, per se. I do, however, find it utterly fascinating how important key is to the mood and feel of a song or musical piece. I knew a woman back in college who had a variety of health issues that would eventually take her at a young age. But she was an amazing pianist who could shift the key on a song instantly and play it perfectly. Somehow, it never changed the tone like these retunings do.
  • Cracked looks at lines censored by TV. My brother and I used to get great amusement from watching movies like The Breakfast Club and Police Academy on Channel 46. The dubbing was so bad and the lines so hilariously stupid, we almost preferred them. My favorite comes from Police Academy: “Mahoney …. nobody plays with me.” with “plays” delivered about an octave and a half lower than Bailey’s register.
  • This article, which tries to argue that Southern dominance of Miss America is a result of racism, is so idiotic, so filled with PC bullshit and is such an inaccurate assessment of Southern history, culture and tradition, that it could only possibly have been published in the New York Times.
  • Eerie pictures of Chernobyl and amazing pictures of World War I.
  • Jacob Sullum details some of the concerns about allowing the CDC to do research into guns. I’m in favor of lifting restrictions on scientific research, even if it does mean politicized work. I just hate restrictions too much. But it is worth noting that the public health experts have a bad history of cooking the books to reach their conclusions, as seen in the EPA’s study of second-hand smoke and the CDC’s own study of obesity deaths.
  • A woman drives 900 miles out of her way and through several countries due to a supposed GPS error. Maybe it’s me, but I doubt the GPS was the only malfunctioning thing in that car.
  • An environmentalist admits he was wrong on GMO’s. Thanks a lot.
  • How much do you want to bet that most of the people involved in these idiocies were not fired?
  • I can’t vouch for the accuracy, but if these people really have recreated a hairstyle from the Roman Empire, that’s pretty damned cool.
  • Looking Ahead to 2013

    Wednesday, January 2nd, 2013

    Any year you can walk away from is a good one right? I ended 2012 with my family and career intact, so I don’t think I can complain too much. Abby had a great year with her first real birthday party and a good start to kindergarten. I landed a couple of grants and got a couple of big projects off my plate, including the image gallery for the mission.

    On the other hand, I had my gallbladder out and had a sudden awful onset of bad migraines, something I still have not quite gotten control of. My mother-in-law died. My stepmother got cancer. We spent a fortune on fertility treatments and got, for all our pains, one miscarriage and a bad MS relapse. So … yeah, not our best year.

    In sports, my Braves bowed out in ignominious fashion and the hated New York Giants stomped over the Falcons, Packers and Patriots. On the other hand, the Falcons had another good regular season, the Braves have a lot of young talent and Chipper Jones went out in grand fashion.

    Politics? Oh, God. This was one of the most frustrating disillusioning years I can remember. I looked at both parties and eventually slammed my head into the desk and voted for Gary Johnson. We had a huge amount of sound and fury. More digital ink was spilled than ever before. I blogged my guts out over at Right Thinking. And the result? Obama is still President, Congress is still split, Congress is still stupid, the deficit is still huge and the economy is still sluggish.

    But, for some strange reason, I have a good feeling about 2013. 2011 was a the year of false hope — personally, professionally and politically. 2012 was a tough grinding exhausting year. But I feel like things have put in motion that will make 2013 suck a lot less. I can’t put my finger on anything specific. That probably means I’m wrong.

    Oh, well. Without further ado, my bold predictions for 2013:

  • Alabama over Notre Dame; New England over Green Bay; Miami in the NBA, Cincinnati over the Angels
  • Movies look like a mixed bag. Bad remakes and sequels galore (Evil Dead, GI Joe 2, Hangover 3, Die Hard 5, etc.). Beautiful Creatures and Pacific Rim look hilariously bad. And I’m not optimistic about Oz, Man of Steel or The Great Gatsby even though I want to be. I’m worried Hobbit 2 will suffer from Middle Chapter Syndrome (even more than Hobbit 1 does). But maybe something will surprise us.
  • We’re going to have a debt ceiling crisis that will hurt the economy and result in almost no spending cuts of note. Nevertheless, the economy will lumber on. And, for the first time in years, the deficit will notably shrink.
  • The Supreme Court will have another interesting year, likely striking down Prop 8 but on very narrow grounds.
  • Japan and China will rattle sabers but no fighting will break out. We will probably eventually intervene in Syria. The EU will continue to lumber toward a unified state.
  • So, yeah. Even looking at that, I’m not predicting a great year. But 2012 was so lousy, 2013 is almost bound to be better.

