Talking Movies

July 13, 2018

At least we still have… : Part III

The third entry in an occasional series in which I try to cheer myself up by remembering what still exists in the world and cannot ever be taken capriciously away.

‘This Deal’s Getting Worse All The Time’ is a marvel. I saw this sketch roughly a decade ago and rediscovered it recently, and couldn’t credit it how I could ever have forgotten it in the intervening years. Its 60 seconds are relentless in upping the ante with the constant repetition of ever more ludicrous alterations to the deal. The background shudders of laughter from Bobba Fett and the Stormtroopers are a joy, as are the particulars of Darth Vader’s humiliating alterations, and the icing on the cake is the voice of Lando himself, Billy Dee Williams, enabling all this nonsense.

‘Wrong Place Wrong Time’ reminds me of the sequence in Angel season 2 where an episode followed a villain who’d been disarmed by Angel in the season 1 finale and we saw the mundanity of pulling on shirts with one hand, looping pre-knotted ties over his neck, and looking in depression at his gathering dust guitar. But that this is not a Whedonesque fleshing out of a villain, but rather a Stoppardian absurdist tangent following the minor players in someone else’s story, with even more absurdity in its conception than that which Stoppard deployed when fleshing out Rosencrantz and Guildenstern.

What can one say about ‘Dr Ball MD’? Beyond that it is screamingly funny, and typical of the Robot Chicken approach to Star Wars. Take a ‘character’ onscreen for a few seconds in one Star Wars movie, give it a life of its own by granting it a personality combining Bones from Star Trek and Quincy ME, run up some idiotic 1970s TV show title credits, and then use this to mock the prequels and poke fun at moments in the original trilogy. And, once again, just like ‘This Deal’s Getting Worse All The Time’, all done within 60 seconds.

October 6, 2017

The Mountain Between Us

Idris Elba and Kate Winslet are stranded in the Rockies in a two-hander that feels like it was scripted by Bear Grylls and Nicholas Sparks.

Ben (Idris Elba) is stuck at an airport due to bad weather. He needs to get back to Baltimore to perform life-saving brain surgery on a young patient. Alex (Kate Winslet) is stuck at the same airport. She needs to get back to NYC to get married. She comes up with some ingenious lateral thinking. They should charter a small propellor plane to do the short hop to Colorado where they can make connecting flights. Walter (Beau Bridges) flew missions into Vietnam with people shooting at him, what’s the worst thing that could happen in a bit of bad weather? I mean apart from Walter having a stroke at the controls? And even if you do crash, what’s the worst that could happen? Get seriously menaced by a cougar? I mean Kim Bauer got through that. Yeah, book that plane guys!

There is some fantastically captured scenery in The Mountain Between Us, and some very nice shots by cinematographer Mandy Walker locating the actors in the middle of a vast snowy wilderness. But that’s about as far as you can go with anything approaching unqualified praise. I was genuinely astonished during the credits to find the score had been written by Ramin Djawadi as it had made no impression whatsoever. Indeed the abiding impression was that this film was long, in particular its final 20 minutes make this 104 minute movie feel about 134 minutes, as the inevitable point is hummed and hawed at before being reached. And the point should equally inevitably make Speed fans think of a certain repeated line of dialogue.

Too often this feels like a bad Bones episode, except for tiresome faith v science arguments you get Ben needing to stop trying to control everything and just take risks like the free-spirited photographer who got him into this mess in the first place. And there are painful screenwriting 101 conceits piled up higher than some of the snowdrifts they encounter – of course you wouldn’t tell anybody where you were going and what you were doing before you got stranded, of course you wouldn’t assume you can get cell reception atop the Rockies, of course you wouldn’t eat Walter’s dog for food, of course you wouldn’t let Alex’s injured leg imperil chances of survival, of course Ben wouldn’t be so colossally stupid and unaware as to not wear his gloves and endanger his fingers by frostbite leading to losing his ability to perform brain surgery and so have to relinquish control over his life to fit the neat thematic statement the movie is apparently attempting to make.

The moment you might remember most from this underwhelming romance/adventure is when Idris Elba announces that he’s from Britain but now lives in Baltimore.

2.5/5

March 22, 2016

Any Other Business: Part XI

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into an eleventh portmanteau post on television of course!

Tom Hiddleston as Jonathan Pine, Tom Hollander as Major Corkoran, Elizabeth Debicki as Jed Marshall, Olivia Colman as Angela Burr, and Hugh Laurie as Richard Roper - The Night Manager _ Season 1, Gallery - Photo Credit: Mitch Jenkins/The Ink Factory/AMC

Tom Hiddleston as Jonathan Pine, Tom Hollander as Major Corkoran, Elizabeth Debicki as Jed Marshall, Olivia Colman as Angela Burr, and Hugh Laurie as Richard Roper – The Night Manager _ Season 1, Gallery – Photo Credit: Mitch Jenkins/The Ink Factory/AMC

The Height Manager

At first I thought The Night Manager might be a good three episode show trying to escape from a six episode run. But then, as I found myself fast-forwarding through sweeping shots apparently accompanied by mislaid John Barry Bond cues, I started to doubt that. As I started fast-forwarding through protracted suspense sequences and pointless tracking shots I thought there might be a decent movie buried trying to escape from John Le Carre’s story. As I started fast-forwarding through dialogue scenes because a piece of spy-craft involving ice creams resembled an SNL sketch I stopped thinking and just hit delete on the DVR. I will remember little in a few months of The Night Manager except how director Susanne Bier dealt with Elizabeth Debicki’s great height: never stand her directly next to Hugh Laurie or Tom Hiddleston if possible, and if they must stand beside each other, cheat. Debicki stood in bare feet next to Laurie standing in shoes, so that both were standing at the same height. And, even more farcically, Debicki walked beside Hiddleston on a steeply sloping beach, but closer to the ocean so that he appeared fractionally taller. Jed “I don’t care who sees me naked, I do care who sees me crying” Marshall brought to mind Richard Yates’ castigation of Hemingway’s Catherine Barkley as not a real character but merely a ‘high-school masturbatory fantasy’. It’s baffling that Debicki chose to slum it in such a vacuous role, but what exactly is the fuss about female directors all about when Bier so ridiculously upholds the convention of leading man looming over leading lady?

