Thursday, July 19, 2012
No. 97: Blade Runner
It's hard to believe, but the era of 1982's sci-fi film "Blade Runner" is upon us. Set in 2019, what is now considered a cult classic can be described with many the same words we use to describe most futuristic science fiction works: "dystopian," "dark," and, at times, "really friggin' weird."
In a Hollywood inundated with science fiction/action/"stick-it-to-the-man" themes, why should someone dig out a film from 30 years ago?
Well. For one, I'm guessing this film is the reason for some of the basic tropes we see in our generation's sci-fi flicks. For two, it's also loosely based off the novel, "Do Androids Dream of Electric Sheep?" which in my opinion, makes it worth anyone's attention.
The film follows Rick Deckard (Han Solo-era Harrison Ford), a "Blade Runner." They're like cops, except all they do is track down robots, er, replicants.
See, in the future (which is sorta now), big corporations created replicants of human beings. They look, sound, and act like humans. But, due to Matrix-like issues, their use on Earth was banned, so it is the job of the Blade Runners to find them and "retire" them.
Deckard, who was a superstar of the Blade Runner community, is recruited to track down four specific replicants. He's not told why, just that if he doesn't, he'll die. This serves as sufficient motivation for him.
As usual, there's more going on than just what the powers that be are telling, and, as usual, it's up to our hero to figure out what that is. It's like "I, Robot," except with a plot in place of 2,000 explosions.
Though it uses what have become staples of the science fiction genre – cars that fly, voice-activated everything, etc. – "Blade Runner" also has a few things that help it transcend the typical robot film. As previously mentioned, a complex plot. Suspense. Interesting characters. And a fantastic creep factor with the replicant Roy Batty (Rutger Hauer).
It's not a fast-moving film. And while the setting and plot points place it firmly in the science fiction genre, the thoughtful frames, suspense build-up and trench coats give it nuances of noir. More "Dragnet" than "Dr. Who."
Deckard says little and thinks a lot, which doesn't always work well on the big screen, but Ford has the gravitas to pull it off. The relationship between him and Rachael is a little abrupt, and there are elements of it I find troublesome, but it's not a deal breaker. And Hauer brings both a viciousness and a vulnerability to Batty that makes him seem, less, well, batty.
Watching this film in the 21st century in some ways might diminish the originality of "Blade Runner." However, director Ridley Scott's filming and casting have cemented it as more than just a cult classic - it's a quality film.
Sunday, May 20, 2012
Yankee Doodle Candy (No. 98: Yankee Doodle Dandy)
"Yankee Doodle Dandy" is the story of George M. Cohan, a celebrated playwright, composer, producer, actor/singer/dancer during the late 19th and early 20th centuries. Cohan penned the well-known American patriotic tunes "You're A Grand Old Flag" and, of course, "The Yankee Doodle Boy." He was hugely instrumental in the worlds of music, theater, and was the first entertainer to receive a Congressional Gold Medal from the president. So, while it is fitting that this man's story be told through a musical film, I have to admit, it did not always hold my attention.
The story is told, theoretically, from Cohan's (James Cagney) perspective as he talks to President FDR, about how he got started with his parents and continued a lifetime in vaudeville, Broadway, and show business. He starts out as a cocky, downright obnoxious kid who gets himself blacklisted from the theater world. Then, suddenly, he turns into a decent guy who learns how to have a career without trying to be the center of the universe. The film shows the change as it does everything else - briefly, and without much exploration.
The film covers a lot of ground in two hours, from the boy's birth to nearly the end of his life, fraught with musical numbers and rapid-fire dialogue the entire way. In truth, it's more a celebration of Cohan's talents than his life, as it spends far more time showcasing as many songs as it can from his repertoire of some 500 numbers than delving too deeply into the man himself. You get glimpses of his love and loyalty to his family, his need to be on stage, his quirky sense of humor, but only in between curtain calls. Maybe that also is fitting – a man as dedicated to the stage as Cohan probably only lived life in the margins, second billing, in between shows.
If you like musicals, vaudeville, Broadway, or even just old Hollywood, this film will entertain you. It doesn't have any one piece that stands out, but it has a little bit of everything - some singing, some dancing, some humor, some drama, and even a few poignant comments about patriotism and family that are just as relevant now as they were during World War II.
