What I've Been Watching, Text Edition

We're going to burn through some brief thoughts on some movies I've been watching in the past week or so. It's too late at night for me to bust out the video camera, so you'll have to put up with a text update this time.

Kingdom of Heaven
Director: Ridley Scott
Starring: Orlando Bloom, Liam Neeson, Jeremy Irons


This movie was very impressive, but underwhelming at the same time. There are very few people that can direct huge action set period pieces like Ridley Scott, and he handles the material with the typical grit and flair. Orlando Bloom plays the same character as he does in the Pirates franchise - a blacksmith torn out of his element and thrust into the action. Liam Neeson plays the same character he does in Batman Begins - an older man tasked with training the young hero in swordplay and dropping sage one-liners. The production design was incredible, reminding me (even though this movie came first) of the excellent video game Assassin's Creed. This is about the closest video-game-to-movie comparison that I've seen since the fantastic Speed Racer/Mario Kart Double Dash similarities from 2008. If you're a huge fan of Assassin's Creed and want to inhabit that world again before the sequel to the game comes out, then I think this is your best option. [I heard the director's cut was a masterpiece, so I decided to watch it. That was a bad call on my part since it was over three hours long. The Blu-ray looked incredible, though.]

The Mechanic
Director: Michael Winner
Starring: Charles Bronson


Like I said on my Facebook review, these types of 1970's action movies are a dime a dozen. You can honestly interchange the protagonist actors between Chuck Norris, Clint Eastwood, Steve McQueen, and, in this case, Charles Bronson. There are excessive uses of snap zooms, and very little else as far as utilizing the technology of cinema. But as far as the storyline goes, it's pretty standard "assassin teaches student, and the two subsequently battle" material. Is this worth watching? Nope. Sure, there are some decent explosions and a not-meant-to-be-funny-but-kinda-hilarious shootout toward the end, but that absolutely does not mean it's worth two hours of your life. Also, comparing this film's pace to a snail's would be an insult to the speed of the snail. (Does that work? I think that works. I'm trying to say the pacing was slow.) Bonus Note: They're remaking this one with Jason Statham in the lead role.

Garden State
Writer/Director: Zach Braff
Starring: Zach Braff, Natalie Portman


I wish I could articulate my feelings on Garden State in a full review, but I'm not going to take on that challenge right now. For now, I'll say that Zach Braff captures a raw feeling, an essence of human spirit, and an overall appreciation for film that I only feel once or twice a year (if I'm lucky). These reactions are surely not the same for everyone, but Garden State speaks to me on a personal level and the movies that can do that are the ones I find truly special. Films like Wristcutters: A Love Story and Slumdog Millionaire capture similar feelings using different stylistic methods, but Garden State combines a traditional love story with a great examination of growing up, questioning the notion of "home," all while dealing with some other very heavy issues (death of family members, etc). Needless to say, this film is a spectacular achievement for first-time director Braff, who seems to know exactly where to put his camera at all times. There is not a single shot that seems out of place in the entire movie. Consider me a huge fan.

That's it for now. I'll be back with some legit reviews in the near future. The Hurt Locker and (500) Days of Summer will be out soon, and they have both been getting solid hype around them so far. Until next time...

Spartan

In my quest to watch all things involving Kristen Bell (who played Veronica Mars, my new late night girlfriend as I catch up with that show), I stumbled across Spartan. I remember hearing about its release back in 2004, but even with Val Kilmer's name attached to it, that wasn't enough to draw me in at the time. And thank goodness for that, because I don't think I had the same appreciation (strike that - toleration) for certain styles of movies then as I do now.

Spartan
Writer/Director: David Mamet
Starring: Val Kilmer, Kristen Bell, Derek Luke, William H. Macy


The type of movie I'm referring to can't be completely nailed down with one simple description, but it is a style of filmmaking with which David Mamet is certainly acquainted. Granted, I do not have an exceedingly large amount of experience when it comes to his films, but I have seen enough to know that he crafts his dialogue like no other. Glengarry Glen Ross, for example, is possibly the most dialogue-reliant film I've ever seen (this being said with full knowledge of the inherent irony in such a statement*). A movie like Redbelt, which hardly anyone remembers, is another solid example of what I mean - Mamet's films are marketed one way (in this case, a martial arts flick) but executed in a completly different manner (in this case, a psychlogical study of a man who lives a life of honor). He deals in shady vocabulary, hiding hints and snatches of information here and there, daring his audience to discover them and put the pieces together. These are not Hollywood blockbusters we're dealing with, and Mamet does not hold our hands through his films - if we're not smart enough to catch on, he's fine with leaving us confused and questioning. Do I like this style of filmmaking? Not particularly - I'd like all my loose ends tied up all the time, thank you - but do I respect the fact that a guy like this makes movies that vary from the typical structure? Absolutely. Diversity is the spice of life...or an old wooden ship. I think that's how the phrase goes.

