There is a list, at least in my head, of Hollywood projects that should have happened and didn’t. Joss Whedon’s Wonder Woman is one of those; while this err in judgment is being somewhat corrected by the fact that he is going to helm The Avengers, like so many DC heroes the Amazon princess has still never gotten a fair representation of herself on screen.
Other than Nolan’s Batman the one consistent way DC characters come to screen is through the DC direct to DVD animation division, which produced an origin story titled only Wonder Woman. While this story fit into the less cheesy frame of Dianna’s character than Linda Carter’s TV series, Wonder Woman still lacks everything a big screen version of the tale could bring her – namely reality and emotion.
This is the Batman Begins of Wonder Woman only it’s missing the glorious connective thread David Goyer wrote into Nolan’s tale. Instead, we begin Hippolyta, Queen of the Amazon’s defeating Ares and being granted a sanctuary for her Amazons. Since this great war of the gods the Amazon’s have been living in secrecy in a completely man-free environment until Capt. Steve Trevor crash lands on the Amazon’s island – an event that coincides with Ares escape into the real world. Dianna, princess of the Amazon’s is then sent to return Taylor to his country and find Ares, while Dianna secretly hopes to find a way to reconnect the Amazon’s with the outside world in the process.
While this plot sounds pretty concise and connected let me assure it is not. The main thing missing is any development of Taylor or Dianna themselves and the natural move of Dianna from being an Amazon princess to a super hero reluctant to return home. It all just happens.
Also, while I love the voice talent in this movie, I can’t help but feel that animation is not the way to connect with the Amazon’s. The DC animation lacked the heart and feeling I wanted to get behind the lines that were being said and the animation felt like a barrier leaving me wondering if it was the actors or images that were leaving me unable to connect to the characters.
All in all, while Wonder Woman was enjoyable it left me wanting a big screen version with a killer script that only Joss Whedon could have provided.
Director: Lauren Montgomery
Writer: Michael Jelenic
Wonder Woman: Keri Russell
Steve Trevor: Nathan Fillion
Ares: Alfred Molina
Artemis: Rosario Dawson
Hera: Marg Helgenberger
Hades: Oliver Platt
Hippolyta: Virginia Madsen
Advisor: Mr. President, the threat has been neutralized.
President: How?
Advisor: It seems by a group of armored supermodels.
Showing posts with label rosario dawson. Show all posts
Showing posts with label rosario dawson. Show all posts
Monday, May 17, 2010
Thursday, April 8, 2010
A Guide to Recognizing Your Saints
One of the best things about my love affair with the movies is that I can see a movie more than once and get something different out of it every time. The movie can take on a new meaning, inspire me, force me out of a funk or just relax me for the night. I watched A Guide to Recognizing Your Saints this week and this time this film has inspired me in a way that makes me want to start making another film.
I can’t quite put my finger on why I love this film so much, or why I find it uplifting instead of saddening, but I do. When I watch A Guide to Recognizing Your Saints I know this summer in Dito’s life was traumatic and horrible, but watching the film you know that it was actually transforming, it was something that made him who he is today and he can’t escape that which is why the last line of narration in the film is so damn important – “In the end – just like I said – I left everything, and everyone. But no one, no one has ever left me.”
For me, everything I love about this film actually goes back to the style inherent in the film. It’s incredibly unique and that’s why I find it so inspiring. From the music choices, editing style, actors chosen, time line and narration of the film every element in this film works together perfectly to give you a snapshot of a summer and a man, and the style gives it a clear insight into what he must really be like and who he’s become.
The fascinating thing about A Guide to Recognizing Your Saints, at least for a film intellectual like me, is the perspective of the film. Dito Montiel is played as an adult by Robert Downy Jr, and as a teen by Shia LeBouf; it’s about the summer that changed his life and that he ends up writing a book about as an adult and comes back to visit his neighborhood. However, Dito Montiel is also a real person, not just any person but the man who wrote and directed the film and actually wrote a book about these events in his life called A Guide to Recognizing Your Saints. This might be one of the most autobiographical films I’ve seen in a long time and I can only imagine how unique an experience it had to have been for Montiel to put it on screen himself.
Right now A Guide to Recognizing Your Saints is making me wonder if there is anything in my life, stylized or not, that would be just as entertaining to watch and as healing to put from page to screen. I don’t know the answer to that, but you can bet I will be thinking about that. I can’t imagine what that would be like as an artist to have something I can put out there that’s so literally personal, and how freeing it might be.
I can’t quite put my finger on why I love this film so much, or why I find it uplifting instead of saddening, but I do. When I watch A Guide to Recognizing Your Saints I know this summer in Dito’s life was traumatic and horrible, but watching the film you know that it was actually transforming, it was something that made him who he is today and he can’t escape that which is why the last line of narration in the film is so damn important – “In the end – just like I said – I left everything, and everyone. But no one, no one has ever left me.”
