Tuesday, January 30, 2007
The Island: Review
The Island is so disappointing due to its uneven nature. The opening scenes are well executed, filled with a mystery and fantastic visions. It’s no more than a giant tease. While Bay seems to be working under the pretense that he is saying something notable, he is drowned out by his own action, explosions and gunshots deafening his screams of importance. What Bay seems to miss (and what others such as Spielberg and Scott seem not to miss) is that repeated visuals of violence and extraordinary stunts do not make a narrative. Rather, they serve to slow down the proceedings, forcing the audience to stop the narrative in their minds to take in the visual montage of death and destruction. Very few directors are skilled enough to insert narrative into action and Bay, unfortunately for any audience with the slightest inkling of intelligence, is not one of them.
This is not to say that Bay is without talent or skill. He has a sharp eye for static shots (which are very few and far between as he chooses the perpetually shaking hand held camera as his means of exciting the audience) and is able to compose imagery of striking color and lighting. He has always shown this gift, in The Rock, Armageddon and even Gone in 60 Seconds, a remake so idiotic that it strips away any dignity the original might have had left. The Island could have been a beautiful movie, composed of colorful, off kilter shots. Instead, much of the visual magic is lost in the camera's kinetic shifts, swinging around its subject with gleeful abandon, either unwilling or unable to stay in a single position for much longer than 3 seconds. It truly is a shame that Bay's obvious talent is lost on generic, unintelligible action-ers. I would be interested to see what he could do if he showed even the slightest bit of restraint.
The leads, Ewan McGregor and Scarlett Johansson, try their hardest to fling their beautiful bodies around the screen, screaming "Run!" as gunfire erupts around them for those stupid enough to sit around during extreme danger. McGregor is as affable as ever, grinning or grimacing when need be. Johansson, who showed so much promise in films like The Man Who Wasn't There, Lost in Translation and Ghost World does not live up to any of it here but at least she manages to do it while remaining at her attractive best, something one must believe was Bay's intention. This is a terrible waste of talent. Had these two been given adequate material, they might have been able to make something of it. For once, one cannot fault Bay here but rather merely guess how a screenplay so uneven gets made. Most disappointing of all is Djimon Honsou, one of the best actors working today, and the way that Bay wastes such talent. I'm not sure what Honsou saw here other than an attempt to make a huge summer blockbuster, which is fine: everyone enjoys a good escape. One just wishes he chose a better project to attach to.
As any good science fiction fan will tell you, the most important task when creating something Sci-Fi, be it literature or film, is that in addition to the narrative, the character's surroundings must be fleshed out and somewhat believable. Blade Runner may not look like a futuristic LA to most but its vision is so complete and coherent that it is impossible not to be swept up in it all. Minority Report brilliantly updated Washington DC, retaining landmarks that give the district its local flavor. Hell, even Star Wars' world felt lived in. It was dirty and downtrodden. It felt like it a galaxy ripped apart by war. Life was not clean and tidy. The Island on the other hand, must not have gotten the memo. Its LA is not believable or recognizable. There is nothing, short of calling it LA, to show the audience that it is in fact The City of Angels. Rather, it feels like a cookie cutter futuristic town, no different from any other. This could have had an easy fix. Short of Washington or New York, LA features as many recognizable urban images as any other American city. Why not show the Hollywood sign or the massive freeway system? Why not Hollywood Boulevard or Beverly Hills? Why not the old Spanish architecture? Are we, as the audience, truly meant to believe that in 50 years, Los Angeles has been stripped of everything that has made it LA to us? Even Blade Runner's surroundings, a far cry from what we see in The Island, are more effective. At least they give the city some sort of life.
Perhaps it is just me but this movie was thoroughly disappointing, failing to live up to any of the expectations that the trailer or advertising materials seemed to suggest. Under the right guidance, this could have been a believable, thoughtful examination of the morality involving in cloning and genetic experiments with some great adventure thrown. As it is, its no more than a self-indulgent mess, a vehicle for Bay to stretch his violence 50 years into the future. Its vision is incomplete and dull. Its action sequences derivative and repetitive. I can't believe that one could write this but after last evening’s fiasco, this reviewer wishes that Bay would just sit down, knock down a drink and relax. Until he does, one can expect nothing more than continuous and utter disappointment.
