You are currently browsing the tag archive for the ‘movie’ tag.

I hate, hate, hate people who look at movies–especially older movies–as just a step in the line to the movies we have today.  It’s a slap in the face to life, by extension, and I will explain why. (Foswi, this is primarily for you.)

I am a staunch historian, and I thoroughly believe in the value of studying history.  If you do not, you might as well stop reading this blog.  We’ll just never get along.  To that extent, is it useless to study ancient warfare in a modern context?  Are there no pracitical applicable lessons to be learned from tactics that defy era, technology, or weaponry?  I think you out there in someplacewhereyou’restaringatacomputerscreen should be thinking to yourself, “No, there is value in knowing that stuff…”  Because  you’re right.

Or, let’s think of this in terms of books.  Does it make sense to stop reading  Hamlet, To Kill a Mockingbird, 1984, The Lord of the Rings, Black Boy, Brave New World, Romeo and Juliet, The Giver, etc. just because there are the Harry Potter series, the Twilight books, the Time Traveler’s Wife, and various James Patterson and Stephen King books topping the New York Times Bestseller list?  Should we leave the past behind and only allow only what is new and pretty and shiny to be let in?

I think not.

The problem is the genre of film allows this to easily happen.  And many people who watch movies (or passively read about movies) tend to think only the little that is said without thorough investigation into the actuality of history.

Point 1: Michael Bay is awesome…but not really.

The Island

Michael Bay, as many know, is the champion of all things pretty, and mind-numbingly explosive.  After all, you don’t make a name for yourself with blockbusters like Bad Boys, Bad Boys II, The Rock, Armageddon, Pearl Harbor, The Island, Transformers, and Transformers II (directed all by Bay) without some level of skill.  I mean, seriously.  That’s an impressive list of movies, with impressive DVD sales, and everything.

But let us be honest.  The movies star nice looking people, blow a lot of things up, include heart-racing, adrenaline pumping, action and car chases (or meteorite destroying drill malfunctions, what have you), and fun technological advances.  They’re like James Bond films…just without James Bond.

These movies have made millions.  They have loyal fans of adults, teenagers, and children alike.  They’re fun to watch, made millions in the movie theaters.  But they suck.  They have no deeper meaning, make me thoughtful in no way, and generally make me dumber, because I actually could have been learning something while I was wasting time watching pretty people run around.

Point 2: There is more to history than just history.

Citizen Kane

A friend of mine (after reading a former post of mine) responded thusly:

I’ll disregard the opinion of anyone who thinks Citizen Kane is great for anything more than its innovative transitions and camera angles.

While said tongue-in-cheek, there is, I know, a part of him that believes this to be true.  And this is why I am angry.  I love Citizen Kane, in the same way I love Schindler’s List.  Sure it’s a little on the long side, but the story is great, the acting is believable, the direction is flawless, and the overall impact: unforgettable.

The ease with which Americans, modern people, I’m not sure who this list should (or actually does) include, forget the past when it comes to movies is disturbing.  Yes, movies are more entertaining today.  Movie from yore are a little boring.

Except that’s not true.  I defy anyone to watch The Apartment and not be complete enraptured.  Peeping Tom is one of the creepiest movies I’ve ever seen.  (If you have a Netflix account, I believe it is streaming live.   You should go watch it now.  Better than Drag Me To Hell.  Creepier.  Stranger.  More interesting.)  And you know what, It Happened One Night is the quintessential romance that cannot be improved upon in a modern way.  There are just old movies that age well, and have stayed good for a reason.  Citizen Kane is one of them.  Beyond the transitions and camera angles. (We’ve all heard the “Oh my gosh, there’s a ceiling” reaction.)  But let’s talk about the role the dining room table plays in the movie.  Did you ever think about that? Or how about the scene where Welles types out the rest of a horrible review of his wife’s disastrous operatic debut?  The acting is top notch, better than Sean Penn in Milk.

