Monday, August 11, 2014

Farewell to Our Genius Friend


I am engulfed by sadness at the death of Robin Williams. I feel that I've lost a dear relative, a good friend. I know millions of people around the world are feeling this. We are all, today, members of Robin’s extended family. And we are grieving him.

How could we not? He made us roar with laughter, not just smile or chuckle. He kept our minds nimble and swift as we tried to keep up with his brilliant one. Watching him in stand-up or on interviews, you couldn't help but be in awe at the speed with which jokes came to him.  What talent! No; what genius! Film never could capture that speed. Movies confined him and reduced his brilliance. And yet he shone.



On the screen he wasn't just funny, he was also all heart. We wanted to stand on our desks with the incredibly young Ethan Hawke and yell “Captain, my Captain!” at him in Dead Poet’s Society. Or salute his Adrian Cronauer character like the also very young Forest Whitaker did in Good Morning, Vietnam! ; two of his better films, along with The Bird Cage, which was actually even better than the original, thanks to his portrayal of Armand Goldman next to Nathan Lane.



He did drama well, like in his award winning role in Good Will Hunting, or besides Al Pacino in Insomnia, but without a doubt it was in comedy where he excelled. The interesting thing is that he had comedy for all tastes as well as ages. His stand-up was for adults and without being prudish it also wasn't salacious; it was always smart! His movies for kids brought adults to the theaters to see the marvelous genie in Aladin, the absent minded professor in Flubber, the father in Jumanji or RV, Teddy Roosevelt in the Night at the Museum series.




It hurts to know how much pain he must have been feeling. We can only hope that he knew he was a cherished friend to millions, one that we never met in person, but a friend who made us enjoy life a little more through laughter. 

Robin Williams, how we will miss you!





Monday, August 4, 2014

We are Groot!


No art form is as indelibly linked to technology as the seventh art. The velocity with which technology has transformed this medium is awe inspiring and nowhere is it more visible than in the science fiction genre of films. When Georges Méliès set off for space in 1902 with Le Voyage dans la Lune, generally considered to be the earliest film of the science fiction genre, spectators increased their fascination with movies tenfold. We were able to see the seemingly impossible; back then in a very rudimentary form.  A whole century and many billions of dollars later, we are blasted through space led by Rocket Raccoon and the humanoid tree-like creature known as Groot, two of the most amazing digitally animated characters to hit the big screen in Marvel’s most recent film Guardians of the Galaxy.

It was another George, Lucas this time, that launched a new wave of science fiction movies, introducing the marvel that are special effects, visual effects and, a bit later on, digital animation. Industrial Light & Magic, the company which Lucas created for Star Wars back in 1977, thirty-seven years later bedazzles on with Guardians of the Galaxy, albeit now as part of the mammoth corporation that is Disney.  How far we’ve come, however, from being fascinated by Master Yoda who today, even with the digital restorations, is so very muppet-like when compared to the real-to life raccoon that is Rocket in Guardians!


The facial expressions, the detail in fur, whiskers and movement of the raccoon is truly astonishing. Granted, Bradley Cooper gives voice to Rocket and does so in an award worthy manner, but it is the talent of the artists and animators that give life to this tough, gun-toting and hilarious little being. Groot, the tree with human form and heart, voiced by Vin Diesel, is also precious in every sense and hard to take your eyes away from.  Such wizardry is only explained when you sit through the credits to the film. It is not just Industrial Light & Magic that made this possible, there are other FX, VX and digital animation companies involved and the list of animators, visual and special effects artists is almost never ending (though most Marvel movie fans know to stay through the credits for the final short scene included after they pass).

This is the work of thousands of artists made possible only with the $170 million that this picture cost to make.  Yet another contribution of George Lucas to the history of movies. Star Wars, although a movie shot on actual sets and filmed on film, was an expensive movie to make and probably the first “summer blockbuster” in the history of film. It cost 11 million, which would be about 44 million adjusted to today’s dollars, but in a mere three years had revenues near $150 million. But even in that times do change and Guardians of the Galaxy has, in three days, already made $94 million.

There are, or course, the serious, realist science fiction movies that augur our future, and we’ve written many a post about them in this blog, those like 2001 A Space Odyssey, Alien, Blade Runner, Brazil and, to name two presented this year, Lucy and Snowpiercer. And then there are the comics.

 I have already dedicated a post to my inner geek fascination with Marvel and DC Comics-based movies of recent origin (see Heroes for all Ages, May 2013), so I won’t go into that again; but I will add, in reference to the movie that is popping up here and there in this post, that Guardians of the Galaxy, based on the Marvel comic of the name that dates back to the sixties, does something that other recent comic-based movies don’t, it makes you have loads of fun!

