Tagged: film review
Theatrical Thursday – Legendary Heroes, featuring Ellen Ripley.
In an era dominated by testosterone, big muscles, bigger guns, and the ever present and ultra macho Alpha Male phenomenon, the idea of a female lead in an action role was not just uncommon, but was largely unheard of. Guys like Stallone, Schwarzenegger, Bruce Willis, and Van Damme ruled the box office with their manly mix of tough cop roles, cheesy one liners, and improbable shoot outs; for a female to suit up into a stereotypical male lead ‘hero’ role, in that era, was remarkable. Ellen Ripley, the Warrant Officer on the Nostromo (effectively played by Sigourney Weaver) in the original 1979 film, was a true bad ass.
Everything about Ripley was atypical for a hero lead; she wasn’t bulging with pecs and biceps, she wasn’t trained in any sort of martial art, there were no Matrix style slow mo flip kicks, she didn’t dish out one liners like candy, and she obviously wasn’t a dude.
She did, however, possess an uncommon resilience in the face of unthinkable carnage (standing toe to toe with a dinosaur sized mother alien was pretty damned awesome), and courage that rivaled any character that Stallone or Arnold ever played. Her secret weapon? Her intellect. She outsmarted her alien rivals with true cunning. Who knows, Ripley vs. Rambo may have been a decent duel. At any rate, Sigourney Weaver made that role her own (a role that was originally written for a man); she beat the shit out of gnarly aliens across space and time, and in my eyes, is one bad ass Legendary Hero for doing it.
Theatrical Thursday – Glory (1989).
Period films are often challenging ordeals. Many factors come into play when transferring a fact based story to the big screen, from costumes, to historical accuracy, to the ever-present “will anyone pay to watch this” dilemma. The American Civil War stands among the pivotal moments in our nation’s history, so it stands as no surprise that there have been a plethora of flicks based on that time period made over the years, from the infamous Birth of a Nation in 1915, the legendary Gone with the Wind, and 2003’s Gods and Generals.
It was 1989 when a powerful gem named Glory was released into theaters, chronicling the formation of the 54th Massachusetts Volunteer Infantry, an all black regiment mustered in 1863. Directed by Edward Zwick, the movie featured some serious star power in Denzel Washington, Matthew Broderick, Morgan Freeman, Andre Braugher, Cary Elwes, and a host of recognizable faces. Incorporating a triumphant score by James Horner, the film succeeds in painting a multi-layered picture of the trials and hurdles that had to be overcome by black and white troops in the Union Army following the Emancipation Proclamation passed into law by President Lincoln.
The film carefully creates a vivid portrait of the main characters, with the simmering tensions of the war serving as a commanding backdrop. I remember getting misty-eyed in the theaters when I saw this film as a kid, and the message that it conveys holds true today. Definitely worth a watch.
Theatrical Thursday – Big (1988).
The year was 1988. I’d spent countless hours begging my mother incessantly in that desperate, nine year old beggary voice…begging for the chance to see Big in the theaters. I went so far as to cut the picture of it from the film section of the newspaper (it was a big, goofy picture of Tom Hank’s face), and I’d carry it around and show her with the hope of annoying her into taking me to see it. When she finally did, I loved it then and for many years to come. I’ve seen the film about 786 times to date, but seeing it again recently after a very long while opened my eyes to a few key elements that a nine year olds eyes will never see. The main character, Josh Baskin, wished “to be big”; he got his wish, and woke up one morning looking like grown up Tom Hanks. Most of the movie involved Tom acting like he was twelve, but what I hadn’t noticed before was the emphasis on choices. I had no idea that the movie was so complex; taken apart, it had some very deep inner workings.
As an adult, the kid found great success working at MacMillan Toys, great love with Susan (the love interest), and a maturity that most twelve year olds don’t possess. He also earned a pretty powerful conundrum that most kids don’t have to endure; having to choose between prematurely continuing a successful adult life, or reverting back to the comforting reality of his youth. In my opinion, the most powerful scene in the film was when he went back home, in adult form, and witnessed firsthand what he had, and ultimately would, miss out on if he chose the adult path. The ‘innocence’ of youth; friends, games, and family stared him in the face, and either decision that he made was bound to hurt someone. It showed that life revolves around choices, great or minor, and how ultimately, you have to make the decision that’s best for you.
He followed his heart and went back to his family and his young self in the end, but his decision to do so was embedded in my head for a few days after I’d watched the movie. So many of us in life, when confronted with great decisions, freeze up from indecision, and rather than formulate a well-calculated battle plan, we end up making none and float through life under the mercy of fate. It takes incredible character to exert the power of choice, despite the odds. Hey, if the kid in the film was able to make a sound decision that would affect the lives of everyone around him, then we should all be able to, right? Twenty-eight years after seeing Big, I finally got a sense of the soul of the movie; follow your heart, and you can’t go wrong. It’s never too late to learn that message.