Jerk-Ass Seeley

Bones has long been a startling exemplar of decline without any obvious parallel. In its marvellous first season it was a clever forensics procedural interspersed with great gags delivered by complicated characters. In its current eleventh season it is an average intelligence forensics sitcom with constant average gags delivered by characters whose level of complication can be gauged by new addition FBI Agent Aubrey being defined as gourmand. Bones’ trajectory has been so consistently downhill that each season is observably slightly worse than its predecessor. Forensic anthropologist Temperance Brennan used to be unconsciously anti-social – she had spent too much time in the field to remember social niceties and her conversation suffered from total ignorance of pop culture. By season 6 she was, so to speak, consciously unconsciously anti-social. And it’s only got worse. After 11 years of working with Seeley Booth, during which she has observed his example of what to say and how to act in nearly every conceivable circumstance, she has not only not learnt, but has regressed: becoming ruder and given to hideous attempts at humour. But a recent NSA episode, transparently about Snowden, was truly jaw-dropping. The penultimate episode of season 1 tackled the occupation of Iraq with respect (if not approbation) for both points of view while being dramatically satisfying and not feeling like a complete cop-out. By contrast the NSA episode of season 11 saw Booth snarling like a deranged bear at everyone, and Hodgins deferring meekly to Booth’s party line that if you didn’t serve, you have no right to speak. Given that the leak in question was about not just illegal spy programs but an NSA hit-squad operating without Congressional oversight you have to wonder if Booth just wants all but a handful of his Army Rangers buddies disbarred from voting. After all if you didn’t serve, are you really worthy of voting on where to support the troops next? How did Bones get to this state of shocking disrepair?

MARVEL'S AGENT CARTER - "Better Angels" - Peggy's search for the truth about Zero Matter puts her on a collision course with her superiors as Howard Stark barnstorms in, on "Marvel's Agent Carter," TUESDAY, JANUARY 26 (9:00-10:00 p.m. EST) on the ABC Television Network. (ABC/Kelsey McNeal) HAYLEY ATWELL, REGGIE AUSTIN

MARVEL’S AGENT CARTER – “Better Angels” – Peggy’s search for the truth about Zero Matter puts her on a collision course with her superiors as Howard Stark barnstorms in, on “Marvel’s Agent Carter,” TUESDAY, JANUARY 26 (9:00-10:00 p.m. EST) on the ABC Television Network. (ABC/Kelsey McNeal)
HAYLEY ATWELL, REGGIE AUSTIN

Agent Carter: LA Noir

“I drove across town to La Brea then straight north to Hollywood. The canyon road was narrow and winding but there was no traffic at all. We hadn’t even seen a police car on the ride and that was fine with me, because the police have white slavery on the brain when it comes to coloured men and white women.” – Devil in a Blue Dress, Walter Mosley

Devil in a Blue Dress, the first of Mosley’s Easy Rawlins noir novels, is set in Los Angeles in 1948. Mosley was born in 1952 and published his book in 1990, but he was interested in capturing a sense of the lived reality of black life in the era of Raymond Chandler’s PI mythologies. The second season of Agent Carter is set in Los Angeles in 1947. Except it’s not. Agent Carter is interested in the 1940s purely for set-dressing and steam-punk plotting. When black scientist Wilkes instantly hits on Peggy Carter and she reciprocates the show doesn’t hear historical accuracy alarm bells ringing. Indeed it goes out of its way to have a white guy make racist assumptions about the pair because he’s a horrible racist, and Howard Stark treats Wilkes like he would a white scientist because Stark’s a great guy. More people will casually watch Agent Carter than will actively read Devil in a Blue Dress, so surely it matters that history is being made into pigswill. And surely it matters that people will be soothed by the idea that people were always decent but a few racists made trouble, when the man who accosts Wilkes and Peggy is representative, not exceptional. Michael Portillo was told in a BBC documentary that there were no signs indicating segregation in Washington DC in the 1940s, black people just knew where they weren’t allowed: racism didn’t need to physically accost, it already had a policing voice mentally inside its victims. I can think of few more terrifying, gut-churning scenes of fiction than Easy waiting to meet DeWitt Albright and hoping upon hope that a bunch of white teenagers will not approach him, only for a white teenage girl to strike up an aimless conversation with him that nearly sees Easy lynched on the pier. It’s depressing to think that having Wilkes means Agent Carter scores a tick on the diversity checklist, regardless of the opiate ahistoricity of his use.

September 1, 2015

Six Years, what a surprise

Filed under: Talking Movies,Talking Nonsense,Talking Television,Talking Theatre — Fergal Casey @ 10:06 pm
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Previous milestones on this blog have been marked by features on Michael Fassbender and a vainglorious, if requested, list (plays to see before you die). But as today marks exactly six years since Talking Movies kicked off in earnest on Tuesday September 1st 2009 with a review of (500) Days of Summer I’ve rummaged thru the archives for some lists covering the various aspects of the blog’s expanded cultural brief.

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Top 6 Films

There’s been a lot of films given a write-up and a star rating hereabouts. So many films. Some fell in my estimation on re-watching, others steadily increased in my esteem, and many stayed exactly as they were.

