Once again I saw The Dark Knight. I have to say that the more I see it the more it holds together as a perfect movie.
One of the things I loved most about the first film was the dialogue between all of the characters, but most importantly between Alfred and Bruce. The Dark Knight has the same banter that I love so much.
Seriously, go see this movie. I think you will all love it.
Alfred Pennyworth: I suppose they'll take me in as well, as your accomplice.
Bruce Wayne: Accomplice? I'm going to say the whole thing was your idea.
Wednesday, July 23, 2008
Tuesday, July 22, 2008
Superman Returns
Superman is now and has always been my favorite super hero, he’s probably my favorite fictional character. Superman represents American ideals, the American dream, and everything that should be pure and good about humanity. He is the one pure and good super hero, he desperately wants to fit in but the more he tries the more he knows that the only way he can help the people that he loves is by separating himself from them. Superman is the selfless super hero who will never be shaken, and who can never really be who he wants to be – Clark Kent.
I lay out the above so that you will know where I come from when I critique a Superman movie. Since they begin committing Superman to film there have been good films about Superman, but no film has ever truly grasped the idealism, and pureness of the character. Superman the Movie and Superman II were pretty darn good, but not really the Superman from the comic books, and don’t even get me started on Lois Lane. However, compared to the way that Superman Returns bastardizes the man of steel the previous films are shining examples of Superman lore.
When I first heard that Bryan Singer was talking the helm of the Superman franchise I was excited. Singer is one of my favorite directors and made my favorite film of all time - The Usual Suspects. His visual style is phenomenal, he seems to be an actor’s director and he completely invented the visual style of the X-Men films so I thought he’d do no wrong…I’d do better, but he couldn’t do wrong. I was mistaken.
What I can say is that there are some things that Singer gets very, very right. There are visuals in the film that are perfect Superman visuals. When Superman rescues the plane at the beginning of the film and the entire stadium applauds him – perfect. When he flies over the streets and everyone stops and stares – perfect. When we flashback to Clark Kent as a kid playing with his powers – perfect. But the list ends about there. A few perfect visuals does not make up for the things that went wrong with the film.
What is most notable bothersome about Superman Returns is the casting. What Singer got so right in X-Men he got so wrong in this film; Brandon Routh is perfect as Supes, there is no denying that. However, Kate Bosworth as Lois Lane is not so perfect, she is fragile, annoying, and looks like she could snap in two under the slightest pressure. Where Margo Kidder was overbearing and slightly grating, Bosworth is too transparent and frail to be the stubborn, tough as nails reporter that doesn’t listen to anyone and makes her own rules. Let’s also note that in this film we assume the characters should be in their mid-thirties, and yet Bosworth and Routh don’t look a day over 24.
We then move on to James Marsden who plays Lois Lane’s fiancée Richard; I have no problems with Marsden, I adore him in every part and that is the problem. Marsden is far too likable for the character he was cast to paly. As an audience member we should want Lois to dump Richard and gun it for Supes/Clark. Instead, we want Richard to dump Lois because he is wonderful and she is horrible to him. Not exactly the kind of reaction you want to the character that should be the third wheel in the scenario.
Now we can discuss Lex Luthor, played by Kevin Spacey. I actually have no problems with this casting. I genuinely think it could have been perfect – if Singer had actually made him the Luthor from the comic books and not the Luthor from the first two Superman films. Instead of being the menacing villain the two time Oscar winner is capable of playing, we have a cheesy, poorly written performance of a villain who smacks of clichés.
Normally I try not to post too big of spoiler in my reviews, but I will break that rule here. Superman Returns does the one heinous thing that it cannot recover from, ever. They give Superman and Lois Lane a love child.
There is no way in Superman lore that he would EVER have an illegitimate child. EVER. I understand that children are the byproduct of sex, but this is still fiction and there is no way that with the pureness that Superman represents that he would ever have an illegitimate child. I’m sorry; it took about 40 years for Clark Kent and Lois Lane to tie the knot in the comic book, you cannot make the decision to give him a six year old son in the course of a two hour movie.