**/ *****
An Outsider's Opinion: Top Ten Working American Directors
10. David Lynch- The most experimental, and probably most divisive, filmmaker on the list, David Lynch has created a career out of making confounding, brilliant works that are visual and aural delights as well as furious brainteasers. Beginning with Eraserhead in 1979, Lynch's films are often times simultaneously humorous and terrifying. While many of his critics label him as pretentious and confusing, a director incapable of making a cohesive, narrative film. To his admirers, those are his finest qualities and his creation of fluid, dreamlike pictures separate him from the stagnant mainstream American culture of film. His continued refusal to stay the course has allowed him to create such varied works as The Elephant Man (1984), Blue Velvet (1986), The Straight Story (1999), Mulholland Dr. (2001) and most recently Inland Empire (2006), which has almost unanimously been hailed as his strangest and least accessible work. To those willing to give themselves to Lynch's imagination, they will be amply rewarding with endlessly rewarding films that challenge both mainstream thought and emotion. Lynch's next film has yet to be announced and seeing how methodically he works, it may be sometime before we see another from him.9. Alexander Payne- Perhaps the most classical director on the list, Payne has spent the first part of the new century crafting films that strike a delicate balance between drama and outright humor. His films are never flashy, but rather, restrained examinations of the everyman struggling to cope with life. In Election, it was a high school teacher engaged in a heated, vicious student council election. In About Schmidt, it was the story of aging widower traveling cross country for his daughter's wedding. Finally, in Sideways, it is another high school teacher/struggling writer, one who brings his best friend on a week long bachelor's party, tasting wine, through the
8. Sofia Coppola- The only woman on the list is also the only woman in
7. Wes Anderson- Where Lynch is experimental,
6. Quentin Tarantino- The most original filmmaker of the 1990's, Tarantino created a post-modernist film vocabulary with Reservoir Dogs (1992), Pulp Fiction (1994) and Jackie Brown (1997) that is still unrivaled by any American filmmaker. These films are wheeling pop culture free for all's, darkly hilarious and brimming with excellent dialogue. Jackie Brown, his most underrated film, is an intelligent and exciting manipulation of the exploitation (more specifically Blaxploitation) films of the 1970's, critique and deconstructing many of those films' clichés and hallmarks. Pulp Fiction is his unparalleled masterpiece, giddy with film history and theory while remaining wildly entertaining and technically astounding. It is certainly one of the finest American films in the past 20 years. His most recent work, the Kill Bill films are wonderful genre mash-ups, with the first installment relying on Japanese and Chinese cinemas to create a modern mash up of the classic Samurai and Kung Fu flicks of the 1950's, 60's and 70's. The second chapter adds the Italian spaghetti western into the mix and is a more substantial emotional film, where the first subsides on carefully orchestrated chaos. Tarantino's next film is the double feature Grindhouse, scheduled for release in April 2007 and is co-directed by Robert Rodriguez. It returns Tarantino 1970's exploitation cinema, this time the Horror films of the time, and promises to be an interesting and entertaining watch. The long rumored and delay Inglorious Bastards has been announced and should begin production sometime this year.
5. Steven Spielberg- The creator of the summer blockbuster is the still the only one who hasn't caved to the terrible nature of the summer months. Spielberg has produced consistently good work throughout his over 30 year career and most recently, has created one of his most mature and exciting works, Munich (2005). With age, his work has begun to vary in form and tone, relying on humor in Catch Me If You Can (2003), realistic depictions of warfare in Saving Private Ryan (1998) or dystopic visions of the future in Minority Report (2002). His first big splash (No pun intended), Jaws (1975) still stands as his finest work, an exciting and intelligent blockbuster that begins as a story about a huge fish and ends as a thoughtful examination of human fear of the unknown. He has produced countless classics (E.T., Close Encounters of the Third Kind,
4. Martin Scorsese- With The Departed (2006), Scorsese has continued a run of fantastic filmmaking, starting with Gangs of New York (2002) and continuing with The Aviator (2004) and Bob Dylan: No Direction Home (2005). The three most recent are legitimate classics and he doesn't appear to be stopping. This year will see the release of Shine a Light (2007), his documentary about the entire career of the Rolling Stones. He will then move onto a biopic of Teddy Roosevelt, which has Leonardo DiCaprio attached to it. His back catalog is as impressive as they come with Mean Streets (1974), Taxi Driver (1976), Raging Bull (1980) and Goodfellas (1989) leading the way. He has long been considered the best director of his generation by many critics and with his recent work only adding to his legacy, Scorsese could be working on cementing his reputation as the greatest of all time. He is an avowed film fanatic and he almost single handedly attempts to teach younger generations about the films of the past. His examinations are thorough and responsible, showing a great deal of research and passion for his subjects.