 

Here are my favourites of the films I’ve reviewed over the past six years:

 

Inception

X-Men: First Class

Shame

The Perks of Being a Wallflower

Skyfall

Mud

 

And that’s a selection from this list…

Iron Man, Indiana Jones 4, Wolverine, (500) Days of Summer, Creation, Pandorum, Love Happens, The Goods, Fantastic Mr Fox, Jennifer’s Body, The Men Who Stare at Goats, Bright Star, Glorious 39, The Box, Youth in Revolt, A Single Man, Whip It!, The Bad Lieutenant, Eclipse, Inception, The Runaways, The Hole 3-D, Buried, Wall Street: Money Never Sleeps, Let Me In, The Way Back, Never Let Me Go, Cave of Forgotten Dreams 3-D, Win Win, X-Men: First Class, The Beaver, A Better Life, Project Nim, Rise of the Planet of the Apes, Glee: The 3-D Concert Movie, The Art of Getting By, Troll Hunter, Drive, Demons Never Die, The Ides of March, In Time, Justice, Breaking Dawn: Part I, The Big Year, Shame, The Darkest Hour 3-D, The Descendants, Man on a Ledge, Martha Marcy May Marlene, A Dangerous Method, The Woman in Black, Ghost Rider: Spirit of Vengeance 3-D, Margaret, This Means War, Stella Days, Act of Valour, The Hunger Games, Titanic 3-D, The Cabin in the Woods, Salmon Fishing in the Yemen, Lockout, Albert Nobbs, Damsels in Distress, Prometheus, Red Tails, Red Lights, Abraham Lincoln: Vampire Hunter 3-D, Ice Age 4, Killer Joe, Magic Mike, The Dark Knight Rises, The Expendables 2, My Brothers, The Watch, Lawless, The Sweeney, The Perks of Being a Wallflower, Liberal Arts, Sinister, Hit and Run, Ruby Sparks, On the Road, Stitches, Skyfall, The Sapphires, Gambit, Seven Psychopaths, Lincoln, Men at Lunch – Lon sa Speir, Warm Bodies, A Good Day to Die Hard, Safe Haven, Arbitrage, Stoker, Robot and Frank, Parker, Side Effects, Iron Man 3, 21 and Over, Dead Man Down, Mud, The Moth Diaries, Populaire, Behind the Candelabra, Man of Steel 3-D, The East, The Internship, The Frozen Ground, The Wolverine, The Heat, RED 2, The Mortal Instruments: City of Bones, Diana, Blue Jasmine, How I Live Now, Thanks for Sharing, Escape Plan, Like Father, Like Son, Ender’s Game, Philomena, The Counsellor, Catching Fire, Black Nativity, Delivery Man, 12 Years a Slave, Devil’s Due, Inside Llewyn Davis, Mr Peabody & Sherman 3-D, Dallas Buyers Club, The Monuments Men, Bastards, The Stag, The Grand Budapest Hotel, Calvary, Magic Magic, Tracks, Hill Street, X-Men: Days of Future Past 3-D, Benny & Jolene, The Fault in Our Stars, 3 Days to Kill, Boyhood, Dawn of the Planet of the Apes 3-D, SuperMensch: The Legend of Shep Gordon, God’s Pocket, Hector and the Search for Happiness, The Expendables 3, What If, Sin City 2, Let’s Be Cops, The Guest, A Most Wanted Man, Wish I Was Here, Noble, Maps to the Stars, Life After Beth, Gone Girl, Northern Soul, The Babadook, Interstellar, The Drop, Mockingjay – Part I, Electricity, Birdman, Taken 3, Wild, Testament of Youth, A Most Violent Year, Kingsman: The Secret Service, Son of a Gun, Patrick’s Day, Selma, It Follows, Paper Souls, Home 3-D, While We’re Young, John Wick, A Little Chaos, The Good Lie, Let Us Prey, The Legend of Barney Thomson, Hitman: Agent 47.

zack-snyder

Top 6 Film Features

There’s been a lot of film features, from me obsessing over ignored inflation at the box-office and omnipresent CGI on the screen to the twaddle of Oscar ceremonies and thoroughly bogus critical narratives of New Hollywood.

 

Here are my favourite film features from the last six years:

 

A Proof – Keanu Can Act

Snyder’s Sensibility

What the Hell is … Method Acting?

Terrence Malick’s Upas Tree

5 Reasons to love Tom at the Farm

A Million Ways to Screw up a Western

 

house-md-gregory-house-4306

Top 6 TV Features

There’s been quite a bit of musing about TV here, usually in short-form howls about The Blacklist or other such popcorn irritants, but sometimes in longer format, like two disquisitions on Laurence Fishburne’s stint in CSI.

 

Here are my favourite TV features from the last six years:

 

TARDIS: Time And Relative Dimensions In Smartness

Double Exposure: Cutter’s Way/House M.D.

Medium’s Realism    

2ThirteenB Baker Street, Princeton

Funny Bones

An Arrow of a different colour

 

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Top 6 Plays

Since I decided to start reviewing plays in summer 2010 there’s been a steady stream of reviews from the Dublin Theatre Festival and regular productions at the Gate, the Abbey, the Olympia, the Gaiety, and Smock Alley.

