Talking Movies

April 3, 2020

Miscellaneous Movie Musings: Part XXX

Filed under: Talking Books,Talking Movies,Talking Television — Fergal Casey @ 5:59 pm
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As the title suggests, so forth.

This could be how I see Tenet in 70mm later this year, if it or any other blockbuster gets released at all in 2020

The polling suggests cinema may be done

It seems somebody had the good sense last week to poll Americans on whether they would return to cinemas once this coronavirus unpleasantness has blown over. The answer was yes. Certainly. But not right away. Rather like the beach on the 4th of July in Amity Island everybody would stand back and let someone else be the first to paddle out into the water and make sure there were no killer sharks lurking thereabouts. But if people are serious about waiting three weeks or three months before they’d dare venture into a packed cinema again, how can the cinemas survive? How many days can you survive as a going concern when your biggest screens showing the biggest blockbusters at the height of summer garner an attendance more usually seen at an Alex Ross Perry movie in the IFI? Big releases have been pushed into 2021 with abandon: Fast & Furious 9, Ghostbusters: Afterlife, Morbius. I’d be surprised if MGM didn’t get nervous and shove No Time to Die from November to next April if they think that by November people will still be readjusting to the idea that going to sit in the dark with 300 sweating sniffling coughing strangers packed like sardines in a crushed tin can isn’t like asking for rat stew during the Black Death. I for one like the idea of taking a coffee into an obscure French film and listening to Jazz24 in screen 3 of the IFI after normal service has been resumed – but the kicker is, that would be a fairly empty screening. And too many years of press screenings, matinees, and unpopular art-house choices have made me unaccustomed to truly packed cinemas. I was already frequently exasperated at bustling audiences before the coronavirus; because of the constant talking, shuffling in and out to the toilets and sweets counter, and, above all, the feeling that I was looking out over a WWII night scene as the light from endless phones strafed the roof of the cinema on the watch for incoming enemy aircraft. To put up with that, and then be paranoid that anybody, not just the people sniffling or coughing, but asymptomatic anybody could have the coronavirus and I could end up with scarred lungs and no sense of smell or taste from watching a film makes me hesitant to go before the second wave.

Further thoughts on the xkcd challenge

A couple of weeks ago I mentioned re-watching Aloha and thinking about the xkcd challenge [https://xkcd.com/2184/]. To wit, it is easy to prove your independent streak by disliking films universally beloved, but less easy to prove your independent streak by liking films universally reviled. Randall Munroe gave a critical score under 50% on Rotten Tomatoes as the target, the other two parts of his trifecta being that the films came out in your adult life post-2000, and are not enjoyed ironically. Well, gosh darn if I didn’t find these ten films rated between 40% and 49% by critics on Rotten Tomatoes. And you know what, their critical pasting is, I would argue, largely undeserved. Some of them are rather good, some of them are not nearly as bad as reputed, and I would happily watch all of them again.

What Lies Beneath

I was astonished to see that Robert Zemeckis’ 2000 Hitchcock pastiche was so critically pasted when it features some sequences; in particular the agony in the bath tub; that rise to the height of genuine Hitchcock level suspense. Zemeckis’ increasing obsession with CGI-enhanced technical wizardry hasn’t yet completely swamped his interest in his characters, as he overtly toys with Rear Window expectations.

Orange County

Colin Hanks and Jack Black are the main players in Mike White’s knockabout comedy about a hopelessly bungled application to Stanford, courtesy of Lily Tomlin’s guidance counsellor, and increasingly ludicrous attempts to get the admissions kerfuffle all sorted out by any means necessary. It may not be as sharp as other White scripts but it’s always amusing for its less than 90 minutes.

xXx

Vin Diesel has valiantly kept the memory of this ludicrous 2002 film alive by somehow making it his only successful non-Fas & Furious franchise. The premise of an extreme sports dude being recruited into being an amateur CIA spook makes no sense what-so-ever, but it had better action, jokes, and humanity than the Bond film of its year by some measure – “Bora Bora!”

The Rules of Attraction

It was a genuine shock to see that this film was so critically reviled when I enthusiastically featured it in my list of best films of the 2000s. It stands beside American Psycho as the best adaptation of a Bret Easton Ellis novel, and Roger Avary draws career highlight turns from leads Ian Somerhalder, Shannyn Sossamon, and James Van Der Beek.