    We must always remember that the arc of history is long and, over the last decade, has pointed toward progress. On a global level, things are improving. Steadily, haltingly, frustratingly. But improving. And maybe 2013 will be the year things start improving around here — slowly, haltingly, frustratingly. In the end, the future is what we create. And I intend to bend my shoulder a little bit more this year and push a little harder.

    The Hobbit Part I

    Saturday, December 15th, 2012

    The Hobbit is not the Phantom Menace.

    I feel like I have to say that leading in, even though I liked the Star Wars prequels. But since that is the gold standard of disappointing sequels, I’ll just use it as a marker. The Hobbit will not disappoint. Casual fans may find it a bit boring in parts. Tolkien enthusiasts, however, will probably love it despite the liberties it takes with the text. Jackson has fleshed out the book with so much detail and backstory, that you can’t help but get swept up in the labor of love this clearly is.

    As I said on Twitter, the movie is good. Sometimes it is very good. But it if were a half an hour shorter, it would be awesome.

    Let me unpack that a bit. The biggest problem the movie has — in fact, I would almost say its only problem — is that it’s too long. If you’ve got me checking my watch during a Middle Earth movie and continually wondering, “OK, is this where they’re going to end it?”, you’ve got a problem with running time.

    It’s hard to pin down exactly where the movie bogs down because there is simply so much new material. New stuff has been larded in everywhere — the battle with the goblins, the chase to Rivendell, the “out of the frying pan” scene. This is not all bad: Jackson has put a much more tangible villain in the piece who works very well. And, as noted above, the backstory fleshes out the movie to be much more epic than the book.

    No, I don’t think the new material is the problem. The problem is that some scenes just drag on. People are complaining about the party at Bilbo’s house, but I didn’t find that to be much of a problem. I kind of liked it actually as it did a good job of introducing and defining the characters (Balin, in particular, does well). But the part of the prologue with Frodo just drags on. Gandalf’s introduction is almost verbatim from the book. The consultation in Rivendell really drags with Blanchett and Weaving intoning each syllable verrryy slowly. And a number of the battle scenes just go on for far too long (a growing problem in modern action films). In the end, the movie doesn’t really feel like it has an arc; it feels like a series of incidents that just … at some point … kinda ends.

    Personally, I would have ditched all the stuff with Radagast (although it does produce one extremely chilling scene). But I actually think that sharper editing could have kept everything in the movie that’s there and still cut half an hour off the running time. The result would be a great two hour movie that would leave the audience breathless.

    And that’s the rub. The reason I’ve spent most of this review complaining about the running time is because Jackson does so much in the film that’s just so right. The prologue about Erebor is excellent. Thorin’s backstory is great. The new villain is excellent and deepens the significance of Thorin’s return to Erebor. The “riddles in the dark scene” is the highlight of the film. Bilbo’s journey from timid Hobbit to hero is done better than Tolkein did. Middle Earth itself is, once again, rendered with such beautiful, loving and fiddling detail. And there are images in the film — the appearance of the necromancer, the “into the fire” scene, the eagles — that just work really really well.

    The actors are all well-chosen and do jobs ranging from good to excellent. And Jackson shows the talent he’s shown before for letting actors act.

    So, yeah, I liked it, despite its running time. I will probably see it again because, as with the second two LOTR films, my anticipation and worry impinged my enjoyment. But it’s definitely worth $8. Especially on a big 2-D 24 fps screen.

