Talking Movies

June 29, 2020

Miscellaneous Movie Musings: Part XXXIV

As the title suggests, so forth.

2001: A very bad year

Well, I finally saw Evolution last weekend. Just because it was on. And because I was eating dinner. It was a sorta ambient film-watching experience. Watch 45 minutes. Tape the rest. Watch that during lunch the next day. Wonder then why I bothered watching any of it. Muse on not knowing about Head & Shoulders’ efficacy against aliens. Cheer on some truly minor TV actors in small roles. Wonder why on earth David Duchovny took the lead. Muse on whether its failure stopped him from parlaying his X-Files fame into a leading man career on the big screen. And then remember that, even though it was from the director of Ghostbusters, I’d skipped the film on purpose in 2001 from a complete lack of interest. A lack of interest not limited to Evolution. There were multiple reasons why I saw only eleven films in the cinema in 2001, an alarming number of them rep showings. But one of them is that the year 2001 was not a very good year for cinema. In fact it was by way of being a very bad year. Crouching Tiger, Hidden Dragon and Tigerland, which were 2001 highlights for me arrived here then but were actually 2000 films. And the hangover went the other way with Ocean’s 11 and Monsters Inc being 2002 experiences here. Shrek, Planet of the Apes, AI, Moulin Rouge!, The Others, The Fellowship of the Ring. These were the films of 2001 I saw on the biggest screens in the Savoy and Ormonde during 2001, and if not for the Antipodeans Luhrmann and Jackson unleashing immortal classics in the final four months of the year what a washout it would have been. I don’t know if anything can really be said to cause a slump the likes of which Hollywood experienced in 2001 but it was a slump for sure.

John Cusack: Former Film Star

John Cusack turned 54 yesterday which led me to the question: What in the hell happened to John Cusack? In what should have been the decade of his career in which he played a defining role, like Kirk Douglas in Spartacus or John Wayne in The Searchers, or Michael Douglas as Gordon Gekko or Keanu Reeves as John Wick, the best that Cusack rose to as a fortysomething was his lead role in the minor Stephen King horror story 1408 and his hero repeatedly escaping just ahead of the shockwave(s) in Roland Emmerich’s over-egged disaster pudding 2012. What went wrong? How did he end up making so many films that were not released, barely released, or sunk without trace here? 1408 and Cell, his two Stephen King horrors with Samuel L Jackson, got cinema releases in late summer 2007 and 2016 – they almost neatly cordon off the decade of disaster under scrutiny, and the decline in Cusack’s celebrity, as the latter went to VoD before a very limited cinema release. Before 1408 came Grace is Gone and The Contract. Ring a bell? Nope… 2012 and Hot Tub Time Machine while not great films got wide releases and made money. The Raven and The Frozen Ground are better films but got less wide releases and made considerably less money. They also flag a recurring problem – there are way too many films here that merge together when you read the loglines; impressive casts assembled for some glossy crime thriller, involving a serial killer or assassination or heist: The Factory, The Numbers Station, The Bag Man, Drive Hard, The Prince, Reclaim. There’s even a Phone Booth–like appearance in Grand Piano. And what’s stranger is that in the midst of these formulaic films Cusack made We Are Not Animals in Argentina, about a Hollywood star fleeing formulaic films, and then went back to Hollywood to make more formulaic films. There have not been enough meaty roles like his older Brian Wilson in the split-focus biopic Love & Mercy. Instead he’s made cameos in The Paperboy, The Butler, Adult World, taken more substantial roles in glossy films that sank without trace (Dragon Blade, Shanghai), indie films that failed to connect (Maps to the Stars, Chi-Raq), and somehow bungled a spiritual sequel to his towering 90s achievement Grosse Pointe Blank in the shape of War, Inc. Cusack has not stopped working, and perhaps that’s the problem. Like Matthew McConaughey, he needs to say no to a looooot of scripts for a while if he wants to get back on track. Otherwise Cusack will continue to work steadily, but solely on trashy nonsense (constantly declining in quality), that is made for midnight drunken Netflix buffoonery, and clicked on increasingly only by people who remember that his was once a face that appeared on posters inside cinemas.

July 24, 2018

From the Archives: The X-Files: I Want to Believe

Another deep dive into the pre-Talking Movies archive dredges up a sequel that really should have stayed hidden deep down.

