Deadpool opens with probably the funniest gag in the whole film: an opening credits scene that substitutes the actors and crew members for generic descriptions of who they are. The cast includes "A comedic actor" (Ryan Reynolds), "A hot chick" (Morena Baccarin), and "A british villain" (Ed Srkein), and finishes with "Directed by An Overpaid Toolbag." There are several others sprinkled throughout that I won't give away, but the best was definitely the writer's credit.
This sets the stage for essentially what Deadpool is; a comic-book movie that knows it is a comic-book movie. Deadpool (Reynolds) starts by telling us he fellated Wolverine to get the film, and the fourth wall jokes more or less don't stop coming as the movie makes knowing references to its very existence.
This is all fine and funny in a very Mel Brooks way, although there is nothing quite as fourth-wall breaking as the characters watching the movie they are in in Spaceballs (1987). Deadpool makes reference to a fourth-wall break within a fourth-wall break, but that's about as meta as the movie gets. The rest is a bunch of more-or-less funny throwaway gags that are akin to the MacFarlane animated universe (Family Guy specifically), although they always seem at least connected to what is going on.
The movie proper is about an anti-villain, Wade Wilson (keeping with Marvel's grand tradition of alliterative names), an ex-mercenary for hire who falls in love (Baccarin) and seems to pretty happy, until he learns he has cancer. He is approached to undergo an intense procedure that would accelerate the mutant gene in his DNA (this takes place in the X-Men universe, although barley any of them are present as the movie cheekily acknowledges), and finds himself in the hands of a sadist, Ajax, who grants him the power of healing, at the cost of his physical appearance.
The rest of the movie follows Wilson as he adapts to his horrible new look and pursues Ajax, who claims to have a cure. Along the way he is ashamed of himself and can't face his girlfriend for fear she will reject him, because he is so shallow that he knows he would reject himself.
Despite all the fourth-wall humor and acknowledgment of the clichés, this movie is fairly paint-by-numbers in terms of plot beats. The girlfriend becomes the Damsel-in-Distress, although refreshingly the final battle does not involve the stakes of the world proper. But nothing particularly interesting or exciting happens here, as the movie trods out the same tired old clichés that it is mocking. That's all fine and good, but for a movie like this that promised so much in its marketing, I was hoping for something a bit edgier.
The movie earns its R rating, if you can say that. Heads fly, blood splatters, obscene phrases are unleashed. A lot of people celebrate this as being the first real mainstream "adult" superhero film, but I think people are blurring the line between jokes appropriate for adults, and movies made for adults. Deadpool is strictly the former, as it is definitely not appropriate for an underage crowd, but it offers nothing of substance or variety to the more mature audiences its targeting (although, let's be real, Deadpool's real goal is the 13 - 16 year old boys who will be sneaking into this). Plus, Marvel itself is doing a lot more interesting, "adult" stuff with the superhero genre in their Netflix outings (Daredevil and Jessica Jones so far).
Overall, Deadpool is a pretty good time. The jokes fly fast so that if a few miss the mark, at least something will land. And the movie shifts between fourth wall humor and a more serious take on the situation and achieves an impressive tonal balance, which is to be commended. Basically, you'll know if you'll like Deadpool from the red-band trailer. It's one of the few times that you can honestly trust the marketing to sell you the film.
Monday, February 15, 2016
Friday, February 5, 2016
Hail, Caesar! (2016)
Hail, Caesar! is the latest offering from the auteur sibling duo the Coen Brothers, who have been on quite a run of great films recently. Starting with No Country For Old Men back in 2007, almost every offering from the Coens has been a distinct, refreshing little masterpiece of human drama. The one film in this run I didn't care for was their 2008 all-star comedy, Burn After Reading. Hail, Caesar! is very much in the same vein as that movie, and it sadly did not resonate with me.
I love the Coens' comedy, but I think I love it when it is embedded inside a drama. The cheery accents that pepper the landscape of Fargo (1996), or the matter-of-fact attitudes surrounding the lead's slowly disintegrating life in A Serious Man (2009). Even Inside Llewyn Davis (2013), a decidedly bleak tale of artistry, finds humor in a cowboy played by Adam Driver, and a jammin' tune that has recently gone viral because it features Oscar Isaac and Driver together, both stars of the recent Star Wars entry.
Hail, Caesar! is a day-in-the-life comedy about a studio exec, Eddie Mannix (Josh Brolin), whose job is damage control on all the various productions running on the backlot of the fictional Capitol Pictures, circa 1950s Hollywood. He's a devout Catholic who confesses every day that he's lying to his wife (his sin? He simply can't quit smoking). Drama comes when the lead actor of the studio's bible epic Hail, Caesar! (played by George Clooney) is kidnapped by a mysterious group that calls themselves the Future.
What follows is Mannix's attempt to recover Clooney's character, known as Baird Whitlock, as the movie sidesteps to various productions around the back lot. The movie is almost a series of sketches, the Coens' attempt to recreate old classic movies from the 50s that are not made anymore, as we visit a Western where the star is stunt-extraordinaire Hobie Doyle (Alden Ehrenreich), an Esther Williams-style musical with synchronized swimming in a big pool led by DeeAnna Moran (Scarlett Johansson in an underwritten role), and a Gene Kelly-style musical where sailors sing about missing Dames with decidedly homosexual overtones, led by Burt Gurney (Channing Tatum).
What this adds up to I'm not sure. As separate parts, some of the Coens' funniest stuff comes out, including a scene where four religious leaders of separate faith discuss the studio's depiction of Jesus, and a fantastic scene where Cowboy hunk Hobie is reassigned to a stuffy drama directed by Lawrence Laurentz (Ralph Fiennes) which leads to a hilarious rapid-fire diction exchange (Would that it were so simple).
But again, it doesn't really come together. Mannix is the thread that stitches all this stuff together but as a lead character, and especially a Coen creation, he's rather boring. He's weighing a job offer that would promise him great stock options and retirement from his tightly-wound life at the studio, but I never felt his conflict about accepting this job. His decision at the end is supposed to be some sort of great revelation on his behalf, but for the audience it registers as flat, and unsurprising.
The stuff with Whitlock and the Future people is appropriately weird, but doesn't ever go anywhere and fizzles with a very bizarre twist. There are side plotlines galore including DeeAnna's out-of-wedlock pregnancy that could lead to a potential scandal, Tilda Swinton serving double-duty as sister gossip journalists, and Hobie being set-up with another starlet at the studio, which adds up to one overstuffed movie.