Wednesday, March 14, 2012
"To infinity...and beyond!" (No. 99: Toy Story)
Seventeen years ago, (yes, 17...it made me sad, as well) Disney joined forces with a little-known company called Pixar to create the first fully computer-animated feature-length film. Forgive me for being dramatic, but, in that endeavor, a star was born. Several stars, in fact.
"Toy Story" was released in 1995, and is one of the first films I remember going to see in the theater. I have only seen it a handful of times since then, but I'm not being dramatic when I say it changed the film industry and influenced an entire generation with its style, humor, and catchphrases like, "That's not flying – that's falling with style!" Maybe more than one generation.
As a kid, I loved it because it was funny, it was fast-paced, it was something different, and it created characters every kid my age could believe in. I'd always wanted to believe that animals and stuffed teddy bears could talk – this movie helped keep the dream alive for a few more years.
Watching it for the first time as an adult, I only appreciated it more. First of all, I appreciate more the influence it has had on the film industry. Secondly, I appreciate the first film as a labor of love, rather than the "Toy Story" franchise Disney has marketed to death. But, mostly, I appreciate the film.
The characters are hilarious and empathetic. The writing is fantastic. The villain, Sid, who traumatized my entire generation, is still fairly creepy and more than a little disturbing.
Another fun thing for adult viewers are all the little extra "inside jokes" Pixar puts into its films. I don't want to give anything away, but, if you're paying attention, you'll see them.
To me, that's what makes a family or "children's" movie timeless – when it is as entertaining for adults as it is for kids. Like the Genie in "Aladdin" or Cogsworth in "Beauty and the Beast." It's funny when you're a kid, and even funnier when you're an adult and realize you didn't completely get it as a kid. "Toy Story" does that – it transcends. Nostalgia aside, the film creates a world filled with fun and color and action, a little bit of danger, and a lot of laughs. And some great lines. Next up: "Yankee Doodle Dandy."
"Toy Story" was released in 1995, and is one of the first films I remember going to see in the theater. I have only seen it a handful of times since then, but I'm not being dramatic when I say it changed the film industry and influenced an entire generation with its style, humor, and catchphrases like, "That's not flying – that's falling with style!" Maybe more than one generation.
As a kid, I loved it because it was funny, it was fast-paced, it was something different, and it created characters every kid my age could believe in. I'd always wanted to believe that animals and stuffed teddy bears could talk – this movie helped keep the dream alive for a few more years.
Watching it for the first time as an adult, I only appreciated it more. First of all, I appreciate more the influence it has had on the film industry. Secondly, I appreciate the first film as a labor of love, rather than the "Toy Story" franchise Disney has marketed to death. But, mostly, I appreciate the film.
The characters are hilarious and empathetic. The writing is fantastic. The villain, Sid, who traumatized my entire generation, is still fairly creepy and more than a little disturbing.
Another fun thing for adult viewers are all the little extra "inside jokes" Pixar puts into its films. I don't want to give anything away, but, if you're paying attention, you'll see them.
To me, that's what makes a family or "children's" movie timeless – when it is as entertaining for adults as it is for kids. Like the Genie in "Aladdin" or Cogsworth in "Beauty and the Beast." It's funny when you're a kid, and even funnier when you're an adult and realize you didn't completely get it as a kid. "Toy Story" does that – it transcends. Nostalgia aside, the film creates a world filled with fun and color and action, a little bit of danger, and a lot of laughs. And some great lines. Next up: "Yankee Doodle Dandy."
Tuesday, February 21, 2012
No. 100: Ben Hur
I made it. I found 3 1/2 consecutive hours to get this project started, and, we're off to a grand start, with the 1959 epic film (no, really...it's an epic) "Ben Hur."
Let me begin by making a shameful confession. This is the first time, as far as I can remember (and I'm pretty sure I'd remember) watching this entire film at once.
I went in with a certain amount of fear and trepidation after getting Disc 1 and Disc 2 and thinking that frankly, if you can't fit it on one disc, it's just too dang long.
Other than the fact that my leg is cramping from being in one position for almost four hours, the film did make me re-think my initial assessment.
For one thing, the film made me miss the true epics. It reminded me that there are films that truly are epic, unlike most of the epic fails that have been churned out in the last few years.