Superhero comics had their serious side to them, for sure, but they also had humor and weren’t meant to be treaties on philosophy or the meaning of life. Some of the more recent movies have forgotten this and are really rather dark and dreary (the Thor series, for example). Enter Chris Pratt, with his rascally smile, gleaming eyes and funky dance moves, leading a troupe of  misfits and “losers” (as he explains: those who have lost someone special) and with Groot and Rocket (originally Rocky Raccoon, in honor of the Beatles) and we’re flown and blown back to our Walk-man toting, comic reading summer days!  

This is a film with a script that takes us for a fun ride. That it takes $170 million dollars to do so is something we could write about a bit longer, but this is a marvel of technology, it is summer and it’s good that we finally see a blockbuster that hasn’t totally wasted our time and money. 

Thursday, July 24, 2014

Eyes Wide Open, Heart on Hold


As we wilt from the summer heat, a cool autumn breeze flows through the cinematic community by way of the major film festivals that have announced the movies they will showcase. The 71st Venice International Film Festival takes place from August 27th to 6th September 2014; the 39th annual 2014 Toronto Film Festival takes place September 4 to the 14th; and the 52nd New York Film Festival follows on September 26 to October 12th.

Michael Keaton in Birdman - Willem Dafoe in Pasolini - Isaac & Chastain in A Most Violent Year 

Just reading the titles, directors, actors and topics covered by the films showcased in these festival gives us film lovers the air we need to make it through the doldrums produced by the summer blockbusters!  The films are a little tilted towards parading famous late forty to early seventy year old male actors, but otherwise, there seems to be a bit every type of genre lover.  Here’s a taste of the goodies (we hope) to come:


Title
Director
Featuring
Plot
Big Eyes
Tim Burton
Amy Adams, Christopher Waltz, Jason Schwartzman
The story of painter Margaret Keane
Pasolini
Abel Ferrara
Willem Dafoe
A look at the final days of director Pier Paolo Pasolini
Inherent Vice
Paul Thomas Anderson
Joaquin Phoenix, Josh Brolin, Benicio del Toro
The investigation of a former girlfriend.
Miss Julie
Liv Ullman
Colin Farrell and Jessica Chastain
Adaptation of the Strindberg play
The Equalizer
Antoine Fuqua
Denzel Washington
Kidnap drama
Birdman
Alejandro González Iñárritu
Michael Keaton
An actor who once played a superhero mounts a Broadway play
A Most Violent Year
JC Chandor
Oscar Isaacs, Jessica Chastain, David Oyelowo
Thriller set in NY in 1981.
  A Little Chaos
Alan Rickman
Alan Rickman, Kate Winslet and Stanley Tucci
Period piece about King Louis XIV
The Reach
Jean-Baptiste Léonetti
Michael Douglas
A thriller about a ruthless businessman who tries to cover up a homicide while on safari
The Drop
Michaël R. Roskam
James Gandolfini, Tom Hardy and Noomi Rapace
A robbery gone awry and entwined with the past of a neighborhood
The Humbling
Barry Levinson
Al Pacino, Greta Gerwig
Relationship between an aged, suicidal actor and a younger woman
Time Out of Mind
Oren Moverman
Richard Gere
A homeless, drunken man tries to reconnect with his daughter
Love & Mercy
Bill Polhad
Paul Dano
A Beach Boys biopic
Good Kill
Andrew Niccol
Ethan Hawke, January Jones
A soldier questioning his work dispatching drones to Afghanistan
This Is Where I Leave You
Shawn Levi
Rose Byrne, Jason Bateman
A husband juggling bereavement and infidelity
The Judge
David Dobkin
Robert Downey Jr., Robert Duval
A man trying to clear his father of a homicide
Black and White
Mike Binder
Kevin Costner and Octavia Spencer
A custody battle over their grandson
Nightcrawler
Dan Gilroy
Jake Gyllenhaal
A crime drama set in LA
Pawn Sacrifice
Edward Zwick
Live Schreiber, Peter Sarsgaard, Tobey Maguire
A movie about chess master Bobby Fischer
While We’re Young
Noah Baumbach
Ben Stiller, Amanda Syefried
A documentary filmmaker and his wife who befriend a younger couple
The Theory of Everything
James Marsh
Eddie Redmayne
A Stephen Hawking biopic
The Imitation Game
Morten Tyldum
Benedict Cumberbatch, Keira Knightley
A biopic about enigma code breaker Alan Turin
Samba
Olivier Nakache
Charlotte Gainsbourgh
Senegal
Men, Women and Children
Jason Reitman
Adam Sandler and Emma Thompson
A sexually frustrated father
Still Alice
Richard Glatzer
Julianne Moore and Kristen Stewart
A movie dealing with early onset Alzheimer’s
Cake
Daniel Barnz
Anna Kendrick and Jennifer Aniston
A chronic pain support group
Mangelhorn
David Gordon Green
Al Pacino
A locksmith and love
Trash
Stephen Daldry
Martin Sheen, Rooney Mara
Set in the third world, three children discover something in a garbage dump.
Fury
David Ayer
Brad Pitt, Shia LaBeouf
World war II
Into the Woods
Rob Marshall
Johnny Depp, Emily Blunt
A witch
Unbroken
Angelina Jolie (written by Joel and Ethan Coen)
Jack O’Connell
Louis Zamperini, an Olympic runner who was taken prisoner by Japanese forces during World War II.
Far from the Madding Crowd
Thomas Vinterberg
Thomas Hardy, David Nichols
Remake of 1967 movie
Gone Girl
David Fincher
Ben Affleck
Based on the best-selling crime novel