I guess I don't necessarily like when the Coens do straight comedy. I think the problem here is that, ultimately, there were seeds of great ideas, but the Coens tried to do everything and never successfully reigned it in to one concise whole. I love the idea of recreating all these old hokey movies, paying tribute while simultaneously lampooning (Hail, Caesar! is clearly a direct parody of Ben-Hur). And there are some genuinely funny scenes. But the movie never grabbed me, and I left the theater not thinking much about it. That's sad, because some of the Coens best work has stayed with me for days.
I love the Coens' comedy, but I think I love it when it is embedded inside a drama. The cheery accents that pepper the landscape of Fargo (1996), or the matter-of-fact attitudes surrounding the lead's slowly disintegrating life in A Serious Man (2009). Even Inside Llewyn Davis (2013), a decidedly bleak tale of artistry, finds humor in a cowboy played by Adam Driver, and a jammin' tune that has recently gone viral because it features Oscar Isaac and Driver together, both stars of the recent Star Wars entry.
Hail, Caesar! is a day-in-the-life comedy about a studio exec, Eddie Mannix (Josh Brolin), whose job is damage control on all the various productions running on the backlot of the fictional Capitol Pictures, circa 1950s Hollywood. He's a devout Catholic who confesses every day that he's lying to his wife (his sin? He simply can't quit smoking). Drama comes when the lead actor of the studio's bible epic Hail, Caesar! (played by George Clooney) is kidnapped by a mysterious group that calls themselves the Future.
What follows is Mannix's attempt to recover Clooney's character, known as Baird Whitlock, as the movie sidesteps to various productions around the back lot. The movie is almost a series of sketches, the Coens' attempt to recreate old classic movies from the 50s that are not made anymore, as we visit a Western where the star is stunt-extraordinaire Hobie Doyle (Alden Ehrenreich), an Esther Williams-style musical with synchronized swimming in a big pool led by DeeAnna Moran (Scarlett Johansson in an underwritten role), and a Gene Kelly-style musical where sailors sing about missing Dames with decidedly homosexual overtones, led by Burt Gurney (Channing Tatum).
What this adds up to I'm not sure. As separate parts, some of the Coens' funniest stuff comes out, including a scene where four religious leaders of separate faith discuss the studio's depiction of Jesus, and a fantastic scene where Cowboy hunk Hobie is reassigned to a stuffy drama directed by Lawrence Laurentz (Ralph Fiennes) which leads to a hilarious rapid-fire diction exchange (Would that it were so simple).
But again, it doesn't really come together. Mannix is the thread that stitches all this stuff together but as a lead character, and especially a Coen creation, he's rather boring. He's weighing a job offer that would promise him great stock options and retirement from his tightly-wound life at the studio, but I never felt his conflict about accepting this job. His decision at the end is supposed to be some sort of great revelation on his behalf, but for the audience it registers as flat, and unsurprising.
The stuff with Whitlock and the Future people is appropriately weird, but doesn't ever go anywhere and fizzles with a very bizarre twist. There are side plotlines galore including DeeAnna's out-of-wedlock pregnancy that could lead to a potential scandal, Tilda Swinton serving double-duty as sister gossip journalists, and Hobie being set-up with another starlet at the studio, which adds up to one overstuffed movie.
I guess I don't necessarily like when the Coens do straight comedy. I think the problem here is that, ultimately, there were seeds of great ideas, but the Coens tried to do everything and never successfully reigned it in to one concise whole. I love the idea of recreating all these old hokey movies, paying tribute while simultaneously lampooning (Hail, Caesar! is clearly a direct parody of Ben-Hur). And there are some genuinely funny scenes. But the movie never grabbed me, and I left the theater not thinking much about it. That's sad, because some of the Coens best work has stayed with me for days.
Friday, March 20, 2015
Gett: The Trial of Viviane Amsalem (2015)
Trials come packaged with a lot of drama. They're the subject of many serializations and novels, and we come back to them again and again in fiction because they are a natural fit for suspense and stakes. The decision of the court can change the lives of those involved. The audience acts as a surrogate judge, listening to testimonies and weighing for themselves whether or not to side with the plaintiff or the defendant.
The interesting thing about most court dramas is that you are usually pre-disposed to be rooting for someone from the beginning, whether it be the good lawyer taking up a charity case for righteous reasons (as Atticus Finch does), or a defendant who has been wronged and is facing impossible odds. Most court dramas exist in and out of the courtroom, as we see lawyers prepare witnesses or deal with the struggles of their case going sour.
Gett: The Trial of Viviane Amsalem opens in a courtroom, and never leaves. We are given no set-up as to who to root for, although we suppose it is Viviane (Ronit Elkabetz) we are to be sympathetic with since her name rests in the title. We learn that after 30 years of marriage, Viviane wants a divorce from her husband, Elisha (Simon Abkarian). Yet according to both of them, he has never beaten her, never cheated on her, and has always provided for her. So what possible reason could she have for leaving him?
The film is set in Israel, in current times, where civil marriage and civil divorce does not exist. Instead, rabbis hold the key to all unions, the beginning and the end. And for a divorce to be approved, both parties (the husband and wife) must consent. If either refuses, and the rabbis have no proof of the marriage being breached, then divorce cannot happen. And so in the opening scenes of Gett, Elisha refuses Viviane's request for a divorce.
What follows is a meticulous procedural that spans half a decade, as first Elisha refuses to appear in court, despite Viviane's continued attempts, and then various witnesses are brought in, most speaking highly of Elisha's character. Some call his stubbornness into question, but nothing significant enough to sway the rabbis who sit as judge.
The movie is mesmerizing from start to finish and moves at a quick pace. Months fly by, marked off by title cards informing the audience how long its been since the last hearing. They soon turn into jokes, as we continuously see title cards marking six months, three months, two months, or two weeks throughout the film. The absurdity of the situation is comical yet tragic, and the audience could not help but laugh at the insanity of the trial.
The film is directed by the brother-sister team of Ronit and Shlomi Elkabetz, who also penned the script. Ronit Elkabetz takes on triple duty as the star of the film, playing Viviane. For the first half of the movie, she sits quietly, but by the second half, she is enraged by the long process and can't stand the humiliation any longer.
Slowly but surely we side with Viviane. We start out sympathetic because the movie has told us too, but we empathize with her as the trial pushes on and her commitment to the divorce stays resolute. She is treated as an object, continuously told to know her place when she tries to speak out, despite her husbands ability to speak unabated. Men still hold a terrifying amount of power over women in Israel, as in the end Viviane is faced with a demeaning choice that will win her the divorce.
