Monday, August 31, 2009

Broadening Your Horizons: Film Suggestions for Any and Everybody

This post requires any/everybody's participation.  Tell me one of your favorite movies, and I'll give you a recommendation for one similar that might compliment your taste in film.  Let's give it a try.  Post a comment indicating one of your favorite films, and I'll do my best to broaden your filmic palate.


Friday, August 28, 2009

Taking Woodstock: A Focused Depiction of a Major Event


REVIEW: 3.5/5             

Director Ang Lee's newest film, 'Taking Woodstock', is a beautifully crafted, tenderly rendered film about Elliot Teichberg (Demetri Martin, in a surprisingly heartfelt performance), a well-to-do, proactive type, who is trying desperately to help save his mother and father's financially afflicted Motel estate.  It seems that all is lost (there are a group of theater actors that live in the estate's barn free of charge...  seriously), when the event that would come to be known as 'Woodstock' was cancelled and subsequently moved to Elliot's small town in the Catskill Mountains of New York, thanks to Elliot's own audacity.

His parents, who tread a fine line between stereotypical Jewish parents and actual human people, are given proper, if seemingly awkward, development throughout the film.  Nonetheless, actors Imelda Staunton and Henry Goodman bring to their characters the sublimely benevolent traits that one would expect from such caricatures.  The fact that they are written as exaggerated prototypes cannot be discharged, but the actors' ability to subdue the hyperbole and replace it with genuine affliction elevates their feasibility.  

Lee and his cast are focused on telling Elliot's story, and no one else's, which may be the reason for the film's wavering tone.  This is Elliot's journey (literally and figuratively), briefly punctuated by visits from the then contemporary neo-nazis, a security guard in drag, naked 'troupe' actors, hippie-hating townspeople, and an unusual bit of character development (you'll see).  While these may appear as abnormal elements for a film that was marketed as focusing on 'Woodstock' the show, they are, in fact, highly necessary in an attentive depiction of the kid that organized the location for Woodstock.

Spectators expecting to get front row seats to a recreation of the concert should avoid this film.  The Woodstock show is merely the film's backdrop, which just happened to provide a kind of supernatural help to a kid who desperately needed it.

Wednesday, August 26, 2009

Oliver Stone Fans Rejoice!

Believe it or not, Oliver Stone is set to shoot a sequel to his 1987 film 'Wall Street' this year; the film itself, 'Wall Street 2: Money Never Stops' will open on April 23rd, 2010.  The film, which was co-written by Stone, will star the exceedingly prevalent Shia LaBeouf as a young Wall Street broker, Michael Douglas who will reprise his role as Gordon Gekko from the original film, as well as Frank Langella who will play Lewis Zabel, a veteran broker mentoring LaBeouf's character.  Susan Sarandon will play LeBeouf's mother.

There is no plot summary to be made available now, or a trailer for that matter, but as soon as it's available, look for a post.

Tuesday, August 25, 2009

'Wolfman' Trailer Premieres

Director Joe Johnston (October Sky, Jumanji) has recently undertaken a new, darker turn with his upcoming remake of 1941's 'The Wolfman,' which has a slated release date of February 12th, 2010, and stars Benicio del Toro in the lead role.  The film's trailer premiered just recently, and from the looks of the preview, it promises to fulfill those infatuated with the recent influx of graphic lore in Hollywood (fans of 'Twilight' may wish to elude this one as it promises to honor the explicit tradition of the original - seemingly a cross between Tim Burton's 'Sleepy Hollow' and the contemporary version of the highly underrated  'An American Werewolf in Paris').

