Saturday, May 23, 2015
In Brad Bird's Tomorrowland, the future isn't what it used to be. From an opening sequence set at the 1964 World's Fair to the depiction of the eponymous city, a metropolis which mimics the futurist aesthetic of the Disney attraction of the same name, the film is awash in nostalgia for a future that never happened. By being partially set in a world of jetpacks, hovering trains and boundless creativity, it hearkens back to the world we were promised by the science fiction of the '50s and '60s; an altogether neater world in which science makes the lives of every human being better.
Wednesday, May 06, 2015
This month was another documentary-heavy one, though that was mainly because I wanted to rewatch a bunch of Nick Broomfield documentaries in advance of the HBO premiere of his latest, Tales of the Grim Sleeper, which I will write more about in a moment. I've something of a love-hate relationship with Broomfield's work, in that I think that he tends to find really interesting subjects and shoots them with an empathy that can make them very powerful, while at the same time finding him to be something of a disingenuous scumbag who plays the naif in order to inveigle his way into peoples' lives, then exploits them mercilessly. Other documentary filmmakers, particularly ones who place themselves in front of the camera, do a similar thing because it gets good results, but there's something about Broomfield's shamelessness that has always made me very uncomfortable.
The worst film I watched for the first time in April was Danny Boyle's Trance, which manages to be a pretty slick and exciting thriller for the first hour, then devolves into twist upon twist, dream upon reality upon fantasy nonsense that I found pretty much impossible to care about. It does boast a pretty great performance from Rosario Dawson, though, who makes the most out of what could be a pretty thankless role.
The best film I rewatched was Curtis Hanson's L.A. Confidential, an old favourite which I decided to revisit having just finished reading James Ellroy's novel. I came away from it respecting Hanson and his co-writer Brian Helgeland even more since I could see how they had condensed a book overbrimming with plot points - there are something like eight or nine ongoing plot threads in the novel, including one involving a serial killer and another revolving around Ed Exley's father and a Walt Disney analogue - into a fairly lean thriller without losing the sense of place, or the book's central dichotomy between dark, awful things happening in such a bright, sunny locale. However, I did come away disappointed that the character of Inez Soto, who has maybe two or three scenes in the film but is a major part of the book, was so shortchanged, even if I can understand why they had to collapse her role in the story with that of Kim Basinger's character.
Anyway, here are the best films that I watched for the first time in April.
Sunday, May 03, 2015
When Joss Whedon's first Avengers film landed in 2012, it was the end result of several years of calculated, but very real, risks. Marvel had embarked on a seemingly foolhardy quest to create a cinematic version of their comic universe, one in which dozens of superheroes existed simultaneously, had their own solo adventures, then teamed up when needed. It paid off in a huge way, not merely because The Avengers became a massive hit, but because all the subsequent Marvel films that followed were given a boost as well, and formerly marginalised characters like Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), and especially Captain America (Chris Evans) are now pretty much household names. Yet success has boxed the series into a corner.
Now that Avengers: Age of Ultron has been unleashed upon the world and is destroying the box office like The Hulk in a built-up area, it seems like the perfect time to discuss what will likely become one of the biggest films of all time, and check in on the health of Marvel's mega-franchise. Matt and I discuss our feelings about the film, how it compares to the first film, and offer our live reaction to the unveiling of the first cast photo from Suicide Squad, an event which derails the entire last five minutes or so of the podcast.
Spoiler Warning: We discuss events in the Civil War comics which may (or may not) become part of the forthcoming Civil War film, so if you want to avoid them then please skip the discussion from 31:30 to 33:00.
Sunday, April 26, 2015
A recent - or at least recent-ish - viewing of the documentary Jodorowsky's Dune, which chronicles the legendary failed attempt by madman/poet Alejandro Jodorowsky to direct a lavish production of Frank Herbert's novel, has us thinking about the appeal of projects that never came to be, as well as ones which did get made, but in a form which differed vastly from their original conception. In addition to Dune, we talk about an immortal Russell Crowe, a utopian New York and raptors that are packing heat.