It starts out showcasing a bit of the grandeur of the Roman Empire at its zenith, right at the birth of Christ. We then jump to the beginning of the command of Messala in Jerusalem. He and his old friend Judah Ben-Hur are overjoyed to be reunited, until they realize that as adults, Messala being a patriotic Roman and Judah being a loyal Jew means they can't be friends.
After Messala falsely accuses Judah of a crime and imprisons not only him, but his mother and sister, Ben-Hur vows vengeance.
By several miracles, he winds up not only surviving his slavery, but coming back to Jerusalem as a free man - with one thought in mind: find his family, and kill Messala.
I wish I could watch this the way it was meant to be seen, on a huge screen with the right film, etc. Still, on my old TV, it's impressive. The sets, the scenery, the costumes, the characters. It starts out a little slow, a little hard to relate to because it's so stylized and so different from how we relate to characters in modern films. But, it doesn't take long before it draws you in. I wanted to know what was going to happen. I felt invested. Was it hard to see what was coming next? No, not especially. It's still fun to watch it happen, though.
Most notable is, of course, the famed chariot race. Many smarter than I have expounded upon it, so let me just say, it is intense. There's no music. There's no dialogue. There's no extreme close-ups of the hero's or the villain's nose hairs or furrowed brows or sweaty palms to try to generate a response. You just watch this race take place and hope that someone makes it out alive. It doesn't matter that the stunts aren't as "sophisticated" as today's - when a driver got dumped out of his chariot and trampled, I cringed. Each time a driver went down, I leaned forward to make sure the ambulance crew got in and out with the injured person in time. It's a true action sequence. It's fantastic.
I also love the character of Esther. Unlike many female characters in films like these, she's neither a flailing damsel in distress nor a femme fatale. Esther is beautiful, chaste, composed, and incredibly strong, brave and faithful. Despite her constant goodness, she too recognizes her need to be redeemed - and embraces it.
But ultimately, this is a story about Jesus, not Judah Ben-Hur. Oh, sure, Jesus is only in a few scenes and we never actually see his face - but he determines the entire direction of the film. It is Jesus who brings Judah back to Jerusalem. Judah and his entire family are changed by Jesus and his gruesome death and life-giving words. William Wyler could have chose to make the film more directly about Jesus, but instead he gives us a character with which to relate, who is flawed and angry and, at times, a little selfish and stupid.
More than 50 years after its release, "Ben Hur" is still heralded as one of the best and "most inspirational" films of all time. It may be long, but maybe that's one of the things that makes it inspirational. Any film that can hold my attention for 3 1/2 hours deserves all the acclaim it can receive.
Next up: "Toy Story"
Let me begin by making a shameful confession. This is the first time, as far as I can remember (and I'm pretty sure I'd remember) watching this entire film at once.
I went in with a certain amount of fear and trepidation after getting Disc 1 and Disc 2 and thinking that frankly, if you can't fit it on one disc, it's just too dang long.
Other than the fact that my leg is cramping from being in one position for almost four hours, the film did make me re-think my initial assessment.
For one thing, the film made me miss the true epics. It reminded me that there are films that truly are epic, unlike most of the epic fails that have been churned out in the last few years.
It starts out showcasing a bit of the grandeur of the Roman Empire at its zenith, right at the birth of Christ. We then jump to the beginning of the command of Messala in Jerusalem. He and his old friend Judah Ben-Hur are overjoyed to be reunited, until they realize that as adults, Messala being a patriotic Roman and Judah being a loyal Jew means they can't be friends.
After Messala falsely accuses Judah of a crime and imprisons not only him, but his mother and sister, Ben-Hur vows vengeance.
By several miracles, he winds up not only surviving his slavery, but coming back to Jerusalem as a free man - with one thought in mind: find his family, and kill Messala.
I wish I could watch this the way it was meant to be seen, on a huge screen with the right film, etc. Still, on my old TV, it's impressive. The sets, the scenery, the costumes, the characters. It starts out a little slow, a little hard to relate to because it's so stylized and so different from how we relate to characters in modern films. But, it doesn't take long before it draws you in. I wanted to know what was going to happen. I felt invested. Was it hard to see what was coming next? No, not especially. It's still fun to watch it happen, though.