Check out the trailer for yourself at the film's website: http://www.thewolfmanmovie.com/

Martin Scorsese's 'Shutter Island' Delayed Release Until February 2010

Martin Scorsese's newest thriller 'Shutter Island' has been officially delayed its release date until February 19, 2010.  The logic behind this has to do with two things: 1. Leonardo DiCaprio's availability to promote the film is lost, due to his involvement with 'Dark Knight' director Christopher Nolan's 'Inception,' which is due to be released next summer.  And 2. Paramount Pictures, who blame the recession for this abrupt change in events, felt that this change in their autumn schedule might draw attention to lesser-known directors and films that will have a sure shot at Oscar contention; those films being Peter Jackson's dark 'The Lovely Bones,' and Jason Reitman's gloriously independent 'Up in the Air.'  Both these films will be released in late 2009, and, hopefully, in Paramount's case, they will attract the attention of the Academy.

Now, does this mean Scorsese's newest picture is highly flawed?  Quite possibly.  But, given his recent collaborations with actor DiCaprio (Gangs of New York, The Aviator, The Departed), all of which garnered significant Oscar attention, I would be hard-pressed to imagine this film being anything less than exceptional.  Maybe Paramount wants to start 2010 strong.  Or maybe, given the Academy's decree to nominate 10 films for Best Picture starting this year, the film is vastly imperfect.  On a subjective level, being a devout Scorsese fan myself, I'm hoping for the former.

Monday, August 24, 2009

'Titanic' Director Releases New Trailer After 14 Years of Anticipation

It's been 14 years since special effects mastermind James Cameron (director of the highly acclaimed Titanic) has been developing his new, highly ambitious, 3-D project 'Avatar' that is rumored to revolutionize the 3-D concept, and in that regard, filmmaking itself in the 21st century.  The film, which is to be released on December 18 of this year, will require distributing theaters to construct an intricate system of projection in order to effectively communicate the 3-D experience, which, based on several commentaries I have read by critics that have been lucky enough to witness the event early, is comparable to a lucid hallucinogenic episode.

Cameron originally began this endeavor in 1997 in various capacities.  First, he demanded roughly $400 million to finance the project, only to have studio executives scoff at his audacious undertaking.  After deliberation, Cameron decided it best to wait a few years until the proper technology made itself available - and it did, 2-3 years ago, and the bold director was able to finance the film for $200 million, much to studio executives' contentment.  

And now, finally, after years of fanboy anticipation, the trailer can be seen prior to Quentin Tarantino's Inglourious Basterds, and can be located online.  Whether or not the preview does the film justice (it is presented in 2-D) is unknown, but suffice it to say Cameron's daring 3-D experiment just might revolutionize filmmaking in the 21st century.  

Take a look and consider your own opinion: http://www.apple.com/trailers/fox/avatar/


Sunday, August 23, 2009

Summer Movie Recap: The 10 Best Films During Summer 2009

(note: Any and every movie that was released in PHX, where I'm currently located, this past summer is eligible for this top 10 list. This includes, but is not limited to, independently released films. Let me know what you think.)



10. 
Adam 

Definitely an indie/Sundance flick about a guy with a disorder vaguely known as Asperger’s syndrome who finds love in Manhattan, NY. The film itself is pretty limited in terms of development and story, but Hugh Dancy’s turn as the socially inept, but goodhearted Adam elevates the film beyond its sparse attention to story. In fact, the film, in its 88 minutes running time, is seemingly devoted entirely to Adam and his disorder as it manifests during a brief, awkward relationship. If nothing else, the film is worth seeing for Dancy whose convincing Adam should garner him an Oscar nod.

9. 
Funny People 

Adam Sandler’s best role since his indie Punch-Drunk Love proves a success not only for him, but for writer/director Judd Apatow, who carefully and lightly transcends genres of comedy and drama. While the film may be overly long to regular Apatow devotees (as the meager box-office results dictate), the film does not ever waste time. Instead, it lingers in moments of tranquil regret and sorrow, the execution of which is comparable to the anti-formula, highly poetic independent films of David Gordon Green. This film marks the first in what I hope to be an evolution of Judd Apatow the auteur. He’s got a knack for communicating the bittersweet, and, if regarded as an auteur, he’s only getting better. 
(note: I singled out Sandler in this modest critique, but Seth Rogen, Leslie Mann, and Eric Bana, who finds an unusually effective duality in his Australian beau, both violently angry, and lovingly humorous, all deserve significant praise).


