The coming of WATCHMEN was heralded like the coming of the Nintendo Wii. Spreading like a splash of 300-style blood across the interwebs, its trailer was one of the most watched clips on YouTube last year. The week before its opening, Fandango allegedly crashed multiple times as fanboys and girls alike flooded the site to buy tickets to midnight screenings nationwide. But naysayers parlayed their critique, speaking more judgmentally about the film's flaws than Tom Colicchio dissing Stefan on the penultimate episode of this season's "Top Chef." The decries led those unfamiliar with the subject matter to lose interest in its reported SIN CITY-style darkness. All that hullabaloo, and now, a mere two weeks after it hit theatres, its presence is fading into a mere box office memory.
It's a shame, I must say, having just seen it. Why is it fading out when the film is so freakin' good?
Now, I'll admit, I don't read graphic novels (in fact, I barely read anything but my own blog, that's what a ham I am), so I knew nothing about WATCHMEN. I didn't know the characters, the plot, the fact that that blue guy is naked and swinging for most of the movie--didn't really know any of that until about a week ago. But I loved it. I think I even liked it more than some of my friends who are fans of the story's original form. Not sure if that means there's something wrong in the film's marketing...or something right in my digestion of it...or vice versa...or both, but I'm here to say that if you go in, hang-up free and at least a little informed, you're sure to enjoy WATCHMEN. Here's why I did:
1. The superheroes. I love superheros, and WATCHMEN has them in spades, behaving goodly, behaving badly, being human and being superhuman. I haven't seen so many men and women of mystery on screen since the X-MEN trilogy, and this was done so much better than Ratner could have, even if given a handicap (look, more special effects!). Their stories were well-realised, and I was completely drawn in by watching them use their powers, both practiced and inherent. This is a movie that extols superheros even as said icons critique themselves. It's kinda meta that way.
2. The central hero. Would you say it's Dr. Manhattan or Rorschach? I'd say the latter. I was most confused/intrigued by the character Rorschach, as I wasn't sure, really, what his power was--perhaps as a result of not having read the novel. But if you break it down and define what makes someone a superhero as someone who uses any superhuman ability to fight for good--be it superhuman intelligence (Tony Stark) or superhuman stickiness (Spiderman)--Rorschach fits the mold. They all did. About Rorschach, I thought, "Hmm. He is strong. And smart. Unbelievably violent. Yet fighting for good. And that mask thing is cool. He's a superhero." I was pleased by the non-traditional superhero "space" his character inhabited, and hence got pulled into his slightly psycho obsession with journals and justice. And really, in a fight, would you rather have him for or against you? He was a loner, he was a fighter, and he was the glue that brought these superheroes back together.
3. The tone. Again, one point for the non-traditional. If the coming era of superhero movies means a little more DARK KNIGHT, a little less IRON MAN, I'm not sad or happy--they're both great flicks--but I am impressed. I think it's got to be alienating to be "the only one of your kind" (thanks, HANCOCK), and exploring that alienation is human. Exploring it on Mars is just plain cool. It's also a bit wimpy of Dr. Blue Balls, but I forgive him. It ain't easy being all-powerful and somewhat god-like. I appreciated the darkness, the poignancy, of this tale of good-doers with some serious skeletons in their closets. Growing up different wasn't easy for Rorschach or Silk Spectre II, living in the present is a struggle for The Comedian and Nite Owl, in their own ways, and thinking about the future almost derails Dr. Manhattan. In this film, we see the underside of superhero life, and it ain't pretty. But like we saw in DARK KNIGHT last year, a superhero knows his/her place--serve the world first and self second; live a life of hurt either way. That dedication to depicting this message sets WATCHMEN apart, as it did the caped crusader.