3. Michael Mann- Perhaps the most unheralded director on this list, Mann has compiled a list of quiet masterpieces that are largely overlooked or forgotten merely because they lie in genre filmmaking. In reality, his films have grown increasingly complex and assured, and in recent years, technically groundbreaking. Starting with 1992's The Last of the Mohicans, bypassing his early films Manhunter and Thief (both underrated), Mann has hit a streak of gold, creating film after film with breathtaking virtuosity. The string of films (Heat (1995), The Insider (1999), Ali (2001), Collateral (2004), Miami Vice (2006)), is remarkable, each adding something different to Mann's canon. Heat is his undisputed masterpiece centered on a bank robber and the police officer chasing him. It is Mann's touch and direction that makes it into more than typical cops and robbers film, elevating it to a level of complex emotional and thematic explorations of masculinity and loyalty. The Insider features one of the best performances of all time (Russell Crowe's turn as a Big Tobacco whistle blower) and Ali, his most disrespected film, shows flashes of brilliance. When the viewer reaches Collateral and Miami Vice, Mann's technical abilities become evident as he pushes high definition, digital filmmaking farther than anyone before him. The films are visual miracles, capturing both night and day, urban and tropical areas with ease and filling the screen with a color palette virtually unmatched since the glorious days of Technicolor's bursting reds. Mann currently has two films in development, 2007's Arms and the Man and 2008's The Few. It is not yet known if he will using digital video or move back to film but what can be assured is that Mann's confident and cinematic touch will continue to change the ways genre pictures are viewed in the 21st century.
2. Spike Lee- The most racially aware American filmmaker of all time, Spike Lee's body of work is a staggering achievement filled with films that examine almost every aspect of American life. Poverty, race, ethnicity, drugs, terrorism, war: all are looked at and deconstructed in entertaining and enlightening fashions, illuminating many subjects that Americans might not feel comfortable discussing. Lee has been and will always be a controversial filmmaker due to his refusal to sit quietly and allow for the injustices he sees in society go unnoticed. His films are bracing, realistic and incredibly moving. Starting with 1989's Do The Right Thing, still the best film ever about racial issues, and moving through the 1990's and 2000's, Lee has created such classics as Malcolm X (1992), 4 Little Girls (1997), Bamboozled (2000), 25th Hour (2002) and recently his searing look at Hurricane Katrina and its aftermath, When The Levees Broke: A Requiem in Four Parts (2006). Even his "lesser" works are intelligent looks at potent issues: Jungle Fever (1991), Crooklyn (1994), Clockers (1995), He Got Game (1998) and 2006's The Inside Man, which is as entertaining and clever a heist movie as there has ever been. Lee has long been the most prominant African American filmmaker working in
1. Clint Eastwood- There is no finer American director working today than Eastwood, who has created a restrained yet endlessly effective body of work that contains 5 legitimate masterpieces. 1992's Unforgiven was the best American western in more than 20 years and nothing has come close since. 2003's
Saturday, January 27, 2007
Oscar Thoughts
The Oscar Nominations are never without controversy and 2007's were no different. When they were annouced Tuesday morning, many were expecting Dreamgirls to finish with a huge number of nominations, and those predictors were not incorrect. However, not many thought that almost half of their total eight nominations would come from the Best Song category and not a single one from Best Picture, Best Director or Best Adapted Screenplay. In fact, the film was shut out of all the major categories, only coming out with nominations in the supporting actor and actress (Eddie Murphy and Jennifer Hudson respectively) and technical fields. For a film that was expected to be a major contender, this can't be looked at as anything but a massive disappointment. Yet, for this writer, Dreamgirls struggles were not the biggest surprise of the morning. Rather, Volver's inability to receive a nomination for either Best Original Screenplay or even Best Foreign Film struck me as being the shocker of the morning. If you had asked most people on Monday evening to name a guaranteed nomination for Best Foreign Film, I would be willing to wager that many of them would be confident in predicting not only a nomination but win for Volver. Instead, it looks like the clear favorite has to be Guillermo Del Toro's magical Pan's Labyrinth, which has become a critical darling, gracing as many top ten lists as any other film this year.
Other surprises:
-Brad Pitt not being nominated for Best Supporting Actor for Babel. Most critics thought that Pitt was superb, regardless of their overall feelings on the film and his non-nomination struck me as surprising. The Academy nomally loves stars who contribute gutsy, daring performances and I would have thought Pitt would be no different.
-Djimon Honsou's (who very well could have pushed out Pitt) nomination for Best Supporting Actor for Blood Diamond was a pleasant surprise for me. I thought that his performance played perfectly off of DiCaprio's and without it, the film would have worse than it already was. Come to think of it, without either of those performances, the film is no more than a brainless Hollywood actioner masquerading as a message film. This, coming from a self-proclaimed Edward Zwick fan.
-Leonardo DiCaprio and Jack Nicholson getting nothing for their wonderful work in The Departed. Granted, Leo's performance in Blood Diamond was rightfully nominated but I thought both could have gotten Best Supporting Actor noms and no one would have complained. Nicholson is at his over the top best, providing the film with some of its best lines and scenes.
-Letters From Iwo Jima getting the nomination for Best Picture. I thought it would be locked out due to it being in Japanese but one must never forget that the Academy loves Clint.
- Helen Mirren's nomination for The Queen. I mean, was she really that good?
-Just kidding on the last one, making sure you're with me.
-Ryan Gosling picking up a Best Actor nod for Half Nelson. Thought it'd be way too indie for the Academy. A drug abusing teacher? Its a far cry from Poitier in To Sir, With Love (which wasn't nominated either but seems much more likely to have been, maybe this is a moot point).