There are some spooky things about this film, none of them to do with the plot. It’s been ten years since the first X-Files film Fight the Future, six years since the show ended, and eight years since everyone stopped caring. So why release this film against the all powerful Dark Knight when it’s so obviously a Hallowe’en film? Every scene takes place in a snowy West Virginia winter and the story eschews alien conspiracies for straight horror. Even odder, given that The Dark Knight is a triumphant sequel, original show writers Chris Carter and Frank Spotnitz are pitting against it a sequel that is not faster, harder and better. Where Fight the Future went for big effects (remember the glorious tastelessness of its opening Oklahoma bombing recreation?) this is a sequel that aims to be quieter (!!), and fails…

This film believes itself to be a low-key emotional character study spliced with some deliciously grotesque shlock horror. Fox Mulder is a broken man (we know this because he has a beard) while Dana Scully is working as a doctor in a Catholic hospital. Scully is asked by the FBI to bring Mulder in for a consult on the case of a missing agent, as the only leads come from a psychic paedophile priest Fr Joe, played with surprisingly unshowy aplomb by Billy Connolly as a man tormented by his instincts and desperate for redemption and forgiveness. Mulder is rejuvenated by the case (he shaves off his beard) but Scully remains sceptical, some things never change.

This film never descends to George Lucas dialogue but most scenes between Mulder and Scully take five minutes to run thru three simple ideas; “You need to trust people again, take this job Mulder”, “This job has too much darkness Mulder, you should drop it”, and “This job is all I know how to do Scully”; these longeurs lead to musings –  like the hilarious notion that the militant atheism of Dawkins, so hip since 9/11, will be infuriated by the unashamed leaps of faith taken by Mulder and Scully in believing in the supernatural. Scully may doubt the existence of God as much as ever but she still curses him…

This film is too low-key for its own good. Chris Carter directed episodes of the TV show with more visual flair than he displays here. Amanda Peet and Xzibit do their level best with under-written roles as FBI agents. Callum Keith Rennie, a Canadian character actor best known for his Cylon in Battlestar Galactica and undercover cop in Due South, outshines them in lead support as a sinister Russian serial killer/organ-harvester. A suspenseful chase scene involving him is a highlight but such moments are offset by Scully’s sub-plot which is insultingly emotionally manipulative. It’s nice to see Mulder & Scully together again as older characters, but it would be better if they were in a worthy conspiracy laden sequel and not merely an efficient horror movie.

3/5

October 21, 2016

Keeping up with the Joneses

Director Greg Mottola returns to cinemas for the first time since Paul, but working with inferior material to his recent Rogen, Pegg, and Sorkin scripts.

kutj-gallery3

Jeff Gaffney (Zach Galifianakis) is an ineffectual HR drone who is genially disregarded by all the people with security clearance at major weapons manufacturer McDowell-Burton International. His wife Karen (Isla Fisher) is dissatisfied designing an absurd bathroom for obnoxious neighbours the Craverstons (being a largely wasted VEEP star Matt Walsh as Dan and Maribeth Monroe as Meg). As the Gaffneys agonise over how to utilise their sons’ time at summer camp to revitalise their marriage new neighbours arrive; the uber-stylish uber-sophisticated Joneses, Tim (Jon Hamm) and Natalie (Gal Gadot). Jeff is surprised at Tim, the travel writer who blows glass sculptures as a hobby, befriending him. But Karen grows suspicious that Tim and Natalie are actually spies, and when Jeff takes his concerns to MBI security officer Carl Pronger (Kevin Dunn), the Gaffneys enter the sinister world of ‘The Scorpion’.

What exactly is Greg Mottola, director of Arrested Development, The Newsroom, Superbad, Paul and Adventureland, doing helming this action-comedy? This is the comediocre terrain of hack auteurs like Shawn Levy or (shudder) Paul Feig. Mottola has some fun playing on the remarkable coincidence that Gadot & Hamm are both 7 inches taller than their counterparts Fisher & Galifianakis. There’s a lot of looming… It’s a treat to hear Gadot berating Hamm in rapid-fire Hebrew insults, but there’s not a whole lot else going on. Mottola shoots action with pleasing commitment to practical stunt-work, and throws in gleefully parodic action-hero slo-mo and hero shots of Gadot and Hamm, but the lack of any real driving comedic intent is almost metatextually reflected in Andrew Dunn’s cinematography being remarkably soft-focus; as if he was massaging out the cast’s wrinkles in Murder, She Wrote.

Michael LeSieur’s screenplay is a strange beast, and it’s hard to see what in it attracted Mottola. This film is obviously in debt to Mr & Mrs Smith, and even that had longueurs, but Keeping up with the Joneses lacks that movie’s over-arching sense of fun; which kept the wheels spinning when there were no actual jokes. Here LeSieur has very few actual jokes at all, and, in sending Jeff on trips to exotic snake restaurants with Tim, slips into what feels like a tip of the hat to David Duchovny’s intermittently interesting satire The Joneses; where perfect new neighbours are actually a guerrilla sales team. Depressingly early on you realise this is another major studio comedy that has tidy plotting and neat character arcs, and basically no jokes. When exactly did that approach to writing ‘comedy’ become conventional wisdom?

Keeping up with the Joneses just about holds the attention, but given the calibre of talent involved you just wonder how nobody noticed that it wasn’t actually … funny.

1.5/5

Blog at WordPress.com.