movies

One Shot #3: Tron Legacy (2010)

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I have previously mentioned my enduring love for Tron: Legacy, directed by visionary director Joseph Kosinski, but in case you are unaware, here’s a brief synopsis of my persistent adoration. At one point, I had a Tron wall in my room. I have 2 action figures on my shelf and a glow-in-the-dark Tron Funko Pop. I wrote one of the best academic papers of my life about this film – a 27 page essay entitled “Biodigital Jazz, Man.” I saw it three times in theaters, twice in 3D.

Why does this film resonate with me? To be honest, it’s not the narrative that appeals to me the most. It’s a perfectly serviceable film with great performances and a standard, yet engaging story – and a killer soundtrack. But the aspect I love the most is the visuals. Not only because they are stunning, but because they assist in telling the story and revealing character development and thematic elements MORE THAN ANY OTHER FILM I HAVE EVER SEEN. You can quote me on that.

And though I can pick many shots that come to mind when I think of this film, and I can, excuse my French – analyze THE SHIT out of this movie based on a wide variety of stills – this is the most telling shot for me:

trio

What’s the importance of this shot, you ask – besides the amazing color palette and costumes? It’s visually relaying one of the ideological messages of the film by placing the actors in triangular formation within a scene, almost as a representation of a ‘holy trinity.’ Though this is not the only representation of this in the film, this is the most overt, with Flynn – The Creator – at the center, in an almost godlike position. These images, combined with the fact that Flynn is referred to as “The Creator,” Sam (right) is called “Son of Flynn,” and Quorra (left) is referred to as “The miracle,” help to convey the religious undertones of the narrative in a visual manner. There are other religious and spiritual elements in this film, weaving seamlessly into themes of betrayal, creation, power, and purpose, and each of these three characters assist in the delivery of those messages, which makes placing them in this position all the more telling. It is also indicative of the shifting power structure within the narrative, but I don’t want to delve too deep with that because I’d hate to spill spoilers for a film that came out eight years ago.

And that’s all in one image, folks. This film absolutely nails the “show not tell” idea – a skill that the director carried over to Oblivion, a film I only watched because of him because I don’t like Tom Cruise. Seriously, if you haven’t watched this movie, I challenge you to do so – and see if you can pinpoint other important “trinities” visually represented in the film, because there are two more that I picked out.

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If you’re in need of a new read, check out my YA novel, I’m With You! The ebook is only $1.99 or (£1.55) and paperback is $9.99 (£7.99) on Amazon / Amazon UK. Nook book is also $1.99 and paperback is $9.99 on BN.com.

 

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One Shot #2: Darkest Hour

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Though I had an overall so-so opinion of Joe Wright’s 2017 Winston Churchill biopic, one aspect of the film stood out to me just as much as Gary Oldman’s spellbinding lead performance – and that’s Bruno Delbonnel’s brilliant cinematography.

And part of the reason is this one shot, right here:

dh

Even if you haven’t seen the film or know nothing about Winston Churchill’s tenure as the British Prime Minister during the chaos of WWII, this image tells the story. The entire sequence is evocative – as many sequences throughout the film are, thanks to effective lighting techniques and superb directing – but this one shot perfectly encapsulates the way Churchill is portrayed this movie. He is a man alone, and restricted, facing a terrifying, unknown darkness. But there is a single light – he can’t clearly see the path, but continues to forge ahead.

In the film, Churchill faces an endless onslaught of doubt and opposition – much of it justified, due to his somewhat checkered track record – as he leads the nation against the ever increasing threat of the Axis powers. And though it’s a position of prominence, he is still effectively in a cage. Bound by law, bound by those who fear him and those who loathe him, bound by indecision, bound by the threat of being deposed. He grapples with what to do in the face of the Dunkirk evacuation, and how to handle a nation – and a world – at war. Asserting you cannot reason with a tiger while your head is in its mouth.

This is what that still means – this is a man with his head in a tiger’s mouth. Alone, restricted, and facing the unknown.

Any suggestions for more films/shots, message me!

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If you’re in need of a new read, check out my YA novel, I’m With You! The ebook is only $1.99 or (£1.55) and paperback is $9.99 (£7.99) on Amazon / Amazon UK.  Nook book is also $1.99 and paperback is $9.99 on BN.com.