I still adore Bryan Singer. However, I remember him saying once that he doesn’t read comic books or know much about them. With X-Men that didn’t seem to make a difference, he understood what the characters where about and how to make them work in that world. He shared no such empathy for the man of steel; and I don’t know if Superman can recover.
Here and now is the first time that I say this publically for all to see. Warner Brothers, DC – someday if you give me the reins to the Superman franchise I can do to it what Christopher Nolan did to Batman. I can make the movie that satisfies the geeks because it is the Superman, Clark Kent and Lois Lane they know and love; I can make the movie that satisfies the audiences worldwide because it is a damn good story; I can make the Superman movie that makes Superman relevant again; I can make the Superman movie that breaks box office records.
All you have to do is give it to me in a few years.
Director: Bryan Singer
Writers: Michael Dougherty & Dan Harris
Clark Kent/Superman: Brandon Routh
Lois Lane: Kate Bosworth
Lex Luthor: Kevin Spacey
Richard White: James Marsden
Kitty: Parker Posey
Perry White: Frank Langella
Martha Kent: Eva Marie Saint
Jor-El: Marlin Brando
Jason: Tristan Lake Leabu
Superman: You wrote that the world doesn't need a savior, but every day I hear people crying for one.
I lay out the above so that you will know where I come from when I critique a Superman movie. Since they begin committing Superman to film there have been good films about Superman, but no film has ever truly grasped the idealism, and pureness of the character. Superman the Movie and Superman II were pretty darn good, but not really the Superman from the comic books, and don’t even get me started on Lois Lane. However, compared to the way that Superman Returns bastardizes the man of steel the previous films are shining examples of Superman lore.
When I first heard that Bryan Singer was talking the helm of the Superman franchise I was excited. Singer is one of my favorite directors and made my favorite film of all time - The Usual Suspects. His visual style is phenomenal, he seems to be an actor’s director and he completely invented the visual style of the X-Men films so I thought he’d do no wrong…I’d do better, but he couldn’t do wrong. I was mistaken.
What I can say is that there are some things that Singer gets very, very right. There are visuals in the film that are perfect Superman visuals. When Superman rescues the plane at the beginning of the film and the entire stadium applauds him – perfect. When he flies over the streets and everyone stops and stares – perfect. When we flashback to Clark Kent as a kid playing with his powers – perfect. But the list ends about there. A few perfect visuals does not make up for the things that went wrong with the film.
What is most notable bothersome about Superman Returns is the casting. What Singer got so right in X-Men he got so wrong in this film; Brandon Routh is perfect as Supes, there is no denying that. However, Kate Bosworth as Lois Lane is not so perfect, she is fragile, annoying, and looks like she could snap in two under the slightest pressure. Where Margo Kidder was overbearing and slightly grating, Bosworth is too transparent and frail to be the stubborn, tough as nails reporter that doesn’t listen to anyone and makes her own rules. Let’s also note that in this film we assume the characters should be in their mid-thirties, and yet Bosworth and Routh don’t look a day over 24.
We then move on to James Marsden who plays Lois Lane’s fiancée Richard; I have no problems with Marsden, I adore him in every part and that is the problem. Marsden is far too likable for the character he was cast to paly. As an audience member we should want Lois to dump Richard and gun it for Supes/Clark. Instead, we want Richard to dump Lois because he is wonderful and she is horrible to him. Not exactly the kind of reaction you want to the character that should be the third wheel in the scenario.
Now we can discuss Lex Luthor, played by Kevin Spacey. I actually have no problems with this casting. I genuinely think it could have been perfect – if Singer had actually made him the Luthor from the comic books and not the Luthor from the first two Superman films. Instead of being the menacing villain the two time Oscar winner is capable of playing, we have a cheesy, poorly written performance of a villain who smacks of clichés.
Normally I try not to post too big of spoiler in my reviews, but I will break that rule here. Superman Returns does the one heinous thing that it cannot recover from, ever. They give Superman and Lois Lane a love child.
There is no way in Superman lore that he would EVER have an illegitimate child. EVER. I understand that children are the byproduct of sex, but this is still fiction and there is no way that with the pureness that Superman represents that he would ever have an illegitimate child. I’m sorry; it took about 40 years for Clark Kent and Lois Lane to tie the knot in the comic book, you cannot make the decision to give him a six year old son in the course of a two hour movie.