Most notable is, of course, the famed chariot race. Many smarter than I have expounded upon it, so let me just say, it is intense. There's no music. There's no dialogue. There's no extreme close-ups of the hero's or the villain's nose hairs or furrowed brows or sweaty palms to try to generate a response. You just watch this race take place and hope that someone makes it out alive. It doesn't matter that the stunts aren't as "sophisticated" as today's - when a driver got dumped out of his chariot and trampled, I cringed. Each time a driver went down, I leaned forward to make sure the ambulance crew got in and out with the injured person in time. It's a true action sequence. It's fantastic.
I also love the character of Esther. Unlike many female characters in films like these, she's neither a flailing damsel in distress nor a femme fatale. Esther is beautiful, chaste, composed, and incredibly strong, brave and faithful. Despite her constant goodness, she too recognizes her need to be redeemed - and embraces it.
But ultimately, this is a story about Jesus, not Judah Ben-Hur. Oh, sure, Jesus is only in a few scenes and we never actually see his face - but he determines the entire direction of the film. It is Jesus who brings Judah back to Jerusalem. Judah and his entire family are changed by Jesus and his gruesome death and life-giving words. William Wyler could have chose to make the film more directly about Jesus, but instead he gives us a character with which to relate, who is flawed and angry and, at times, a little selfish and stupid.
More than 50 years after its release, "Ben Hur" is still heralded as one of the best and "most inspirational" films of all time. It may be long, but maybe that's one of the things that makes it inspirational. Any film that can hold my attention for 3 1/2 hours deserves all the acclaim it can receive.
Next up: "Toy Story"
Monday, February 13, 2012
Cinematic Adventure
I have decided.
Since I don't seem to get to the theater much these days, and when I do the film has already been out for at least a month everywhere else (thanks, Ogallala), I am switching gears. Rather than write film reviews in a non-timely manner, both in terms of release dates and the time lapses in between blogs, I'm going on a quest. An adventure, if you will. A cinematic adventure.
Ok, it's not really that exciting, but, it is a project. I'm going to go through the American Film Institute's Top 100 films of all time*, and the plan is to write a review on each of the films as I go.
I'm doing this for two main reasons: One, my life is very boring right now and I need things to do besides work and organize my Netflix queue. Two, there are a great many landmark films that I have not seen, and, since I have this blog, I figure I should educate myself. I realize the list is by no means comprehensive, but, it's a starting point.
I'm estimating this will take me about a year to get through...although, the first film on the list is Ben Hur, and it's been sitting on my TV for more than a week as I attempt to figure out where I'm going to find four hours to dedicate to viewing it properly.
So, that's it. Join me if you like, and we can discuss as we go. Happy viewing!
1 CITIZEN KANE 1941
2 THE GODFATHER 1972
3 CASABLANCA 1942
4 RAGING BULL 1980
5 SINGIN' IN THE RAIN 1952
6 GONE WITH THE WIND 1939
7 LAWRENCE OF ARABIA 1962
8 SCHINDLER'S LIST 1993
9 VERTIGO 1958
10 THE WIZARD OF OZ 1939
11 CITY LIGHTS 1931
12 THE SEARCHERS 1956