    I’ve rated it 8/10, which is provisional. The reason it’s provisional is that a) I’m a fan; b) I rarely rate films higher than 8 on initial viewing; and c) I have to see the other two films (and I really don’t want to wait two years for them). I initially rated the LOTR movies as 9′s but elevated all three to 10′s as they were one long epic rather than three films. So Hobbit I’s legacy will depend on how Hobbit II and Hobbit III go.

    The Girl Who Set the Dragon’s Nest on Fire

    Friday, November 23rd, 2012

    My thoughts on watching the movies of Girl with the Dragon Tattoo are too long for a tweet, so I’ll spell them out in a few hundred words.

    I read all three books of the Millenium Trilogy last year. They are quite good: Larsson was a talented writer. His characters are believable (up to a point) and he is a master at building suspense and mystery. The three books are compelling page turners and featuring a plethora of strong female characters. And Lisbeth Salander has to be one of the better literary characters to emerge in recent years.

    However, there were a number of things that bothered me about them. There is the Gary Stuish protagonist who seems not far removed from Larsson himself and spends much of the books sleeping with a series of great women. There is the stark moral color-coding, where all the antagonists are sexually abusive misogynistic dinosaurs. But what bothered me most was the way the books almost seemed to revel in their sexual depravity and trafficking hysteria. There is a strong “rescuer fantasy” undercurrent to the books that is subverted in Dragon Tattoo but keeps poking its head out in the next two books.

    The books were a giant hit and have since been turned into a Swedish television miniseries and a Big Hollywood Film. I have now watched the Hollywood version (albeit a bowdlerized version on a transatlantic fight) and the first two parts of the Swedish miniseries.

    On balance, I like the Swedish version better. I do need to see the American version in full at home to be completely sure about that, but I think my judgement is unlikely to change. The American version has definite advantages — a more filmic look, sharper direction, an even darker atmosphere. But the Swedish version is a little more complete and a little less slick, which I think are advantages.

    One striking thing about the two movies is that the American version features much more handsome actors. I think this is actually to the film’s disadvantage. The Swedish actors look more real, more worn down, more in keeping with how I envisioned them (and, uh, more Swedish). It made them easier to identify with and easier to believe. To put it bluntly, Daniel Craig is way to handsome and way too British for Mikael Bloomquist. He does a great job, no question. If I didn’t know the Swedish version existed, I’d think he was definitive. But Michael Nyqvist is just a bit more suited to the role. The same goes for the lead role: Rooney Mara is excellent; but Noomi Rapace is just a bit better.

    However, you really can’t go wrong with either one. Both are good. Both are suspenseful. Both do the book justice. Both come with my recommendation. They are both somewhere between 7/10 and 8/10, with the Swedish version a little higher. Was the remake, strictly speaking, necessary? I think it was. Because there a lot of people who simply will not watch a Swedish miniseries, no matter how good it is. The Craig film, by being slicker, more filmic and in English is more approachable and therefore allows more people to enjoy the story. I really don’t have a problem with that. The American film is utterly worthy of its Swedish predecessor.

    Important note: the Swedish movie versions are cut by about half an hour from the full television miniseries versions. Netflix now has both available for streaming and I strongly recommend the miniseries version, which fleshes out the story and includes a number of small details and subplots that, in my opinion, make for a fuller viewing experience. This review is based on the full version.

    (Really Serious Spoiler Warning: I’m about to reveal the end of the story, so please don’t read if you have not seen/read the story and want to maintain suspense.

    There is one thing that I hated about the book: that Lisbeth destroys the evidence of Martin’s crimes. The reason it bothers me is that the families of all the girls he murdered deserve closure — not to mention the cops who investigated those crimes. I realize that Lisbeth would not appreciate this, but Mikael would. This is one sense in which the Swedish TV series was better than the novel: Mikael agrees to keep the murders out of the press but he and the Vangers agree to notify the families. I found that much more satisfying than the books “we’ll destroy all the evidence if you donate money to women’s causes” social engineering resolution.)

    Red Dawn

    Sunday, November 18th, 2012

    This week will see the release of a remake of Red Dawn. The movie seems destined for the rubbish bin and several “worst of 2012″ lists but I thought I’d spare a few thoughts on it, since the original Red Dawn was quite a moment in my early teen years. And not just because it was the first PG-13 movie.