 

Here are my favourites of the plays I’ve reviewed over the last six years:

 

John Gabriel Borkman

The Silver Tassie

Pygmalion

Juno and the Paycock

The Select: The Sun Also Rises

A Whistle in the Dark

 

And that’s a selection from this list:

Death of a Salesman, Arcadia, Phaedra, John Gabriel Borkman, Enron, The Silver Tassie, The Field, The Cripple of Inishmaan, Attempts on Her Life, Pygmalion, Translations, Hay Fever, Juno and the Paycock, Peer Gynt, Slattery’s Sago Saga, Tom Crean: Antarctic Explorer, Big Maggie, Hamlet, Improbable Frequency, Alice in Funderland, Glengarry Glen Ross, Travesties, The House, The Plough and the Stars, The Lark, Dubliners, The Select: The Sun Also Rises, A Whistle in the Dark, Conversations on a Homecoming, The Talk of the Town, King Lear, Major Barbara, Accidental Death of an Anarchist, The Critic, Desire Under the Elms, Neutral Hero, Macbeth, A Skull in Connemara, The Vortex, An Ideal Husband, Twelfth Night, Aristocrats, Ballyturk, Heartbreak House, The Actor’s Lament, Our Few and Evil Days, Bailegangaire, Spinning, She Stoops to Conquer, The Walworth Farce, The Caretaker, The Man in Two Pieces, Hedda Gabler, The Gigli Concert, A Month in the Country, The Shadow of a Gunman, The Importance of Being Earnest, Bob & Judy, By the Bog of Cats.

 

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Top 6 Colour Pieces

It must be admitted that I’ve written fewer colour pieces for the blog than I would have liked, but I’ve greatly enjoyed the occasional adventures of Hollywood insider Micawber-Mycroft; a homage to PG Wodehouse’s Mr Mulliner.

 

Here are my favourite colour pieces from the last six years:

 

How to Watch 300

Mark Pellegrino gets ambitious

Great Production Disasters of Our Time: Apocalypse Now

Micawber-Mycroft explains nervous action directing

Alfred & Bane: Brothers in Arms

Kristen Bell, Book and Candle

 

Six years, my brain hurts a lot…

March 21, 2015

JDIFF 2015: Barry Lyndon 40

If there’s a better way to see Barry Lyndon for the first time than on Screen 1 of the Savoy with Ryan O’Neal and Jan Harlan being interviewed afterwards by Lenny Abrahamson then I’d like to hear it.

Kubrick on set of Barry Lyndon

Whatever I knew about Barry Lyndon from reading a biography of Stanley Kubrick over a decade ago had long since fallen out of my head, so it was a treat to be able to approach the 1975 classic not having a clue what to expect. The first thing I didn’t expect was an intermission. The second thing I didn’t expect was that the first part of the movie would be quite so funny; I nearly fell out of my chair when I realised that Leonard Rossiter was playing an important role. Yes, Kubrick directed Dr Strangelove, but thereafter the black comedy in his films always seemed to me to be muted by his increasing desire to showcase an emotional detachment from the material. But Barry Lyndon is a hoot. The duelling in the first part doesn’t get as nonsensical as that in another 1975 period piece, Woody Allen’s Love & Death, but it’s started down that road with Rossiter’s craven attempts to buy his way out of gaining ‘satisfaction’. I also hadn’t expected the film to be quite so picaresque. Little wonder that Bret Easton Ellis repeatedly holds up 1975 as a golden year for Hollywood compared to the current predictable to the page number beat by beat method of screenwriting, as Kubrick faithfully reproduces Thackeray’s approach of depicting a series of misadventures that romp across countries and introduce new characters and throw away old characters, before sometimes bringing them back, whenever Thackeray damn well feels like it. Here is the early ramshackle Pickwickian Dickens’ approach to plotting, rather than the High Victorian rigour and schemae.

I was less enamoured, however, with the second part. Jan Harlan made the observation that Barry Lyndon should not be considered an oddity in Kubrick’s ouevre, but a vital entry in a continuing exploration of the frailty of the individual in the face of the pressures of a corrupt society. In this sense he said all of Kubrick’s films were political message movies. Barry Lyndon, he said, is a good man, a young boy in love, manipulated by his cousins, uncle, friends, and then brutalised by English and Prussian military, until it is inevitable that he becomes a conscienceless rake. But even then he is capable of acts of goodness, which cause him the two most crippling misfortunes in his life. All of which is true, and yet I couldn’t help feel that the second part was Thackeray fulfilling a Victorian desire to punish the wicked, and, especially in the detestable Lord Bullingdon, to assert the privileges of aristocracy over the nouveau riche. Given how Dan Gilroy ended Nightcrawler you feel that if (somehow) Barry Lyndon was made in 2015, the movie would end roughly 10 minutes into its second part. Indeed, given how Kubrick ended A Clockwork Orange in 1971, with the rake triumphant, it’s odd to see him follow a Victorian prescription to moralise…

Lenny Abrahamson handed over questions to the audience at a surprisingly early stage, with regrettably few questions being directed to the erudite Harlan. Harlan interestingly explained that Irish actors were plucked from the theatre because Kubrick, who’s not usually positioned in that world rather than photography and cinema, knew that the Abbey and Gate would provide interesting character actors.O’Neal, meanwhile, got the bulk of the questions, and gave every indication that his recurring role as Brennan’s roguish father Max in Bones is the closest a dramatic persona has got to approximating his own personality. The experience of playing Barry Lyndon changed his life, but he couldn’t say how. Marisa Berenson has very few lines, because women weren’t allowed to talk much back then. The film looks like paintings from the 18th century, because Kubrick would compose shots to resemble paintings; in one case forcing O’Neal to hold a tea-cup in his right hand because it matched the painting – O’Neal being left-handed this was extremely awkward to pull off…