13 STAR WARS 1977
14 PSYCHO 1960
15 2001: A SPACE ODYSSEY 1968
16 SUNSET BLVD. 1950
17 THE GRADUATE 1967
18 THE GENERAL 1927
19 ON THE WATERFRONT 1954
20 IT'S A WONDERFUL LIFE 1946
21 CHINATOWN 1974
22 SOME LIKE IT HOT 1959
23 THE GRAPES OF WRATH 1940
24 E.T. THE EXTRA-TERRESTRIAL 1982
25 TO KILL A MOCKINGBIRD 1962
26 MR. SMITH GOES TO WASHINGTON 1939
27 HIGH NOON 1952
28 ALL ABOUT EVE 1950
29 DOUBLE INDEMNITY 1944
30 APOCALYPSE NOW 1979
31 THE MALTESE FALCON 1941
32 THE GODFATHER PART II 1974
33 ONE FLEW OVER THE CUCKOO'S NEST 1975
34 SNOW WHITE AND THE SEVEN DWARFS 1937
35 ANNIE HALL 1977
36 THE BRIDGE ON THE RIVER KWAI 1957
37 THE BEST YEARS OF OUR LIVES 1946
38 THE TREASURE OF THE SIERRA MADRE 1948
39 DR. STRANGELOVE 1964
40 THE SOUND OF MUSIC 1965
41 KING KONG 1933
42 BONNIE AND CLYDE 1967
43 MIDNIGHT COWBOY 1969
44 THE PHILADELPHIA STORY 1940
45 SHANE 1953
46 IT HAPPENED ONE NIGHT 1934
47 A STREETCAR NAMED DESIRE 1951
48 REAR WINDOW 1954
49 INTOLERANCE 1916
50 THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING 2001
51 WEST SIDE STORY 1961
52 TAXI DRIVER 1976
53 THE DEER HUNTER 1978
54 M*A*S*H 1970
55 NORTH BY NORTHWEST 1959
56 JAWS 1975
57 ROCKY 1976
58 THE GOLD RUSH 1925
59 NASHVILLE 1975
60 DUCK SOUP 1933
61 SULLIVAN'S TRAVELS 1941
62 AMERICAN GRAFFITI 1973
63 CABARET 1972
64 NETWORK 1976
65 THE AFRICAN QUEEN 1951
66 RAIDERS OF THE LOST ARK 1981
67 WHO'S AFRAID OF VIRGINIA WOOLF? 1966
68 UNFORGIVEN 1992
69 TOOTSIE 1982
70 A CLOCKWORK ORANGE 1971
71 SAVING PRIVATE RYAN 1998
72 THE SHAWSHANK REDEMPTION 1994
73 BUTCH CASSIDY AND THE SUNDANCE KID 1969
74 THE SILENCE OF THE LAMBS 1991
75 IN THE HEAT OF THE NIGHT 1967
76 FORREST GUMP 1994
77 ALL THE PRESIDENT'S MEN 1976
78 MODERN TIMES 1936
79 THE WILD BUNCH 1969
80 THE APARTMENT 1960
81 SPARTACUS 1960
82 SUNRISE 1927
83 TITANIC 1997
84 EASY RIDER 1969
85 A NIGHT AT THE OPERA 1935
86 PLATOON 1986
87 12 ANGRY MEN 1957
88 BRINGING UP BABY 1938
89 THE SIXTH SENSE 1999
90 SWING TIME 1936
91 SOPHIE'S CHOICE 1982
92 GOODFELLAS 1990
93 THE FRENCH CONNECTION 1971
94 PULP FICTION 1994
95 THE LAST PICTURE SHOW 1971
96 DO THE RIGHT THING 1989
97 BLADE RUNNER 1982
98 YANKEE DOODLE DANDY 1942
99 TOY STORY 1995
100 BEN-HUR 1959
Since I don't seem to get to the theater much these days, and when I do the film has already been out for at least a month everywhere else (thanks, Ogallala), I am switching gears. Rather than write film reviews in a non-timely manner, both in terms of release dates and the time lapses in between blogs, I'm going on a quest. An adventure, if you will. A cinematic adventure.
Ok, it's not really that exciting, but, it is a project. I'm going to go through the American Film Institute's Top 100 films of all time*, and the plan is to write a review on each of the films as I go.
I'm doing this for two main reasons: One, my life is very boring right now and I need things to do besides work and organize my Netflix queue. Two, there are a great many landmark films that I have not seen, and, since I have this blog, I figure I should educate myself. I realize the list is by no means comprehensive, but, it's a starting point.
I'm estimating this will take me about a year to get through...although, the first film on the list is Ben Hur, and it's been sitting on my TV for more than a week as I attempt to figure out where I'm going to find four hours to dedicate to viewing it properly.
So, that's it. Join me if you like, and we can discuss as we go. Happy viewing!