-Two of the best films of the year, United 93 and Children of Men being almost completely shut out. No Best Picture for either, only two nominations for United 93 and three for Children of Men. Also, World Trade Center receiving no nominations was surprising as well. Maybe Oscar isn't ready for 9/11?
-Phillip Glass' annoying, overbearing score for Notes on a Scandal gets nominated. Is this a joke? No way this should have been recognized. Also, how does the score for The Painted Veil, win the Golden Globe for Best Original Score and then not even get a nod for the Oscars? I dont understand. Not that I'm pulling for Desplat and The Painted Veil, its just confusing.
-Is there a less surprising nomination than the one for Randy Newman for Best Original Song ("Our Town" from Cars)? Everything he touches in a Pixar movie immedietely turns a golden Oscar hue.
-Click being nominated for Best Makeup. Granted I haven't seen Click but the nominees are Pan's Labyrinth, Apocalypto and Click. Nothing for the gore effects in Flags of our Fathers, anything in Pirates of the Caribbean: Dead Man's Chest or Marie Antoinette. Click's aging makeup better be spectacular, innovative work or I'll be wildly disappointed.
-The Black Dahlia's nomination for Best Cinematography is very warranted but I was actually surprised it didn't pick up any more smaller noms (Art Direction, Costumes). Say what you will about the narrative and acting but technically, the film is flawless, nearly virtuoso.
-Borat for Best Adapted Screenplay? Wasn't most of it completely improvised? I understand its adapted from the TV show but how do you nominated the scripting as being some of the best of the year. I agree that this film should be recognized but I think it would have been much better suited for a Best Actor nod for Sacha Baron Cohen's spectacularly funny work.
What surprised you?
Saturday, January 20, 2007
An Outsider's Opinion: Top Ten Films of 2000's
That being said, I'd like to introduce a new segment (hopefully one of many) here on Film Outsider called An Outsider's Opinion . It will be updated every Saturday with a new list of top 10's in a certain category. Pretty simple. I'll try to keep the lists original and informal, ranging from the essentials of a genre or time period to lists of performances, cinematography, editing, etc. If you have any suggestions, please let me know and I'll consider them. Enjoy!
We'll start off simply with the Top 10 Films of the first six years of the new century.
10. Little Children - The best film from 2006 is a searing, moving depiction of suburban life glimpsed through the eyes of two stay at home parents, one a grad school drop out, another a would be lawyer struggling to pass the Bar Exam and the extra-marital affair that the duo shares. Written and directed by Todd Field, Little Children is a darkly humorous, emotionally wrenching satire of the lives of those left to care for children in a marriage. It brilliantly interweaves in a subplot of a recently paroled pedophile that is as disturbing and emotionally effective as the main narrative. Featuring three not to be missed performances by Kate Winslet, Patrick Wilson and Jackie Earle Haley, this is a literate, sophisticated film worthy of every bit of attention it receives.
9. Master and Commander: The Far Side of the World - A wonderfully rousing look at the lives of British Seamen in the Napoleonic Wars, Master and Commander is an absolute triumph from Peter Weir, who has quietly amassed a devastating filmography of both bona fide and near classics. Russell Crowe and Paul Bettany lead a crew of both grizzled veterans and youthful newcomers through a riveting adventure that explores questions of evolution and duty while remaining suspenseful and entertaining. The film moves quickly and features exceptional battle sequences that demand to be viewed with the right set up. The best pure adventure film of the 2000's.
8. Million Dollar Baby - Clint Eastwood's quiet masterpiece, this film sneaks up on you masquerading as another boxing film under its devastating second half in which the film quickly changes into an intelligent and moving social commentary. Eastwood, who directed, starred and composed the score, brilliantly handles the subject matter by keeping the style of the film simple and restrained. Eastwood, Morgan Freeman and Hillary Swank all contribute spectacular performances, Swank in particular, who underwent an amazing physical transformation. Her acting is an exemplary performance filled with subtlety and emotion. The boxing scenes are well shot and edited and the ending is as emotional as any film on this list.
7. The Lord of the Rings: The Two Towers - The best of Peter Jackson's triumphant trilogy features spectacular battle sequences and an epic scope only rivaled by the third installment, The Return of the King. As a whole, the cast is astounding as Jackson is able to successfully present smaller, human emotions inside of the monumental journey all of the characters undertake. The climatic battle at Helm's Deep is stunning, a perfect mixture of old-school Studio Era stunts and new wave CGI created by WETA, Jackson's in-house special effects team. It ends on a stirring note, readying the audience for the concluding and moving final chapter of the most accomplished film trilogy of all time.
