Friday, February 22, 2013
Iron Sky
A cheap movie about Moon Nazis is either going to be terrible or terribly fun. Iron Sky was terribly fun. It had better special effects than it had the right to. The performances were over the top. The plot was predictable. Even the moralizing was expected. Still it was exactly what you would expect from a low budget movie about Moon Nazis. It was way better than the normal ScyFy movie of the week.
Wednesday, February 20, 2013
Sleepwalk With Me
A movie based on a This American Life skit is an interesting idea in theory. The danger in executing it is that it will feel like a fifteen minute skit dragged out for ninety minutes. The other danger is that a character who seems interesting for a brief moment will become loathsome over the long hall.
Sadly Sleepwalk With Me fell into both traps. The sleepwalking skit is one of the great TAL episodes. Mike Birbiglia's other bits are also typically funny. The problem is that he doesn't do the work to tie them together into a story that holds up for the duration. In many ways, the sleepwalking bit feels tacked on to a dull story about the end of a relationship. It doesn't add anything to the story and the humor is fleeting. The love story bit is too mixed up with the bit about becoming an adult and it doesn't seem to really mesh in anyway that is believable. It all hangs together like a ball of wet noodles. A film is too long for Birbiglia's meandering style to hold up. It works best when the audience cannot stop paying attention halfway through because they don't have time.
The other problem is that for the movie to work you have to like the central character. As he says "remember you are on my side". I was never on his side. I wanted the girl to walkout on him after the first five minutes. I wanted her to sleep with the hunky guy at the bar. I wanted him to fall asleep at the wheel. I didn't believe that any girl could have more than a passing "self loathing" moment where she would consider him suitable for anything more than a tool. I didn't even believe it when he finally figured out how to be funny.
Was it a terrible movie? No. Do I feel like it was a waste of ninety minutes? Not really. Would I pay to watch it? No.
Sadly Sleepwalk With Me fell into both traps. The sleepwalking skit is one of the great TAL episodes. Mike Birbiglia's other bits are also typically funny. The problem is that he doesn't do the work to tie them together into a story that holds up for the duration. In many ways, the sleepwalking bit feels tacked on to a dull story about the end of a relationship. It doesn't add anything to the story and the humor is fleeting. The love story bit is too mixed up with the bit about becoming an adult and it doesn't seem to really mesh in anyway that is believable. It all hangs together like a ball of wet noodles. A film is too long for Birbiglia's meandering style to hold up. It works best when the audience cannot stop paying attention halfway through because they don't have time.
The other problem is that for the movie to work you have to like the central character. As he says "remember you are on my side". I was never on his side. I wanted the girl to walkout on him after the first five minutes. I wanted her to sleep with the hunky guy at the bar. I wanted him to fall asleep at the wheel. I didn't believe that any girl could have more than a passing "self loathing" moment where she would consider him suitable for anything more than a tool. I didn't even believe it when he finally figured out how to be funny.
Was it a terrible movie? No. Do I feel like it was a waste of ninety minutes? Not really. Would I pay to watch it? No.
Thursday, February 7, 2013
Fringe
Fringe has finally ended its improbably long run. I never expected that it would make it past the first season. Each summer I would wait for the announcement that it wasn't coming back. Then it would come back and be just as good or better than the season before.
The story lines went off the rails sometimes; plot caverns cropped up; continuity was broken like a twig. The biggest violation was in the middle of season four when Peter went from avoiding Olivia to simply giving into his urges. It was like during the mid season break the characters had some rewiring. Let's also not forget how Walter supposedly wrote the book of the first people or the other book from the first two seasons. The complete rewriting of the timeline was at least telegraphed.
There was also the annoying habit the show had of never quite resolving anything. First there was the pattern, then there was the other side, and finally the future. The writers just skipped from one to the next without ever really resolving the previous. At least in the end the whole framework was put into some sort of sense. It was the Observers all along not that it really answers everything.
Despite all of the shows flaws, it was a great show. It didn't dumb things down even if it did take great liberty with science. The writing was typically sharp. The actors were typically in top form. More than any of that however, the show had great characters that I wanted to follow. They were multilayered and flawed and noble and conflicted and always aimed at doing the right thing. Walter was probably the best of the bunch. Walter was hubristic and brilliant and blind. Olivia was wounded, defensive, smart, tough, and kind. Peter was a lot like Walter. Broyles was too willing to sacrifice what he thought was right for the greater good.
As the final episode drilled home, the show, underneath all the crazy, was a story about family and friends and finding your way in the crazy world. Unlike many shows recently, Fringe went out on top with a close to perfect ending. It may have been too neat, but it was right.
The story lines went off the rails sometimes; plot caverns cropped up; continuity was broken like a twig. The biggest violation was in the middle of season four when Peter went from avoiding Olivia to simply giving into his urges. It was like during the mid season break the characters had some rewiring. Let's also not forget how Walter supposedly wrote the book of the first people or the other book from the first two seasons. The complete rewriting of the timeline was at least telegraphed.