I am struck by many things.  Here’s a short list:

  • People today seem so averse to watching older, or just pain old, films.
  • People tend to devalue the impact of older movies because modern counterparts tends to be more engaging, which they equate with “better.”
  • People tend to devalue the fact that most older movies have a deeper theme than most modern movies, even modern movies based in classic stories.

This is why the market for older movies should be booming, not dying away.  This is why people should actually sit down and become their own movie reviewer.  If you take the time to watching a movie a week, you’ll watch AFI’s Top 100 movie list in less than two year.  Probably less than a year, considering you’ve seen a lot of them.

Why is it people are so ready to agree, or disagree with the statements of critics and film historians, but are so rarely willing to make their own original statements about the movies themselves.  People, you, staring at your own screen.  Say what’s on your mind.  Be willing to say Citizen Kane sucked, but don’t you dare say it’s boring without backing it up.  I’m not about opinion’s with no evidence.

Just have an opinion, and make it your own.

Advertisements

A lot of people consider The Usual Suspects to be a great movie.  I don’t even consider it good.  Here’s why:

Imagine you were watching a movie (not hard to imagine), and in the vein of Citizen Kane, there is a question that keeps getting asked over and over and over again (E.g. What is rosebud?  Why Rosebud?).  That one’s a little more difficult.  Better yet, think about it in terms of a mystery–Who is the serial stalker?–and people keep asking “Who did it?” over and over and over again.  You expect that from some movies.  In the case of mystery movies, it really drives the plot, it’s the essential question that motivates why the story movies along and what goal the investigator has.

In a more complicated (not that most mystery movies aren’t complicated), movie like Citizen Kane where you have a guy at the beginning of the movie calling out “Rosebud!  Rosebud!” and people wonder what it is, the essential question works  a little differently.  In Citizen Kane, it was a starter to the almost epic biography of a man, his life, and what he most valued, which it turns out is Rosebud–this isn’t answered until the end of the movie, as a big reveal to explain what he really valued in life even though he couldn’t have it.

The Usual Suspects

The Usual Suspects

Then there’s The Usual Suspects, which operates like a high class caper film.  It’s like a mystery, a mystery with the driving question: “Who is Kaiser Soze?”  (And, if you’re familiar with the restaurant Moe’s, which I love, then you’ll know the movie was popular enough for them to make a ‘Who is Kaiser Salsa’ salsa flavor after the movie.  That’s some pretty big stuff.  You know a movie has real popular weight when it’s satirized in restaurant food names.)  And, if you know the tricks of mystery capers, the solution will be one of three.

  1. Kaiser Soze will be a character we know, possibly the character we know the best in the film. (E.g. Fight Club)
  2. Kaizer Soze will be a minor character introduced at the beginning of the film with a small motive that is referenced at the end of the film with a big reveal.
  3. Kaiser Soze will be a character we don’t see until the last scene of the movie, a reveal that gives satisfaction to a something like a real life chase. (E.g. Zodiac)

But we know the answer before we start the film because the film was directed by Bryan Singer.  And Bryan Singer is a film nerd.  He’s actually a nerd in many senses (e.g. comic book) but he’s a film nerd.  He probably knows movie history in and out, has seen all the film noirs like Laura, The Big Sleep, and The Maltese Falcon that defined The Usual Suspects.  So he knows which way the pendulum must fall.  The greatest, and most personally pleasing solution for directors like Bryan Singer (please note any movie by M. Night Shayamalan).  The most pleasing solution is to have the answer in front of you the entire time.  He will always choose option one.  No questions asked.

This makes the movie, plotwise, almost boring to watch because we’re only introduced to one main character that plays through the entire movie–Verbal.  So the answer is staring (literally, staring) at us right from the beginning. Also, the plot doesn’t make much sense.  We are told a story from the beginning through Verbal, but I couldn’t not really keep track of the story.  At once we were in California, then New York, and characters saying things that should mean something but meant nothing.  They decided to kill someone.  I knew not who the person was or what their importance was.  I was bored.