4. Story accuracy. As I said--and please don't judge too harshly--I didn't read the graphic novels. I actually (sorry) didn't even know who the Watchmen were until about the fourth time I ran into the trailer, around mid-December of 2008. Yes, I know, way late. But I don't think that entirely dispels my ability to discuss the accuracy of the story. I've asked around, and people tell me the film was very true to the comic, even encapsulating much of the comic's flaws. Interestingly, the things I left thinking didn't work in the movie were things that, upon conversations with others, I found didn't work in the graphic novel, either. And certain observations I made--why is Rorschach so long-winded when dictating his journal but so terse when speaking in scene?--seemed to be details lifted straight from Alan Moore's pages. Don't take the credit if you don't want to, Mr. Moore, but it's all there. You wrote something brilliant, and Zack Snyder did his damnedest to get it all on screen. But how do you turn a painting into a poem? Changing mediums is tough, and I suppose that's why they invented DVD-extras. Apparently, upon DVD-release the already dauntingly lengthy film will be beefed with deleted scenes galore to make this re-telling of the reawakening of the world hopefully even closer to what Moore would have wanted. That's dedication to a story, my friends, and Snyder deserves some serious praise.
5. I was prepped [SPOILER ALERTS AHEAD]. Final reason I could enjoy WATCHMEN, I think, was because I was told I wouldn't. From every media source, friends and foes alike, everyone had an opinion about the movie. I wanted to go in a little "clean-slate," but it was impossible. I heard early that there was graphic violence, graphic sex, it was longer than TITANIC and darker than DARK KNIGHT. I heard Malin Ackerman sucked, you could see Billy Crudup's possibly fake balls, that it was confusing to the outsider (me) and slow in pacing to everyone. I went in informed, and I knew: "Get a good night's sleep the night before. Use the bathroom before it starts. Pay the frack attention. Don't be distracted by the cyan-colored schlong. Get ready for lots of dialogue and a fair bit of cartoonish blood." It was like cheating, knowing all this. But then by the time that [seriously, SPOILER ALERT] Matthew Goode's awful American accent revealed the Noah-and-the-Ark-like nature of this long-winded tale, I was hanging on every minute. I had been waiting for it to get bad, but it didn't. THE WATCHMEN delivered. Well, actually, the ending, the big climax/resolution kind of disappointed me, but knowing that's how the graphic novel ended as well means I had to forgive it. So what, if it boiled down to "kill a million, save a billion"? Was the ride worth it? Knowing what I knew walking in--certainly.
[END SPOILER ALERT]
Of course the cinematic portrayal of the most well-known graphic novel of all time stands to be critiqued, but as far as I can tell, the naysayers are shooting crap. I encourage anyone willing to spend three hours of their time in a dark room with the darkest heroes of our time to go in with an open mind. You don't have to be some graphic novel aficionado to love WATCHMEN. You just need to have a good appreciation for the superhero genre and, perhaps, dark characters in general. If you understand at least a bit of what you're getting into, you'll fare fine. You may enjoy it even more than expected. I, for one, totally did.
plot: Even superheroes drop like flies.
thought: Who will save us now?
in five: 4/5
watch them: http://watchmenmovie.warnerbros.com/
Affichage des articles dont le libellé est overlooked greatness. Afficher tous les articles
Affichage des articles dont le libellé est overlooked greatness. Afficher tous les articles
dimanche 22 mars 2009
vendredi 6 mars 2009
Overlooked Greatness: 'Brick' (2005)
**This article also appears on RopeofSilicon.com.**
This just in: Jonas Brothers: The 3D Concert Experience has underperformed. Expected to make in the area of $30 million, the 3D picture that thought it could has come in at just under $13 million. Now, since it has been heralded as a “concert experience,” I’m not sure if it really qualifies as a movie…but hearing about this sad, un-Miley-like box office implosion, I started wondering to myself: What happened to movies with teen themes? Can’t Hardly Wait…She’s All That…Boys and Girls. The American Pie franchise has been relegated to DVD reprisal, and last I heard, 10 Things I Hate About You is now in development to become a TV series…which seems weird.
Well, here’s what I think happened to movies primarily featuring teen storylines: they sucked. Oh, that might seem like a harsh conclusion—I watched and loved them all, I’ll admit—but what I really mean is that they cloned each other and subsequently became forgettable. That sucks. Road Trip is to Euro Trip what Hannah Montana is to The Brothers Jonas.