One Shot #1: The Searchers

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Movies are, on a base level, a collection of scenes woven together by a narrative. Like a sweater, comprised of many stitches. Or a sandwich, composed of many layers. And when you break it down even more, and strip more elements away, a film can be reduced solely to images – and some images can remain burned into the eye of the viewer forever.

Take this image, from the final scene of the acclaimed 1956 western The Searchers.

the searchers.PNG

As I’ve admitted before, I’m not a big fan of westerns, and I’m even less a fan of John Wayne movies – but The Searchers is one of the few exceptions. As in, it’s on my all-time “greats” list, thanks to being forced to watch it in film class. And a huge portion of my admiration for this film is rooted in this one image.

The film features more than one threshold/doorway shot, though the final one is the most poignant. By showing several scenes framed in a doorway or through some kind of entrance, the film is allowing the viewer an inside look to see something that might not normally be seen – something that is behind closed doors, or cut off from the world. It is also showing a separation of the “inside world” and the “outside world” and the distinctions between the two.

That makes Ethan’s final scene significant – he is framed in the doorway, but does not go in. He is a creature of the “outside world” and does not belong in the “inside,” which is why he is not shown entering the house after the conflict is over, and ultimately walks away. If The Searchers was a stereotypical western, he probably would have entered the house and they would have had a big ol’ family dinner, and Ethan’s position as a “savior” would be solidified. But Ethan is wild and unpredictable like the rambling western landscape, a restless wanderer, and by going inside, he would be chained down – and he does not belong in a place like that. The “open door” also illustrates the moral ambiguity of the film overall, as Ethan’s reluctance to settle, and his inability to join that “inside” world, is an example of his conflicted “hero” status.

This final shot is the spine of the film – at least for me. A beleaguered man walking away from door, rejecting a fresh start, left to reflect on what he has done. A “hero” who does not get a celebration, because perhaps his deeds are just as bad as the “villain’s.” And that’s how this single image is so powerful – I still reference it whenever I spy a good threshold shot in a movie.

Any other shots from different films come to mind? One that can define the entire film as a whole? Let me know!

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If you’re in need of a new read, check out my YA novel, I’m With You! The ebook is only $1.99 or (£1.55) and paperback is $9.99 (£7.99) on Amazon / Amazon UK.  Nook book is also $1.99 and paperback is $9.99 on BN.com.

 

Film Review: Solo: A Star Wars Story (2018)

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Dir: Ron Howard
Starring: Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Thandie Newton, Donald Glover, Joonas Suotamo, Phoebe Waller-Bridge, Paul Bettany.
Runtime: 2hr 15min
Rating: PG-13
Spoiler level: Light, some hints here and there.

After facing a (rumored) fraught production, during which the original directors were fired due to “creative differences” and replaced with Ron Howard in the eleventh hour, which led to significant portions of the film being re-shot, expectations for Solo seemed to be teetering between “bad” and “disastrous.” My own hopes for the film were decidedly low as negative rumors swirled in the lead up to release, but after seeing it, I can safely say that I should not have had such a bad feeling about it.

Solo_A_Star_Wars_Story_posterSolo follows the young titular character (Ehrenreich) as he breaks free from his life on the streets and pursues his ambitions to become the best pilot in the galaxy – though, along the way, he gets sidetracked by a heist or two and learns a few important lessons about who to trust, the price of loyalty, and the weight of betrayal.

This romp of a film capably blends nuances from various genres – space opera, noir, western, thriller – and the result is a well-crafted, if somewhat overlong jaunt through space that chronicles young Han Solo’s life and achievements prior to Episode IV: A New Hope. Though Solo features such iconic moments and fanboy fodder as Han’s first encounter and blossoming partnership with Chewie, his infamous Kessel Run (in under 12 parsecs) and and his acquisition of the Millennium Falcon, it (surprisingly) does not over-rely on nostalgia and fan service to tell its story and weave an original, if occasionally predictable narrative. Overall, Solo is a worthy addition to the Star Wars Anthology series and an enjoyable space adventure that offers thrills and a compelling look into the backstory of the galaxy’s favorite stuck-up, half-witted, scruffy-looking nerf herder.

Asking Alden Ehrenreich to live up to the legacy of Harrison Ford in the role of Han is like asking a guppy to fill the fins of Jaws, or a tennis ball to pack the same emotional wallop as Wilson the volleyball – it’s an impossible task. BUT, that is hardly Ehrenriech’s fault, and he delivers enough charm and charisma to convince the audience to root for him and have faith in his burgeoning career and confidence as an outlaw, and his developing camaraderie with Chewbacca (Suotamo) is an emotional high point of the film. Ehrenreich certainly has the infamous smirk and the stance down pat, and seeing Han and Chewie sit in the Falcon together for the first time with the iconic theme playing is almost worth the price of admission alone.