8. 
Public Enemies 

I’ll be the first to admit that the overall tone of the film was a bit emotionally muted, and there was an apparent lack of character introduction and development – but wasn’t that the point? John Dillinger’s gang of bank-robbers are sentimentally jaded, one-dimensional drones that maintain a constant scowl, knowing good and well that they’re living out the last few months of their psychologically barren lives, with disdain not only for the upper-crust prey they victimize, but for the violent business they engage themselves in. It’s a quiet, somber tragedy driven only by contempt, which results in polarized audience reactions – who wants to be witness to this demonstration of melancholy during the summer in the midst of recession? Nonetheless, the film accomplishes what it set out to do: present the numbing tedium of forlorn lives entrenched in moral decay. That said, on a bit of a lighter note, the set design and narrative are definitely memorable. The writing echoes director Michael Mann’s most heartbreaking work (the last chapter in protagonist John Dillinger’s life), and Mann’s direction is technically and formally accurate. Johnny Depp’s depiction of a notorious criminal with a troubled past (communicated not by backstory, but by Depp’s stoic, indignant Dillinger) is worthy of an Oscar nod, as is the film’s art decoration and set design, and the film itself for best picture.
(note: The consistently underrated Billy Crudup as J. Edgar Hoover is robbed of screen time, and Christian Bale was miscast).

7. 
Up 

Does Pixar ever make a bad movie? I mean honestly, can you name one? The story in ‘Up’ is relatively simple: an old man who’s lost his significant other and, in turn, the zest for life which he once had as a child, decides to leave this world by blowing up thousands of balloons, attaching them to his home, and leaving the rest to gravity. The rest of the story, which is ultimately predictable, involves enough originality and inventiveness to keep anyone entertained. The message is archetypal, and the characters sweet and memorable. It’s the best animated film this year.

6. 
500 Days of Summer 

Another surprise hit this summer, this indie pic originally targeted at the supposed ‘hipster’ demographic spanned its appeal to men and women of nearly all ages with its lighthearted, bittersweet approach to an unfortunate tale of love. Yet, what separates this film from the standard, indie paradigm, is its madly inventive formal arrangement, somewhat shattering the standard Hollywood formula in favor of the aesthetics and characteristics that made the French New Wave so revolutionary. It could be considered a contemporary New Wave film in its own regard combining a scattered narrative with detours that range from a welcomed dance sequence complete with animation accoutrement, voice-over narration, the occasional split screen, and the impudent breaking of the fourth wall. Even if you despise indie filmmaking, this film defies and even parodies the lot of independent flicks. Check it out.

5. 
The Hangover 

Foul, profane, deliberately not PC, and consistently hilarious, Todd Phillips’ The Hangover was the surprise R-rated comedy of the summer, grossing over $250 million at the box office, on only a $35 million budget. The film thoroughly grasps the concept of comedy, placing its formidable idiots in unfortunate situation after situation, until the equally discomfited, if formulaic, conclusion arrives. Newcomer Zach Galifinakis steals the show. Just an example of the film’s memorable banter: (note: this takes place when Galifinakis (Alan) and his brother in law, (Doug), are parked in front of an elementary school):

Alan: Did you have to park so close?
Doug: Yeah, what’s wrong?
Alan: I shouldn’t be here.
Doug: Why is that, Alan?
Alan: I’m not supposed to be within two hundred feet of a school. Or a Chuck E. Cheese.