The movie holds us prisoner, like Viviane, in the clinically white courtrooms. There is no life to them. We start the film as impartial judges, and end with a definitive opinion that the movie masterfully crafts. This sibling duo behind this film are a critical force to be reckoned with and I look forward to more films from them. This story is no doubt controversial in Israel, but it's a key wake-up call to the rest of us that oppression is still alive in this world.
The interesting thing about most court dramas is that you are usually pre-disposed to be rooting for someone from the beginning, whether it be the good lawyer taking up a charity case for righteous reasons (as Atticus Finch does), or a defendant who has been wronged and is facing impossible odds. Most court dramas exist in and out of the courtroom, as we see lawyers prepare witnesses or deal with the struggles of their case going sour.
Gett: The Trial of Viviane Amsalem opens in a courtroom, and never leaves. We are given no set-up as to who to root for, although we suppose it is Viviane (Ronit Elkabetz) we are to be sympathetic with since her name rests in the title. We learn that after 30 years of marriage, Viviane wants a divorce from her husband, Elisha (Simon Abkarian). Yet according to both of them, he has never beaten her, never cheated on her, and has always provided for her. So what possible reason could she have for leaving him?
The film is set in Israel, in current times, where civil marriage and civil divorce does not exist. Instead, rabbis hold the key to all unions, the beginning and the end. And for a divorce to be approved, both parties (the husband and wife) must consent. If either refuses, and the rabbis have no proof of the marriage being breached, then divorce cannot happen. And so in the opening scenes of Gett, Elisha refuses Viviane's request for a divorce.
What follows is a meticulous procedural that spans half a decade, as first Elisha refuses to appear in court, despite Viviane's continued attempts, and then various witnesses are brought in, most speaking highly of Elisha's character. Some call his stubbornness into question, but nothing significant enough to sway the rabbis who sit as judge.
The movie is mesmerizing from start to finish and moves at a quick pace. Months fly by, marked off by title cards informing the audience how long its been since the last hearing. They soon turn into jokes, as we continuously see title cards marking six months, three months, two months, or two weeks throughout the film. The absurdity of the situation is comical yet tragic, and the audience could not help but laugh at the insanity of the trial.
The film is directed by the brother-sister team of Ronit and Shlomi Elkabetz, who also penned the script. Ronit Elkabetz takes on triple duty as the star of the film, playing Viviane. For the first half of the movie, she sits quietly, but by the second half, she is enraged by the long process and can't stand the humiliation any longer.
Slowly but surely we side with Viviane. We start out sympathetic because the movie has told us too, but we empathize with her as the trial pushes on and her commitment to the divorce stays resolute. She is treated as an object, continuously told to know her place when she tries to speak out, despite her husbands ability to speak unabated. Men still hold a terrifying amount of power over women in Israel, as in the end Viviane is faced with a demeaning choice that will win her the divorce.
The movie holds us prisoner, like Viviane, in the clinically white courtrooms. There is no life to them. We start the film as impartial judges, and end with a definitive opinion that the movie masterfully crafts. This sibling duo behind this film are a critical force to be reckoned with and I look forward to more films from them. This story is no doubt controversial in Israel, but it's a key wake-up call to the rest of us that oppression is still alive in this world.
Friday, February 13, 2015
Kingsman: The Secret Service (2015)
A lot of controversy has started rising around this decidedly "mindless" spy satire. If you don't know what it is, don't worry, I'm sure that if this movie has any form of success, a slow rage will grow over the movie's controversial ending, which I won't spoil here. Needless to say that many people may be going to the cinema's this weekend expecting to see a fun spy spoof in the vein of Agent Cody Banks or even Austin Powers. And while it certainly has some of those elements, it's also directed by Matthew Vaughn from a graphic novel by Mark Millar. If you're unfamiliar with their names, they last paired up for the superhero satire Kick-Ass (2010), and Kingsman is very much a lot of the same stuff.
Colin Firth stars as the member of an elite British spy organization known as Kingsman, which have no affiliation with government (an English Team America, if you will). The organization consider themselves modern-day Knights of the Round Table, and as such they carry special codenames including Galahad (Firth), Merlin (Mark Strong), and Arthur (Michael Caine). When Lancelot (Jack Davenport) is killed in action, Firth and the other Kingsman bring in recruits to see who will take up the vacated place. Firth recruits Eggsy (Taron Egerton), a lower-class youth whose father was once a Kingsman and saved Firth's life.
There's also Samuel L. Jackson as Valentine, a media-savy billionaire whose diabolical scheme is so cartoonish yet so fun I won't reveal it here. Jackson's henchman is Gazelle (Sofia Boutella), who has blades for feet like Olympic runner Oscar Pistorious (someone was very inspired watching the broadcast that year). As villains, they are both great fun: Boutella is a dancer by trade and performs acrobatics that usually end with her foes dismembered (or literally cut in half), while Jackson's plan is essentially to wipe out humanity, yet the sight of blood makes him vomit.
What will rub many people the wrong way about this film is the marketing campaign; until I saw a red band trailer a month ago, I thought Kingsman was going to be a light, silly spy-spoof. It would have fun action scenes, and be a knowing wink and nod to the Bond films. Unfortunately for many, the film is a blood bath, with exploding heads, extreme violence, and some ballsy twists. It is not a family friendly film, and I know many will take their children to the theater this weekend and be shocked by what happens. That is not enough to stir controversy, and what will really turn heads is the death of a sitting leader, which echoes The Interview's recent stint killing Kim Jong-Un. The reason this has not generated press yet is because it is not the sole focus of the film.
But the marketing does not effect my opinion of the film. While many might be turned off by the prospect of the extreme violence, I was intrigued and even began anticipating this film. While there's not much here to merit a rewatch, there is enough to entertain for one viewing. The actors are all very good and likable, and the action set pieces are spectacularly done. The film makes one too many winks at the camera while it sends up spy films, making sure you understand that yes, the villain will dispense of his foes immediately instead of setting up an elaborate kill plan that will lead to that character's escape. While I enjoy these moments, I just wish the movie's characters would stop acknowledging all the clichés of the film they were in. It gets to a point where enough is enough.
I came away enjoying this film more than Kick-Ass; while it shares that film's nihilism, it still maintains an air of fun throughout, and the black comedy mostly works. Kick-Ass took a dark turn in the third act, and then tried to play up the fun element of the story again, which left me uneasy. Kingsman is not a movie to go into blindly; know that it is violent and not for kids. If, like me, that interests you, then you'll probably have a good time like I did.