Thank goodness Singer is an excellent filmmaker.  Because technically, the movie is quite creative and interesting to watch.  He sets his film shots up very well, does a lot with color, tone, and mood in his scenes, and though unevenly edited, has a good overall flow to his film.  He made a great film noir, in the tradition of The Big Sleep, and for that I can fault him nothing.  The Big Sleep is so twisted with its own plot complications that the movie itself doesn’t actually make sense–this is a pretty well known fact in the film community.

But, let me say this.  I think the movie is pretty good–if only for the knowledge that it does well what a filmi noir is supposed to do.  That being, confuse, confound, confirm the dearth of life, and potentially have an interesting reveal at the end.  But the plot isn’t there, and it should be there.  A movie is in essence a story in pictures first.  And if I like the pictures, but don’t really get the story, why should I care?

At least The Big Sleep flowed.  A movie I consider to be only a step below The Usual Suspects is The Black Dahlia, which is a pretty awful movie in its own right–a film noir like The Usual Suspects, with too much plot for an audience to care.  Usual Suspects is a far cry from the much more carefully laid out, and classier film noir, LA Confidential.   It does not, cannot compete.  So, while The Usual Suspects may have its thousands of die-hard fans, this guy here isn’t, and there’s a reason why: it’s just not interesting enough to be good, let alone great.

You judge for yourself.  6/10.

Are his movies even worth it?

Are his movies even worth it?

I keep waffling on the issue of documentaries.  I hate the, except when I love them.  There seems to be little middle ground, based on my own personal reactions.

The Evidence for the Prosecution:

1.  Documentaries can be boring.  An Inconvenient Truth – This has to be the worst quality documentary made.  I don’t like getting political when I rate movies.  Even when it concerns politics I agree with.  You cannot give me enough money to say a poor movie is interesting when it isn’t.  This is why this type of review is worthless. A perfect review of this type of movie is only a political move.  This movie is boring, and not boring in the deliberately slow-paced manner, which I typically enjoy.  It’s just not good.  It is a glorified PowerPoint presentation.  It is surprising, shocking, and meant to be moving; on most counts it fails because it does not engage me.  At all.  This first type of documentary is all too common.  It’s the reason most documentaries go on the shelves of stores…and stay there.  No one’s interested in being bored.  The coffee table edition is more interesting.

2.  Documentaries as propaganda.  Triumph of the Will – Probably the best example of propagandism, the film by Leni Riefenstahl (spelled right the first time!) about the rigid professionalism, determination, and divinely ordained nature of the Third Reich I have had to watch three times for classes.  The first time was in high school, just a clip of the beginning.  The second for a class called The World between the Wars in college.  The third was for another college class: The History of Film: Part II.  I’ll admit.  The film isn’t that engaging, but it’s one hell of an interesting movie.  It was interesting all three times.  Not exactly documentary, incredibly staged and all factual, but technically documentary.  Because we know it is propaganda, its value as a piece of recorded history is lost.  As a piece of fiction, presenting the fictionalized version of a true event is great.  As a documentary is cannot be taken with much seriousness.

3.  Documentaries as a time waster.  The Up Documentaries – This set of documentaries is amazing.  Other people know this. You should know this.  If you don’t–watch them!  But be prepared to waste a lot of time.  The problem is this series is well edited, but takes footage from people’s lives when they are 7, and revisit their lives every seven years, from 7 to 42.   This is the straightest set of documentaries I have ever seen.  I think they are revealing, interesting, and engaging on every level.  But be prepared to use up about 10 hours of time watching these documentaries.  Which is the problem.  As documentaries are generally a labor of love for the directors, there is so much content that they do not want to sacrifice that they should.  Information that seems unnecessary, out of place, or useless is included.  Why?  Because the director understands why it fits it.  The director has hours of footage for every minute in the films.  Why not include a little extra?  But still, 10 hours?