I still adore Bryan Singer. However, I remember him saying once that he doesn’t read comic books or know much about them. With X-Men that didn’t seem to make a difference, he understood what the characters where about and how to make them work in that world. He shared no such empathy for the man of steel; and I don’t know if Superman can recover.
Here and now is the first time that I say this publically for all to see. Warner Brothers, DC – someday if you give me the reins to the Superman franchise I can do to it what Christopher Nolan did to Batman. I can make the movie that satisfies the geeks because it is the Superman, Clark Kent and Lois Lane they know and love; I can make the movie that satisfies the audiences worldwide because it is a damn good story; I can make the Superman movie that makes Superman relevant again; I can make the Superman movie that breaks box office records.
All you have to do is give it to me in a few years.
Director: Bryan Singer
Writers: Michael Dougherty & Dan Harris
Clark Kent/Superman: Brandon Routh
Lois Lane: Kate Bosworth
Lex Luthor: Kevin Spacey
Richard White: James Marsden
Kitty: Parker Posey
Perry White: Frank Langella
Martha Kent: Eva Marie Saint
Jor-El: Marlin Brando
Jason: Tristan Lake Leabu
Superman: You wrote that the world doesn't need a savior, but every day I hear people crying for one.
Monday, July 21, 2008
American Psycho
There are many reasons that I adore American Psycho. It’s one of the most deranged films I can think of that was directed by a woman, Christian Bale has his shirt off for a good chunk of the film, it’s imaginative and stylized, the dialogue is damn original, and it’s a movie that no matter how many times I see it I notice more. I will never completely figure this movie out.
American Psycho is a critique of 80’s materialism and the hidden savage nature in the 80’s; in the tale our main character walks the line between his normal life where he wants to be “normal” and his night life where he runs rampant as a savage serial killer. There is a twist to this tale, which I will do my best not to give away too much information on; however, unlike High Tension the twist in this film actually works.
This is a film where Christian Bale once again proves that he can throw himself into any part and conquer it. Patrick Bateman lives by his routine, establishes some very strict rules for himself and when he loses it and goes on his murderous rampages it is delightful and horrifying at the same time. Christian Bale is able to play the upscale boy next door who just happens to be an insane serial killer and makes it believable. It is a superior and riveting performance that proves he knows how to walk the line between an overdone performance and an exaggerated character. I am not swayed to like Bale’s performance merely because Christian is in his skivvies for a large portion of the film, but that is a nice bonus. The sheer amount of disgust he is able to manage over a competitors “superior” business card is shocking to watch.
I also adore that this film is directed by a woman – Mary Harron. It actually surprised me a few years ago when I figured that out. The reason is that American Psycho created the reaction in me that I want my films to create in others; too often people watch films directed by women and judge them on a different scale. Usually, they try to figure out how these films speak about “women’s issues”, something I hate. Do you look at a Spielberg film and try to figure out what it is saying about “men’s issues” before you do anything else? No. So why do people do that for women directors? My goal in making my films is to make good, interesting, quality films first and have people notice that I am a woman second. Basically, I want people to walk out and say “Dang, I loved that movie” and then “That was directed by a woman?” only if necessary.
Mary Harron did this for me. I paid attention to the film and not the person that made it.
What is crazy to me is that there is a sequel to American Psycho. If you have seen the film you know that this is not possible and I challenge anyone to disagree with me.
Director: Mary Harron
Writers: Marry Harron & Guinevere Turner
Patrick Bateman: Christian Bale
Timothy Bryce: Justin Theroux
Craig Mcdermott: Josh Lucas
David VanPatten: Bill Sage
Jean: Chloe Sevigny
Evelyn: Reese Witherspoon
Courtney: Samantha Mathis
Luis Carruthers: Matt Ross
Paul Allen: Jared Leto
det. Kimball: Willem Dafoe
Patrick Bateman: There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there.
American Psycho is a critique of 80’s materialism and the hidden savage nature in the 80’s; in the tale our main character walks the line between his normal life where he wants to be “normal” and his night life where he runs rampant as a savage serial killer. There is a twist to this tale, which I will do my best not to give away too much information on; however, unlike High Tension the twist in this film actually works.