The plot of Spartan sounds very familiar - the president's daughter is kidnapped and she must be found before the media gets wind of her disappearance. But this film is anything but pedestrian, and soon things get a lot more complicated than initially presented. The surprise death of a main character (aren't you curious now?) and a subplot including an international sex trafficking ring elevate this above your average political thriller. Comparisons can also be drawn to Pierre Morel's Taken, the Liam Neeson action showcase that ripped through theaters earlier in 2009.


At first, I thought Kilmer was only passable in his role as Bobby Scott, the former Marine tasked with tracking down the girl in question. Now that I've had a day to think about it, Kilmer actually excels in the one aspect the Mametverse demands: subtlety. A brash, shoot-first-ask-questions-later character does not belong here, and Kilmer provides the antithesis; he's not a fresh-faced rookie, he's a hardened vet willing to do "anything" to accomplish his mission. He delivers a speech to Curtis (the underappreciated Derek Luke) about how he's a "shooter, not a planner," made more poignant by the fact that he is later forced to step outside of his comfort zone to become a "planner" in order to attempt to rescue the girl on his own. In retrospect, Kilmer actually gives a very remarkable performance, dedicated to his character and easily separating him from any other famous roles he has taken on in the past. As Roger Ebert says, "who else has played Batman and John Holmes?" Other actors fall into the trap of playing themselves in every film - Sam Jackson comes to mind, with the exception of Resurrecting The Champ - but Kilmer's fantastic career choices (including a funny supporting role in Kiss Kiss Bang Bang and a great turn in The Salton Sea) keep him fresh and allow him to disappear into his characters without subconsciously reminding the audience we're watching a Val Kilmer performance.


The supporting cast suffered, but not because of their acting ability. Mamet gives the big character arc to his protagonist and leaves the rest of the cast to fend for themselves with little more than exposition to chew on. William H. Macy criss-crosses through the first half of the movie so briefly I wondered if he would speak at all, but he makes up for his vanishing act when he meets up with Kilmer in a shootout towards the end. Kristen Bell brought a level of realism to the kidnapped daughter that and often-annoying Maggie Grace couldn't begin to approach in Taken; Bell was the version of that character who was actually captured, tortured, and went through a sex trafficking ring scarred for life instead of being rescued just in time, unblemished and naive.

(Mild spoilers for the next paragraph only.)

We find out the movie is called Spartan through an interesting scene between the Laura Palmer and Kilmer's Bobby Scott. I'll link to it here instead of embedding it, since it's filled with massive spoilers, but if you're interested in what I'm talking about, fast forward to about the 3:00 minute mark and listen until Kilmer quips "I think we went to different schools." There's a cool parallel between Palmer's story about Leonidas and Scott's position as the man sent to rescue her. Nothing major - I just thought it was a sweet way to weave the title into the film.


You've read this far. Either Spartan is something that sounds interesting to you, or you already know you're skipping it. Either way, I hope we can all appreciate the fact that there are filmmakers out there like David Mamet who refuse to treat us like idiots. Even if these kinds of movies aren't your thing, you should give one a chance every once in a while - your support means they'll still be making movies like this instead of the latest board game adaptation. Perhaps you'll surprise yourself and be capable of enjoying them, instead of just asking "why weren't there any explosions?" Until next time...

*Obviously dialogue is a key component to almost every film, and its importance in a film-to-film comparison is impossible to prove. But if you've seen Glengarry Glen Ross (which I would recommend only for the unique experience), hopefully you'll know what I'm talking about.

Public Enemies

I don't think there is a better way to write a review of Public Enemies than while listening to "Ten Million Slaves" by Otis Taylor. This song was featured (twice, if my count is correct) in Michael Mann's latest film, and is just one of the many reasons why the soundtrack contributes wildly to the film's success.