But when he stopped giving comic and/or comically short answers he elaborated with two anecdotes. For six months he trained at fencing, including at nights with the University of Kansas at Lawrence coach while working on Paper Moon. When he arrived to meet Kubrick he was so cocksure of his ability that he refused to wear a mask, “Barry Lyndon wouldn’t wear a fencing mask”, only to be forced to don one by the British Olympic fencer who was to teach him and refused to fence without one. Harrumphing at this nonsense O’Neal donned the mask, struck his stance, and was disarmed within two seconds. So much for impressing Kubrick with his great swordsmanship. O’Neal also responded to a question about how he cried during a death scene by saying he thought of dead puppies, and tried like hell to ignore the noise of chattering monkeys floating in from outside. For they were filming at Longleat with its animal park. Eventually Kubrick had enough of the audio recording being ruined by simian gibbering and asked someone to sort it out. The ingenious solution? Throw the monkeys more bananas than they’d ever seen in their lives, and this would keep them too occupied to interrupt the scene with their cackling. The next day Kubrick and O’Neal got ready to go again. The tears flowed, the raw emotions were captured, and then an “Oh! Ohhhhh. Uggggh. Uuuuhhhh” floated into the air. The monkeys had eaten too many bananas and were now volubly gassy, stuffed, and digesting…

And yet, out of such chaos, Kubrick’s insane repetitious takes with no direction, and lighting and relighting scenes for hours with actors not stand-ins, came a film of some beauty and much wit.

March 6, 2015

Top 5 Cinematic Spock Moments

To mark the passing of Leonard Nimoy here’s five of his best moments in the eight Star Trek movies he appeared in over 34 years.

 

Saavik-vulcans-18518127-1100-800

(5) Casuistry

“You lied!” “I exaggerated” “Hours instead of days! Now we have minutes instead of hours!” (Star Trek II: The Wrath of Khan)

Saavik is horrified that her fellow Vulcan would have lied, but (too much hanging around with humans) Spock is adamant that his obfuscation was ethically just about acceptable, and justified tactically (therefore ethically too?) as it gave Kirk the element of surprise he needed against Khan.

 

(4) Etiquette

“Your knees’ll start shaking and your fingers pop/Like a pinch on the neck of Mr Spock” (Star Trek IV: The Voyage Home)

Fine, that’s not dialogue from the movie, and that’s not what happens when you get the Vulcan nerve pinch. But it’s highly likely that the Beastie Boys had this scene in mind when writing those lyrics, as Spock’s wordless instruction in manners is a comedic delight.

 

(3) Destiny

“I have been, and always shall be, your friend” (Star Trek XI)

JJ Abrams’ reboot was a mixture of fantastic in-jokes and infuriating ret-conning. But the moment when Phantom Menace-level CGI business led young Kirk to a cave and a mysterious figure sent mythic shivers down my spine. Yes, there’s a certain introduction of Obi-Wan about things, but the passing of the franchise flame has a huge resonance.

 

(2) Memory

“Jim. Your name … is Jim?” (Star Trek III: The Search for Spock)

Star Trek III gets far too much abuse for a film featuring Christopher Lloyd chewing scenery as a Klingon, and the heartbreaking destruction of the Enterprise (“My God, Bones. What have I done?”) The moment when Kirk realises that their sacrifice has not been in vain, that Spock’s mind has survived, is a fitting finale.

 

(1) Logic

“Don’t grieve Admiral. It is logical. The needs of the many outweigh…” (Star Trek II: The Wrath of Khan)

The logical choice for best Spock moment is the scarred and dying Spock collecting himself to say goodbye to Kirk, and explain, with his best Benthamite utilitarianism, how his self-sacrifice for the sake of the ship and crew was the only possible choice he as a Vulcan could make. Like Michael Palin choosing Monty Python’s ‘Fish Dance’, you feel Leonard Nimoy would be happy to have this be the only piece of his work that remained: it says everything.

December 3, 2011

The Movies Aren’t Dead, they just smell funny: Part III

Mark Harris’ GQ article ‘The Day the Movies Died’ rightly notes that the standard which journeymen film-makers operate at has collapsed, but I want to add studio tactics, lazy CGI, and a hype machine eating itself as elements working against cinema, in addition to his recurring and important culprit – marketers.

Harris quotes a studio executive as lamenting, “We don’t tell stories anymore.” Well, Hollywood does tell stories, the problem is (as noted in a previous piece) all the screenwriting is apparently done by deeply jaded supercomputers which have been programmed with all the right story structure software but just can’t find it in their diodes to generate any surprises. The Dark Knight astounded because of its sense of creeping unease that this really could go anywhere. Could the Joker really blow up two boats full of people? Yes, after what he’d done up to that point, sitting in the cinema you were sick with suspense that Nolan would go that far in letting this supervillain off the leash. I praised Win Win for the same quality, that you couldn’t easily predict what was going to happen next and therefore got nervous for the characters’ fates in a way you usually don’t, and indeed noted that the delightfully ramshackle Troll Hunter also had a surprisingly clear three-act structure, in retrospect. The point with all of these films is that they’re so successful in dazzling the audience with their content that no one is looking at the structure while they’re watching it. Which is at it should be, Billy Wilder after all having said plot points were more effective the better a job you made of hiding them. Nolan and McCarthy are serious writer/directors and there will always be enough such ‘auteurs’ to make a crop of quality films every year. The problem is that mediocre films can’t cloak their structure with content, and so you notice just how clichéd they are. Harris brilliantly isolates The Bounty Hunter and Prince of Persia as ‘the new okay’, the film that is just about worth the ticket price but won’t linger in your memory.