Sunday, April 19, 2015
It's been a pretty marketing-intensive week in the world of film as we saw a teaser for Batman v Superman: Dawn of Justice (which was itself preceded by a teaser for the trailer), a new trailer for Fantastic Four, a new trailer for Jurassic World and, of course, the second teaser for Star Wars: The Force Awakens. With all this hype overwhelming the Internet, Matt and I decided to talk about the state of movie marketing and various trends - such as releasing so much footage for a film in trailers that people end up seeing a huge chunk of it before the release date, as happened with The Amazing Spider-Man several years ago - that have us worried. We also talk about Netflix's Daredevil series and a baffling British musical called Walking on Sunshine, just to add a bit of variety.
Spoiler Warning: We discuss the most recent trailer for Terminator Genisys and how it reveals a piece of information which probably should not have been included in a trailer. If you want to avoid that spoiler, then please skip from 21:30 to 22:00.
Monday, April 13, 2015
After a few weeks away, Matt and I got back to our series of artist profiles by discussing the life and career of Susan Sarandon, a favourite of ours who appeared in several entries in our Alternate 100 last year. In addition to discussing her breakthrough roles in the '70s, her career high points in the '80s and '90s, and her unique place in Hollywood as an actress who owns her sexuality while also displaying plenty of self-determination and agency, we use it as an opportunity to discuss sexism in Hollywood in general, and the ways in which Sarandon's choices as an actress both play into and challenge that same sexism.
We also talk a little but about what's been going on in TV, including the ongoing troubles afflicting the Twin Peaks revival and the rapid rate at which Game of Thrones is using up its source material.
Sunday, April 12, 2015
Note: This review contains spoilers for the fate of Paul Walker's character, Bryan O'Conner. These have been hidden using white text, so highlight the blank space to read them if you have seen the film or don't mind having that part of it revealed.
Since the Fast and Furious franchise came roaring back to popularity with the fourth entry in the series, the tersely worded Fast and Furious, which followed the thought to be franchise-ending disappointment of The Fast and the Furious: Tokyo Drift, the series has gradually, if not subtly, reinvented itself. What started as a series focused primarily on illegal racing with various crime elements added to link the races has at this point become an odd hybrid of heist film and spy thriller, one in which a group of low-level car thieves are also martial arts masters. It feels as if it cross-pollinated with Vin Diesel's other early '00s hit xXx, with the end result resembling Pierce Brosnan era Bond movies, but with the archness replaced with aching sincerity.
Monday, April 06, 2015
There's a scene in We Steal Secrets, Alex Gibney's film about WikiLeaks and its founder, Julian Assange, where interviewees discuss the material leaked to WikiLeaks by Chelsea Manning. Specifically, they talk about the footage of an American helicopter attack which resulted in the death of several people, including two photographers working for Reuters. One of the interviewees points out that what was interesting about the response to the footage was that it didn't provide much truly new information. Written accounts of the attack, which happened in July 2007, had existed long before the footage was released in 2010, but seeing it take place elicited a much more visceral and emotional reaction from the world at large. Film has the power to shock, and if a picture is worth a thousands words, then film is worth 24,000 words a second.
Wednesday, April 01, 2015
This month was a surprisingly documentary-heavy month for me, largely because several documentaries from last year that I'd been dying to watch hit Netflix or debuted on television. In fact I still have another couple I want to check out - Kim Longinotto's Dreamcatcher (NOT to be confused with the misbegotten Lawrence Kasdan adaptation of the Stephen King shitweasels move of the same name) and Mami Sunada's The Kingdom of Dreams and Madness lined up for the next couple of days, both of which will hopefully make a showing in next month's summary.
Outside of docs, I caught up with a bunch of films I've been wanting to see by directors I've long admired and none of them disappointed, which is always an immensely pleasant thing to write.
The ten best first-time watches of the month are listed below, but the best film I rewatched this month was Mad Max 2: The Road Warrior, which I watched in anticipation of the increasingly nuts-looking Mad Max: Fury Road. I hadn't seen it for probably ten years, and what little I remembered about it involved incredible car chases. That part of my memory was entirely correct - the final twenty minutes contains some of the most gloriously constructed action set pieces I've ever seen - but I'd forgotten the film's wry sense of humour, best embodied by the decision to have a hulking mass named Humungous as the villain but giving him a very crisp and articulate manner of speaking.
It was also interesting watching it so soon after my first ever viewing of Mad Max, since it gave me a real appreciation for just how much bigger the second film was, and how thoroughly George Miller took advantage of a bigger budget to flesh out his world. In that respect, it eerily mimics the trajectory of the Terminator series, though hopefully not to the extent that Fury Road becomes the next Salvation.