1 CITIZEN KANE 1941
2 THE GODFATHER 1972
3 CASABLANCA 1942
4 RAGING BULL 1980
5 SINGIN' IN THE RAIN 1952
6 GONE WITH THE WIND 1939
7 LAWRENCE OF ARABIA 1962
8 SCHINDLER'S LIST 1993
9 VERTIGO 1958
10 THE WIZARD OF OZ 1939
11 CITY LIGHTS 1931
12 THE SEARCHERS 1956
13 STAR WARS 1977
14 PSYCHO 1960
15 2001: A SPACE ODYSSEY 1968
16 SUNSET BLVD. 1950
17 THE GRADUATE 1967
18 THE GENERAL 1927
19 ON THE WATERFRONT 1954
20 IT'S A WONDERFUL LIFE 1946
21 CHINATOWN 1974
22 SOME LIKE IT HOT 1959
23 THE GRAPES OF WRATH 1940
24 E.T. THE EXTRA-TERRESTRIAL 1982
25 TO KILL A MOCKINGBIRD 1962
26 MR. SMITH GOES TO WASHINGTON 1939
27 HIGH NOON 1952
28 ALL ABOUT EVE 1950
29 DOUBLE INDEMNITY 1944
30 APOCALYPSE NOW 1979
31 THE MALTESE FALCON 1941
32 THE GODFATHER PART II 1974
33 ONE FLEW OVER THE CUCKOO'S NEST 1975
34 SNOW WHITE AND THE SEVEN DWARFS 1937
35 ANNIE HALL 1977
36 THE BRIDGE ON THE RIVER KWAI 1957
37 THE BEST YEARS OF OUR LIVES 1946
38 THE TREASURE OF THE SIERRA MADRE 1948
39 DR. STRANGELOVE 1964
40 THE SOUND OF MUSIC 1965
41 KING KONG 1933
42 BONNIE AND CLYDE 1967
43 MIDNIGHT COWBOY 1969
44 THE PHILADELPHIA STORY 1940
45 SHANE 1953
46 IT HAPPENED ONE NIGHT 1934
47 A STREETCAR NAMED DESIRE 1951
48 REAR WINDOW 1954
49 INTOLERANCE 1916
50 THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING 2001
51 WEST SIDE STORY 1961
52 TAXI DRIVER 1976
53 THE DEER HUNTER 1978
54 M*A*S*H 1970
55 NORTH BY NORTHWEST 1959
56 JAWS 1975
57 ROCKY 1976
58 THE GOLD RUSH 1925
59 NASHVILLE 1975
60 DUCK SOUP 1933
61 SULLIVAN'S TRAVELS 1941
62 AMERICAN GRAFFITI 1973
63 CABARET 1972
64 NETWORK 1976
65 THE AFRICAN QUEEN 1951
66 RAIDERS OF THE LOST ARK 1981
67 WHO'S AFRAID OF VIRGINIA WOOLF? 1966
68 UNFORGIVEN 1992
69 TOOTSIE 1982
70 A CLOCKWORK ORANGE 1971
71 SAVING PRIVATE RYAN 1998
72 THE SHAWSHANK REDEMPTION 1994
73 BUTCH CASSIDY AND THE SUNDANCE KID 1969
74 THE SILENCE OF THE LAMBS 1991
75 IN THE HEAT OF THE NIGHT 1967
76 FORREST GUMP 1994
77 ALL THE PRESIDENT'S MEN 1976
78 MODERN TIMES 1936
79 THE WILD BUNCH 1969
80 THE APARTMENT 1960
81 SPARTACUS 1960
82 SUNRISE 1927
83 TITANIC 1997
84 EASY RIDER 1969
85 A NIGHT AT THE OPERA 1935
86 PLATOON 1986
87 12 ANGRY MEN 1957
88 BRINGING UP BABY 1938
89 THE SIXTH SENSE 1999
90 SWING TIME 1936
91 SOPHIE'S CHOICE 1982
92 GOODFELLAS 1990
93 THE FRENCH CONNECTION 1971
94 PULP FICTION 1994
95 THE LAST PICTURE SHOW 1971
96 DO THE RIGHT THING 1989
97 BLADE RUNNER 1982
98 YANKEE DOODLE DANDY 1942
99 TOY STORY 1995
100 BEN-HUR 1959
Thursday, August 4, 2011
Harry Potter and the Deathly Hallows: Part 2
I think I'm the last person in the world to see the final Harry Potter film, so, there's probably little use in reviewing it. But, I will anyway.
Ten years after a very young Daniel Radcliffe, Rupert Grint, and Emma Watson brought J.K. Rowling's best-selling wizard characters to life, they join up for the final film. It picks up almost immediately where "Deathly Hallows: Part 1" left off, as Harry, Ron, and Hermione try to find the last of the horcruxes and finish off the villainous Voldemort.
It's a dark film, in tone and light. Even during the day scenes, the characters are always somber (for good reason), the sun is never really bright, and there's a sense of impending doom.
I think this is a good movie. I'm just not sure it's great. The first two-thirds of the film goes by incredibly quickly. Then the final act begins, and despite the action, seems to drag in places. It's different than many "blockbusters" in that it separates big action and special effects sequences with slower moments rather than piling all the action in at the end (or having nothing but action to counteract the lack of a plot). Some work, some don't.