Theatrical Thursday, featuring Stalker (1979).
In honor of its limited theatrical re-release, I am duty bound to share my appreciation of this cinematic gem. If you’re lucky enough to catch this one, please do. It’s a journey that you won’t regret. Thanks for reading…good day to all!
I’d fallen asleep on the sofa in front the TV one Friday night (years ago) and awoke on Saturday morning to this mysteriously surreal little Russian gem, a dreamy, thought provoking tale guaranteed to drum up a few intelligent discussions about man’s quest for knowledge and his insatiable hunger for the unknown. Directed by legendary filmmaker Andrei Tarkovsky and adapted from the novel Roadside Picnic, it deftly explores the depth of human want and need and desire, and trails the journey of a Stalker (a hired guide) and the two men who call upon his expertise to lead them into the gritty bowels of “The Zone”. It is there that they intend to enter the fabled room within the ruins of The Zone that enables any wish to come true. The journey is not without its trials though. To gain entry into The Zone (a deserted city that fell victim to a mysterious incident), they must first bypass a thickly guarded military checkpoint; but the true challenge is navigating the desolation of The Zone itself, an entirely barren, ever changing landscape full of unseen and unbeknownst dangers that have tested the will, searched the souls, and claimed the lives of countless Stalkers and wish seekers.
A beautifully minimalist film, shot in unfortunately toxic, abandoned Russian industrial locations, is said to have contributed to the early cancerous deaths of several cast and crew, including the director Tarkovsky. But the often several minutes long takes, the haunting landscapes, the telling score, and the philosophically rich dialogue combine for a journey that will not soon be forgotten.
Theatrical Thursday – Paths of Glory (1957).
Stanley Kubrick, a legendary filmmaker of great renown, has been at the helm of some of cinema’s most well-known and iconic pictures; who can forget Lolita (1962), Spartacus (1960), Dr. Strangelove (1964), 2001: A Space Odyssey (1968), A Clockwork Orange (1971), The Shining (1980), and Full Metal Jacket (1987)? His resume reads like a greatest hits list, the multitude of his work being critically acclaimed and pioneering in their own right. Quite possibly my all-time favorite Kubrick flick, though, is the utter masterwork that is Paths of Glory. Set in WWI, the film’s focus involves the trial of three men accused of cowardice in the face of the enemy after a failed assault on the enemy German positions. Kirk Douglas, a personal favorite, plays the role of French Colonel Dax, a visceral portrayal of a man tasked with defending the accused soldiers, who all face death by firing squad. His character faces the daunting task of proving the unwavering character of his men, while facing the impossible brutality that was WWI.
The film itself is wrought with a tension befitting the backdrop of one of the world’s most brutal conflicts, with themes of honor, duty, nationalistic pride, greed, betrayal, family, and idealism laced tightly within. The stark realism on display in the raw and gritty set pieces and the intricately placed details add to the brilliant performances of the actors. The grand scale of the set captured the sheer scope and intensity of the conflict, and the dramatic, solemn tension vividly captured the perilous plight of the condemned men. An outstanding achievement in film from a director and cast known for their remarkable performances.
Check it out!
Theatrical Thursday – Hell’s Angels (1930).
There’s nothing quite like the feel of the early classics; the attention to sharp dialogue (even if it was laced with gooey mozzarella), the richly layered intensity of the orchestral scores, and the overly dramatic stage-esque acting style combined with a precision lacking in so many of today’s films. I set my sights on Hell’s Angels this morning, the 1930 Howard Hughes masterwork. Hughes, the notorious perfectionist and eccentric in later life, directed and produced the piece at a cost of nearly 4 million dollars, which was the most expensive film production ever made at the time. But I have to say that the money was well spent; the attention to detail and the immensity and daring creativity of the aerial combat shots made for an exhilarating viewing.
The story tells the tale of two brothers, Roy and Monte Rutledge, (James Hall and Ben Lyon respectively), and their high flying exploits as pilots in Britain’s Royal Flying Corp during WWI. Austere Roy contrasted with Monte, who was quite the lecher (Monte joined the corp just to get a kiss from a girl at the recruiting post), but the two went on to serve in the conflict. Roy is deeply in love with Helen (played by Jean Harlow), who isn’t quite who she appears to be, but his love for her plays a pivotal role in the story. The production was originally filmed as a silent picture, but the advent of sound technology led the crew to re-shoot most of the movie using this new technique.
Nearly 100 WWI pilots were brought in to fly the planes, with three of them crashing and dying during the filming. The film makes use of groundbreaking aerial camera work and features some of the most thrilling scenes of mock aerial combat filmed; the extent of the scenes is truly remarkable for the era, as quality WWI dogfights are a rarity. Had the film been made today, 90% of it would have been done with CGI, so it’s great to watch a picture with real guts and mechanics. An exciting film done in the old, big Hollywood style, it’s definitely worth a watch even if you’re not a fan of old war movies. If you are, you’d better get on it ASAP.