6. Bloody Sunday - Prior to announcing his American presence with The Bourne Supremacy and more recently with United 93, Paul Greengrass crafted his best film to date, a ground-breaking examination of an Irish protest gone terribly wrong. Tension and a sense of dread permeates the entire film and once the shooting starts, there is a gripping realism present that is, quite simply, riveting. By primarily using a hand held camera during the scenes of chaos, Greengrass engineers a kinetic feeling of being there, ducking and darting with the rest of the terrified Irish protesters. The film never sides with either protesters or military, rather, presents the situation as it happened and allows the audience to come to their own conclusions. A devastatingly effective film.
5. The Fog of War- The best documentary of the new century, The Fog of War is more or less a simple interview with Robert McNamara. However, don't be fooled as Errol Morris presents the information in such an innovative way that it never feels dull or slow, but rather exciting and informative. McNamara has a magnetic presence and exudes an effortless intelligence and wisdom gained from his years in Washington. Upon watching this film, it is easy to see why his image was so poorly presented in the mid to late 1960's as he presents and discusses his successes and mistakes with class and honesty. It becomes clear to the audience that McNamara regrets some of his actions, but he never shies away from them. In doing so, he subverts many mainstream American beliefs with solid, informed arguments that are difficult to ignore. This is a must see for anyone living in the world today in order to avoid previous mistakes made by the US government.
4. Lost in Translation- Sofia Coppola's second film is a restrained, simple meditation on cultural differences that is at turns funny, heartbreaking and bittersweet. No other film in recent memory is so reliant on mood and for that reason, Lost in Translation will undoubtedly alienate some viewers. The narrative is second place to the emotions and thoughts of the two main characters, both played brilliantly by Bill Murray and Scarlett Johansson. It's basic visual scheme is gorgeous, effortlessly capturing the illumination of the urban sprawl of Tokyo. Coppola's choice of music is splendid as Kevin Shields, of My Bloody Valentine fame, contributes new compositions as well as MBV's classic "Sometimes", all perfectly suited the film. This may not be a film for everyone but for those able to tap into its frame of mind will find an endlessly rewarding and entertaining film that will make you think and more importantly, will make you feel.
3. Mulholland Drive- David Lynch's head-trip of a film, Mulholland Drive is one of the most dense and confounding films in recent memory. If you allow yourself into its world though, hang on for the ride of a lifetime. The film runs the gamut of emotions, from terrifying to humorous, from merely nonsensical to downright bizarre. Insides the twisting, turning narrative there are examinations of the Hollywood star system, dreams and sexuality. Lynch's story is based around one woman's search for her identity, a quest that becomes increasingly bizarre with each revelation. The acting by Naomi Watts and Laura Harring is wonderful. The two share a great chemistry and carry the film through its stranger moments. For those brave viewers willing to undertake a viewing, brace yourself for the film's final 30 minutes in which everything you think you know gets turned on its head, identities are confused, characters change roles entirely. However, once you've seen it a few times, its story reveals itself to be a rewarding and exciting brainteaser that will keep you guessing for years.
2. Cidade de Deus (City of God)- One of the greatest crime films of all time, Fernando Meirelles' exciting and engaging feature length Cidade de Deus is an astonishing view into the slums of Rio de Janeiro with a narrative that tracks the rise and fall of a single crime syndicate over the span of 30 years. It characters are flawed, complex and most of all human. The lives many of them are forced to lead are heartbreaking, violent existences filled with death and despair. Meirelles' camera is quick moving and frenetic, capturing the speed of life perfectly. At the center of it all is Rocket, the film's protagonist, and his quest to leave his horrific surroundings and become a world famous photographer. However, the film's tangents are equally fleshed out and together, they all add up to a complete vision of life, equally filled with sadness and joy. The film's music pulses along, adding vitality to the proceedings. Not to be missed.
1. Eternal Sunshine of the Spotless Mind- For me, Michele Gondry's examination of love and relationships is, hands down, the greatest film in recent memory and one of the best of all time. It is a visually stimulating, emotionally superb look at one couple's failed relationship and the lessons that are learned by the two. Jim Carrey and Kate Winslet contribute breathtaking performances that flesh out Charlie Kaufman's brilliantly insane screenplay that despite its eccentricities never moves away from basic human emotion. The science fiction elements of the film only work to enhance the bittersweet feeling of the whole thing, adding layers upon layers of meaning and emotion onto the primary narrative. The film's final half hour features some of the most beautiful and heart wrenching dialogue in history and perfectly captures the feelings one goes through as a relationship nears its end. It is universally applicable; anyone that has loved will find something in it that applies to them. Its conclusion is a wonderfully optimistic refusal to give up, regardless of the costs, emotional or physical.