The teen films that stand the test of time, you’ll note, are the unique originals, the trailblazers. By nature of the field, however, it’s hard to get uber-original. How many ways can you show puberty reeling its slightly horny head before you’re hips-deep in pie again? Filmmakers must decide to veer off the beaten (get it?) path or risk Death by Duplication. Luckily, Rian Johnson’s wonderful little indie, Brick, has already beaten the seldom explored teen mystery genre—and challenged future noir mysteries in general. Brick, effectively, has blazed the trail, and left nothing but awed soot in its wake. Here’s how:
1.) Noir Factor: Brick is black, black, black, and that is so, so good. With a heavy nod to Polanski’s Chinatown, this film’s aesthetic intensity captivates. If for some reason, your TV speakers break but the image is working fine, know this: you could still watch and enjoy Brick. Can’t do that with Can’t Hardly Wait. With a focus on detective novels like The Maltese Falcon, first-time screenwriter Rian Johnson started his teen detective tale as a novella of sorts, where main character, Brendan, plays our Sam Spade. But in his evident devotion to the genre, Johnson ripped the American detective story in two, creating dual levels: the narrative level, where a “who dunnit?” is solved, and the thematic level, where we, the viewers, explore the effects of teen drug culture in American suburbia. The lens is his paintbrush, and the paint is dark, twisty and beautiful on the big screen canvas.
2.) JGL Factor. That would be Joseph Gordon-Levitt. Yeah, that kid from “Third Rock from the Sun.” You know, I first saw JGL (who I also like to refer to as “Hotness Walking”) in Holy Matrimony opposite Patricia Arquette when I was about 10 years old. I remember thinking to myself, “That kid will one day be Hotness Walking.” He was talented then, as a Hutterite on the verge of arranged marriage, and he has only grown. JGL is a man who rarely disappoints. I will see anything he’s in, because he chooses riveting work and plays his roles with mind-bending intensity. Yeah, even on “Third Rock from the Sun,” and again in that teen number, 10 Things I Hate About the Fact that 10 Things I Hate About You Might Become a TV Show (we can discuss that later). His body of work has been described as “acclaimed and underseen,” and you know what, Boston Herald, I agree with you. Because if Joseph Gordon-Levitt says he’s an alien, I believe him. He says he’s a nerd, I believe him. He says he’s mentally challenged, a prostitute, physically disabled or—in this case—a teenage detective out to avenge his missing girlfriend; I believe him. His presence alone will draw you in.
3.) Addictively indie. Much like this year’s Best Picture Oscar winner, Slumdog Millionaire (and many other movies, might I add) Brick tread a long path to the big screen. With Slumdog, Danny Boyle and his team achieved what others would never have attempted to try on $7 million. Originally penned in 1996, Brick took nearly ten years to hit the art house circuit, and that was after being whittled down to a $475,000 budget! They faked the special effects with a bit of creativity and edited the rest like mad. After all that, the writer still was able to work out a deal with Fox Searchlight, the distributor, and hence to this day, he offers his entire, annotated shooting script for anyone to read and download online. That’s right: “Free on the internet.” That is so indie, it’s like listening to Radiohead and Fleet Foxes at the same time. You gotta respect a filmmaker who honors the unspoken artist’s covenant: though shalt share thine art—at any cost.
4.) The name game. You know you’re really floating in a pool of noir once you encounter a character that goes by something like “Acey,” “Sonny” or by “The [Insert Noun]” in an already dark film. Well, Brick has “The Brain,” JGL’s partner in solving crime, and “The Pin,” our post-teen, bad guy extraordinaire. Five minutes in, and you’ll guess right away: Something’s up, and it ain’t what you thought. Though our lead is simply “Brendan,” the softness of that name defines him entirely: he’s in this for love, and love will put up a fight. Other character names do not disappoint, however. There’s also Tug (bad guy) and Dode (bad guy) and a slew of knick-names for outliers, like “Dangle” and “Flatfoot.” Between these names and the stylized, genre-loving dialogue, it’s almost hard to keep up with the plot. But don’t worry: this is a movie you’ll want to see twice, so just pick it up on the next viewing. Or read the script for free on the internet!