Colin Firth stars as the member of an elite British spy organization known as Kingsman, which have no affiliation with government (an English Team America, if you will). The organization consider themselves modern-day Knights of the Round Table, and as such they carry special codenames including Galahad (Firth), Merlin (Mark Strong), and Arthur (Michael Caine). When Lancelot (Jack Davenport) is killed in action, Firth and the other Kingsman bring in recruits to see who will take up the vacated place. Firth recruits Eggsy (Taron Egerton), a lower-class youth whose father was once a Kingsman and saved Firth's life.
There's also Samuel L. Jackson as Valentine, a media-savy billionaire whose diabolical scheme is so cartoonish yet so fun I won't reveal it here. Jackson's henchman is Gazelle (Sofia Boutella), who has blades for feet like Olympic runner Oscar Pistorious (someone was very inspired watching the broadcast that year). As villains, they are both great fun: Boutella is a dancer by trade and performs acrobatics that usually end with her foes dismembered (or literally cut in half), while Jackson's plan is essentially to wipe out humanity, yet the sight of blood makes him vomit.
What will rub many people the wrong way about this film is the marketing campaign; until I saw a red band trailer a month ago, I thought Kingsman was going to be a light, silly spy-spoof. It would have fun action scenes, and be a knowing wink and nod to the Bond films. Unfortunately for many, the film is a blood bath, with exploding heads, extreme violence, and some ballsy twists. It is not a family friendly film, and I know many will take their children to the theater this weekend and be shocked by what happens. That is not enough to stir controversy, and what will really turn heads is the death of a sitting leader, which echoes The Interview's recent stint killing Kim Jong-Un. The reason this has not generated press yet is because it is not the sole focus of the film.
But the marketing does not effect my opinion of the film. While many might be turned off by the prospect of the extreme violence, I was intrigued and even began anticipating this film. While there's not much here to merit a rewatch, there is enough to entertain for one viewing. The actors are all very good and likable, and the action set pieces are spectacularly done. The film makes one too many winks at the camera while it sends up spy films, making sure you understand that yes, the villain will dispense of his foes immediately instead of setting up an elaborate kill plan that will lead to that character's escape. While I enjoy these moments, I just wish the movie's characters would stop acknowledging all the clichés of the film they were in. It gets to a point where enough is enough.
I came away enjoying this film more than Kick-Ass; while it shares that film's nihilism, it still maintains an air of fun throughout, and the black comedy mostly works. Kick-Ass took a dark turn in the third act, and then tried to play up the fun element of the story again, which left me uneasy. Kingsman is not a movie to go into blindly; know that it is violent and not for kids. If, like me, that interests you, then you'll probably have a good time like I did.
Saturday, January 31, 2015
Top 10 Films of 2014
2014, on the whole, was an encouraging year; I've seen 6 of the top 10 highest grossing films of the year, and liked more of them then I didn't. Maybe Hollywood is finally back to making fun movies that don't suck, or maybe we're just getting used to the new status quo, but overall the Blockbuster front of films this year was much better then the past. That being said, you won't see most of those films in my top 10, but know that I enjoyed them a lot.
Full disclosure: there are tons of films I did not see this year, as always. But, I am happy with the 10 films that make up this list, and though I'd love to see The Babadook or Selma, I just didn't get there in time. So, without further ado, here are my personal top 10 favorites of 2014.
10. Dawn of the Planet of the Apes, 130 min. PG-13
Planet of the Apes is a curious franchise because the majority of films that comprise it are not very good. There's a lot of great philosophical ideas and cold war analogies in the original 1968 Planet of the Apes, but the films became progressively worse with each sequel, bottoming out with Tim Burton's attempted reboot back in 2001. Now we get a follow-up to 2011's pretty good Rise of the Planet of the Apes with a surprisingly fantastic action/thriller/sci-fi film. It continues to follow Caesar and his ape friends, who became more aware in the first film and have now formed a clan in the Golden Gate Recreation Area outside of San Francisco. Meanwhile, the human race has been reduced by the outbreak of the Simian Virus, and the immune band together to try and rebuild society. When these two worlds collide, the threat of war is imminent as the humans don't know how to regard these intelligent apes, and the apes despise their once captors. While the human element is a little weak (although the actors are good), the real magic comes from the apes, lead by Andy Serkis as Caesar using the latest motion capture technology. The film also benefits from slowly building the conflict between the two species, basic storytelling techniques that most filmmakers seem to have forgotten. There's action peppered throughout, but it's easy to imagine a lesser director taking the material and escalating the war pretty quickly so that it would comprise more of the run time. I have to say I didn't expect much from this Apes sequel (especially considering it's 70s counterpart, Battle for the Planet of the Apes), but I was pleasantly surprised and highly enjoyed this film.
9. Gone Girl, 149 min. R
I'll readily admit that on a re-watch, Gone Girl did not hold up as well as the first viewing. I won't get into spoilers, but a lot of elements that comprise the second half, including the ending, make huge logical leaps that fall apart under scrutiny. So why include a film I openly criticize? Because, even on the second viewing, the first hour of the film was just as intense as the first time around, and the film as a whole was still damn entertaining. David Fincher has developed a clinical precision to his movies, which are atmospherically dark and moody, even if they're about twenty-year-olds starting the largest social networking site in existence. Fincher has an all-star crew, with returning cinematographer Jeff Cronenweth, editor Kirk Baxter, and composers Trent Reznor and Atticus Ross, Fincher films have begun to develop a consistent tone film-to-film as if you were returning to a weekly TV serial where the plot and characters always change. Sometimes the style can't mask bad material (Girl with the Dragon Tattoo), but if the plot is interesting enough, then I'm happy to be along for the dark ride.
8. Ida, 82 min. PG-13
Ida is a film that looks like it was shot in the 60s, but was made today. That's no small task to accomplish, and gives the film a classic aesthetic, is if you had discovered a forgotten gem from long ago. But Ida was released as recently as 2013, and is a moody, engrossing tale of a young, orphaned, novitiate nun, on the verge of taking her vows, receives news of her family's jewish roots and, with her only living relative, sets out to discover them. A character driven piece, the film's reveals are not all that shocking, but it strikes an emotional depth too often missing from today's films, and the turmoil of the central character carries real weight. It's a film you've probably heard about (it's nominated for Best Foreign Film at this year's Oscars), and is currently available on Netflix streaming, so you really have no reason not to check this out.
