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.

May 5, 2018

From the Archives: Son of Rambow

Another dive into the pre-Talking Movies archives turns up a neglected British comedy whose child stars went on to interesting careers while its director waited nearly a decade for Sing.

Garth Jennings, director of the flawed but fun Hitchhiker’s Guide to the Galaxy film, fulfils his obvious potential with a very funny and charming slice of 1980s nostalgia. Directed from his own script, which he was working on prior to Hitchhiker’s, this is very obviously a deeply personal project. Fantastic young lead actor Bill Milner (think a less annoying Freddie Highmore…) plays Will, a shy child who lives with his widowed religious mother and has little contact with the rough side of life…until a detention-worthy encounter in the school corridor with Carter, whose introduction is a visual triumph. Will Poulter is fantastic as Lee Carter, the coolest kid in school. Every school had one of these, a bad boy with a heart of gold…maybe. But not every school had one who got up to such demented antics involving flying plastic dogs…

It’s a great pity that this film is being released after the similarly themed Be Kind Rewind as this is far, far funnier. Jennings’ staging of the boys’ production of insane home movie Son of Rambow is just inspired, with endless quirky and inventive stunts. The warmth of the script has attracted a nice supporting cast of British actors including comedy legend Eric Sykes. Spaced star Jessica Stevenson stands out in an unusually dramatic turn as Will’s mother, a leading member of the Plymouth Brethren who disavow music, films and television. Will thus has to sit outside while TV documentaries are shown in class, which leads to a wonderful running gag, and also his fateful encounter with Carter.

Featuring the coolest New Romantic French exchange student of all time among other joys this does occasionally dip into cliché with its ‘touching’ message about childhood friendship and the liberating joy of cinema. But it’s all done with such obvious affection for the perils of watching Rambo at too young an age that it can be forgiven its faults. Son of Rambow is reminiscent of Grosse Pointe Blank in being a film so warm-hearted and fun that it can make you nostalgic for a 1980s adolescence you never even had.

4/5

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