As far as the rest of the supporting cast goes, Woody Harrelson as the outlaw Beckett is… well, Woody Harrelson. In the best way, of course. Thandie Newton is great as Val, despite limited screen time. Our new Chewbacca, Joonas Suotamo, warbles and fights and interacts with Han in a way that would make Peter Mayhew proud. Glover – predictably – offers a convincing impression as the debonair Lando Calrission and plays off Ehrenreich exceptionally well. Bettany is somewhat underused as the villainous Dryden, though what we do get from him is enough to prove how sinister and vicious his reputation as the Crimson Dawn ringleader implies. Clarke is lovely as the enigmatic Qi’ra, Han’s old friend from his time on the streets in Corellia, and it will be a shame if we don’t see more of her in future installments. Plus, that “little” cameo at the end – which made my jaw drop – has made me excited to see what the next anthology installment has in store. But perhaps the most compelling new addition to the growing Star Wars cast list is the mysterious Enfys Nest – I sincerely hope we see that character again, because Enfys has the potential to become f*cking AWESOME.

However enjoyable this film is, and how it may well have crawled back from the jaws of potential ruin after the crisis of losing two directors, it is far from perfect. One major drawback is the lack of humor – there are jokes scattered here and there, and a few of them might earn some genuine chuckles, but a significant portion of them fail to land as intended. It didn’t need to be a comedy film, but Han’s one-liners could have been stronger and the humor we did get was lackluster. The character of L3, for me, was also a massive miss and I disliked most of her scenes. The whole “equal rights for droids” schtick is a worthwhile thread to follow, but in this film, it comes off as a silly parody instead of a sincere focus on what could translate to a relatable and genuine issue. Much of the cinematography is dark and muddled, which, during some action scenes, makes it difficult to peg who is who, though – in true Star Wars fashion – the creature effects are stellar.

It is unfortunate that Solo comes on the tail of The Last Jedi, which is perhaps the most polarizing Star Wars film of them all. Fans who disliked Episode VIII might feel less inclined to indulge in the latest space adventure from Disney’s rejuvenated Star Wars franchise, and I was stunned that the theater I went to had only about six other folks in it on the second Saturday of release. Even if you dislike the new main trilogy, I’d say it’s worth taking a chance on Solo, if only to go off on a new adventure without the burdensome weight of the often frustrating mythos to bog it down. Perhaps, if it can fill more seats in the coming weeks, Solo can give some jaded fans new hope in the franchise.

Overall Rating: 8/10

Quizzical

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Anyone who has a Facebook account is probably familiar with those “quizzes” that clog timelines and cause users to waste time wondering if some assemblage of random questions can determine which state you are meant to live in, what era you were born in or belong in, or which celebrity you are destined to walk down the aisle with. And I’ll admit, I’ve taken one or two of them, out of pure curiosity, or simply to pass the time. It’s not like they mean, anything right?

Although, I did take one a little while ago… just for fun. To see which Game of Thrones dude I was most compatible with. I was sure I’d get stuck with a loser like Edmure, or a monster like Gregor, but then…

screenshot_2017-08-19-22-52-322071559275.pngBAM. Somehow, I got my favorite character. He’s my favorite for a reason, after all – and part of that reason is that he’s a fine specimen of a man. And thus, I began to wonder… maybe these quizzes do have some credibility to them? I mean… I’m not too crazy about living in the House of Black and White, because that wall of faces creeps me out a little, but Braavos is stunning!

But the questions on this quiz did genuinely seem to be totally random, with nonsensical questions apparently unrelated to the result – and I was sure it would only feature the major characters, like Jon, Robb, Jaime, Bran, etc, but I managed to get a minor/secondary character who is also my fave. What are the odds? Maybe these quizzes do mean something? Maybe there’s a method to their randomness?

screenshot_2018-05-05-19-31-281889245122.pngI took another one recently, just for kicks, about favorite movie genres. And I thought I’d have the quiz stumped, because my palette for film-watching is very broad. How can this paltry, insignificant Facebook quiz know my favorite film genre when I’m not even 100% sure what it is?

Well… I’m not sure how… but it can.