This is a film where Christian Bale once again proves that he can throw himself into any part and conquer it. Patrick Bateman lives by his routine, establishes some very strict rules for himself and when he loses it and goes on his murderous rampages it is delightful and horrifying at the same time. Christian Bale is able to play the upscale boy next door who just happens to be an insane serial killer and makes it believable. It is a superior and riveting performance that proves he knows how to walk the line between an overdone performance and an exaggerated character. I am not swayed to like Bale’s performance merely because Christian is in his skivvies for a large portion of the film, but that is a nice bonus. The sheer amount of disgust he is able to manage over a competitors “superior” business card is shocking to watch.
I also adore that this film is directed by a woman – Mary Harron. It actually surprised me a few years ago when I figured that out. The reason is that American Psycho created the reaction in me that I want my films to create in others; too often people watch films directed by women and judge them on a different scale. Usually, they try to figure out how these films speak about “women’s issues”, something I hate. Do you look at a Spielberg film and try to figure out what it is saying about “men’s issues” before you do anything else? No. So why do people do that for women directors? My goal in making my films is to make good, interesting, quality films first and have people notice that I am a woman second. Basically, I want people to walk out and say “Dang, I loved that movie” and then “That was directed by a woman?” only if necessary.
Mary Harron did this for me. I paid attention to the film and not the person that made it.
What is crazy to me is that there is a sequel to American Psycho. If you have seen the film you know that this is not possible and I challenge anyone to disagree with me.
Director: Mary Harron
Writers: Marry Harron & Guinevere Turner
Patrick Bateman: Christian Bale
Timothy Bryce: Justin Theroux
Craig Mcdermott: Josh Lucas
David VanPatten: Bill Sage
Jean: Chloe Sevigny
Evelyn: Reese Witherspoon
Courtney: Samantha Mathis
Luis Carruthers: Matt Ross
Paul Allen: Jared Leto
det. Kimball: Willem Dafoe
Patrick Bateman: There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there.
The Dark Knight
I told you I was going to, and I bet you all didn’t believe me. I saw The Dark Knight twice in less than 24 hours. That wasn’t originally my intention, but my friends kid begged me to take her and I thought it sounded like fun. On second viewing The Dark Knight is even better than the first time; I could sit back, pay closer attention and notice the details.
One of the things I didn’t have time to spend enough time noticing on the first viewing was the use of daylight in the film. Unlike Batman Begins, this film has a large chunk of activity taking place in the daylight. This underscores the fact that Batman and his activities are infecting more than the dark side of society; he’s begun to infect all of Gotham’s people not just the criminals. The citizens of Gotham are gaining strength, and the criminals are being forced into the daylight and out of the shadows they hid in. Sure everyone knew they were there, but they ignored them until Batman showed that they could be fought against. However, it is this change that makes the most dangerous of them all come out – the Joker.
What I also noticed was something that had the film school academic geek in me absolutely floored. What I assume some of you know, is that symbolically the left side represents evil, and the right represents good; when Tow Face is created it is the left side of Harvey Dent’s face that is permanently scarred and in the process of getting that scar (the actions that led up to it) begin the act that brings to darkness out of Harvey Dent and start the chain reaction that turns him into Two Face. Once the scars are caused it’s quite obvious; more subtle however, is how Dent is lit in all the scenes prior to his turn as Two Face. During every shot I noticed, no matter how subtle Dent is always lit with the major light source illuminating the left side of his face so that the right “good” side of his face is always in somewhat of a shadow, no matter how slight. Thus creating the foreshadowing that Dent will lose his good side and be taken over by the dark natures he has strove to suppress.
This is a summer movie that subtly defies all the rules of summer movies; it is dark, brooding and in essence the good guy doesn’t win. As Christopher Nolan is the masterful filmmaker behind Memento, The Prestige and Insomnia I know that the more I watch The Dark Knight the more layers I will be able to strip away and grasp the deeper meaning behind this film, just like Batman Begins.
The Joker: Where do we begin? A year ago, these cops and lawyers wouldn't dare cross any of you. I mean, what happened?