There's little dialogue between the main trio. They discuss what to do, but not at length. I suppose after seven books and seven films, the producers figured there has been enough character development.
One of the biggest challenges in adapting the Harry Potter books to film has been, and remains in this final film, not necessarily the special effects (although that did trip up a few of the films), but the characters. Rowling created a world rich with bright, interesting characters who have much more to do than exist just to play a part in the story of the Boy Who Lived. Due to time constraints and a desire to focus on the fighting, the films rarely capture the depth of any of the Harry Potter characters - not even the main trio. (Voldemort is an exception - the films do an excellent job of making him creepy and pure evil.)
Even the battle scenes, which in the book focus on specific people, are more about the special effects and blasts of light from myriad wands as Hogwarts is under siege. There's a scene that shows the casualties of the wizards' war, people whom many Harry Potter fans have grown attached. The film barely lets you know who died. One key character in particular, I would not have realized who it was without the book as background. The medium is the message, I suppose.
But, no matter. The film looks fantastic. From the dragon to the trolls to the fiery spell that overwhelms the room of requirement, the special effects are superb - and they actually serve a purpose beyond being impressive. There's always a sense of what could have been different or better with films adapted from beloved books, but, all in all, the final chapter of the Harry Potter saga does its best to wrap up one of the world's biggest and most beloved franchises of recent years.
Ten years after a very young Daniel Radcliffe, Rupert Grint, and Emma Watson brought J.K. Rowling's best-selling wizard characters to life, they join up for the final film. It picks up almost immediately where "Deathly Hallows: Part 1" left off, as Harry, Ron, and Hermione try to find the last of the horcruxes and finish off the villainous Voldemort.
It's a dark film, in tone and light. Even during the day scenes, the characters are always somber (for good reason), the sun is never really bright, and there's a sense of impending doom.
I think this is a good movie. I'm just not sure it's great. The first two-thirds of the film goes by incredibly quickly. Then the final act begins, and despite the action, seems to drag in places. It's different than many "blockbusters" in that it separates big action and special effects sequences with slower moments rather than piling all the action in at the end (or having nothing but action to counteract the lack of a plot). Some work, some don't.
There's little dialogue between the main trio. They discuss what to do, but not at length. I suppose after seven books and seven films, the producers figured there has been enough character development.
One of the biggest challenges in adapting the Harry Potter books to film has been, and remains in this final film, not necessarily the special effects (although that did trip up a few of the films), but the characters. Rowling created a world rich with bright, interesting characters who have much more to do than exist just to play a part in the story of the Boy Who Lived. Due to time constraints and a desire to focus on the fighting, the films rarely capture the depth of any of the Harry Potter characters - not even the main trio. (Voldemort is an exception - the films do an excellent job of making him creepy and pure evil.)
Even the battle scenes, which in the book focus on specific people, are more about the special effects and blasts of light from myriad wands as Hogwarts is under siege. There's a scene that shows the casualties of the wizards' war, people whom many Harry Potter fans have grown attached. The film barely lets you know who died. One key character in particular, I would not have realized who it was without the book as background. The medium is the message, I suppose.
But, no matter. The film looks fantastic. From the dragon to the trolls to the fiery spell that overwhelms the room of requirement, the special effects are superb - and they actually serve a purpose beyond being impressive. There's always a sense of what could have been different or better with films adapted from beloved books, but, all in all, the final chapter of the Harry Potter saga does its best to wrap up one of the world's biggest and most beloved franchises of recent years.
Monday, May 23, 2011
Fast Five
Who knew that a simple little film about street racing would spawn a franchise? Dominic Toretto (Vin Diesel) and Brian O'Connor (Paul Walker) are back in the fifth - yes, fifth - installment of the "Fast and the Furious" films.
The film picks up right where the last one left off, with O'Connor and Mia Toretto (Jordana Brewster) busting Dom out of prison. Well, he's not technically in prison yet. He's on a bus. And, naturally, the way to get someone off a bus is to make the bus flip over several times on a remote desert road.
It seems like there are better ways to get someone off a bus, but, I've never been had to bust my brother out of irons.