Not only was it able to peg my love for drama films, but it picked my favorite film of 2017 and another film that I loved. HOW COULD THEY TELL? I mean, these quizzes ask silly questions, like showing a picture of four different pieces of cake and asking you to select just one, or asking what your favorite way to spend a rainy afternoon is. How can it determine anything of substance from such seemingly inconsequential questions?

Results like these make me ponder if maybe – just maybe – these quizzes do mean something. Maybe the universe is channeling it’s energy through these Facebook quizzes…telling us who we are as people. Who we are MEANT to be. What path we are meant to follow.

And then, I took a “Which Avenger are you quiz?” and…

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Yeah… outgoing? Charismatic? Humorous? POSITIVE? Please… I am nothing like Thor. I mean, in my dreams, maybe. I haven’t got an ounce of Pirate/Angel in me! I’m closer to Loki than Thor, by far.

Now I know these quizzes are full of shit.

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If you’re in need of a new read, check out my YA novel, I’m With You! The ebook is only $1.99 or (£1.55) and paperback is $9.99 (£7.99) on Amazon / Amazon UK.  Nook book is also $1.99 and paperback is $9.99 on BN.com.

The Spark

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I’ve mentioned this in previous posts, but I generally attribute my love and appreciation for film to my decision to minor in film during my college years, since I got to experience a broad spectrum of different genres and styles from a multitude of different directors and eras.

Prior to that, I didn’t go to the movies all that much – at least, not as often as I would have liked. Now, I try to go once a week or every couple of weeks, and sometimes I go three times in one week, it all depends on what’s showing at the two theaters in my tiny backwoods town. I also get my friends saying things like, “Please tell me you didn’t go to see Pete’s Dragon by yourself,” like it’s a bad thing to take in a 10AM Saturday show solo to enjoy a nice Disney flick with some gummy bears.

But there is one film that I consider to be my “aha!” moment – the one that opened my eyes to how beautiful, compelling, and powerful cinema can be. And that film is Chris Nolan’s 2008 genre-breaking superhero flick, The Dark Knight.

MV5BMTMxNTMwODM0NF5BMl5BanBnXkFtZTcwODAyMTk2Mw@@._V1_UX182_CR0,0,182,268_AL_This was before the days of assigned (and reclining) movie theater seating, so my parents and my best friend and I showed up an hour early in order to ensure we got the best seats in the house. As a massive Batman fan, I was psyched to see the Caped Crusader take on the newest iteration of his arch-nemesis, the menacing Joker. As the film unfurled onscreen, I was totally blown away. The music, Heath Ledger’s unforgettable performance, and the more grounded version of Gotham and Batman that Nolan crafted quickly became one of my all-time favorites, and I left the theater already yearning to see it again… which I did. Twice more, including a one hour trip to see it in IMAX with my dad. To this day, I have a huge movie poster of the Joker hanging over my bed; the first film poster I ever bought for myself. Now, many others have joined the ranks. I will still see any film that Christian Bale is in, regardless of ratings, will always spy a bit of Commissioner Gordon in any Gary Oldman performance, and will forever contend that The Dark Knight was robbed of a Best Picture nom at the Oscars.

As such, I consider The Dark Knight to be “the spark” that ignited my adoration of the cinema, the first film that made me think about how movies work and how all the parts come together to make one solid, functional piece of art capable of wowing and moving audiences. It opened the door to a whole new world, for me – and it didn’t even require a death-defying magic carpet ride to get there. Sure, I loved other movies before that, but The Dark Knight is special for me, and it always will be. Now, I’m one of those obnoxious people who love to talk about mise-en-scene and cinema verite and the male gaze and all that jazz, and I have a comic book movie to thank for that.

If any one else reading this has had a similar experience, what was your “spark?”

Film Review: Avengers: Infinity War (2018)

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Dir: The Russo Bros
Starring: Robert Downey Jr., Chrises Evans, Hemsworth, and Pratt, Benedict Cumberbatch, Scarlett Johansson, Josh Brolin, Mark Ruffalo, Zoe Saldana, Chadwick Boseman, Peter Dinklage, Tom Holland, lots and lots of other amazing humans, possibly some aliens, and one badass cape.
Runtime: 2hr 29min
Rating: PG-13
Spoiler level: Light, if any. No major plot points revealed.