Pacino in The Humbling and Manglehorn

Wednesday, July 9, 2014

Endless Journey


It’s really not difficult to understand why movies that deal with abysmal social and economic inequalities take place in a dystopian future and are surrounded by fantasy. Would a billion dollar industry as happily question its own if this wasn't the case? And who would pay to see what is easily and increasingly visible in our own backyard?

Snowpiercer is a movie that joins a growing number of sci-fi films that address the power and privilege of the extremely wealthy at the expense of the many lost in a day-to-day struggle for survival within their grim and violent lives. It is more Elysium, Brazil or Soylent Green in its darkness and graphic violence than The Hunger Games, but the story is the same: the “revolutionary” born of despair and deprivation, in this case Curtis, surprisingly well played by an unrecognizable Chris Evans (none other than he who played Captain America) and his quest for social justice. In most cases, the anti-hero is overpowered by the inhumane system, unless it is a PG13 movie in which case the heroine succeeds, but still at an enormous cost.

Chris Evans, Luke Pasqualino, Ah-sung Ko in Snowpiercer

They may be science fiction, but these are cautionary tales for those willing to listen. Snowpiercer takes it one step further because it adds the environmental warning to that of social injustice. In our despair to address global warming, the film tells us, humans have engineered a planetary catastrophe that creates a second ice age and the only human survivors that aren't frozen to death are trapped on a train that has also been engineered to never stop moving.

The fact that this implausible story grasps our attention and creates an enormous amount of breath-holding tension is due to the very skilled directing of Bong Joon-ho. This is the South Korean director’s first English language film, but he is known to American audiences for two of his eleven films, The Host and Mother. A light director he is not.


The movie is based on a French graphic novel called Le Transperceneige. The human survivors on the train are divided according to class, with the very poor living in nightmarish squalor and violence in the back of the train and, many, many carriages away, in the front live the privileged few in all their wealthy excess.

The amazing set design is part of what glues us to the screen, but only because we are also held there by the actors in this film. Chris Evans, we've already mentioned, holds his own as he purposefully leads the charge to take the engine room, carriage by bloody carriage. He is joined by a remarkable Tilda Swinton, the spokesperson for the very wealthy, who to the teeth and accent reminds us of another voice of the rich, Dame Margaret Thatcher.  Interesting to note that in Neill Blomkamp’s Elysium the “keeper of the rich” is also a woman, Delacourt, played by Jodie Foster. Evans and Swinton are joined by John Hurt, Jamie Bell, Ed Harris, Go Ah-sung, Kang-ho Sung, Octavia Spencer, all noteworthy actors who take us for the nightmarish ride on this ghastly train.

Tilda Swinton - Jodie Foster

I sometimes find it hard to recommend such a movie as this because it is not a pleasant film to watch, in this case also because of the violence, but, as always, more so because we are able to recognize that we are seeing a thinly veiled representation, masked in science fiction, of a very real and growing global divide between the very wealthy and the despairing poor. This movie is not easy to walk away from untouched. Neither was Terry Gillliam’s Brazil in 1985, Richard Fleischer’s Soylent Green back in 1973, or Fritz Lang’s Metropolis way back in 1927. Are we forever trapped in this never ending tale of woe?

 
Brazil - Metropolis