    Red Dawn is not a great movie, but it is an iconic one. Apart from the zeitgeist it tapped into, which I’ll discuss in more detail below, it was simply a good film. That characters were reasonably well-defined, their actions not outlandish and it delivered a tremendous amount of action professionally and effectively (today’s audiences are unlikely to understand just how violent this movie was for 1984). I’ll let on that it has a “boy’s fantasy” aspect to it: the idea of teenagers successfully resisting a evil and powerful foe. But it twisted that formula a bit as it became steadily grimmer and grimmer until its inevitable end. I have watched it a couple of times since the theaters and always found myself intrigued. I would probably rate it a 7/10, acknowledge I’ve added a point for personal reasons.

    However, the remake, even it is well-made and well-directed, is unlikely to succeed the way the first film did for many reasons that have nothing to do with film-making. The most obvious and commented upon is that, to avoid tanking the Chinese market, the enemy is North Korea. It is unlikely that North Korea could successfully invade itself, least of all the United States. Maybe they’ll come up with some explanation for NK’s sudden military might. But the absurdity of this is sure to drive audiences away. Even if the enemy were China, the idea is still implausible. The United States has more military might than the next twenty nations combined. And that’s not even counting the millions of Americans who hunt and would, if we were ever invaded, comprise the largest standing army in the world. Hell, Pennsylvania could probably outgun most nations.

    When you get down to it, the essential thing about Red Dawn is that it was a film whose making was only possible during the Cold War, when we had an enemy superpower of significant military might and the very real fear that entire regions of the world — central America in particular — would turn against us. It struck a chord with many people — especially my generation — because it played on the patriotism and paranoia that was so strong during the Andropov-Chernenko years. Unlike the new film, the basic premise of the older film was not completely ludicrous, even if it was far-fetched. Hell, my friend Adam and I used to constantly play at resisting the Russian occupation.

    Red Dawn came with a ready-made audience: tens of millions of Americans who lived under the Soviet threat every day. Critics complained that it seemed like a commercial for the Reagan Administration. These critics apparently missed that Reagan was re-elected in a massive landslide at least in part because of his fierce opposition to Communism.

    Today’s young people are simply unlikely to identify with that. They’ve grown up in a world where America’s military might is taken for granted; where wars are rare things fought in distant countries. They’ve grown up in a world where true totalitarianism — the gulags and secret police type — is in retreat. They’ve grown up in a world where our own country is the one becoming a police state. The zeitgeist that made Red Dawn a cult classic simply doesn’t exist anymore. And so it will just be another loud dumb action film.

    The Force Will Be With Disney

    Wednesday, October 31st, 2012

    So, I was busy yesterday when Twitter, Facebook and the blogosphere lit up like a Christmas tree over the news that George Lucas had sold Lucasfilm to Disney. Reaction has been strong, if mixed. Someone on FB said the news was dominated by two events: a huge disaster and Hurricane Sandy.

    I’m not seeing it that way.

    Regardless of what one thinks about the Disney Empire, they provide great entertainment. Their Pixar division has produced some of the finest movies of the last decade (WALL-E, The Incredibles, etc.) Miramax has pumped out numerous Oscar nominees. Their main division has produced solid entertainment in Narnia (first film at least), Pirates of the Caribbean (first film at least) and Tangled. They’ve turned Marvel into a relentless film mill which has pumped out films that are decent (Thor), good (Iron Man) and great (The Avengers). And for all the criticism John Carter got, it was a not a bad film by any means.

    Really, the whole anti-Disney thing kind of puzzles me. Yes, they are relentless in protecting their copyright and making a ton of money with endless merchandising. I have a daughter who is into princesses, so my wallet is very familiar with them. But … is that really such an evil thing? America isn’t a hippy commune.

    Sleeping on it, I’m more convinced that this could be a good thing. “Could” being the operative word. And the reason I think this could be a good thing is that the franchise is now out of Lucas’ hands.