Tuesday, January 16, 2007
Pan's Labyrinth: Review
Much like his fellow countrymen Alfonso Cuaron's work in Children of Men, Del Toro's vision is miraculous in its completeness, simultaenously drawing up parallel worlds of reality and fantasy with ease. Telling the story of Ofelia, the young Spanish protaganist, Pan's Labyrinth moves briskly between its two worlds that have more in common than one might think. Despite its intention of being a place of escape for Ofelia, her imaginary world is as terrifying and dangerous as the everyday world that she is forced to endure. She accompanies her pregnant mother to a small mill in the Spanish mountains where her new step-father, a commander in the Spanish facist army, awaits their arrival. Her mother is not well, weak from the pregnancy and is unable to properly care for Ofelia. This leaves Ofelia to her own devices and after stumbling upon an ancient labyrinth, she meets Pan, a faun who gives her three tasks. If she is able to complete this jobs, she will rightfully reclaim her place as Princess of the magical kingdom below the labyrinth. It is a credit to Del Toro's writing and directing that it is never clear to the audience whether or not the magical creatures are real or just a figment of Ofelia's imagination. It lends the film a magical feeling that carries it through its just under two hour running time.
Ivana Baquero, who plays Ofelia, contributes a performance that is nothing less than stunning. In recent memory, for child actors only Haley Joel Osment in The Sixth Sense is as wonderful as Baquero is here. Her despair brought on by her real world suffering is palpable. It is never overplayed and the results are heartbreaking. Watching Ofelia being forced to struggle through her everyday life is an exercise in frustration. Unable and unwilling to receive any sort of love from her new step-father, she desperately clings to her mother's presence, praying that she won't be abandoned. Sergi Lopez , who plays Capitan Vidal, Ofelia's step father, is disturbingly evil, without which, the film would lose much of its emotional power. His contributions to the film are vast and cannot be underestimated. Where Ofelia provides the story with its necessary childhood innocence, Vidal is her necessary counterpart, allowing evil to seep into the narrative until it is finally overcome, consumed by sheer magnitude of the horrors that populate the lives of these characters.
Del Toro's blend of realism and fantasy, of politics and fable is astounding. The film seamlessly weaves in the two worlds, never having one overpower the other. While the real world inhabits more screen time, the glimpses of Ofelia's journeys into the alternate plane are so convincing that they wind up staying in the viewers mind as much as the story of 1944 Spain. Both worlds feature breathtaking visual schemes, carefully thought out for maximum effect. A visually dark film, the moments in the real sun light are glorious in their composition and color. Pan's world is wildly imaginative, equally borrowing from Disney's Alice in Wonderland and Jackson's The Lord of the Rings yet never feeling derivative of either. It is wholly original and is a triumphant vision only equaled in 2006 by Cuaron's vision of a futuristic dystopic England.
For those who are not versed in the facist politics that dominated Spain's goverment at this time, consider this a briefing in the tragedies that this ideology leveled on the Spainish people. Pan's Labyrinth ends up working so well because it never allows itself to get weighed down in the explanations of facist policy but rather, effectively presents its core values in simple, blunt ways. It works as well as any other political film this year and seems in ways, eerily similar to the situations facing present day America. With American troops facing uprisings in Iraq, Pan's Labyrinth, with its careful portrayal of Spanish freedom fighters, seems oddly topical, despite all its fantastical elements. Do not enter the theatre expecting complete escapism. There is room for thought here if need be.
Del Toro's film is finally and above all else, vastly entertaining and engaging despite the violence that dominates the film. It is not a light film, its thematically and emotionally dense and the ending packs a wallop but it never feels depressing or downtrodden. Rather, the film ultimately feels life affirming, that there are places for escape from the harsh, unforgiving realities of the world. These places may not always be perfect utopias, but they do allow for people to step away for a little while and live in happyness. Ofelia finds her escape at narrative's end, yet it is not necessarily the place the audience was expecting. However, it is a place of happyness, hope and love, three feelings that Ofelia sorely misses out on in her everyday life. Often times, escapes may not be easy to find or achieve, but maybe, just maybe, one of them is in a darkened theatre, with a bag of popcorn and Pan's Labyrinth projecting on the big screen. That sounds ok to me.
*****
Monday, January 15, 2007
Welcome and Year Superlatives and Top Ten Films of 2006
Come the end of a year, there is often an outpouring of grief, from critics and audiences alike that the past year was another awful one for film. Critics hate the idiotic blockbusters, audiences hate the pretentious art films and there is rarely a common ground between the two groups. Now, for me, as someone who tends to agree with the critical community, albeit with my own complaints, it often bothers me when I hear so many everyday Americans trash the modern film scene when they make no discernable effort to see anything other than the new Tom Cruise (which they’ll hate because Cruise jumped on a couch in excitement, regardless of the film’s cinematic merits, such as Mission: Impossible 3, which until Casino Royale’s November release was the years best pure action flick), a few sophomoric comedies and not much else. Unlike the French, Italians or Japanese who all seem to understand cinema’s importance, American’s refuse to admit to film’s place in shaping the way they dress, talk and even, at times, think.