Now, because of the bold escape, Dom and co. are fugitives. They find themselves in South America, looking for a way to disappear forever. Naturally, a way presents itself, but, first they have to cross the most powerful criminal in Rio de Janero, and outsmart the FBI's best team of special agents who have been sent in to take them home. Such feats require a team, and suddenly, the all-stars from the last four movies are assembled in one spot. The film then becomes a heist movie, reminiscent of 'Oceans 11' or 'The Italian Job.'
The franchise was built on the concept of illegal street racing, and the notion that Dom is the best there's ever been, anywhere. This film references those things, but doesn't dwell on them. In many ways, it pays homage to the first film - an original team member returns, and the two street racing scenes deliberately recall O'Connor's initiation into the Toretto team.
But, in many ways, these are not the same characters from that film. It feels like something is missing. (Letty, for one.) Whether it is Diesel's coloring, the director's vision, or the script's limitations, "Fast Five"'s Dom is less "like gravity" than he is in the other films, particularly the first. Mia, who is actually rather annoying in the first film, suddenly is the anchor that holds the family together - a role traditionally held by Dom. There's no more waffling from O'Connor, as he has fully given himself over to the life of a fugitive, largely because it is the only way he would have a life with Mia. The filmmakers also give O'Connor fewer and fewer lines with each passing film, focusing instead on his driving and fighting skills. Probably wise.
And, with Hobbs (Dwayne Johnson) playing a rather unlikeable FBI agent who delivers some amazingly bad lines ("You know I like my dessert first," in reference to good news/bad news), it's easy to stay on the fugitives' sides even when they're not technically the "good guys."
The camera work seems to reinforce the "fast" notion, with constant motion and figures moving impossibly fast as they run and jump and pummel each other. Some of the things people escape from are ludicrous, and bullets seem to know they can only touch secondary characters.
If you only liked the first one because of all the engine-revving in between fight scenes, then this might not be for you. But, if you like the characters and some unlikely action scenarios, you'll probably like the film. (After all, where else will you get to see The Rock and Vin Diesel duke it out?)
The film picks up right where the last one left off, with O'Connor and Mia Toretto (Jordana Brewster) busting Dom out of prison. Well, he's not technically in prison yet. He's on a bus. And, naturally, the way to get someone off a bus is to make the bus flip over several times on a remote desert road.
It seems like there are better ways to get someone off a bus, but, I've never been had to bust my brother out of irons.
Now, because of the bold escape, Dom and co. are fugitives. They find themselves in South America, looking for a way to disappear forever. Naturally, a way presents itself, but, first they have to cross the most powerful criminal in Rio de Janero, and outsmart the FBI's best team of special agents who have been sent in to take them home. Such feats require a team, and suddenly, the all-stars from the last four movies are assembled in one spot. The film then becomes a heist movie, reminiscent of 'Oceans 11' or 'The Italian Job.'
The franchise was built on the concept of illegal street racing, and the notion that Dom is the best there's ever been, anywhere. This film references those things, but doesn't dwell on them. In many ways, it pays homage to the first film - an original team member returns, and the two street racing scenes deliberately recall O'Connor's initiation into the Toretto team.
But, in many ways, these are not the same characters from that film. It feels like something is missing. (Letty, for one.) Whether it is Diesel's coloring, the director's vision, or the script's limitations, "Fast Five"'s Dom is less "like gravity" than he is in the other films, particularly the first. Mia, who is actually rather annoying in the first film, suddenly is the anchor that holds the family together - a role traditionally held by Dom. There's no more waffling from O'Connor, as he has fully given himself over to the life of a fugitive, largely because it is the only way he would have a life with Mia. The filmmakers also give O'Connor fewer and fewer lines with each passing film, focusing instead on his driving and fighting skills. Probably wise.
And, with Hobbs (Dwayne Johnson) playing a rather unlikeable FBI agent who delivers some amazingly bad lines ("You know I like my dessert first," in reference to good news/bad news), it's easy to stay on the fugitives' sides even when they're not technically the "good guys."
The camera work seems to reinforce the "fast" notion, with constant motion and figures moving impossibly fast as they run and jump and pummel each other. Some of the things people escape from are ludicrous, and bullets seem to know they can only touch secondary characters.
If you only liked the first one because of all the engine-revving in between fight scenes, then this might not be for you. But, if you like the characters and some unlikely action scenarios, you'll probably like the film. (After all, where else will you get to see The Rock and Vin Diesel duke it out?)
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