For me, everything I love about this film actually goes back to the style inherent in the film. It’s incredibly unique and that’s why I find it so inspiring. From the music choices, editing style, actors chosen, time line and narration of the film every element in this film works together perfectly to give you a snapshot of a summer and a man, and the style gives it a clear insight into what he must really be like and who he’s become.
The fascinating thing about A Guide to Recognizing Your Saints, at least for a film intellectual like me, is the perspective of the film. Dito Montiel is played as an adult by Robert Downy Jr, and as a teen by Shia LeBouf; it’s about the summer that changed his life and that he ends up writing a book about as an adult and comes back to visit his neighborhood. However, Dito Montiel is also a real person, not just any person but the man who wrote and directed the film and actually wrote a book about these events in his life called A Guide to Recognizing Your Saints. This might be one of the most autobiographical films I’ve seen in a long time and I can only imagine how unique an experience it had to have been for Montiel to put it on screen himself.
Right now A Guide to Recognizing Your Saints is making me wonder if there is anything in my life, stylized or not, that would be just as entertaining to watch and as healing to put from page to screen. I don’t know the answer to that, but you can bet I will be thinking about that. I can’t imagine what that would be like as an artist to have something I can put out there that’s so literally personal, and how freeing it might be.
Monday, September 29, 2008
Eagle Eye
I have loved DJ Caruso’s films since I was introduced to his debut feature film The Salton Sea when I was in college. I see a lot of talent in DJ Caruso and I have been waiting for another film to match the level of talent he showed in his debut feature film. Eagle Eye is not that film, but that does not mean it’s not an enjoyable film. Anything by DJ is worth watching at least once.
What I did love about Eagle Eye is that I finally got to see DJ do a straight out action film; they gave him a budget and let him blow up anything he wanted – and he does. The only problem with the film is kind of the problem with all action films nowadays, the cutting is so chaotic during the action bits that it becomes very muddled and hard to follow. More than once I thought the protagonists had their car crashed, shot or set on fire only to find out that was a different car. It was rather annoying, but most action films have been having this issue since the Jason Bourne series hit the cinemas. This film actually reminds me of very early Michael Bay films - you know, when he still had a plot to his movies.
To me Eagle Eye was a little predictable on one level, because when a certain piece of the plot was revealed I guessed a big chunk of what was going on – but I see more movies than most people so that’s kind of understandable. It felt a little to me like 2001 meets Patriot Games.
What does work is the actors. This is a conspiracy theory that does not have a lot of time to develop deep characters, so your actors have to have the right chemistry from scene one so you as an audience member can wait to learn about the characters as you go along with the story. Michelle Monaghan & Shia LaBeouf have chemistry. They bring a vivacity to the screen that shows one of DJ’s true talents – casting the right people in the right parts.
All in all, Eagle Eye is not a perfect film, but it is what an action movie should be: a smart, fun adrenaline rush that keeps you guessing and makes you want to see what is going to happen next. Just be prepared for the political commentary.
Director: DJ Caruso
Writers: John Glenn, Travis Wright, Hillary Seitz & Dan McDermott
Jerry Shaw: Shia LaBeouf
Rachel Holloman: Michelle Monaghan
Zoe Perez: Rosario Dawson
Defense Secretary Callister: Michael Chiklis
Agent Toby Grant: Ethan Embry
Agent Thomas Morgan: Billy Bob Thornton
William Shaw: William Sadler
What I did love about Eagle Eye is that I finally got to see DJ do a straight out action film; they gave him a budget and let him blow up anything he wanted – and he does. The only problem with the film is kind of the problem with all action films nowadays, the cutting is so chaotic during the action bits that it becomes very muddled and hard to follow. More than once I thought the protagonists had their car crashed, shot or set on fire only to find out that was a different car. It was rather annoying, but most action films have been having this issue since the Jason Bourne series hit the cinemas. This film actually reminds me of very early Michael Bay films - you know, when he still had a plot to his movies.
To me Eagle Eye was a little predictable on one level, because when a certain piece of the plot was revealed I guessed a big chunk of what was going on – but I see more movies than most people so that’s kind of understandable. It felt a little to me like 2001 meets Patriot Games.
What does work is the actors. This is a conspiracy theory that does not have a lot of time to develop deep characters, so your actors have to have the right chemistry from scene one so you as an audience member can wait to learn about the characters as you go along with the story. Michelle Monaghan & Shia LaBeouf have chemistry. They bring a vivacity to the screen that shows one of DJ’s true talents – casting the right people in the right parts.