The Evidence for the Defense:

1.  Documentaries can be really interesting. Spellbound – I will never be able to get past this documentary.  I think this is the first documentary I truly thought was amazing.  It was shameful to watch because I saw glimpses of how nerdy I was as a child, I saw the way parents drive their children just to win, and I saw how cruel children can be on themselves.  But mainly I just laughed out loud at the absurdity of the nerdiest thing on ESPN–the fierce competition for the title of Spelling Bee Champion.  This documentary you must watch.

2.  Documentaries as understanding.  Hoop Dreams – I knew when I started working with disadvantaged youth, the realities of their lives were disastrous.  The problem was I never thought about it in the long term.  Even after the first year, I never thought about where those students I taught would move after I was done teaching them how to use a comma with nonessential information.  This documentary reminded me of what issues they face: standardized test bias, social pressure, rough neighborhoods, limited resources, poor education, and institutionalized practices that look a lot like discrimination.  The scene where, after a student has made it to college, but lives in a house removed from the main campus where other athletes live–all black, all removed, all separate–is shocking.  These events are not from the sixties, or seventies.  They are from the ’90s.  They could be from today.   The movie made me understand, again, what issues really plague urban youth.

3.  Documentaries as entertainment.  Super Size Me – The movie was done to entertain.  Without the cameras there, would the man have undergone his personal experiment to eat McDonalds every meal of every day for a month?  Doubtful. It was only done to be filmed.  A staged documentary, just not staged like Triumph of the Will, so I’m willing to go with it.  This movie is just funny.  Interspersed with interesting facts about the fast food industry, and one man’s body decline because of the food he eats, the movie was made to demonstrate a point.  It demonstrates that people need to eat less fast food.  It makes it’s point.  I still eat fast food, and will always go for a Whataburger Honey Chicken breakfast sandwich whenever I get into a town that actually has a Whataburger.  But the movie did make its point.

Verdict:

The drawbacks of documentaries are just too much to risk.  I have trouble enough finding a good documentary.  The semi-interesting facts of the History channel work like 60 Minutes reports rather than historical research.  And while I wanted to be fair by presenting an even number of documentaries for both side, the fact of the matter is I could come up with several more documentaries that I did not enjoy, and had trouble coming up with three that I did enjoy.  The sheer enjoyment factor should win, but I won’t let it.

Documentaries do one thing, generally, very well: they tell a good story.  When they fail to do that they are awful.  A movie, after all, exists to tell a story.

All of the bonuses of movies, like cinematography, direction, editing, acting, etc. are lost in the necessity of a documentary.  Almost never will a documentary be able to demonstrate artistic merit and the factual entertainment that defines its genre.  Because I stake so much of what a movie is based on what a viewer can see, I must dismiss documentaries, generally speaking, as a failed genre.  There are just too few good documentaries to make the genre worthwhile.

Feel free to point out an excellent documentary.  I have a feeling that means I’m not going to get very many comments on this post.

Your life will never be as bad as this movie.  And you can be happy about that.  Unfortunately, your life will never be as awesome as this movie.  Which sucks, but it’s reality.  Neither do you have the tragedy of living near or having to talk with Larry the Cable Guy.  Nor, on the other hand, can you be as good looking as Bruce Willis or Milla Jovovich while living a life of fantasy in the near non-existent future where aliens exist (and apparently look like armadillos) and Chris Tucker is…Chris Tucker. I’m not sure where I was going with that.  I could have gone a lot of places with that.  None of them would have been good places, though.  Regardless…

Anyways, to get to the point.  I constantly compare my life to the movies I watch.  I lament the fact that my life will never (A) be as interesting or (B) successful as The Lives of Others, and sometimes  wish Danny Kaye would Court Jester his way into my world just once.   Ever since moving to Philadelphia, and probably because I ride my bicycle everywhere (primarily because  I’m too cheap to buy a car, and in no way does my concern for the environment dictate my decision but it is nice that it is a benefit) with my iPod headphones in, I have had the insane hope that one, as I am riding home from work, two rival gangs will bust out into choreographed dance/fighting a la West Side Story, or maybe even a little basketball choreography…whatever gets the youth off the streets these days.  By the way, I did not know that movie won 10 Oscars.  Since Return of the King, Ben Hur, and Titanic are the big 11 Oscar winners they seem to get all the attention, but 10 Oscars is a darn impressive feat.  And until rewatching that YouTube clip, had never noticed that Bernardo wore Converse All-Stars.  That’s just classy.  Or maybe everyone wore Converse All-Stars in the ’60s and I’m just a little young to know or understand.  Either way, classy.  I stand by my opinion.