I guess my point of all this is that instead of spending the time complaining about how they don't make them like they used to, if people opened their eyes and honestly looked for and watched the films of today, they would realize that there is a great deal of wonderful work being done. Take, for example, a collection of filmmakers that created films this year, say, Paul Greengrass, Alejandro Gonzalez Inarritu, Alfonso Cuaron, Michel Gondry, Michael Mann, Spike Lee, Martin Scorsese, Christopher Nolan, Sofia Coppola and Clint Eastwood. Between this group, which mind you is composed merely of filmmakers who released works this year, the following films have been created and released since the year 2000, a span of 6 years: Bloody Sunday, The Bourne Supremecy, United 93, Amorres Perros, 21 Grams, Babel, Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban, Children of Men, Eternal Sunshine of the Spotless Mind, Dave Chappelle's Block Party, The Science of Sleep, Ali, Collateral, Miami Vice, Bamboozled, 25th Hour, Inside Man, When the Levee's Broke: A Requiem in Four Parts, Gangs of New York, The Aviator, No Direction Home: Bob Dylan, The Departed, Memento, Insomnia, Batman Begins, The Prestige, Lost In Translation, Marie Antoinette, Mystic River, Million Dollar Baby, Flags of Our Fathers and Letters from Iwo Jima. This is a list filled with independent productions and big budget blockbusters. It has dramas and comedies and thillers. There are documentaries and narrative films. But most importantly, there are legitimate classics. Not every one is deserving of that term, but all at least deserve to be watched and discussed. They are worth so much. Before revealing my top ten, here are some superlatives from 2006
Best Sequence: Children of Men 's thrilling escape from a refugee camp features a single take that clocks in literally around 5 minutes, with over half of it through a lens spattered with blood. It is virtuoso filmmaking and easily is the most complex shot of the year. As Clive Owen snakes through the streets erupting with warfare, the camera holds tightly to his back, causing feelings of genuine excitement and suspense. It is a wonderful sequence that reminds cinephiles why we go to the theatre in the first place.
Runners Up:
Best Visual Effects: The Science of Sleep. Featuring amazing stop motion animation work, The Science of Sleep is a rare film nowadays that benefits from its effects, allowing them to enrich the storytelling rather than completely overwhelming them. Simplistic at times, utterly complex at others, the film is filled with whimsy and melancholy, feelings enriched by the lovely effects that Gondry employs.
Runners Up: Superman Returns, Cars, Children of Men.
Best Cinematography: Dion Beebe,
Runners Up: Emmanuel Lubezki, Children of Men, Lance Acord, Marie Antoinette, Vilmos Zsigmond, The Black Dahlia.
Best Screenplay: (TIE) The Departed and Brick. Two scripts that abound in cleverness and intelligence while working and innovating in genre typically resigned as second class. Both feature razor sharp dialogue with The Departed nailing the language and dialects of Boston and Brick revisiting the hard-boiled prose of Hammett and Chandler under the guise of a high school drama. Both feature thrilling results that are equally serious and wickedly funny.
Runners Up: Guillermo Arriaga,
Best Supporting Actress: Jennifer Hudson, Dreamgirls. Truly unequaled in 2006 and even in recent musical memory, Hudson's performance is astounding. Displaying as much dramatic talent as musical, Hudson is a revelation, carrying the weight of the film more than any of the leads. Her performance of “And I’m Telling You I’m Not Going” is incredible, providing a centerpiece for the film that few can equal. It is the most memorable performance in a musical since the Freed Unit dominanted MGM productions.
Runners Up: Cate Blanchett, Notes on a Scandal, Riko Kikuchi,
Best Supporting Actor: Ben Affleck, Hollywoodland. Affleck's riveting performance as George Reeves is a reminder to all as to why he became a star. A deeply conflicting and complex character is wonderfully brought to life with each frame and the final shots of Reeves creating a tryout film for professional wrestling is nothing short of a series of shattering,depressing last views of a heartbroken, beaten down man who refused to fade away.
Runners Up: Brad Pitt,
Best Actress: Kate Winslet, Little Children. The emotional core of a stellar film, Winslet continues to assert herself as one of the premier actresses of her generation. Her embodiment of her character is astounding, providing Todd Field's and Tom Perrota's script with great depth and feeling. Her perfomance is a complex combination of emotional and intellectual strength as well as the utter hopelessness of a disappointing marriage and social life. It is sympathetic and endearing and stands the pinnacle of her craft for the year.