There was also the annoying habit the show had of never quite resolving anything. First there was the pattern, then there was the other side, and finally the future. The writers just skipped from one to the next without ever really resolving the previous. At least in the end the whole framework was put into some sort of sense. It was the Observers all along not that it really answers everything.
Despite all of the shows flaws, it was a great show. It didn't dumb things down even if it did take great liberty with science. The writing was typically sharp. The actors were typically in top form. More than any of that however, the show had great characters that I wanted to follow. They were multilayered and flawed and noble and conflicted and always aimed at doing the right thing. Walter was probably the best of the bunch. Walter was hubristic and brilliant and blind. Olivia was wounded, defensive, smart, tough, and kind. Peter was a lot like Walter. Broyles was too willing to sacrifice what he thought was right for the greater good.
As the final episode drilled home, the show, underneath all the crazy, was a story about family and friends and finding your way in the crazy world. Unlike many shows recently, Fringe went out on top with a close to perfect ending. It may have been too neat, but it was right.
Monday, November 12, 2012
The People's History
Zinn's book was a long read. The is substantial in both shear number of pages and in the amount of information packed in between the covers. Because I was reading it during a presidential election cycle between an explicitly corporate man and a centrist made it even more difficult.
Zinn's writing is ponderous. He clearly has a message and never misses an opportunity to bludgeon the reader with it. The research, secondary, and primary sources, are prodigious and drives home the point like a sledgehammer.
Despite the writing, I forged through because I found the story Zinn was telling compelling. It is true that the victors write the history, so when the losers get a chance it is a troubling treat. As part of the mollified middle class, it is disheartening to be reminded that my happiness is a well constructed myth and that in many ways I, along with my peers, have been duped, and are in league with, the rapacious captains of capitalism.
Reading the book I moved between feeling angry and despondent-mostly despondent. I thought that perhaps the best way to effect change was to vote for Romeny and accelerate the rapid decimation of the middle class. I also thought that despite the fact that Obama was part of the grand compromise that kept the existing balance in place, it was better than the pain of revolution. I eventually found a balance by accepting that Zinn and his ilk present a false choice.
It is not the case that the current balance is fundamentally flawed and that it needs to be torn down. The current balance is still weighted towards the haves, and is arguably getting more lopsided, but it is far better than many systems. Revolution will not get us any closer to a healthy balance; it will only get us further away. That doesn't mean we accept the balance. The answer is constant vigilance and never accepting the status quo.
Zinn's writing is ponderous. He clearly has a message and never misses an opportunity to bludgeon the reader with it. The research, secondary, and primary sources, are prodigious and drives home the point like a sledgehammer.
Despite the writing, I forged through because I found the story Zinn was telling compelling. It is true that the victors write the history, so when the losers get a chance it is a troubling treat. As part of the mollified middle class, it is disheartening to be reminded that my happiness is a well constructed myth and that in many ways I, along with my peers, have been duped, and are in league with, the rapacious captains of capitalism.
Reading the book I moved between feeling angry and despondent-mostly despondent. I thought that perhaps the best way to effect change was to vote for Romeny and accelerate the rapid decimation of the middle class. I also thought that despite the fact that Obama was part of the grand compromise that kept the existing balance in place, it was better than the pain of revolution. I eventually found a balance by accepting that Zinn and his ilk present a false choice.
It is not the case that the current balance is fundamentally flawed and that it needs to be torn down. The current balance is still weighted towards the haves, and is arguably getting more lopsided, but it is far better than many systems. Revolution will not get us any closer to a healthy balance; it will only get us further away. That doesn't mean we accept the balance. The answer is constant vigilance and never accepting the status quo.
The Artist
The Artist was one of the most praised movies out last year. It was a box office surprise and an award season darling. Normally these things make me suspicious. It is a rare film that is both commercially successful and critically praised. More often than not, it is a marginally entertaining gloss or a tedious, but pretty, attempt to show off important ideas. When it is a silent, black and white movie, my suspicions are heightened.
I am happy to say that The Artist earned its praise. The story, the performances, the amazing use of sound all just work. I was riveted throughout the movie. The actors did a great job of making one feel without words. There was humor and drama. In short, it was excellent.
I am happy to say that The Artist earned its praise. The story, the performances, the amazing use of sound all just work. I was riveted throughout the movie. The actors did a great job of making one feel without words. There was humor and drama. In short, it was excellent.
Tuesday, October 9, 2012
Limitless
I had moderate hopes for Limitless, but Brad Cooper's name on the poster should have scared me off. Still the concept seemed ripe for a smart movie that plumed some depths. Hollywood has recently shown that it will make smart blockbusters....