Daredevil

One of the last examples of the big blockbuster movie with the big blockbuster song complete with a big blockbuster video; the at the time inescapable Evanescence hit ‘Bring Me To Life’; this is an only semi-successful attempt at knockabout nonsense with the villains all trying to out-ham each other (and Colin Farrell’s Bullseye winning), but Jennifer Garner shines as Daredevil’s love interest Elektra.

Switchblade Romance

I will die on this weird Gallic hill! Alexandre Aja’s utterly blood-soaked shocker starring Cecile de France (and a chainsaw that spooked the next crew to use it) is a goretastic virtuoso thrill-ride, and the final twist, which was presented as it was on the advice of Luc Besson that it would be funnier that way, makes the film even more preposterously entertaining!

The Village

This was the final straw for critics when it came to M Night Shyamalan, but it’s actually a very engaging and deeply creepy film with a star-making lead performance from Bryce Dallas Howard. Sure the final twist is probably over-egging the pudding, and indicated that M Night was now addicted to twists, but it doesn’t undo the effectiveness of all the previous suspense.

Constantine

Keanu Reeves’ chain-smoking street magus powered a supernatural thriller with exquisitely deliberate pacing, courtesy of future Hunger Games main-man Francis Lawrence; here making his directorial debut. It had a fine sense of metaphysical as well as visceral horror, featured outstanding supporting turns from Tilda Swinton and Peter Stormare, a memorable magus versus demons action showdown, and was easily Keanu’s best film since The Matrix.

Super

I can’t believe that writer/director James Gunn’s delirious deconstruction of the superhero genre could actually have been this lowly esteemed by critics on release in 2010. Rainn Wilson and Ellen Page both give tremendous performances as the delusional heroes who decided to dress in absurd costumes and fight crime; suicidally going up against Kevin Bacon’s gangster, who is very much not a comic-book villain.

The Green Hornet

I will often stop on this if I catch it late at night while channel-hopping. It may not be a very smooth or coherent film, but it has scenes, lines, and ideas that still pop into my mind frequently; “You brought a gas mask?” “Of course I brought a gas mask!” “Just for yourself?”; and Seth Rogen’s DVD commentary is a hoot.

You didn’t build that, Disney

It’s been quite maddening to see bus after bus pass by in the last few weeks with huge ads on their sides for the launch of Disney+ and know that this lockdown is a gift from the universe to a mega corporation by making their new streaming service an obvious choice for harassed parents eager to occupy the time of housebound children with the Disney vault while they try to get some work from home done. Not of course that it’s really Disney’s vault, as is made plain by the attractions listed on the side of the bus. The Simpsons, which is to say 20th Century Fox. Star Wars. Pixar. Marvel. National Geographic. That’s Disney+? These things aren’t Disney. Matt Groening created The Simpsons, and I highly doubt Walt Disney would have approved. George Lucas created Star Wars and changed the cinematic world with ILM, and it was from Lucasfilm that Pixar was spun out, with the help of Steve Jobs. Not anybody at Disney. Stan Lee and Jack Kirby and Steve Ditko are responsible for most of the characters of Marvel, and without James Cameron and Bryan Singer and Sam Raimi there probably wouldn’t have been an MCU for Disney to buy. And Disney sure as hell didn’t found the National Geographic Society in the milieu of Alexander Graham Bell in the 1880s. Disney bought these. They didn’t build them patiently, they didn’t put in hard work, or exercise quality control over decades to build up a trusted reputation, they just waved a cheque book, and somehow regulators looked the other way at the increasing monopoly power being acquired. Disney bought these to accumulate monopolistic power and make mucho money, and in the case of Star Wars when they have attempted to build something themselves they have spectacularly managed to kill the golden goose, as can be seen by looking at the downward trajectory at the box office of the late unlamented Disney trilogy.

October 29, 2019

From the Archives: Starman – Interview with Matthew Vaughn

From the pre-Talking Movies archives.

InDublin talked to Stardust director Matthew Vaughn about casting and CGI, Sienna Miller and celebrity culture, and a comic book he’d never heard of….