Runners Up: Judi Dench, Notes on a Scandal, Helen Mirren, The Queen, Meryl Streep, The Devil Wears Prada
Best Actor: Sacha Baron Cohen, Borat. Cohen's performance as the titular character is nothing short of incredible, a comedic tour de force. His ability to fully inhabit his character was unmatched in not only 2006 but recent memory as well. He isn't merely playing a part, but fully living the life of Borat, the wayword Khazakhi reporter struggling to understand American customs. It provides a searing glimpse into the classism, racism and jingoistic feeling that permeates through
Runners Up: Leonardo DiCaprio, The Departed, Blood Diamond, Patrick Wilson, Little Children, Ken Wantanbe, Letters From
Best Director: Alfonso Cuaron, Children of Men. Despite directing Y Tu Mama Tambien and Harry Potter and the Prisoner of Azkaban, nothing could prepare audiences for Cuaron groundbreaking Children of Men, which features the most complete vision of a dystopic future ever put on film. In fact, in terms of scope, only Ridley Scott's 1981 masterpiece, Blade Runner, comes close to Cuaron's achievement. The direction is masterful at building suspese in action sequences as well as simple portions of dialogue. When it needs to complex, Cuaron rises to the occasion. When it needs to be restrained, he wisely pulls back, allowing the narrative to speak for itself. Truly incredible.
Best Director: Michel Gondry, Dave Chappelle's Block Party, The Science of Sleep, Martin Scorsese, The Departed, Clint Eastwood, Flags of our Fathers, Letters From
Best Studio: Universal Pictures. A great year full of adventurous films from one of the majors. While there were a fair share of bombs, Universal pushed the envelope with challenging, intelligent films that adults could enjoy. They included Inside Man, Children of Men, Idlewild, The Black Dahlia,
Runners Up:
Most Overrated Movie:
Runners Up: Little Miss Sunshine, Thank You For Smoking, Blood Diamond
Most Underrated Movie:
Runners Up: The Descent, Brick, Dave Chappelle’s Block Party
Admittedly, there are a few movies that have resided on others ten best list that I have not yet seen. They are: L’Enfant, World Trade Center, Tristam Shandy: A Cock and Bull Story, Half-Nelson, Volver,
(1) Little Children is Todd Field’s suburban masterpiece and is the best film of the year. Literary, entertaining and wildly intelligent, the film shines with tremendous performances from Kate Winslet, Patrick Wilson, Jennifer Connelly and Jackie Earle Haley (Alarmingly as a pedophile. Do not be scared off by this. I defy you to watch this film and not be amazed at how effectively it makes you see and feel the world through the eyes of a character who is a convicted sex offender). Darkly hilarious, this film will (rightfully) be compared to American Beauty but don’t let that fool you into thinking it is merely a copycat of that previous Best Picture Winner. This is a tremendously moving film in its own right, probing further than its predecessor and leaving a stronger taste in the viewer’s mouth.
(2)Dave Chappelle's Block Party is a joyous document of Chappelle, who should be treasured as one of
(3)Children of Men is Alfonso Cuaron’s imaginative and uncompromising vision of a futuristic dystopia in which women are infertile. Astoundingly complete in its views of a society gone awry, the film is a visual masterpiece with numerous virtuoso moments of filmmaking. The scenes of warfare are amazingly realistic and the film has intelligence to spare. A must see.
(4) Letters From
(5) The Departed is Martin Scorsese's latest masterpiece, an involving crime epic with dynamite performances and a razor sharp screenplay that zigs and zags, ultimately ending up at a satisfying and shocking conclusion. DiCaprio, Damon, Nicholson and Wahlberg all contribute fantastic performance in this darkly funny examination of undercover police work.
(6)
(7) Pan’s Labyrinth is a masterful adult fairy tale that is steeped in ancient mythology yet feels oddly modern. Featuring impeccable performances throughout, a wonderful visual scheme and originality to spare, Guillermo Del Toro’s film is a mesmerizing fable grounded strongly in reality. This is not a film for children and it is all the better for it. It is unflinching in its views of violence and suffering yet ultimately is a life affirming exploration of a child’s imagination.
(8) United 93 is a triumphant story of human courage in the face of unspeakable danger, wisely directed by Paul Greengrass. The film is tasteful, completely un-sensationalistic and utterly engaging with convincing performances by its largely unknown cast and an ending that packs an emotional punch unrivaled in 2006. While it scared off some audiences who felt it was too soon, it deserves to be seen for its care in which it tells its story.
(9) The Science of Sleep is Gondry's true follow up to 2004's Eternal Sunshine of the Spotless Mind, a sure fire contender for top 10 films of 2000's, and is as equally inventive and moving as its predecessor. Gael Garcia Bernal proves to be one of the most likeable international stars, Charlotte Gainsbourg shines and Gondry's inspired visuals are special effects masterpieces with no CGI in sight. The bittersweet tone of the film suits its star and director perfectly and assures its place in Gondry's greatest hits.
(10) Brick is the debut of the year with its deft blend of high school teen drama and hard boiled film noir. Rian Johnson is a filmmaker to watch and Joseph Gordon-Levitt proves there is live past the Third Rock from the Sun. Johnson's script borrows from the best of
Runners Up (Alphabetical):
Babel
Casino Royale
The Descent
Flags of our Fathers
Hollywoodland
A Prarie Home Companion
The Prestige
The Proposition
V For Vendetta
When The Levee’s Broke: A Requiem in Four Parts
Enjoy 2007!