Sadly, this is not one of the smart blockbusters. It is dumb and dull. Instead of digging into the issues raised by chemical enhancement, addiction,the ethics of being "super", or the implications of corporate control of access to healthcare, it punted. The entirety of the side-effects, or any other consideration, is just one more obstacle to be conquered. In the end, the message is that any lazy idiot can pop a pill and become awesome.
The plot is just as sad as the intellectual depth. It plods along predictably with little suspense or stunning action. The acting, if it can be called that, is wooden. The characters are so thin that it is hard to care about them.
I think that I should be paid for the time I spent watching this dreck. $10 should be just about enough.
Sadly, this is not one of the smart blockbusters. It is dumb and dull. Instead of digging into the issues raised by chemical enhancement, addiction,the ethics of being "super", or the implications of corporate control of access to healthcare, it punted. The entirety of the side-effects, or any other consideration, is just one more obstacle to be conquered. In the end, the message is that any lazy idiot can pop a pill and become awesome.
The plot is just as sad as the intellectual depth. It plods along predictably with little suspense or stunning action. The acting, if it can be called that, is wooden. The characters are so thin that it is hard to care about them.
I think that I should be paid for the time I spent watching this dreck. $10 should be just about enough.
Thursday, September 6, 2012
Moonrise Kingdom
Last weekend H and I got a rare opportunity to see a movie! There wasn't much out that we could agree on seeing: other than the lingering Avengers and Dark Knight Rises it was mostly just the typical late summer Hollywood crap polluting the screens.
With some trepidation, and based on a good Kermode review and a 94% Rotten Tomatoes rating, we decided to give the latest Wes Anderson outing, Moonrise Kingdom, a shot.
Most Wes Anderson movies are infuriatingly kooky. It worked alright in The Royal Tannenbaums, but the rest of Anderson's catalog to date has been just too much. In fact, I found most of them to be kooky to the point of smugness. It is almost like he is saying if you don't find this funny, you are too crass to watch the movie. It is a little like Joyce's and Elliot's attitude towards the common reader, except Anderson doesn't have an iota of the talent to earn the attitude.
In Moonrise Kingdom, Anderson is able to temper the kook just enough to make a good movie. It helps that the story is centered around two endearing children and Anderson is smart enough to treat the characters with respect and tenderness. The strong center holds the kookiness of the rest of the movie in check.
The movie also benefits from an excellent performance from Bruce Willis as a downtrodden, good hearted police offer that becomes the surprising hero of the film.
Anderson favorite Bill Murray turns in a workman like performance. Murray's performance is paltry compared to Frances McDormand's portrayal of his wife. She makes you feel the conflicts of being a good mother, good wife, and lusting for more adventure in life. You can see from McDormand's character where Suzy gets her chutzpah.
This movie, like all Anderson movies, is full kookiness. In many ways it adds to the humor and tenderness of the film. It is always, however, threatening to overpower the whole endeavor. It wouldn't take much for the film to devolve into a version of The Life Aquatic with Steve Zissou where the kookiness destroys what could have been a smart commentary on family, fame, and obsession.
Ultimately, Anderson is able to restrain his tendencies and make a tender, funny, and smart movie. It is to his credit that he let the strong characters and endearing story dominate the story telling. It is the strong center that works the rest is just window dressing.
With some trepidation, and based on a good Kermode review and a 94% Rotten Tomatoes rating, we decided to give the latest Wes Anderson outing, Moonrise Kingdom, a shot.
Most Wes Anderson movies are infuriatingly kooky. It worked alright in The Royal Tannenbaums, but the rest of Anderson's catalog to date has been just too much. In fact, I found most of them to be kooky to the point of smugness. It is almost like he is saying if you don't find this funny, you are too crass to watch the movie. It is a little like Joyce's and Elliot's attitude towards the common reader, except Anderson doesn't have an iota of the talent to earn the attitude.
In Moonrise Kingdom, Anderson is able to temper the kook just enough to make a good movie. It helps that the story is centered around two endearing children and Anderson is smart enough to treat the characters with respect and tenderness. The strong center holds the kookiness of the rest of the movie in check.
The movie also benefits from an excellent performance from Bruce Willis as a downtrodden, good hearted police offer that becomes the surprising hero of the film.
Anderson favorite Bill Murray turns in a workman like performance. Murray's performance is paltry compared to Frances McDormand's portrayal of his wife. She makes you feel the conflicts of being a good mother, good wife, and lusting for more adventure in life. You can see from McDormand's character where Suzy gets her chutzpah.
This movie, like all Anderson movies, is full kookiness. In many ways it adds to the humor and tenderness of the film. It is always, however, threatening to overpower the whole endeavor. It wouldn't take much for the film to devolve into a version of The Life Aquatic with Steve Zissou where the kookiness destroys what could have been a smart commentary on family, fame, and obsession.
Ultimately, Anderson is able to restrain his tendencies and make a tender, funny, and smart movie. It is to his credit that he let the strong characters and endearing story dominate the story telling. It is the strong center that works the rest is just window dressing.
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