Harris is very funny in noting just how disastrous a decline a system has to be in for films like those two flops to become the new benchmark of competence. He blames marketers who thought from the poster, and the existing brand, backwards to making the film, rather than from a good story forwards. But I think his characterisation of such mid-range movies as the greatest victim of Hollywood’s “collective inattention/indifference to the basic virtues of story development” is unjust. Prince of Persia is a good brand for a computer game, but offers nothing new for cinema audiences. The Bounty Hunter’s poster and tagline might have presaged a good movie, if someone had written it. There is a trend in Hollywood of pleasing the top brass by writing ‘stories’ that hit every mark they’re supposed to, but the craft has overtaken the art, these aren’t stories that need to be told, the writer is merely assembling a product, not channelling inspiration. Joel Schumacher for me represents the height from which journeymen have fallen. Movies like Flatliners or The Client set the bar far higher than any workaday studio production today. They don’t dazzle with content in the way I’ve discussed, but the structure doesn’t obtrude because they’re tremendously entertaining films. We need journeymen today to aspire to that level of basic competency in entertaining with a nice but not spectacular concept neatly done. I know that Joel Schumacher is not of beloved of most people as he is of me (I actually feel bad at not trying to pass him off as an auteur), but the man who made solid entertainments like Lost Boys and Phone Booth seems to be exactly the sort of person we’re lacking right now, stuck as we are with Brett Ratner as this generation’s equivalent.

I think the decline in the aims of screenwriting and journeymen directing is part of a deep malaise of ‘it’ll do’ that has fallen over Hollywood. We now have CGI being as obnoxiously fake as 1950s back-projection, but for worse reasons. There were actual technical difficulties, as well as laziness, involved with avoiding location shooting back then. Now, every time a TV show uses an obvious CGI backdrop for an outdoor dialogue scene (Bones) or an hysterically fake moving background for car scenes (24) it’s because they can’t be bothered going outside when they can just shoot it in a green room and expect the audience to put up with it. The laziness of omnipresent CGI can be demonstrated by some great practical magic in The Adjustment Bureau.

BORIS: So, we need to move from a bathroom in a building to the field of Yankee Stadium in one continuous tracking shot thru a door.
JOHNSON: Well, we’ll just CGI it right?
BORIS: Move from a bathroom into a green screen room and then pan around, and add in the Stadium later? I like it.
GODUNOV: Or, we could just build a bathroom set on the field of Yankee Stadium and shoot it without any CGI at all.
BORIS: Oh. (beat) How very… practical…

People don’t think about options anymore, they just use CGI. I’ve noted this before when wondering why the Hulk can’t be played by an actor anymore using Lord of the Rings-style perspective tricks to make someone like The Rock truly loom over people. CGI always has to be used, because that’s what’s done. Scripts have to be written according to a flow chart, because that’s what’s done. And, I think one of the biggest problems we’re faced with because of the rise of the marketer’s love of brand, and the concomitant franchise movie, is the Hollywood hype machine which now fundamentally distorts the way in which writers pen, and audiences view, sequels. Every sequel now has to be bigger and better and feature higher stakes, because that’s what’s done. The result is bloated messes like Pirates 2. In the Golden Age of Hollywood people might just make a sequel if they had a good idea and wanted to have fun with the same characters again, or if they didn’t have any good ideas they might instead just round up the same guys for another original movie. I interpret Fast Five as pretty much a return to that older approach. Fast Five’s trailer has clearly given up on the idea that these films are getting bigger and better. Vin Diesel promises us that they’ll get caught or killed one day, but not today, situating the film as just another chapter in the continuing adventures of some petrol-head loveable rogues. If it can return us to a slightly less hysterical and creatively self-defeating approach to franchises then the successful but utterly inconsequential Fast Five may well prove to be the saviour of modern cinema. I may be embellishing that…

In conclusion (at long last) The Movies Aren’t Dead. Shame arrives in January. I’ve seen it and Steve McQueen’s second film as director, again with Talking Movies’ favourite Michael Fassbender as his leading man, is a devastating piece of work that shows what’s possible aesthetically and emotionally if you can free yourself from the self-defeating commercial strictures currently strangling cinema.

November 16, 2011

Funny Bones

Last year, just before they handed the series over to Living, Sky 1 aired a season 1 episode of Bones instead of the expected season 6 episode, and it was stunning how drastically the show has changed over its run.

I wrote about Bones twice for the University Observer. The first time I was writing about the trend in US television of heroes that we already sympathised with being depicted as achingly alone, rather than their loneliness simply being a device to get us onboard with an unlikely hero such as The OC’s Seth Cohen. Dr Temperance Brennan, the brilliant crime-fighting forensic anthropologist, would tell her FBI partner Seeley Booth, “There’s nothing wrong with going on vacation by yourself”, and then do so frequently, when she wasn’t simply working through the weekend. Bones and House suggested that the excellence of these characters at their jobs was only possible by the sacrifice of their personal lives.

I later wrote an article dissecting Bones’ dramatic motor – the unresolved sexual tension between Dr. Temperance ‘Bones’ Brennan and FBI Special Agent Seeley Booth. Bones was not alone in using that device as a dramatic motor but it had perhaps the most obviously thwarted yet plausible of the many frustrated relationships littering the TV schedules in 2007, and one that cried out in season 1 for a symbolic Red State/Blue State reading. Towards the end of season 1 Brennan was in New Orleans identifying victims of Hurricane Katrina when she was drugged and framed for murder. Booth immediately rushed from Washington DC to rescue her only to be upbraided on arrival for his sneering attitude towards Voodoo: “I mean, you believe that Jesus rose from the dead…”, “Jesus was not a zombie! I shouldn’t have to tell you this stuff!!”

Brennan and Booth have common values and a genuine attraction that exists despite their ‘ideological’ enmity. Like Barack Obama’s famous 2004 peroration to the Democratic National Convention you can say of their partnership, “there’s not a liberal America and a conservative America – there’s the United States of America”. Neither is a mere cipher of a political position. Brennan is militantly atheistic and scientific, but supports the death penalty unreservedly and is emotionally distant as a result of being abandoned to foster-care by her fugitive criminal parents. Booth seems modelled on John Wayne’s heroic straight-shooting all-American persona, but is an unmarried father battling to see his son, who uses his FBI job as atonement for his enormous religious guilt at murdering 50 people as an army sniper. Both characters desperately need the qualities of the other in order to be effective.