Matthew Vaughn is just dripping with enthusiasm for Stardust. He’s been trying to get the film made since the start of the decade, and asked what drove him to adapt Neil Gaiman’s acclaimed novella simply replies, “I loved the story”. Vaughn sees Stardust as closer to The Princess Bride than The Lord of the Rings. “The main theme for me – it’s a movie about a boy becoming a man, and he becomes a man by falling in love with the right woman. But it’s done in a way which is fun, not taking itself seriously at all, a feel good adventure romp. So it’s a movie for everyone: when you come out of the cinema I dare you not to feel good”. Gaiman, as producer, was happy to give Vaughn free rein. “He trusted me. Because every time I wanted to do a big change I always rang him up and said ‘Look, I’m thinking of changing this – what do you think?’ because I valued his opinion….If you’ve got someone who’s created the idea and it’s their baby. For me they’re the best person to ring up to discuss if you’re thinking of changing a scene”.

Vaughn was painstaking with his casting. Once he’d settled on Charlie Cox as Tristan “the poor guy had to do three months of auditioning for me to find Yvaine….it’s about the chemistry between the two. And I didn’t want to end up with Tango & Cash, you know, I wanted it to be the right chemistry”. Vaughn cast his Layer Cake star Sienna Miller as Victoria despite the potential for distraction given her tabloid fodder status: “She [Victoria] is the It Girl of the village so I think it worked for the character and that’s one of the reasons I cast her”. Vaughn laments Miller’s tabloid troubles. “I just feel it’s a shame her acting is getting eclipsed. Cos she does some good work, but – she doesn’t get known for it. But I say to her ‘Just keep persevering’ and eventually someone will say ‘Oh you’re a good actress as well!’” He also blasts the whole celebrity culture as being unhealthy for everyone. “The whole Jade Goody phenomenon I just scratch my head going, ‘WHAT does this tell you about England?’ I’m a big believer that fame should be a by-product of talent and success and I’m a big believer that years ago, and maybe its naïve of me, but great politicians or actors or poets or writers or comedians they weren’t trying to be famous, they were just trying to be the best at what they do, and then they became famous because of it”.

Directing Layer Cake after producing Guy Ritchie’s films reinforced the perception that Vaughn preferred small projects but he claims “I’ve always wanted to do big cinema”. But working on smaller projects made him determined not to have the CGI swamp the characters in his blockbusters. “A movie’s about having an emotional connection and telling a story and if you have that the special effects for me are an enhancement”. Stardust’s use of wirework for a dead sword-fighter is an example. “We had a big puppet sort of control thing to make him…we literally just said go limp and let us control him, in a way he was a puppet with the voodoo doll”. InDublin’s geekery finally erupted and we asked if he had any plans to film Neil Gaiman’s awesome graphic novel 1602. Only to end up explaining what 1602 is: superheroes of the Marvel Universe appear in 1602 at the Court of Elizabeth I…and Magneto is the head of the Spanish Inqusition. “Neil’s never told me about that!…that sounds cool – that sounds right up my street! I’m going to ask Marvel about that tonight! 1602?” After musing over the tangled film rights of the various Marvel characters Vaughn simplified the plot based on his friendship with Ian McKellen aka Magneto, “Make it at Fox. Have Fantastic Four and Magneto together…Spanish Inquisition. He’d get a lot of confessions…” Watch this space.

July 14, 2019

Miscellaneous Movie Musings: Part XVI

As the title suggests here are some short thoughts about the movies which aren’t quite substantial enough for each to merit an individual blog posting.

 