Public Enemies
Director: Michael Mann
Starring: Johnny Depp, Christian Bale, Marion Cotillard


[Let it be known (if it isn't already) that Michael Mann is one of my favorite directors. While the members of that category find themselves on a very short list, Mann's inclusion is even more exclusive because he earned his way on the list even though I haven't seen all of his films - in fact, I haven't even seen a majority of them. As of this posting, I've seen The Last of the Mohicans (which I honestly can barely remember because my viewing was so long ago), The Insider, Heat, Miami Vice, Collateral (one of my absolute favorite movies, period), and now obviously his most recent film.]

Public Enemies is a powerhouse of a movie in the complete opposite way Transformers 2 could share the same description. Characterization, atmosphere, cinematography, and realism are all emphasised in Mann's portrayal of the fall of John Dillinger, and the audience is rewarded with a much more coherent, intelligent, and praise-worthy film than the aforementioned $400 million dollar blockbuster. The only other thing the two movies could share is a rather lengthy running time that would have arguably served both better had they each lost thirty minutes off their final cut.


The acting was sensational by everyone involved. I could not find a weak link among the actors, which is so rare that I can't actually remember another movie where this is the case. Depp was fantastic as bank robber John Dillinger- I was expecting a solid performance from him, but he was incredibly good in this one, a definite high note to an already-stellar career that is sure to see more brilliant performances in the years to come. I'm guessing he'll receive a Best Actor nomination for his work here. Christian Bale ejected himself from the lingering bile that was Terminator Salvation with his first movie since The Prestige where he doesn't growl (not even once!). As Agent Melvin Purvis, the man responsible for bringing Dillinger's reign of robbing terror to an end, Bale adopted a slight accent which further shows off his believability and range as an actor. I expect a lot of critics might take issue with his performance over anyone else's (as they did with DiCaprio's accent from 2006's Blood Diamond), but I thought he was great. Marion Cotillard proved that she is more than capable of handling larger roles in American film as Billie Frechette, Dillinger's lover. Cotillard is a French actress who has only starred in a handful of films on this side of the ocean (one of them being another personal favorite, 2003's Big Fish), but she was really solid here and I have complete confidence she'll be able to carry her weight in Chris Nolan's next film, Inception.


The supporting actors in Public Enemies are so varied, so numerous, and, sadly, so unimportant that a few of them didn't get enough screen time for me to even recognize them. Billy Crudup (Watchmen, the underrated Dedication) was the standout for me, since I dig that guy a lot and he had the largest of the supporting roles. Leelee Sobieski (Deep Impact, The Wicker Man remake), Emilie De Ravin (Brick, Claire from LOST), and Giovanni Ribisi (Gone in 60 Seconds remake) were featured in "blink and you'll miss them" roles, and Channing Tatum (Fighting, G.I. Joe: Rise of Cobra) and Stephen Dorff (Blade) didn't even register with me because their appearances were so brief. However, all parties turned in worthwhile performances and took their egos out of the way to allow Depp to shine; as the marketing points out, this is his film and no one else's.


The set design was impeccable and the attention to detail was inspiring. Production took place on many of the actual sites where famous shootouts and robberies occurred in real life, sometimes even filming events on the same date they took place 76 years ago. The film was shot mainly in Wisconsin due to the high amount of preserved architecture from the time period, and that kind of legitimacy was definitely appreciated by this viewer. Fun fact: production designer Nathan Crowley also worked on Batman Begins, The Dark Knight, and The Prestige.


Michael Mann is known for shooting his past few films digitally, opting for the use of high definition video instead of film. This has worked well for his previous efforts (especially Collateral), but many wondered how this decision would affect the outcome of Public Enemies, a period piece. Personally, I saw the film on a digital projector and it looked out-of-this-world good. There were a few shots (a shot of a car from behind driving through the road with trees lining both sides, some of the horse race wide shots) where I nearly thought I was in an IMAX theater because the quality was so good. In other words, I think the choice to go with video over film did nothing to hinder my appreciation for the movie as a whole. Dante Spinotti, Mann's frequent cinematographer collaborator, did award-worthy work behind the camera, switching masterfully between hand-held shots and constantly moving tracking shots to mirror the urgency with which Dillinger lived his life. If you're looking into becoming a cinematographer or a director of photography, this film seems like required viewing.

The solid writing can't be overlooked. Crisp dialogue from Dillinger makes him a likeable bad guy and allows the audience to get into the mind of the man who held America's banks hostage and was loved by the public for it. (I really dug how he mentioned the importance of the public's perception of him - he definitely had the basics of public relations mastered.) Purvis' story parallels Dillinger's (though not to the excessive extent of American Gangster), and their screen time shared together is exciting to watch. The crime drama elements that Mann captures so well are all there, and the writing is believable enough that it doesn't ever make you question how the characters get from one point to the next. Writing like that is hard to accomplish and shouldn't be taken for granted. There's a great mix of drama and action on display - a certain forest shootout could go down as one of my favorite gun battles of the past few years. Another fun fact: Mann co-wrote the script with the writer of Primal Fear.