(Ever since writing this, I’m going to start pushing the theater department at our school to do West Side Story as the spring musical.  This year they decided to do The Wiz.  I’m ambivalent.  The Wiz is apparently done every year at one of the middle schools in Philadelphia.  I have a feeling it’s overdone in urban areas.  Personal opinion.  Although I have to give the theater department props for doing The Outsiders and moving the play from the middle of nowhere middle America in the ’60s to New York City in the late ’80s.  They’re good.)

I am constantly wishing the movies I watch pop up in my own life.  In case you hadn’t clued in yet, this is the MOVIES AS ESCAPISM philosophy.  This is what I believe.  This is why I particularly hate watching documentaries.  I don’t like the world enough as it is, do I have to watch it all over again when I get home?  (NOTE:  This movie is a rare exception to the documentary rule.  Moving on…)  Watching Hoop Dreams was painful.  Crumb?  Just unnecessary.

This is why I’m not convinced by District 9.  It’s a little to preoccupied with NOT allowing the audience member to hopefully ignore the fact that it is really about apartheid to allow the audience member to watch the movie without thinking.  I like movies that make you think.  I don’t like movies that do the thinking for you.  This is also why (but for a slightly different reason) I will never like the National Treasure movies.  The National Treasure movies, unlike District 9, just tell you the answer.  District 9, instead, hammers the obvious into you with a mallet.  Neither is very comfortable or easy to watch.

Clarification: Watching movies about the harsh realities of life is OK.  I don’t know why, but it is.  Watching Year of the Quiet Sun was much nicer than any factual movie I have watched about Europe post World War II.  It isn’t a happy movie.  It isn’t an altogether kind movie.  But because I know it is fiction, maybe it is easier for me to stomach and accept, because I know it isn’t reality.   The movie doesn’t have to be harsh to be hated.  It just has to be real.  Movies, to me, weren’t made to show the world.  They were meant to, at the most, mirror the world, echo the world, re-represent the world, meant to capture our shadows on the cave, not to show our true faces.

This brings be to the review of the article (a personal favorite): Sunshine (I’ll get to Solaris another day.)

I know this is really late.  I know this is two years late.  I’m going to start actually writing about modern and relevant movies when work allows me the time to go out to the movie theater and see relevant movies.  Until then, I’ll review old favorites.

This movie I think is quite wonderful.  I think it is quite wonderful because it was probably a movie made precisely for me.  Ebert got it right when he said the movie was made for nerds. But, it’s more than a movie for nerds.  It’s a classic movie in that it devotes nothing new to the entire subgenre of movies where a crew of people go into outer space, get on each other’s nerves, and grapple with the fact that they’re on a suicide mission all while trying to be both psychological and vaguely sexy.  It doesn’t add anything new because the genre exists solely for B-grade movies.  (The exception is Solaris almost exclusively.  I don’t like Alien or Aliens.  I’ll explain that one later too, I promise.)  I’m pretty sure this movie does not try to be anything more than the best it knows it can be–a B-grade movie.  This is why Ebert will give it a 3/4.   Because that’s all it should deserve.

Fortunately, it is more than that.  It is part Science Fiction, part horror, part drama, part diatribe.  It’s like an all style and no substance movie with a little bit a substance.  Not much, but just enough to be entertaining.  I won’t bother with the plot because the plot doesn’t really matter very much.   You’ve seen it before.  Until a certain moment in the film.  Then it switches genre with one fail swoop and moves into another type of movie you’ve also seen before.  It’s interesting to manage and understand the switch.  It’s not that interesting.  But it is interesting.  What’s more interesting are the visuals, which will always win me over storyline, although the storyline isn’t terrible.  It’s a joy to watch, the visuals will win any viewer over.