Gamble: So what are you proposing?
The Joker: It's simple: Kill the Batman.
One of the things I didn’t have time to spend enough time noticing on the first viewing was the use of daylight in the film. Unlike Batman Begins, this film has a large chunk of activity taking place in the daylight. This underscores the fact that Batman and his activities are infecting more than the dark side of society; he’s begun to infect all of Gotham’s people not just the criminals. The citizens of Gotham are gaining strength, and the criminals are being forced into the daylight and out of the shadows they hid in. Sure everyone knew they were there, but they ignored them until Batman showed that they could be fought against. However, it is this change that makes the most dangerous of them all come out – the Joker.
What I also noticed was something that had the film school academic geek in me absolutely floored. What I assume some of you know, is that symbolically the left side represents evil, and the right represents good; when Tow Face is created it is the left side of Harvey Dent’s face that is permanently scarred and in the process of getting that scar (the actions that led up to it) begin the act that brings to darkness out of Harvey Dent and start the chain reaction that turns him into Two Face. Once the scars are caused it’s quite obvious; more subtle however, is how Dent is lit in all the scenes prior to his turn as Two Face. During every shot I noticed, no matter how subtle Dent is always lit with the major light source illuminating the left side of his face so that the right “good” side of his face is always in somewhat of a shadow, no matter how slight. Thus creating the foreshadowing that Dent will lose his good side and be taken over by the dark natures he has strove to suppress.
This is a summer movie that subtly defies all the rules of summer movies; it is dark, brooding and in essence the good guy doesn’t win. As Christopher Nolan is the masterful filmmaker behind Memento, The Prestige and Insomnia I know that the more I watch The Dark Knight the more layers I will be able to strip away and grasp the deeper meaning behind this film, just like Batman Begins.
The Joker: Where do we begin? A year ago, these cops and lawyers wouldn't dare cross any of you. I mean, what happened?
Gamble: So what are you proposing?
The Joker: It's simple: Kill the Batman.
Swingers
Swingers is a film very few people would think of making. The title would scare a lot of people off because they assume it’s about overly promiscuous couples; when in fact Swingers is about a group single guys who idolize the Rat Pack and are trying to make it in Hollywood.In essence Swingers is a period piece even though it was filmed during the era that it takes place in. Swingers is set in a very specific portion of the 1990’s, the few years where the club culture went retro and swing music and dancing exploded into the mainstream; this was the 1990’s, but it is a very specific set of people and culture. When this film came out it was one of the original indy bombs that exploded onto the market and made people take notice of a different kind of filmmaking from the main stream. This film gave us Jon Favreau, Ron Livingston, Vince Vaughn, Heather Graham and Doug Liman.
At its core Swingers is the simple story of Mike, who has moved from Hollywood to take his comedy career to the next level and can’t get over the girl he left behind. This girl infects his whole life and for six months his friends have been trying to pull him out of it. His best friends are trying to make it in the business to; Trent is the ladies man who does not appreciate the moderate success he is having, Sue is another struggling actor who backs up Trent and his rules on women, and Rob is new to Hollywood from the east coast, and is pissed that he went from playing Shakespeare off Broadway to getting auditions for children’s entertainment. Mike is being pushed by his friends to forget the girl he left behind, and find a new “baby” or two to change his outlook.
This film is a delightful romp into the single male psyche. It sizzles with wit, humor and heart. These characters a people that are utterly real, and if you didn’t know they were fictional you would expect to run into them on the city streets of Hollywood.
Swingers is a testament to what a passion for filmmaking, and a specific project can do to all those involved.
Director: Doug Liman
Writer: Jon Favreau
Mike: Jon Favreau
Trent: Vince Vaughn
Rob: Ron Livingston
Sue: Patrick Van Horn
Lorraine: Heather Graham
Trent: I don't want you to be the guy in the PG-13 movie everyone's really hoping makes it happen. I want you to be like the guy in the rated R movie, you know, the guy you're not sure whether or not you like yet. You're not sure where he's coming from. Okay? You're a bad man. You're a bad man, Mikey. You're a bad man, bad man.
Subscribe to:
Comments (Atom)