Zack-and-Hodgins-Playing-under-the-pressure-zackaroni-and-hodgepodge-3852460-1024-683

The penultimate episode of season 1 managed minor miracles in tackling the occupation of Iraq with respect (if not approbation) for both points of view while being dramatically satisfying and not feeling like a complete cop-out. There was of course only so much tension that could be generated by the politico-sexual friction between the two leads. The first episode of the second season saw Brennan complain at Booth’s snippiness: “I thought we were having an interesting discussion about the War on Drugs”, “Can we please just talk about something we don’t disagree on?!” The dead silence that followed exemplified their deadlocked relationship. Little surprise then that creator Hart Hanson introduced new characters as romantic obstacles to keep the leads apart, seeming happy to relinquish to Studio 60 on the Sunset Strip the task of depicting a Blue State/Red State romance for the 2006/7 season with Aaron Sorkin’s Matt Albie and Harriet Hayes as the lovers sundered by politics and faith.

Regrettably Hanson never seemed to take up that task seriously again and season 6 confirmed a number of alarming developments in the show. Brennan used to be unconsciously anti-social – she had spent too much time in the field to remember the social niceties and her conversation suffered from an almost total ignorance of pop culture. Yet season 6 saw her presented as consciously unconsciously anti-social, if that makes sense. Despite 6 years of working with Booth she acted rudely when surely she must have learnt from his example what to say by now in nearly every circumstance. In many ways her character seemed to have regressed – the hideous attempts at jokes in particular were nothing more than horrible gurning by Emily Deschanel which was as uncomfortable to watch as it probably was to perform. This impulse towards comedy at the expense of character consistency was not an isolated incident though, but part of a trend.

The music changed over the seasons from mere background mood music to cutesy cues to indicate that everything was funny; in other words that the show itself had changed from what it originally was, a clever forensics procedural interspersed with great gags, to a modestly smart forensics sitcom with no laugh track for its constant modestly funny gags. Any doubt of this change in direction can be dispelled by noting the change in psychiatrist from Stephen Fry to John Francis Daley. Fry was cast because as a tall clever British psychiatrist he could literally look down on Booth in judgement. Daley is a young silly American psychiatrist who Booth literally just looks down on. Similarly when Zach was written out of the show at the end of season 3 he was replaced by a revolving line-up of squinterns, each of which appeared chosen for their particular comedic shtick, even if they would eventually be belatedly granted a modicum of depth. A dramatic imperative was consistently replaced by a comedic dynamic.

The decision to kill Mr Nigel-Murray at the hands of Booth’s sniper nemesis Brodsky, after a lengthy ominously scored montage which put all the characters potentially in jeopardy, was therefore terribly misjudged. The show simply cannot sustain that type of dramatic weight at this point in its development, whereas it still could when Zach was shockingly revealed as the apprentice to the cannibal serial killer Gormagon in the traumatic finale of season 3. By far the best episode of season 6 was the episode that most closely approximated season 1 – Brennan losing her grip on reality as she investigated the death of her apparent doppelganger, a brilliant socially isolated surgeon. Her tearful declaration of love for Booth and subsequent heartbroken acceptance that she had missed her chance for happiness by her reluctance to take a risk on him when he suggested it in season 5 was both incredibly dramatically satisfying and a reminder of what the show used to be.

Season 7 will largely eschew Emily Deschanel – written out for her pregnancy. Can the show survive that and will it ever square its political circle when she returns now that Booth’s romantic anger has subsided and Brennan’s imperviousness/strength balance has reached the point where they can get it together properly?

Bones season 7 begins its run on Living at 9pm tonight.

November 1, 2011

Any Other Business: Part II

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a second portmanteau post on television of course!

Burning Down the House
I’m waiting with bated breath for the resumption of Hawaii Five-O after Lenkov’s amazing season one finale. If Moffat seemed to burn the house down with the end of his penultimate episode to season 5 of Doctor Who; which he sardonically described as the Doctor imprisoned in the most secure vault in the universe, Amy dead, Rory made of plastic and all the Whovian villains united – no problem; then Peter M Lenkov took off and nuked his O’ahu abode from orbit. Lenkov in his wisdom killed the Governor who was able to sweep all of the team’s legal transgressions under the pardon rug, framed McGarrett for her murder at the hands of the Yakuza supremo, arrested Kono for stealing millions from lock-up, returned Chin to the police force to work against McGarret, and possibly torpedoed Danny’s resurrected marriage by having him rally round McGarrett. No problem?…

Cockney Voices, Still Dialogue
I was unsurprised to learn that Saffron Burrows had been ditched from Finders after a disastrous try out of its team during a truly terrible Bones episode. To term Finders a Bones spin-off is laughable, it’s merely Hart Hanson using his existing show to try and sell a second show by demonstrating to the network how much people love his all-new adorably quirky characters. And my God were they quirky… Hanson granted each of his trio distinctive modes of speech, Michael Clarke Duncan was Dr Gonzo proffering legal advice, the ‘hero’ was verbose and savanty, and Saffron Burrows was….well, not adorable was the short verdict of the American viewing public and so she had to go. The nature of the problem became clear when shortly afterwards I saw Sienna Guillory appear in a season 11 episode of CSI: LV. Guillory spoke in her normal English accent, and everything was fine, because she was just handed regular CSI: LV dialogue and told to use her natural voice. Hanson wrote dialogue that aimed to be ‘Cockney’ in its Artful Dodger choice of words and rhyming slang, and thus London girl Burrows ended up incredibly unconvincing as a Cockney!