4. 
District 9 

In an alternate universe, imagine that writers and philosophers Franz Kafka, and Friedrich Nietzsche met director Ridley Scott. Now imagine that those three decided to make a science fiction film, and the result might be this sleeper hit of the past summer. A wildly original, high-concept science fiction film, District 9 just may elevate the genre into an age of enlightenment with its deliberate allegorical backdrop focused on the Apartheid, and its main concentration on the metamorphosis of a mildly prejudiced member of a government agency designed to enact a mass mobilization of unwanted aliens from Johannesburg. Sharlto Copley, who plays the film’s protagonist, deserves Oscar consideration for his manic exhibition of a man losing his homo-sapien attributes, but never his humanity. The co-writer and director, Neill Blomkamp, whose style, combining a devotion to human behavior, with an aptitude for visceral action sequences, could be described as an amalgamation of David Cronenberg, Martin Scorsese, and the aforementioned Scott. This guy’s a burgeoning talent to watch. (note: this film was made for a mere $30 million. Take that, Michael Bay).

3. 
Star Trek 

The quintessential summer film is exemplary in every sense of the word. Special effects, action, directing, acting, set design, sound design, are all top notch, and the story itself, while unusually sparse, is thoroughly compelling. Director JJ Abrams has a unique gift, delicately balancing the feverish drive of the film’s protagonist with motivated action sequences that are executed with a virtuoso knack for energy and precision (he also did this in Mission Impossible III, arguably the best of the trilogy). He’s a rare gift to American Pop Cinema, situating stubbornly tenacious protagonists within the standard Hollywood paradigm and combining it with an unforgiving flare for art and special effects design. You heard it here first: JJ Abrams is the future of exceptional Hollywood blockbusters.


2. 
The Hurt Locker 

Directed with a tense ferocity by Kathryn Bigelow, the story of an Iraq bomb-squad trio pays excessive attention to character, which is not necessarily a poor decision given the humane focus on these men, both voluntarily and involuntarily engaged in the atrocity of war. Their inner disturbances and doggedly persistent dedication to their task are delicately observed by Bigelow, who utilizes a verite’ style of shooting that brings authenticity to her genuine character study - Brian Geraghty as Owen Eldridge proves evidence of this as an emotionally agitated soldier whose reliance on an appointed Army therapist becomes all the more necessary as the film progresses. Jeremy Renner deserves an Oscar nod for Best Actor, Geraghty for Best Supporting, and the film itself will be nominated for Best Picture.

1. 
Inglourious Basterds 

Stanley Kubrick was a pioneer of form and technique, Martin Scorsese of style and anti-heroic protagonists, George Lucas of motivated special effects, Steven Spielberg of humanity and sentimentality (see: Schindler’s List), Sidney Lumet of dramatic movement: what do all these directors have in common? Answer: their styles and techniques are all evident in a Quentin Tarantino film, carefully positioned within sometimes complex, sometimes traditional narratives, making Tarantino the archetypal American auteur - arguably the best of this generation. His style of pastiche filmmaking (which he developed himself) has had countless imitators since his audacious breakthrough ‘Pulp Fiction’ gleefully disrespected every rule that classical Hollywood cinema enthusiasts revere. His newest film defies these rules yet again, but to a much fuller extent, resulting in an intoxicating epic wherein Tarantino freely applies any and every cinematic technique to tell not only a story of revenge, but of devotion, powerlessness, hubris, despair, arrogance, and love – especially of the cinema (in this picture, film literally brings an end to the Third Reich). How many movies invite the spectator to laugh uproariously one moment, and absorb tragedy the next? How many successfully utilize violence as a platform for flippant humor, and represent women as madly ferocious, dogged heroes? Here are a few: Kill Bill volumes 1 and 2, Jackie Brown, Death Proof (yes, Death Proof), and arguably, Pulp Fiction. Years from now, this auteur will be remembered for his incomparable style and storytelling, and Inglorious Basterds is, like the last line of the film intrepidly suggests, his masterpiece. Actor Christoph Waltz as Col. Hans Landa will be nominated for an Oscar, as will the screenplay, and given the newly applied decree by the Academy of Motion Picture Arts and Sciences to include 10 films as nominees for best picture, consider Inglorious Basterds an early contender.