All in all, Eagle Eye is not a perfect film, but it is what an action movie should be: a smart, fun adrenaline rush that keeps you guessing and makes you want to see what is going to happen next. Just be prepared for the political commentary.
Director: DJ Caruso
Writers: John Glenn, Travis Wright, Hillary Seitz & Dan McDermott
Jerry Shaw: Shia LaBeouf
Rachel Holloman: Michelle Monaghan
Zoe Perez: Rosario Dawson
Defense Secretary Callister: Michael Chiklis
Agent Toby Grant: Ethan Embry
Agent Thomas Morgan: Billy Bob Thornton
William Shaw: William Sadler
Thursday, September 25, 2008
A Guide to Recognizing Your Saints
Lately, I have had a fascination with watching Robert Downey Jr. movies. I’d forgotten how much I love him as an actor until I picked up Kiss Kiss Bang Bang and threw it into my DVD player a few months ago. Now I am obsessed. Since I opened a Netflix account and now have access to everything I added most of Downey’s catalog and Christian Bale’s to my queue. The latest Downey film I received is A Guide to Recognizing Your Saints.
The film is autobiographical about the life of the director/writer of the film and book - Dito. In the film Dito is played by Robert Downey Jr. in the 2005 time line and Shia LaBeouff in the 1986 time line. In the present Dito has just written the book about his life as a teen in Queens and why he left, and his mother gives him a call because his father is sick and won’t go to the hospital so she wants Dito to attempt coming home and taking him. Dito left home in 1986 and hasn’t been back since. The film recounts the events that led up to Dito fleeing home in the flashbacks with Shia LaBeouf.
I enjoyed this movie, but I don’t think that it is one that will appeal to the mass audience. The director has chosen to add some experimental elements into the film that won’t sit well with a large portion of the audience. There is subtitles put in the film when they would not normally be necessary, portions are edited similar to The Limey where you flash forward and backward with characters during a conversation so you don’t see them speaking while you hear them conversing, and the fourth wall is broken multiple times.
It is my opinion that this film worked in this format because it was made by the author of the book. It is obviously not a faithful adaptation to the entire book, but rather focuses on something very specific that Dito needed to work through – his relationship with his father and the life that he wanted for his son. This is actually one movie that really makes me want to learn more about the man behind it and read the book.
Director & Writer: Dito Montiel
Dito: Robert Downey Jr.
Young Dito: Shia LaBeouf
Flora: Dianne Wiest
Laurie: Rosario Dawson
Young Laurie: Melonie Diaz
Diane: Julia Garro
Jenny: Elenore Hendricks
Guiseppe: Adam Scarimbolo
Nerf: Scott Campbell
Young Nerf: Peter Tambakis
Antonio: Eric Roberts
Young Antonio: Channing Tatum
Monty: Chazz Palminteri
Mike: Martin Compston
Frank: Anthony DeSando
Dito: In the end - just like I said - I left everything, and everyone. But no one, no one has ever left me
The film is autobiographical about the life of the director/writer of the film and book - Dito. In the film Dito is played by Robert Downey Jr. in the 2005 time line and Shia LaBeouff in the 1986 time line. In the present Dito has just written the book about his life as a teen in Queens and why he left, and his mother gives him a call because his father is sick and won’t go to the hospital so she wants Dito to attempt coming home and taking him. Dito left home in 1986 and hasn’t been back since. The film recounts the events that led up to Dito fleeing home in the flashbacks with Shia LaBeouf.
I enjoyed this movie, but I don’t think that it is one that will appeal to the mass audience. The director has chosen to add some experimental elements into the film that won’t sit well with a large portion of the audience. There is subtitles put in the film when they would not normally be necessary, portions are edited similar to The Limey where you flash forward and backward with characters during a conversation so you don’t see them speaking while you hear them conversing, and the fourth wall is broken multiple times.
It is my opinion that this film worked in this format because it was made by the author of the book. It is obviously not a faithful adaptation to the entire book, but rather focuses on something very specific that Dito needed to work through – his relationship with his father and the life that he wanted for his son. This is actually one movie that really makes me want to learn more about the man behind it and read the book.
Director & Writer: Dito Montiel
Dito: Robert Downey Jr.
Young Dito: Shia LaBeouf
Flora: Dianne Wiest
Laurie: Rosario Dawson
Young Laurie: Melonie Diaz
Diane: Julia Garro
Jenny: Elenore Hendricks
Guiseppe: Adam Scarimbolo
Nerf: Scott Campbell
Young Nerf: Peter Tambakis
Antonio: Eric Roberts
Young Antonio: Channing Tatum
Monty: Chazz Palminteri
Mike: Martin Compston
Frank: Anthony DeSando
Dito: In the end - just like I said - I left everything, and everyone. But no one, no one has ever left me
Subscribe to:
Posts (Atom)