Oh Disney, oh dear

Ahab has not any comfort while Naboth hath still his vineyard. Back in early 2016 I noted that we were being lied to, repeatedly and with purpose, by massive entertainment corporations using a media all too happy to shill for the sake of Hollywood glamour driving traffic numbers, and that I had been critiqueing this for almost as long as I’d been writing the blog. I was commenting then on Andrew O’Hehir’s attack on the nonsense surrounding The Force Awakens, and now Disney are at it again; re-releasing Avengers: Endgame, while it’s still playing, in a desperate attempt to beat Avatar’s ‘all-time’ record. O’Hehir said of The Force Awakens, “it’s not quite as ginormous and culture-dominating and universally beloved as Disney wants us to think it is … the idea of its bigness, is a central element of the Mouse House strategy to spin … a marketing, merchandising and entertainment empire.” Thank God for Morgan Friedman and the West Egg inflation calculator. The British National Lottery has a campaign at the moment promising to set you up for life with 10k every month for 30 years. Well, my first thought was that inflation will corrode that very badly. So to West Egg I went. Plugging in a 30 year period of relatively low inflation (1988-2018) I found that what cost $10k in 1988 would cost $21,427.27 in 2018. That is to say inflation at a low level would make 10k a year worth less than 5k in real terms by the end of 30 years. In just 8 years inflation made Avatar’s 2010 takings of $2,787,965,087 worth $3,284,278,512.18 in real terms. And yet Disney is insistent that Avengers: Endgame, with a year’s grace of inflation statistics that can’t be computed right now, and standing right now on Boxofficemojo.com at $2,774,567,541, is within spitting distance of catching Avatar. No, it’s not. It’s not within $13 million dollars, it’s over $500 million dollars away. And Avatar isn’t the most popular film of all time, because nobody wants to adjust for inflation for it either; because Hollywood can’t handle the fact that people are historically uninterested in cinema-going.  I think it is the mania of monopoly that drives Disney to such desperation and such mendacity. It’s not enough to dominate cinema takings in North America to the extent that the 5 biggest films of 2019 are Disney or part-Disney. It’s not enough to digest 20th Century Fox, now Fox cannot be allowed to have had any record; there was no success in cinema before there was Disney. Every time you hear Disney trumpeting how uber-successful everything is, remember you’re hearing a desperate plea for relevance rooted in monomaniac nervousness and think of Sally Field.

June 9, 2019

Notes on X-Men: Dark Phoenix

The last chapter in 20th Century Fox’s X-Men saga was the film of the week today in a return to Sunday Breakfast with Patrick Doyle.

This is the way the X-world ends, not with a bang but a whimper. Simon Kinberg first arrived as X-screenwriter with the awful X-3, and now he rehashes X-3 as X-writer/director and makes it even worse, which is perversely impressive. X-3 has some rather nice music from John Powell, strong acting even in minor roles, and a number of upsetting moments (that were doubly upsetting for how badly Brett Ratner handled them) that leaned on the good work of the first two movies. This movie has A-list composer Hans Zimmer only occasionally elevating the material with emotive minimalism, some of the worst acting outside of X-Men: Origins – Wolverine, and absolutely no memorable moments whatsoever in part because there has been no good work done in previous movies to establish anything. Cyclops was killed off 20 minutes into X-3 by Jean Grey to establish she was out of control, and here Mystique is killed off 40 minutes in by Jean Grey to establish she is out of control. Kinberg shamelessly reuses dialogue and the ideas of X-3, but doubles down on them to make what was once annoying now insufferable.

Prior to her merciful death Mystique spends her screentime whingeing about Professor X, after she dies Beast takes up the whingeing baton to the point where you just want to shout at the screen “Why don’t you just move out of the mansion you’ve been living in rent-free for 30 years if you feel that strongly about him being a bad man?” Professor X is the villain of this piece. Somehow. I’m not nearly as sure as Kinberg is that hiding from a girl, who just murdered her mother because she wouldn’t stop listening to Glen Campbell, that her father regards her as a monster and wants nothing to do with her is a morally evil act. How does he think Jean would react to hearing that? Badly? Would she kill many people in her rage? Oh, the rage. In a scene where Jean is moody at a bar one longs for Sarah Snook in this role as Sophie Turner renders Jean Grey’s transformation into Dark Phoenix the temper tantrums of a petulant teenager. Jessica Chastain barely acts as the emotionless alien Vuk, and Jennifer Lawrence projects only deep boredom.

J-Law may be the audience avatar in that respect, fed up so much talent could be squandered on a twice-told tale. Kinberg has Christopher Nolan’s regular editor and composer, and yet there is a cut with the X-jet arriving and the team appearing as jarring as the scene John Ottman apologised for in Bohemian Rhapsody. The cinematographer of Avatar is on hand to, well, hide the action under cover of darkness and big swirly CGI. Watching X-Men and X-2 in recent days they really are films of the 1990s rather than the 2000s with their emphasis on practical effects to which CGI is added; a quaint notion long abandoned by Marvel and DC films that superpowers are more impressive interacting with tangible physical reality rather than being a welter of CGI battling a big swirly thing of CGI in a CGI landscape populated by CGI extras. There is some pleasing practicality here, but this is not a movie to stand beside Guy Hendrix Dyas’ amazing sets for X-2. And let’s remember the big swirly thing CGI that reached its nadir in X-Men: Apocalypse began in X-3 for Dark Phoenix’s powers.