Theatrical Thursday – Big, 1988.
The year was 1988. I’d spent countless hours begging my mother incessantly in that desperate, nine year old beggary voice…begging for the chance to see Big in the theaters. I went so far as to cut the picture of it from the film section of the newspaper (it was a big, goofy picture of Tom Hank’s face), and I’d carry it around and show her with the hope of annoying her into taking me to see it. When she finally did, I loved it then and for many years to come. I’ve seen the film about 786 times to date, but seeing it again recently after a very long while opened my eyes to a few key elements that a nine year olds eyes will never see. The main character, Josh Baskin, wished ‘to be big’; he got his wish, and woke up one morning looking like Tom Hanks. Most of the movie involved Tom Hanks acting like he was twelve, but what I hadn’t noticed before was the emphasis on choices. I had no idea that the movie was so complex; taken apart, it had some very deep inner workings.
As an adult, the kid found great success working at MacMillan Toys, great love with Susan (the love interest), and a maturity that most twelve year olds don’t possess. He also earned a pretty powerful conundrum that most kids don’t have to endure; having to choose between continuing a successful adult life, or reverting back to the reality of his youth. In my opinion, the most powerful scene in the film was when he went back home, in adult form, and witnessed firsthand what he had, and ultimately would, miss out on if he chose the adult path. The ‘innocence’ of youth, friends, games, and family stared him in the face, and either decision that he made was bound to hurt someone. It showed that life revolves around choices, great or minor, and how ultimately, you have to make the best decision for you.
He followed his heart and went back to his family and his young self in the end, but his decision to do so was embedded in my head for a few days after I’d watched the movie. So many of us in life, when confronted with great decisions, freeze up from indecision, and rather than formulate a well-calculated battle plan, we end up making none and floating through life under the mercy of fate. It takes incredible character to exert the power of choice, despite the odds. Hey, if the kid in the film was able to make a sound decision that would affect the lives of everyone around him, then we should all be able to, right? Twenty-eight years after seeing Big, I finally got a sense of the soul of the movie; follow your heart, and you can’t go wrong. It’s never too late to learn that message.
Theatrical Thursday – Media Rewind Podcast; The Expendables.
Listen in on the latest episode of Media Rewind as Dustin and I discuss the testosterone infused action fest that is ‘The Expendables’!
http://traffic.libsyn.com/mediarewind/MR13_-_Expendables.mp3
ENJOY!!
Media Rewind Podcast – Halloween Picks.
Join in as Dustin and I talk it up about worthy Halloween film picks.
http://po.st/IRtW4x
Enjoy!
Theatrical Thursday – Bad Accents, featuring Robin Hood: Prince of Thieves (1991).
Hollywood has long been accent confused; the mere hint of an accent is meant to suffice for any nationality on Earth. Britons generally serve as the universal go to voice for any global race, as Britons have systematically portrayed German Nazis (Valkyrie, The Eagle Has Landed), Vikings (The 13th Warrior), and most recently North Africans/Egyptians (Exodus: God and Kings). We are forced and made to believe that any accent is better than no accent at all, an absurdly pervasive premise that is shoved down our movie going throats on a regular basis. It hearkens back to the days of ingorance when Laurence Olivier and Constantin Stanislavski portrayed the Moorish character Othello, and the screen was full of white men and women masquerading as Asians and Native Americans (such as Stephen Macht as Heavy Eagle in The Mountain Men), and every other non white ethnicity on the planet. Only in the very recent modern times have ethnicities been able to…shocker…portray themselves.
A classic example of accent forgiveness is Kevin Costner in Robin Hood: Prince of Thieves, Costner’s 1991 take on the legendary English tale. As is commonly known, Robin Hood was the fabled English outlaw of Sherwood Forest who challenged the evil authority of the Sheriff of Nottingham, robbing from the rich and winning the hearts of the poor on his way to literary glory. It would be assumed that, portraying such a well known figure of English lore, either an Englishman would assume the role, or someone that was adequately capable of producing the necessary English-ness that would make believers out of even the most discerning viewers. Instead, we got Kevin in his most typical All-American self, with zero (and I mean zero) hint of credibility that he is the famous English longbowman who made the forest of Sherwood his bitch. We got Robin of Cincinnati, who sticks out like a sore thumb as the only one sounding like he’s from Akron, Ohio while being surrounded by a largely British cast. Even Morgan Freeman got his Moor on, while Christian Slater and Mary Elizabeth Mastrantonio sufficiently mustered thinly veiled European impressions. I remember seeing this film in the theater as a kid, and even then thinking “what the hell”. Behold, Robin of Montana in all his American splendor.
Wisely, they kept the original trailer dialogue free, which deftly concealed his distinct American-ness. This wordless 2 minutes of trailer quite effectively duped the public.
musings at random. 