    I don’t mean to slam Lucas. He’s a visual genius who revolutionized film-making. I have a higher opinion of the prequel trilogy than most. And the expanded universe of Star Wars has been excellent, especially from their video game division, which has produced engrossing, well-made, entertaining games that advance the story (and, notably, are not ridiculous resource hogs).

    But I also think Lucas’ success produced some problems that manifested in the prequel trilogy. As I argued before, there were great movies buried within those pretty good movies. The thing that made them almost great movies was Lucas’ vision. But the thing that kept them from being great movies was Lucas himself. His flaws — a tin ear for dialogue, a tendency to overcomplicate plots, a push for the cute, an inability to direct actors — were on display and I think his success and his stature prevented anyone from gainsaying him, from saying, “George, come on … let’s cast Annakin as a teenager, not a kid.” And the expanded universe of video games and books actually hurt the films because much of plot — Annakin’s fall from grace, in particular — had taken place off screen.

    Disney now has the ability to get anyone they want to work on Stars Wars VII. There are directors out there — great directors — who would pay them for the privilege. They can, if they want, get Peter Jackson to write and direct, Kevin Smith to script doctor and the entire cast of Harry Potter to act. And by keeping Lucas on as a “creative consultant”, they can be sure that he brings a bit of vision to the project. If Disney works this right — finds a great crew and gives them the freedom to create a great film — we could be dazzled.

    Ah, but that’s the rub … if. I could just as easily see the studio thinking they have to get something out that’s generic and endlessly marketable to start paying off their $4 billion investment.

    We’ll see. I am often too optimistic about these things. But the Star Wars universe is very rich and deep. It’s still possible for great film-makers to make great films in it. Hopefully they now have a chance. That chance did not exist 24 hours ago.

    Plot Hole Fun and Frustration

    Friday, October 26th, 2012

    Warning: Movie Nerd Post Ahead

    I, like most geeks, have an affection for finding goofs in movies: visible boom mics, plot holes, etc. I’ve made kind of a hobby of it, detailing almost all of the goofs that are currently in TV.com’s Doctor Who Classic section. Finding goofs is a bit of stupid nerdy fun, a bit of a wink that reminds us that this is just entertainment, not real life. It’s especially fun with Doctor Who because the wobbly sets and lousy special effects were part of the fun in the early series.

    But you do run into annoyances when you play around in this particular geek pen.

    First of all, you have those who try to explain a goof; who desperately scrounge around for some explanation — any explanation — for why an obvious goof is not really a goof at all; how the license plate on the car changed because it was a clever disguise.

    The worst are Star Trek fans, who are constantly coming up with some quantum tunneling or space warp effect to explain ST’s wild inconsistencies. And sometimes they resort to being flat-out wrong. An example occurs in Star Trek: Generations. When Soren destroys a star, the gravitational field changes instantly. However, according to General Relatively, the change in gravitational field should propagate out at the speed of light: distant objects will still be responding to the initial gravitational field. Yet, ST fans will continue to insist that Trek is right and Einstein is wrong. Over at Movie Mistakes, which is one of the worst-run of the goof sites, you get this nonsense:

    I agree that it should take time for the light from the destruction of the star to reach the planet but not the gravitational effects. Things like planets orbit stars not because there is some kind of particle or energy being exchanged between them but because the gravitational field has warped the space they are travelling through. As a result of this when the gravitational field was changed space would have snapped instantly to its new position producing instant gravitational effects. (see Stephen Hawkins:- A Brief History of Time if you don’t believe me).

    This is … uh … not true.

    But what’s far worse is people who site goofs that don’t exist. The submitters often rely on faulty memory or someone else’s faulty compilation (I’ve purged dozens of these from the Doctor Who pages). Or, frequently, they haven’t paid close attention to the movie and heard someone explain a plot hole they think exists. Gregg Easterbook, oddly, is one of the worst at this. But Cracked has had a series of articles in this vein that are often badly informed, incomplete and just wrong. Here is the most recent, where they list off eight movies made possible only by incompetent characters.