Kinberg reprises it here in another display of creative bankruptcy. What exactly is the point of filming the Phoenix storyline? To plonk an actress down in mauve garb to stare moodily/blankly at everything for two hours while everyone stands around agonising over killing her while repeating that she’s unstoppably powerful and therefore can’t be killed unless she wishes it? Does that sound at all interesting? At this point it seems safe to say that the writing credits strongly suggest that the only X-screenwriters worth a damn were David Hayter, Zak Penn, Matthew Vaughn, and Jane Goldman, and everyone else was just coasting off their story ideas. It seems perilously close to the truth to say that, as set up by Bryan Singer’s original decisions, these films rarely worked without Hugh Jackman as Wolverine – the best of the bunch were X-Men, X-2, X-Men: First Class, X-Men: Days of Future Past. Maybe the reason for X-Men: First Class succeeding was that the charismatic turn by Michael Fassbender as vengeful hot-headed Magneto stood in for Wolverine. This is a terrible way for the X-Men to end given that they started the Marvel era.

It’s especially bad given that Disney will fold them into the MCU and a Marvel executive seems to think the signal problem with the X-Men was not their farrago of continuity, their revolving door of writers and directors, their recycling of the same stories, their failure to properly establish characters, their over-reliance on one actor, their ever-escalating budgets, their out of control CGI, their limited palette of character motivations and plots, but the fact that they were called the X-Men.

Listen here:

March 21, 2019

A Perfect Circle

Disney should not own everything. This is not apparently a thought that has occurred to the compliant regulatory authorities in America who have allowed the House of Mouse to just swallow 20th Century Fox. But Disney should not own everything. And it would be rather nice if the American online media could also start repeating this proposition, instead of propagating the opposite. Every time I see Sony being lambasted for having the audacity to own Spider-Man rights, or Universal for having Hulk interests, or, previously, Fox for having the bad taste to continue to make X-Men movies, I wince.

Disney now owns the rights to the X-Men, Fantastic Four, Alien, Die Hard, Avatar, Planet of the Apes, Ice Age, Home Alone, Predator, Kingsman, Goosebumps, having already scooped up Marvel and Pixar’s rosters. Who’s next? Sony?

Ahab has not any peace while Naboth has his vineyard…

January 9, 2019

Fears: 2019

The Death and Life of John F Donovan

We have waited long,

Too long, for Dolan anglais,

Now we fear for Snow

 

Captain Marvel

Brie Larson arrives

To save the day, 90s day.

Nick Fury’s phone friend

 

Dumbo

Tim Burton is back

Pointless ‘live action’ remake

This will not fly high

 

Avengers: Endgame

Free at last, says Bob.

Downey Jr’s contract’s up!

Snap away, Thanos!

Godzilla: King of Monsters

Um, may not contain

Godzilla… going by last

bait and switch movie

 

Men in Black: International

Thor plays dumb, again

Reunites with Valkyrie

But where is Will Smith?

 

X-Men: Dark Phoenix

It’s X-3 remade,

with little context for Jean,

who cares? C.G.I!

 

The Lion King

Like the classic one

But now CGI drawings

Why not just re-release?…

Once Upon A Time in Hollywood

QT does Manson.

Bad taste abounds, but also

Pitt, Leo, et al

 

New Mutants

Fox does X-horror.

X-Men that is, obscure ones.

They’re affordable

 

It: Chapter Two

They’re all grown up now.

But fear never does grow old.

Yet may be retread?

 

Joker

Phoenix: Mistah J.

Dark take, from Hangover man.

I’m Still Here: Part two?

The Goldfinch

Dickens in New York,

Bret Easton Ellis Vegas,

Tartt’s chameleon.

 

Zombieland 2

Hey, the gang is back!

But what can they do that’s new?

A needless sequel.

 

Terminator: Dark Fate

Arnie’s back. Again.

All save T-2 not canon.

But Linda H back!

 

Kingsman ‘3’

Hasty sequel two-

Except, gasp, it’s a prequel!

So, but still hasty.

The Man Who Killed Don Quixote

Critics applaud, not

because the thing is done well,

but because it’s done.

 

Star Wars: Episode IX

Fans don’t give a damn…

Who to kill off next? Lando?

Money grubbing sham.

 

Little Women

Gerwig’s needless film-

(Winona forever!)

-version seven. Sigh.

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