7. Jodorowsky's Dune, 90 min. PG-13
I have not read Frank Herbert's Dune or seen David Lynch's apparently abysmal 80s version of the story. So do I believe Alejandro Jodorowsky, the title subject of this fascinating documentary, could have done justice where Lynch failed? The documentary detail's Jodorowsky's attempt to make the movie Dune back in the 70s, and how he was allegedly going to bring together Dan O'Bannon, H.R. Giger, David Carradine, Mick Jagger, Udo Kier, Orson Welles, and Salvador Dali together to make and appear in his wild vision. The way the doc portrays Jodorowsky's vision reveals a film that sounds like it could have been the ground breaking sci-fi spectacle that Star Wars would be. The film does make some bold assertions that Jodorowsky's unreleased film influenced many iconic moments in future sci-fi flicks (some of these make sense, but most don't), but, at 84, Jodorowsky is a fascinating, tireless artist who was unfortunately limited by his own hubris.
6. Birdman, or the Unexpected Virtue of Ignorance, 119 min. R
Birdman is an interesting backstage drama/comedy that focuses on one actor's desire to be taken seriously. Michael Keaton stars as Riggan, a washed-up Hollywood actor whose glory days were spent playing a costumed hero named Birdman (get it, it's Batman everyone! Keaton played Batman! And he's kind of washed up now! Do you get it?). All joking aside, what director Alejandro G. Iñârritu accomplishes is an intense, layered, and at times weird portrayal of the mounting tensions to put on a play. The cast includes Edward Norton, Naomi Watts, Zach Galifianakis, and Emma Stone, and its biggest gimmick is that it is seemingly all done in one, long camera take. Working with cinematographer Emmanuel Lubezki, a longtime collaborator of Alfonso Cuaron (Chidlren of Men, Gravity), Iñârritu never lets the one-take conceit feel too gimmicky, and it indeed allows the actors more freedom to fully explore the emotional arcs of their characters. Actors often have to get into the moment of a scene take to take, and while most do an admirable job of this, Birdman allows the actors themselves to build their character's through lines. It's a highly entertaining film with lived up to a lot of the hype it generated.
5. Snowpiercer, 126 min. R
Few sci-fi films can efficiently establish a scenario and pull the audience into the world, giving them enough information at the start to understand what's going on, but not enough to show all the cards the film is holding. Snowpiercer has a relatively routine structure, in which a bunch of passengers on a train try and fight their way to the front to take control. The film takes place in a near-future where humans bring on a new Ice Age that freezes the entire planet. The only salvation is on Wilford's train, and the last survivors of the human race take a place there. As long as they are on the train, and as long as the train moves, they live. However, the train is divided into a class system, where naturally the steerage customers are treated like criminals. The film has an endless sense of invention, and as the passengers, lead by Captain America himself Chris Evans, move forward we encounter new environments in every passenger car that reveal more and more how the train functions and this society exists. Add in some brutal violence and a killer climax, and you have one of the best sci-fi action films in recent memory.
4. The Grand Budapest Hotel, 100 min. R
I've seen this film three times so far, more than any other film this year, and every time and has held up as another entertaining, whimsical entry to Wes Anderson's oeuvre. Like Fincher, Anderson has found his style, and it works film to film. That's not to say Fantastic Mr. Fox, Moonrise Kingdom, and this are exactly the same, but a lot of the execution, mannerisms of the characters, and overall developments are. Set in a fictional European country in the 1920s, the film details the exploits of M. Gustave (Ralph Fiennes) and his Lobby boy Zero (Tony Revolori) as they run the Grand Budapest Hotel. Drama ensues when one of M. Gustave's patrons (Tilda Swinton) is murdered, and he is the primary suspect. The film features a lot of Anderson's trademark mannerisms and style, and while some may tire of it, I find its strong and works well.
3. Life Itself, 120 min. R
It was pretty much almost a given that I was going to love this film and include it here. Roger Ebert is one of the most famous film critics of all time, and I miss reading new reviews still. The documentary is a mixture of footage shot during Ebert's final months, first in a hospital and then back at home, with the unwavering support of his wife Chaz. This is mixed in with a recount of Ebert's life, with excerpts from his memoir narrated by Stephen Stanton, who sounds remarkably like Ebert. Directed by Steve James, who also made the docs Hoop Dreams and The Interrupters, this film gives us the brutal truth of Ebert's predicament in his final years: with no jaw, a tube is shoved down his throat to feed him, and daily live is a never ending chore. It's an emotional ride and celebration of a great man who may have made a living trashing other people's work, but championed and valued great filmmaking more.
2. Boyhood, 165 min. R
This is the only film I reviewed this year on the blog, so I'll be brief since my full thoughts are in the post. Richard Linklater's 12-year odyssey to tell the story of a young man from age 6 to 18 is a wonder to behold. Beyond the aging conceit, which is hard to ignore because it is in your face the entire time, there are engaging stories of single parents, from Patrica Arquette's mother making the same mistakes over and over (as we do in life), to Ethan Hawke's father who is still a child in disguise. Much criticism as of late has been leveled against the Mason character for not being interesting, and that nothing much happens in the movie. To the second argument, I say nothing much happens in life day-to-day. Sure we all have a lot of the same experiences, but an average day is not that interesting and that is this movie's focus; to tell a story that is relatable to all of us. There is melodrama early on with the abusive father, and the movie wisely avoids any more big dramatic subplots throughout. As for the boring character, I guess that's a matter of perspective. Mason isn't the most fully realized character, but I feel like that's Linklater's projection of himself, and Mason still felt like a real person, even if he wasn't the most "interesting." To me, the movie holds up beyond its "took 12 years to make" gimmick. That just adds the extra layer.
1. Whiplash, 107 min. R
My favorite genre is the thriller. When done well, it holds you on the edge of your seat and raises your heart rate. I love it when a movie can do that to me. And while Whiplash isn't a thriller in the conventional sense, it was definitely a movie that pitched me to the edge of my seat several times. Miles Teller stars as Andrew, a drumming prodigy attending a fictional Julliard-like school for music in New York. One day he is selected as an alternate for the Jazz Band of the fearsome Fletcher (J.K. Simmons), an instructor that takes to his musicians like a drill sergeant. Fletcher has a very intense philosophy that he must push his pupils beyond what they think themselves capable of. It's controversial and the movie challenges Fletcher, but ultimately seems to land on his side with the line, "There are no two words in the English language more harmful than Good Job." It's a movie that reminds you that to be great, you do have to push yourself and commit yourself beyond what you think you are capable of. That doesn't necessarily mean you will be great (as Monsters University illustrated very well), but you can't take a short cut. The movie is filled with musical performances that had my heart racing: will Andrew screw up, or will he successfully perform in the double time swing? This culminates in a final ten minutes that climaxes with one of the few moments in cinema I've wanted to stand up and cheer. Yes, there may be some over the top things that happen in the middle, but the movie took me on an emotional trip few other movies have, and as a result I was magnetized. It's one of the best experiences I've had this year.
