Talking Movies

July 27, 2019

Miscellaneous Movie Musings: Part XVIII

As the title suggests, so forth.

Phase IV

FilmFour are showing Phase IV, Saul Bass’ singular movie as director, very late next Friday night. So late it’s technically Saturday morning at 2:20am. But it’s well worth watching. Mayo Simon, who also scripted the sequel to Westworld and The Man from Atlantis in the 1970s, provides the screenplay very reflective of its time. 20 years after classic creature feature Them! where the ants were scary for their size these ants are scary for their smarts, and the product not of atomic anxiety but burgeoning green consciousness. Them!’s practical monsters are replaced by wildlife photographer’s Ken Middleham’s stellar close-up photography of real ants. Who knows whether FilmFour are showing the version which restores Saul Bass’ original trippy finale, but the journey to it is wonderful as scientists under siege in their laboratory start to suffer paranoia and panic as ants seemingly become intelligent and aggressive. Michael Murphy as the naive idealistic scientist is unrecognisable from his Manhattan jaded sophisticate, while Avengers stalwart Nigel Davenport is customarily redoubtable as the cynical older scientist; whose determination to overcome his arm swelling to giant and useless size from an ant bite earned a special mention from Stephen King in Danse Macabre.

Oh, you thought I meant Phase 4!

No. No, I generally don’t have that much interest in business plans or announcements of new product lines. There is as much excitement to be gathered from Disney’s blustering about their plans to bother cinemas with a conveyor belt of green-screened grey-tinted generic CGI ‘spectacle’ as there is in learning about a new line of just super-duper hoovers from Mr Dyson. There are 5 TV shows that will no doubt be inexplicable without watching the films, so you have to shell out for your streaming subscription and head to the multiplex which might well be showing only Disney films because Disney might well have that much power soon. And in the multiplexes we will see Black Widow, surrounded by an air of pointlessness Natasha R having been killed off by the time Kevin Feige deigned to let her fly solo, Doctor Strange 2, bearing a notably silly title, and Thor 4, which seems suspiciously focused on Natalie Portman deigning to return to the MCU as female Thor and (insufferable since Veronica Mars) Tessa Thompson outing Valkyrie rather than on Taika Waititi’s winning comedy. Blade and Fantastic Four have no directors attached, but it doesn’t matter. Directors don’t matter. Edgar Wright was kicked off Ant-Man for having a directorial vision. Disney is wasting the time of directors like Scott Derrickson and Destin Daniel Cretton who will be remembered for their horrors and dramas, not their CGI assemblages. Shang-Chi and The Eternals will likely not be given the latitude that James Gunn was given to bring obscurities to success with Guardians of the Galaxy but instead rely on the Too Big to Fail ethos that now pervades the production and reception of the MCU. I see a lot of business here, but not much show.

May 10, 2011

‘Matt Damon is Not Jason Bourne’

Matt Damon is Not Jason Bourne. An obvious truth I know, but one which seems to need re-stating of late…

I’ve been bemused by more than a few posters for movies of late because of two problems, the second of which concerns Matt Damon. The first problem is ho-hum films with unmemorable titles which make matters worse for themselves by blowing up their equally generic taglines to the same size so that looking at the poster on a bus stop you can find yourself looking at the top and bottom of the poster, and wondering if that new rom-com with Vince Vaughn is actually called The Truth Hurts or The Dilemma, or if Russell Brand is voicing a CGI character in something called Hop or Candy, Chicks, and Rocky and Roll. Now it’s undoubtedly true that good films make their titles memorable even if those titles aren’t particularly great objectively, but that’s no excuse for mediocre films settling for utterly banal titles. Similarly with taglines; how far we have fallen from when taglines like ‘In space no one can hear you scream’ became as famous as any lines of dialogue from the film they advertised.

This seems to display a lack of effort by all concerned that ties into my second problem – incredibly lazy journalism being utilised for incredibly lazy marketing. Green Zone displayed on its poster a quote stating ‘Bourne Goes Epic’. The Adjustment Bureau displayed on its poster a quote stating ‘Bourne meets Inception’. It’s got to the stage now that if Paul Thomas Anderson was to make a companion piece to Boogie Nights starring Matt Damon instead of his lookalike Mark Wahlberg, you would put serious money that some idiot somewhere would obligingly write ‘Bourne goes Porn’ as a handy pull-quote for the poster. Matt Damon is Not Jason Bourne: not every film he makes will be a gritty hand-held action thriller, nor will he be taciturn and amnesiac in every role he plays. Could Hereafter be accurately described as ‘Bourne meets Medium’? This trend is as idiotic as plastering the sentence ‘Indiana Jones meets Perry Mason’ on a poster for Presumed Innocent would have been, and it desperately needs to stop now.

The death of film was loudly declared some weeks ago in an article I may parse in the near future, but, while I don’t subscribe to the idea that Hollywood doesn’t tell stories anymore, I do think it may be accurate to suggest that a malaise of sorts has indeed descended over Burbank. Possibly it’s related to the decline in DVD sales, and a consequent feeling that if everything will just be pirated and watched online for free anyway, then what’s the point of wasting your time designing a Saul Bass class poster with a tagline that will become a catchphrase to entice people to see a film in theatres, when you could just plaster a barely adequate tagline and an inane quote from a pressed for time journalist over a cast photo?

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