    (I would note that characters acting stupidly, as Movie Mistakes notes, isn’t really a goof. A goof is something that reminds you you’re just watching a movie. Stupidity doesn’t meet that requirement. People sometimes act stupidly. That’s how history is made.)

    Some of the mistakes in the Cracked article are valid: the idiocy of Die Hard 2 scarcely needs commenting on. But several are simply wrong. For example, they criticize Men in Black for not sending backup to deal with the stellar cockroach. But the conceit of that movie is that Earth is constantly under threat and the MiB’s are always busy dealing with it. Then they criticize Mission Impossible for network security, ignoring the elaborate plan the MI team use to get access to a secure computer. The most egregious is bashing Star Wars because the Empire doesn’t scan the Millenium Falcon after they capture it (they do, and it’s stated several times).

    It’s unusual for Cracked to be so lazy.

    Wednesday Linkorama

    Wednesday, October 17th, 2012
  • Distracted parenting is a problem, obviously. But, despite the horrible tragedies described, it’s not clear how big a problem it is. Mobile devices free parents up to do more things with kids and to supervise them more. I will let on, however, that they can occupy your attention. I was at a park when a kid broke his arm and didn’t notice immediately because of my phone. Don’t know if it would have been different with my kid.
  • I’m really looking forward to reading Nate Silver’s book.
  • Statues at the bottom of the sea. Amazing. And heart-breaking, when you think of what they represent.
  • I think this author has a good point that the Star Wars universe is likely illiterate. However, I think it’s less a conscious “where is modernism driving us” thing than a reflection of Star Wars being built on medieval narratives and cliches.
  • An interesting take on one of the more panned documentaries of the year. It does seem that people have a problem accepting that being anti-Big Education is not the same as being anti-education. Or even anti-teacher.
  • This story made my day. This is religion at its finest.
  • Whatever the political fallout of Benghazi, the story of the attack is an amazing one.
  • This is NOT the way to fight global warming. And they say all the greed and abuse is on the skeptic side.
  • 2011 in Film

    Sunday, September 9th, 2012

    Yeah, it’s mid-September. And I still haven’t watched all the 2011 movies that I want to. But do you know how many films I saw in a theater in 2011? Two? Maybe three? Almost everything I watch is on DVD and one of the more praised movie of 2011 just came out. And I’m glad I delayed this post until I could watch it. But I’ll stick a fork in 2011 for now.

    According to Metacritic, the most well-reviewed films of 2011 were:

    Tree of Life: You can read my long review for my detailed thoughts on what is, without question, the most controversial picture of the year. Many people whose opinions I respect hated it. On IMDB, it is rated at the 58th best movie of 2011, indicating that audiences didn’t like it that much (although the vote is very polarized). But having now seen it a second time, I still think it’s wonderful. I still think, in the fullness of time, it will be appreciated. And I would still rate it as the best film of the year. 9/10

    The Artist: While I enjoyed this film, I did not love it the way many people did. Don’t get me wrong: it’s a fine film and well-qualified as Best Picture. But I wonder how much of its appeal is wrapped up in its gimmick. 8/10

    Melancholia: As I said on Twitter, this is the reason we put with Lars von Trier’s bullshit. Melancholia is a little slow at the beginning, but builds toward a shattering finale. Kirsten Dunst is excellent and it a visually and aurally stunning film. 8/10

    Drive: I have not seen this yet but expect to like it.

    The Descendants: I found this to be a little over-rated. It wasn’t bad mind you. It’s well-written and well-acted. I cared about the people in it. But it didn’t grab me the way some of the other best pictures did. It’s my nominee for the “kafeeklatch” movie of the year: appealing mainly to Hollywood insiders. But it’s a step above, say, The Kids are All Right. 7/10

    Hugo: As I said on Twitter, I’m so glad that Martin Scorsese finally won an Oscar. It has freed him up to make the pictures he wants to make, rather than aiming so hard for an Oscar (although this was stil nominated). Shutter Island was good; this was great, carried by its strong actors. I told you to keep an eye on Chloe Moretz. 8/10