Full disclosure: there are tons of films I did not see this year, as always. But, I am happy with the 10 films that make up this list, and though I'd love to see The Babadook or Selma, I just didn't get there in time. So, without further ado, here are my personal top 10 favorites of 2014.
10. Dawn of the Planet of the Apes, 130 min. PG-13
Planet of the Apes is a curious franchise because the majority of films that comprise it are not very good. There's a lot of great philosophical ideas and cold war analogies in the original 1968 Planet of the Apes, but the films became progressively worse with each sequel, bottoming out with Tim Burton's attempted reboot back in 2001. Now we get a follow-up to 2011's pretty good Rise of the Planet of the Apes with a surprisingly fantastic action/thriller/sci-fi film. It continues to follow Caesar and his ape friends, who became more aware in the first film and have now formed a clan in the Golden Gate Recreation Area outside of San Francisco. Meanwhile, the human race has been reduced by the outbreak of the Simian Virus, and the immune band together to try and rebuild society. When these two worlds collide, the threat of war is imminent as the humans don't know how to regard these intelligent apes, and the apes despise their once captors. While the human element is a little weak (although the actors are good), the real magic comes from the apes, lead by Andy Serkis as Caesar using the latest motion capture technology. The film also benefits from slowly building the conflict between the two species, basic storytelling techniques that most filmmakers seem to have forgotten. There's action peppered throughout, but it's easy to imagine a lesser director taking the material and escalating the war pretty quickly so that it would comprise more of the run time. I have to say I didn't expect much from this Apes sequel (especially considering it's 70s counterpart, Battle for the Planet of the Apes), but I was pleasantly surprised and highly enjoyed this film.
9. Gone Girl, 149 min. R
I'll readily admit that on a re-watch, Gone Girl did not hold up as well as the first viewing. I won't get into spoilers, but a lot of elements that comprise the second half, including the ending, make huge logical leaps that fall apart under scrutiny. So why include a film I openly criticize? Because, even on the second viewing, the first hour of the film was just as intense as the first time around, and the film as a whole was still damn entertaining. David Fincher has developed a clinical precision to his movies, which are atmospherically dark and moody, even if they're about twenty-year-olds starting the largest social networking site in existence. Fincher has an all-star crew, with returning cinematographer Jeff Cronenweth, editor Kirk Baxter, and composers Trent Reznor and Atticus Ross, Fincher films have begun to develop a consistent tone film-to-film as if you were returning to a weekly TV serial where the plot and characters always change. Sometimes the style can't mask bad material (Girl with the Dragon Tattoo), but if the plot is interesting enough, then I'm happy to be along for the dark ride.
8. Ida, 82 min. PG-13
Ida is a film that looks like it was shot in the 60s, but was made today. That's no small task to accomplish, and gives the film a classic aesthetic, is if you had discovered a forgotten gem from long ago. But Ida was released as recently as 2013, and is a moody, engrossing tale of a young, orphaned, novitiate nun, on the verge of taking her vows, receives news of her family's jewish roots and, with her only living relative, sets out to discover them. A character driven piece, the film's reveals are not all that shocking, but it strikes an emotional depth too often missing from today's films, and the turmoil of the central character carries real weight. It's a film you've probably heard about (it's nominated for Best Foreign Film at this year's Oscars), and is currently available on Netflix streaming, so you really have no reason not to check this out.
7. Jodorowsky's Dune, 90 min. PG-13
I have not read Frank Herbert's Dune or seen David Lynch's apparently abysmal 80s version of the story. So do I believe Alejandro Jodorowsky, the title subject of this fascinating documentary, could have done justice where Lynch failed? The documentary detail's Jodorowsky's attempt to make the movie Dune back in the 70s, and how he was allegedly going to bring together Dan O'Bannon, H.R. Giger, David Carradine, Mick Jagger, Udo Kier, Orson Welles, and Salvador Dali together to make and appear in his wild vision. The way the doc portrays Jodorowsky's vision reveals a film that sounds like it could have been the ground breaking sci-fi spectacle that Star Wars would be. The film does make some bold assertions that Jodorowsky's unreleased film influenced many iconic moments in future sci-fi flicks (some of these make sense, but most don't), but, at 84, Jodorowsky is a fascinating, tireless artist who was unfortunately limited by his own hubris.
6. Birdman, or the Unexpected Virtue of Ignorance, 119 min. R
Birdman is an interesting backstage drama/comedy that focuses on one actor's desire to be taken seriously. Michael Keaton stars as Riggan, a washed-up Hollywood actor whose glory days were spent playing a costumed hero named Birdman (get it, it's Batman everyone! Keaton played Batman! And he's kind of washed up now! Do you get it?). All joking aside, what director Alejandro G. Iñârritu accomplishes is an intense, layered, and at times weird portrayal of the mounting tensions to put on a play. The cast includes Edward Norton, Naomi Watts, Zach Galifianakis, and Emma Stone, and its biggest gimmick is that it is seemingly all done in one, long camera take. Working with cinematographer Emmanuel Lubezki, a longtime collaborator of Alfonso Cuaron (Chidlren of Men, Gravity), Iñârritu never lets the one-take conceit feel too gimmicky, and it indeed allows the actors more freedom to fully explore the emotional arcs of their characters. Actors often have to get into the moment of a scene take to take, and while most do an admirable job of this, Birdman allows the actors themselves to build their character's through lines. It's a highly entertaining film with lived up to a lot of the hype it generated.
5. Snowpiercer, 126 min. R
Few sci-fi films can efficiently establish a scenario and pull the audience into the world, giving them enough information at the start to understand what's going on, but not enough to show all the cards the film is holding. Snowpiercer has a relatively routine structure, in which a bunch of passengers on a train try and fight their way to the front to take control. The film takes place in a near-future where humans bring on a new Ice Age that freezes the entire planet. The only salvation is on Wilford's train, and the last survivors of the human race take a place there. As long as they are on the train, and as long as the train moves, they live. However, the train is divided into a class system, where naturally the steerage customers are treated like criminals. The film has an endless sense of invention, and as the passengers, lead by Captain America himself Chris Evans, move forward we encounter new environments in every passenger car that reveal more and more how the train functions and this society exists. Add in some brutal violence and a killer climax, and you have one of the best sci-fi action films in recent memory.