This, I admit is my major downfall as a moviewatcher.  Oftentimes I’m willing to allow my obsession with great visuals overtake my practical sense of plot, pacing, and acting, none of which is lacking in Sunshine.  Did I mention this is one of my favorite films.  I’m not sure why I’m trying to make it sound so bad.  It’s not.  It’s actually really good.  Give it a chance.  Put it on your Netflix queue.  I doubt you’ll be sorry.

If you are, let me know, and let me know why.  Like my students who all seem to think an opinion ends with yes or no, I will always respond in the same way: an opinion is no good without a valid reason.  Give evidence!  That’s usually when I start raving around the classroom like a lunatic screaming incoherently about the value of justification and evidence.  That’s when all my students stop listening.  Which is fine.  Everything is still fine.

I thought I’d break up the musical monotony with a movie. But this is not a recommendation, as you hopefully gleaned from the title.

First: what qualifies me? Well, I firmly believe the more you expose yourself to a subject, inherently, the better you become at identifying what is good and what is not. Having said that, I’ve also seen every movie on the Top 250 list on www.imdb.com. It was a long process, especially because the list changes, thought only slightly, on a daily basis.

The movie that most shocked me, based on simply it’s appearance not to mention it’s current rating in the Top 20, is Sergio Leone’s Once Upon a Time in the West. I say this because I don’t take the list literally. I don’t look at it as the number one movie is “the number one movie of ALL TIME” but I look at all the movies on it as some of the 250 greatest or cinematically impactful movies made based on popular opinion. Yes, there are the blockbusters (Jaws, Raiders of the Lost Ark, Batman Begins) and the Silent Films (Nosferatu, The Gold Rush, Sunrise) the old foreign flicks (Metropolis, The Cabinet of Dr. Caligari, Beauty and the Beast), modern foreign flicks (Oldboy, The Lives of Others, City of God), epics (The Godfather, Lawrence of Arabia, Gandhi), a plethora of Hitchcock (Shadow of a Doubt, Strangers on a Train, Vertigo), of course some Akira Kurosawa (Ran, Yojimbo, Rashomon), some Capra (It’s a Wonderful Life, Mr. Smith Goes to Washington, It Happened One Night), plenty of Billy Wilder thank goodness (Sunset Blvd., Stalag 17, The Apartment), and even a smattering of the–hopefully–modern classics (Pan’s Labyrinth, Gladiator, Saving Private Ryan).

Taken as a whole the list itself is very legitimate, especially when looking at the overlap with Roger Ebert’s Great Movies List, or even just the AFI’s Top 100 American Movies, But there are some films on the list that, in my relatively well-informed opinion (or maybe it’s just a personal opinion, but whatever), just do not deserve to be there. The worst and highest-ranked movie being Once Upon a Time in the West.

It is a movie that is representative of everything Leone. The almost painfully long shots, the themes of evil, eventual death, the gorgeous location shooting, the purposefully ugly faces, the constant sweat and feeling of unbearable heat (as though everyone is already living in Hell), and the lengthy and twisting plot that confuses until too far into the film. The final shootout itself was painful for me to watch not because I couldn’t stand the slowness and had to get to the action (the intended effect), but because I was bored and simply wanted the film to be over. I had to connection to the movie, I felt for no character, understanding dawned on me so late in the film I had already lost interest and was simply waiting for the ending to arrive so I could be done with this.

What’s surprising is that I like other of Leone’s movies like Once Upon a Time in America (apparently he didn’t like to vary his film titles much) and The Good, the Bad, and the Ugly. Though they were slow, they developed and then concluded. This movie doesn’t develop so much as simmer and then die down: a fire who’s spark was exhausted a long time ago and is now only waiting to slowly die out.

Pages

Follow The Current on WordPress.com