The movie is based on book, which is based on a true story - so I'm not going to run through the whole plot with you. With the Academy's recent announcement that there will be 10 Best Picture nominations for the next ceremony instead of the traditional five, I believe Public Enemies has a very good shot at scoring a nomination. Does having 10 nominees cheapen the effect of winning Best Picture? Sure. But Public Enemies is a great movie and, though a little long, is one that can be enjoyed by anyone with the brain capacity willing to tackle a story that doesn't involve giant robots smashing each other. Until next time...

Transformers: Revenge of the Fallen

Transformers: Revenge of the Fallen
Director: Michael Bay
Starring: Shia LaBeouf, Megan Fox, Peter Cullen, Hugo Weaving


[Insert entire review about how Michael Bay's films aren't "high art," but they're entertaining and T: ROTF is no different. Mention that this was more robot-centric than the first one, so if readers are into seeing 46 Transformers battling it out they're going to have a great time. Also say that it was a little too long, and some of the shots were nearly incomprehensible (but clarify by saying that particular problem could have been due to the fact that I saw it in IMAX and wasn't sitting in the back). Oh, and don't forget to bring up the fact that Revenge of the Fallen rips off elements of a bunch of different movies, including but not limited to Live Free or Die Hard, Alien Vs. Predator, Terminator 3, The Matrix, and Indiana Jones and the Last Crusade. Finally, recommend readers pick up a copy of Green Day's newest album, since that's clearly what this movie is trying to suggest by featuring "21 Guns" at least three times.]

For a spoiler-filled run through my top five best and worst aspects of this movie, read on. If you haven't seen the flick yet, don't ruin it for yourself.

Top Five Worst Aspects of ROTF

5. The length. It felt like two different movies - a college-based flick and a desert/Egypt flick. Shorten it up and pick one or the other.

4. Too many Transformers. I realize this may be sacrilege to some of you, but this is a main reason why I enjoyed the first one. A lot of the robots look very similar and when gnashing metal is flying across the screen in close up form, it's tough to figure out who the heck you're watching. They could have added more than the 14 that were featured in the first one, sure - but going up to 46? That's ridiculous.

3. Isabel Lucas. Come on, a female Transformer who takes the form of some hot girl? Terminator 3, much? This was just stupid. If you're a Decepticon (whose ultimate goal is to harvest the sun, wiping out Earth's population, mind you), why the heck would you even bother to go through the whole disguise thing with Sam? Turn into a freakin' robot and take what you want by force, secrecy be damned. What's the point in sneaking around? [Yes. I realize this is a movie about talking alien robots. I'm not REALLY that upset about this particular point. I'm just shedding some light on it.] Plus, she was a terrible actress. Almost as bad as Megan Fox.

2. The parents. Keep them out of it. The Decepticons made a big point of "release the trap!" and it was dropping Sam's parents into the middle of the desert battle? What good did that serve them? How did that "trap" anyone, or anything? It was a poor excuse for the writers to bring the parents back together with Sam, and they were already walking on thin ice from that reefer brownie incident. Get a grip, Kurtzman and Orci - have some self respect.

1. The racist sidekick robots, Mudflap and Skids. I can't believe they got away with putting those guys in there. Ape-like in appearance, clearly "black" robots, one with a gold buck tooth, they can't read, and they speak with some jive lingo? Who approves this kind of thing?

Top Five Best Aspects of ROTF

5. The IMAX sequences. They definitely added to the movie, but it was slightly annoying that entire scenes weren't shot on IMAX cameras like they were in The Dark Knight. Bay seemed to cut back and forth between standard widescreen and IMAX shots without thinking of the final outcome. Like I said - it wasn't too jarring, but just more of an annoyance. Those IMAX shots looked gorgeous, though.

4. Slow motion close up with helicopter going in the background? Check. Largest explosion ever committed to film with actors present? Check. Spinning camera shot around lovers until people almost vomit? Check. That's a wrap.

3. All right - I'll admit it. It was pretty awesome when Optimus put on Old Man Jetfire's equipment at the end and turned into Super Optimus Prime with Jetpack (TM).

2. Michael Bay. I freakin' love that guy.

1.

Until next time...