4. The Grand Budapest Hotel, 100 min. R
I've seen this film three times so far, more than any other film this year, and every time and has held up as another entertaining, whimsical entry to Wes Anderson's oeuvre. Like Fincher, Anderson has found his style, and it works film to film. That's not to say Fantastic Mr. Fox, Moonrise Kingdom, and this are exactly the same, but a lot of the execution, mannerisms of the characters, and overall developments are. Set in a fictional European country in the 1920s, the film details the exploits of M. Gustave (Ralph Fiennes) and his Lobby boy Zero (Tony Revolori) as they run the Grand Budapest Hotel. Drama ensues when one of M. Gustave's patrons (Tilda Swinton) is murdered, and he is the primary suspect. The film features a lot of Anderson's trademark mannerisms and style, and while some may tire of it, I find its strong and works well.
3. Life Itself, 120 min. R
It was pretty much almost a given that I was going to love this film and include it here. Roger Ebert is one of the most famous film critics of all time, and I miss reading new reviews still. The documentary is a mixture of footage shot during Ebert's final months, first in a hospital and then back at home, with the unwavering support of his wife Chaz. This is mixed in with a recount of Ebert's life, with excerpts from his memoir narrated by Stephen Stanton, who sounds remarkably like Ebert. Directed by Steve James, who also made the docs Hoop Dreams and The Interrupters, this film gives us the brutal truth of Ebert's predicament in his final years: with no jaw, a tube is shoved down his throat to feed him, and daily live is a never ending chore. It's an emotional ride and celebration of a great man who may have made a living trashing other people's work, but championed and valued great filmmaking more.
2. Boyhood, 165 min. R
This is the only film I reviewed this year on the blog, so I'll be brief since my full thoughts are in the post. Richard Linklater's 12-year odyssey to tell the story of a young man from age 6 to 18 is a wonder to behold. Beyond the aging conceit, which is hard to ignore because it is in your face the entire time, there are engaging stories of single parents, from Patrica Arquette's mother making the same mistakes over and over (as we do in life), to Ethan Hawke's father who is still a child in disguise. Much criticism as of late has been leveled against the Mason character for not being interesting, and that nothing much happens in the movie. To the second argument, I say nothing much happens in life day-to-day. Sure we all have a lot of the same experiences, but an average day is not that interesting and that is this movie's focus; to tell a story that is relatable to all of us. There is melodrama early on with the abusive father, and the movie wisely avoids any more big dramatic subplots throughout. As for the boring character, I guess that's a matter of perspective. Mason isn't the most fully realized character, but I feel like that's Linklater's projection of himself, and Mason still felt like a real person, even if he wasn't the most "interesting." To me, the movie holds up beyond its "took 12 years to make" gimmick. That just adds the extra layer.
1. Whiplash, 107 min. R
My favorite genre is the thriller. When done well, it holds you on the edge of your seat and raises your heart rate. I love it when a movie can do that to me. And while Whiplash isn't a thriller in the conventional sense, it was definitely a movie that pitched me to the edge of my seat several times. Miles Teller stars as Andrew, a drumming prodigy attending a fictional Julliard-like school for music in New York. One day he is selected as an alternate for the Jazz Band of the fearsome Fletcher (J.K. Simmons), an instructor that takes to his musicians like a drill sergeant. Fletcher has a very intense philosophy that he must push his pupils beyond what they think themselves capable of. It's controversial and the movie challenges Fletcher, but ultimately seems to land on his side with the line, "There are no two words in the English language more harmful than Good Job." It's a movie that reminds you that to be great, you do have to push yourself and commit yourself beyond what you think you are capable of. That doesn't necessarily mean you will be great (as Monsters University illustrated very well), but you can't take a short cut. The movie is filled with musical performances that had my heart racing: will Andrew screw up, or will he successfully perform in the double time swing? This culminates in a final ten minutes that climaxes with one of the few moments in cinema I've wanted to stand up and cheer. Yes, there may be some over the top things that happen in the middle, but the movie took me on an emotional trip few other movies have, and as a result I was magnetized. It's one of the best experiences I've had this year.
Thursday, January 8, 2015
72nd Golden Globe Awards Nominees Predictions
Time for Golden Globe Predictions! This is my "I don't care" phase of awards season, and I usually get a lot wrong. This is more about who I think should win rather than who will win. If I haven't seen all the nominations in a particular category, I'll vote for who I have seen. If I haven't seen any, then it's a shot in the dark.
Best Supporting Actor in a Series, Mini-Series or TV Movie
Colin Hanks - Fargo
Best Supporting Actress in a Series, Mini-Series or TV Movie
Michelle Monaghan - True Detective
Best Actor in a Mini-Series or TV Movie
Matthew McConaughey - True Detective
Best Actress in a Mini-Series or TV Movie
Allison Tolman - Fargo
Best Actor in a TV Series, Musical or Comedy
Louis C.K. - Louie
Best Actress in a TV Series, Musical or Comedy
Julia Louis-Dreyfuss - Veep
Best TV Series, Musical or Comedy
Jane the Virgin
Best Actor in a TV Series, Drama
Kevin Spacey - House of Cards
Best Actress in a TV Series, Drama
Claire Danes - Homeland
Best TV Series, Drama
Game of Thrones
Best Original Song - Motion Picture
Annie
Best Original Score - Motion Picture
Trent Reznor, Atticus Ross - Gone Girl
Best Screenplay - Motion Picture
Wes Anderson - The Grand Budapest Hotel
Best Director - Motion Picture
Richard Linklater - Boyhood
Best Supporting Actor in a Motion Picture
Edward Norton - Birdman
Best Supporting Actress in a Motion Picture
Patricia Arquette - Boyhood
Best Foreign Language Film
Ida
Best Animated Feature Film
The Lego Movie
Best Actress in a Motion Picture, Musical or Comedy
Helen Mirren - The Hundred Foot Journey
Best Motion Picture, Musical or Comedy
The Grand Budapest Hotel
Best Actor in a Motion Picture, Drama
Benedict Cumberbatch - The Imitation Game
Best Actress in a Motion Picture, Drama
Rosamund Pike - Gone Girl
Best Motion Picture, Drama
Boyhood
Best Supporting Actor in a Series, Mini-Series or TV Movie
Colin Hanks - Fargo
Best Supporting Actress in a Series, Mini-Series or TV Movie
Michelle Monaghan - True Detective
Best Actor in a Mini-Series or TV Movie
Matthew McConaughey - True Detective
Best Actress in a Mini-Series or TV Movie
Allison Tolman - Fargo
Best Actor in a TV Series, Musical or Comedy
Louis C.K. - Louie
Best Actress in a TV Series, Musical or Comedy
Julia Louis-Dreyfuss - Veep
Best TV Series, Musical or Comedy
Jane the Virgin
Best Actor in a TV Series, Drama
Kevin Spacey - House of Cards
Best Actress in a TV Series, Drama
Claire Danes - Homeland
Best TV Series, Drama
Game of Thrones
Best Original Song - Motion Picture
Annie
Best Original Score - Motion Picture
Trent Reznor, Atticus Ross - Gone Girl
Best Screenplay - Motion Picture
Wes Anderson - The Grand Budapest Hotel
Best Director - Motion Picture
Richard Linklater - Boyhood
Best Supporting Actor in a Motion Picture
Edward Norton - Birdman
Best Supporting Actress in a Motion Picture
Patricia Arquette - Boyhood
Best Foreign Language Film
Ida
Best Animated Feature Film
The Lego Movie
Best Actress in a Motion Picture, Musical or Comedy
Helen Mirren - The Hundred Foot Journey
Best Motion Picture, Musical or Comedy
The Grand Budapest Hotel
Best Actor in a Motion Picture, Drama
Benedict Cumberbatch - The Imitation Game
Best Actress in a Motion Picture, Drama
Rosamund Pike - Gone Girl
Best Motion Picture, Drama
Boyhood
Saturday, December 13, 2014
Inherent Vice (2014)
Paul Thomas Anderson is a curious filmmaker whose films have been getting more and more dense as time rolls on. I have seen all but the auteur's first effort, Hard Eight, and what I have learned is that Mr. Anderson is a filmmaker who will take you on an experiential journey in ways few other filmmakers can. Almost every scene in his films is a little self-contained movie, underscored by a popular tune from the era it is set in or from his composers, first Jon Brion, and now Jonny Greenwood. They build to a frenzied pitch until there is a release, and the film moves on to the next scene.