    A Separation: I just watched this a couple of nights ago and am still taking it in. As with several other of the top-rated films, it starts slow as it makes the characters compelling and then tightens down. I was, in an odd way, reminded of Winter’s Bone. It may seem odd to compare a picture set in American meth country to one set in Iran. But both pictures deal with good people trying to live in trying circumstances and both feature acting that is so low-key and so real, I didn’t even realize I was watching actors: I only saw the characters. A must see as it provides one of the first glimpses we’ve gotten of real Iranian society. On IMDB, it is the top-rated movie of 2011. It’s rare for a movie with so few explosions to be so well-liked on IMDB. 8/10 (provisional)

    Certified Copy and Take Shelter: I have not seen these. Both are in my queue.

    Moneyball: While I am a fan of baseball, a fan of the book and a fan of the new management in the game, I only liked this one, didn’t love it. 7/10

    So that’s what the critics thought. We can feather that out with the Best Picture nominees, representing the thoughts of an entirely different group of old white men. The nominees this eyar were The Descendants, Extremely Loud and Incredibly Close, the Help, Hugo, Midnight in Paris, Moneyball, Tree of Life and War Horse. I have seen all of them. Several I mentioned above, but I’ll go through the other ones.

    Extremely Loud and Incredibly Close: I can see what they were trying to do. And there are moments when it is really good and uplifting. I love the optimistic take it has on New Yorkers, which I think is far closer to the truth than the more popular cynical view. But it had lots of credibility problems and the way the kids’ mind was portrayed – with loud noises and flash cuts – irritated me. 6/10

    The Help: The acting in this is great and I enjoyed it a lot the first time I saw it. But as time has gone on, the appeal has waned. 7/10

    Midnight in Paris: This movie is typical Woody Allen — charming, funny, endearing but not quite great. Marion Cotillard was great in this, as she is in everything. 7/10

    War Horse: Like Extremely Loud, there are moments when this film is very good, particularly the touching ending. But the whole is less than the sum of its parts. The story is told from the point of view of the horse, but Spielberg tries very hard to tell it from the view of the people. It doesn’t really work that way. I kept feeling like I was watching a highlight reel of the year’s best films rather than one of the year’s best films. 7/10

    So let’s go to the people: looking over the movies at IMDB and narrowing to those with 25,000 or more votes, we find the following list from the users: A Separation, The Intouchables, Warrior, The Artist, Deathly Hallows 2, The Help, The Girl with The Dragon Tattoo, Drive, 50/50 and X-Men First Class. Girl with Dragon Tattoo was good. Not quite as good as the Swedish TV series, but very good. Mind you, I saw an edited version on an airplane, so my opinion might improve later from its current 7/10. Deathly Hallow 2 I rate as a 9, but that’s a fan rating, so a normal rating would be 8/10.

    I do, however, want to comment on Warrior, which was simply excellent. Fantastic acting all the way down to the supporting actors, brilliant directing and a great story. I was surprised by this one. I did not expect a film about mixed martial arts fighting to be one of the best of the year. I love surprises and gave it an 8/10.

    Looking further down the list, there are a few more I have seen or want to see. Sherlock Homes II was even better than the first and I fan-rated it at 8/10. Tin-tin was very enjoyable and I rated it 7/10. The Muppets was a fun tongue-in-check 7/10 that my daughter loved. Super 8 was Spielbergian treat that gives me hope that Adams is improving as a director (8/10). Rango was quite fun at 7/10. And Tinker, Tailor, Soldier, Spy was an exquisitely tense spy thriller with a fantastic performance from the great Gary Oldman that I gave 8/10. I would still like to see Mission Impossible IV, Drive, Take Shelter, Source Code and The Adjustment Bureau. And I have been talked into seeing Rise of the Planet of the Apes at some point.

    Applying the DVD test, the only films I own are Harry Potter 8a and Sherlock Holmes II, both fan purchases, and Tree of Life. But if money were no object, I would probably buy A Separation, Warrior, Tintin, Tinker Tailor, Melancholia. There are a few more I might throw on the pile once I see them.

    Not a bad year, after all is said and done.