At last, the moment Marvel fans have been waiting for since Iron Man’s debut film in 2008 has dawned. A decade in the making, those loyal to the ever-expanding Marvel Cinematic Universe get to see dozens of superheroes (and a few villains) meet onsceen in what is being marketed as one of the largest collaborative efforts in film history, and the result is an ambitious and unrelenting crossover spectacle that is sure to keep fans on the edge of their seats until the lights go up in the theater and the last name ticks by on the credit scroll.

img_20180426_184828_4731152136814.jpgAvengers: Infinity War follows the fractured Avengers (and a ragtag crew of other heroes) as they attempt to stop the intergalactic threat Thanos from securing the all-powerful infinity stones and thus wreaking his judgment upon the earth. And… that’s pretty much all to be said without wandering into spoiler territory.

First of all, for those going into this film spoiler-free (as one should) I have only one word of advice: Forget everything you think you know. With a film series that now spans 19 installments, it’s difficult not to speculate and generate theories as to what will happen to the much-beloved characters fans have grown to know and become attached to over the last ten years. But I assure you, Infinity War defies expectations and unfurls enough twists and surprises to keep the most intuitive fans guessing until the final seconds.

This film features a massive cast, and while some faces do get more screen time and focus than others, no one feels shoved to the side or left out. The smaller story-lines are all connected by one major over-arcing conflict (named Thanos), which keeps the story churning ahead like a train barreling down the tracks, and prevents the plot from meandering too far off course. Several of the unorthodox pairs and groupings that come about in this movie are flat out strokes of comedic and narrative genius, with interactions and rapport that practically ooze chemistry. I never realized how badly I wanted a Thor and Rocket Raccoon team-up movie until now, but if it ever happens, Marvel has my money. Somehow, even in such a jam-packed film, several characters manage to undergo a decent and impressive amount of character development despite sharing the screen with so many colorful personalities. This film could very easily have felt like “too much,” but because the cast is broken up into different factions most of the time, it manages to escape coming across as bloated and bogged down.

The writing capably balances comedic moments (with several jokes that had me laughing out loud) and the heavier, more serious scenes that strive to yank at the heartstrings and appeal to the viewer’s emotional investment in the series. The result is a well-paced film where some of the smaller moments are more charming and evocative than the bombastic high-stakes events. A film of this magnitude also promises a wealth of action, and once the fight-scenes start, they hardly ever let up, except some breaks for exposition and banter. There are numerous instances of creative combat and fan-service that are certain to please and thrill, though fans who disliked the large cast and epic fight scenes in Civil War will possibly find little to appreciate about the action sequences in this film. Likewise, those who are looking for a more casual movie-going experience or have missed the major films in this series might want to skip this one until they’re caught up. Many of the jokes and references in this film will not make sense to those who have skipped a few chapters – in fact, the opening scene is proof that this isn’t a film meant to draw in new viewers and initiate fresh fans. The first seeds for Infinity War were planted ten years ago when Tony Stark first graced the silver screen, and for the nineteenth chapter, the Russo Bros and other hands behind this film have delivered an explosive, emotionally-jarring, and potentially scarring adventure that hardly takes a breather from start to finish.

On a visual level, the effects are of standard Marvel quality. Some CGI looks fake, other times it’s seamless… that’s more or less par for the course for these movies. Alan Silvestri’s score makes an excellent addition and expansion to the existing themes and music from previous films, and adds a bit of extra power to both the emotional scenes and the ones rife with combat.

Folks who have witnessed all or most of the eighteen films leading up to this one, who flock to early screenings and don their favorite character’s colors and symbols for premieres and eschew sneak peaks and early footage in favor of going in blind, will find a lot to like about this film, but might also find parts of it frustrating simply because there is such a great level of investment in the fan-base. This is a film with a lot on the line, and not everyone will be pleased with the result. Obviously, the most contentious and hotly-discussed moment(s) of this movie will mainly concern the ending… which is why I’m not going to go into it. But I will say that my jaw dropped more than once, there are some loose threads left dangling, fan reactions are likely to be split, and I’m already concocting theories as to what will happen in the sequel, which is an entire year away. It is frustrating to have to wait that long, but at least we have the upcoming Ant-Man and the Wasp and Captain Marvel to make it more endurable.

Infinity War has had an entire decade of build up, and though it’s not a definitive conclusion to the current phase of the Marvel Cinematic Universe, it is apparent that the end is nigh, and this war might exact a greater toll than fans are prepared for. But overall, Infinity War is a wild ride that Marvel fans absolutely should not miss.

Overall rating: 8.5/10