Inherent Vice, Mr. Anderson's latest starring Joaquin Phoenix as a drug-addled P.I. in Los Angeles circa 1970, is another experiential trip. Much like The Big Sleep, the film contains a central mystery that is hard to follow and ultimately resolves in an unsatisfying way. And Mr. Phoenix's character, Doc, is like Philip Marlowe if he smoked pot constantly instead of drinking.
The film opens with Doc's former lover, Shasta (Katherine Waterston), asking for his help because a rich land-developer is about to go missing. And sure enough, the person in question and Shasta herself inexplicably disappear, leading Doc down dark, twisted, baffling, and fascinating path that unveils a corruption scheme I couldn't even begin to explain.
But the film is not about the plot. The plot is merely set dressing that allows Doc to have run-ins with a variety of colorful, outrageous characters, including Jena Malone as a recovering heroin addict, Owen Wilson as her missing husband, and Martin Short in the first performance of his I've seen that was almost perfect. He's hilarious, and only around for a short time.
Few people utilize a soundtrack as well as Mr. Anderson, who blends pop and score into the background so effortlessly that it would be hard to imagine the scenes without them. It's a technique he's been practicing throughout most of his movies (save the more quiet There Will Be Blood), one he began perfecting in Magnolia.
Shot on 70mm by Robert Elswit (a frequent collaborator with Mr. Anderson), this is another unique presentation by Warner Bros, who just last month rolled out Interstellar into IMAX theaters, specially exhibited in the format. It's almost promising to me that Warner is doing this; it seems to represent a shift away from the distracting, dim 3D that dominated so many studio releases these past few years. 70mm is an experience, and to see a film exhibited in that format is a delight. It's a premium I'm willing to pay for.
I saw the film at the Cinerama Dome in Hollywood, which I only make special mention of because this was my first time in 3 years of living in Los Angeles to visit the screen. And, perhaps I was in the wrong seat or there needs to be more people, but Inherent Vice's already confusing plot was not helped by the fact that the sound echoed around the room. It was not clear, pristine sound, and though my investigations online have lead me to believe this is not usually the case, it made the dialogue almost incomprehensible.
So ultimately, I'm unsure how much I enjoyed this film. It certainly takes you on a journey, and I enjoyed said journey, but in the end I left the screen and much of what I saw began to slip away. Maybe I've just seen too many movies at this point and space is running out of my head; for what it is, though, Inherent Vice is worth the trip.
Inherent Vice, Mr. Anderson's latest starring Joaquin Phoenix as a drug-addled P.I. in Los Angeles circa 1970, is another experiential trip. Much like The Big Sleep, the film contains a central mystery that is hard to follow and ultimately resolves in an unsatisfying way. And Mr. Phoenix's character, Doc, is like Philip Marlowe if he smoked pot constantly instead of drinking.
The film opens with Doc's former lover, Shasta (Katherine Waterston), asking for his help because a rich land-developer is about to go missing. And sure enough, the person in question and Shasta herself inexplicably disappear, leading Doc down dark, twisted, baffling, and fascinating path that unveils a corruption scheme I couldn't even begin to explain.
But the film is not about the plot. The plot is merely set dressing that allows Doc to have run-ins with a variety of colorful, outrageous characters, including Jena Malone as a recovering heroin addict, Owen Wilson as her missing husband, and Martin Short in the first performance of his I've seen that was almost perfect. He's hilarious, and only around for a short time.
Few people utilize a soundtrack as well as Mr. Anderson, who blends pop and score into the background so effortlessly that it would be hard to imagine the scenes without them. It's a technique he's been practicing throughout most of his movies (save the more quiet There Will Be Blood), one he began perfecting in Magnolia.
Shot on 70mm by Robert Elswit (a frequent collaborator with Mr. Anderson), this is another unique presentation by Warner Bros, who just last month rolled out Interstellar into IMAX theaters, specially exhibited in the format. It's almost promising to me that Warner is doing this; it seems to represent a shift away from the distracting, dim 3D that dominated so many studio releases these past few years. 70mm is an experience, and to see a film exhibited in that format is a delight. It's a premium I'm willing to pay for.
I saw the film at the Cinerama Dome in Hollywood, which I only make special mention of because this was my first time in 3 years of living in Los Angeles to visit the screen. And, perhaps I was in the wrong seat or there needs to be more people, but Inherent Vice's already confusing plot was not helped by the fact that the sound echoed around the room. It was not clear, pristine sound, and though my investigations online have lead me to believe this is not usually the case, it made the dialogue almost incomprehensible.
So ultimately, I'm unsure how much I enjoyed this film. It certainly takes you on a journey, and I enjoyed said journey, but in the end I left the screen and much of what I saw began to slip away. Maybe I've just seen too many movies at this point and space is running out of my head; for what it is, though, Inherent Vice is worth the trip.
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