RTE’s feeling for insomniacs
What is wrong with RTE? More specifically what is wrong with their schedulers? Why do they insist on buying major American shows, with big budgets and numerous awards, and then burying them in the graveyard shift? Mad Men barely creeps in before midnight, Hawaii Five-O comes on just before midnight, Castle comes in at around half past midnight, Medium anytime after midnight, Mercy around 1am and No Ordinary Family at 2:20am… TV3 have complained that RTE are being a wealthy dog in the manger and simply preventing other networks having these shows. Assuming that’s not true, there’s still something disgraceful about Castle, one of the very best shows around at the moment for charismatic acting, wonderful gags, and unpredictable mysteries, getting no viewers in this country because no one has the cop-on to shove it on TV at say 10:10pm on Tuesday rather than at 12:35am.

Dirty Horatio
I’ve been watching CSI: Miami and noticing with alarm and bemusement that the writers appear to have mixed up David Caruso’s Horatio Caine character with Clint Eastwood’s Dirty Harry Callahan somewhere between seasons 8 and 9. The first time we ever saw Caine in action, in an episode of CSI: LV, he was going off the beaten track during a search and found and comforted a missing child. That is Horatio Caine: great with children and dogged in his pursuit of justice. He takes his sun-glasses on and off a lot, smiles at villains, and delivers ‘cool’ lines to a screaming ‘YEEAAHHH!!!’ soundtrack by The Who. He doesn’t throw perps thru windows for the craic, and continually threaten criminals at gunpoint while snarling menacing dialogue at them. Perhaps Caruso felt that Horatio was disappearing into the background and wanted to stand out from the ensemble again, or maybe the change-over of writers has left few people with the memory of the original creation of Caine around to guide the character on a consistent arc. Either way I want more of the Horatio who tells an armadillo-hunting suspect that discovers his gun is missing, “Maybe the armadillos took it…”

Grissom’s Theory of Everything
I’ve written at great length twice about the Morpheus Problem faced by CSI: LV in trying to replace William Petersen’s Gil Grissom with Laurence Fishburne’s Ray Langston as the leader of the heroic criminalists of the Vegas crime lab. But with the hoopla surrounding the desperate quest to replace Fishburne, who’s gone back to Hollywood to resume his rightful role as a figure of authority by being Clark Kent’s editor among other gigs, a new thought sprung to mind. Instead of begging John Lithgow to join the show and then settling for Ted Danson, and announcing a comedic direction because of his arrival, why not just not replace Grissom? Grissom is irreplaceable. His cameo in season 11 only reminded us of that. So why not just trust the ensemble to carry on without him? Catherine, Nick, Sara, Greg, Hodges, Henry, Archie, Mandy, Dr Robbins and David can carry an episode just fine by themselves. Grissom was sometimes tangential to episodes and they worked just fine. Can we not trust that if the writers simply stopped trying to replace Grissom, and just enjoyed his team in motion around a now absent star, then the audience would too?

July 6, 2011

On Reading

I’ve just failed, yet again, to achieve one of my long-standing perfect reading scenarios and it’s made me reflect about my various ways of reading novels.

The perfect reading scenario in question involves reading F Scott Fitzgerald’s The Great Gatsby while listening to Rhapsody in Blue and Piano Concerto in F by George Gershwin. This of course involves reading the sparkling prose of the poet laureate of the Jazz Age to the accompaniment of the music of the Jazz Age’s pre-eminent composer, whose works might well have been performed at Gatsby’s parties. This should be done lounging outside in the sunshine; usually possible if done on the 4th of July – which is a vital component of this scenario; and drinking something deliciously iced, but undertaken; as ‘a broken series of successful gestures’ if you will; over the course of an afternoon and evening so that you get to Nick Carraway’s magnificent peroration about night falling on Gatsby’s mansion just as the sun goes down…

Oddly enough, purely by accident, I achieved a perfect reading scenario recently for Wonder Boys by Michael Chabon; in this case the scenario being entirely weather appropriate. I read the first 70 pages outside in the summer sunshine, perfectly suiting the reminiscences by Grady Tripp of his Kerouac wanderlust youth. The second half of the book, however, found me reading and reading on a thunderously wet day even as Grady Tripp, Terry Crabtree and the other characters resolved all their complicated problems during a terribly rain-sodden Pittsburgh weekend. And then, amazingly, just as Tripp achieved a final epiphany during the downpour I heard something. Birdsong. The rain here had stopped, the sun had come out, the birds were singing their relief; and damn if Chabon’s epilogue didn’t immediately return to a sunny small town in Pennsylvania.

That sort of thing, however, hardly ever happens. Most of the time the way I read is decided by the book’s length, not esoteric synchronicities. A short book like I Am Legend or Fight Club I tend to blast thru in one sitting. Meanwhile Robert B Parker’s Jesse Stone novels, masterpieces of pared-down quip-laden pulp fiction, are best devoured in three (one hundred-page) sittings over three days. Kathy Reich’s Temperance Brennan thrillers are longer and more substantial, so they’re best lapped up over two consecutive weekends. Finally there’s the way to read Patrick O’Brian’s Master & Commander novels. A chapter or two at a time, but spaced out so that the entire ten chapter novel takes at least two weeks. Only that way can one truly savour the flavour of each chapter, and O’Brian’s hilarious predisposition to writing chapters that deliberately ignore the preceding chapter’s cliff-hanger.

Nearly all these ways of reading require setting aside a chunk of time for that purpose. But of course one could say the same about writing anything worth reading…

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