5.) Score. That is to say, the music tracks. Pays to have a multi-platinum record producer in the family. Brick’s writer, Rian, has that brother—his name is Aaron. But the music talent didn’t stop there. Rian’s cousin, Nathan, reined over this composition. Rumor (read: wikipedia) has it that Brick was scored mostly by way of iChat, i.e., Rian sent clips of his film-in-progress from Los Angeles to his cousin in New York, who scored on the go at the reduced, family rate. With further help from The Cinematic Underground, an indie (natch), alt-rock group, Brick’s score came together. The music in this film is telling and adds to the surreal nature of the action. Again, if your TV choked for a couple hours and all that worked was the sound—put the DVD in anyway. You’ll be alright.
Now some might say that Brick is a little over the top in its noir-ittude. The lingo, the name game, the score, the Hotness Walking…these are all elements that collectively strike a pose as recognizable as Heidi Klum’s on the catwalk. This film is making a statement. And it’s going to hit you over the head with it a little bit. Repeat viewings, however, will reveal that the artistry supporting this statement is fairly intact. And because the man behind Brick also scribed the upcoming The Brothers Bloom (starring Adrien Brody and Rachel Weisz), we can guess that he is not a one-trick pony.
I have yet to see Brothers Bloom, but I’m excited to see the next step in Rian Johnson’s repertoire. Bloom looks like a comedy, which already differentiates it from Brick. I suggest getting your hands on Brick before heading forward, get to know Rian a little. Embrace this journey, and you will feel artistically revitalized afterwards, I can almost guarantee it. You also may never want to watch She’s the Man again. It’s an unfortunate side effect of enlightenment.
This just in: Jonas Brothers: The 3D Concert Experience has underperformed. Expected to make in the area of $30 million, the 3D picture that thought it could has come in at just under $13 million. Now, since it has been heralded as a “concert experience,” I’m not sure if it really qualifies as a movie…but hearing about this sad, un-Miley-like box office implosion, I started wondering to myself: What happened to movies with teen themes? Can’t Hardly Wait…She’s All That…Boys and Girls. The American Pie franchise has been relegated to DVD reprisal, and last I heard, 10 Things I Hate About You is now in development to become a TV series…which seems weird.
Well, here’s what I think happened to movies primarily featuring teen storylines: they sucked. Oh, that might seem like a harsh conclusion—I watched and loved them all, I’ll admit—but what I really mean is that they cloned each other and subsequently became forgettable. That sucks. Road Trip is to Euro Trip what Hannah Montana is to The Brothers Jonas.
The teen films that stand the test of time, you’ll note, are the unique originals, the trailblazers. By nature of the field, however, it’s hard to get uber-original. How many ways can you show puberty reeling its slightly horny head before you’re hips-deep in pie again? Filmmakers must decide to veer off the beaten (get it?) path or risk Death by Duplication. Luckily, Rian Johnson’s wonderful little indie, Brick, has already beaten the seldom explored teen mystery genre—and challenged future noir mysteries in general. Brick, effectively, has blazed the trail, and left nothing but awed soot in its wake. Here’s how:
1.) Noir Factor: Brick is black, black, black, and that is so, so good. With a heavy nod to Polanski’s Chinatown, this film’s aesthetic intensity captivates. If for some reason, your TV speakers break but the image is working fine, know this: you could still watch and enjoy Brick. Can’t do that with Can’t Hardly Wait. With a focus on detective novels like The Maltese Falcon, first-time screenwriter Rian Johnson started his teen detective tale as a novella of sorts, where main character, Brendan, plays our Sam Spade. But in his evident devotion to the genre, Johnson ripped the American detective story in two, creating dual levels: the narrative level, where a “who dunnit?” is solved, and the thematic level, where we, the viewers, explore the effects of teen drug culture in American suburbia. The lens is his paintbrush, and the paint is dark, twisty and beautiful on the big screen canvas.
2.) JGL Factor. That would be Joseph Gordon-Levitt. Yeah, that kid from “Third Rock from the Sun.” You know, I first saw JGL (who I also like to refer to as “Hotness Walking”) in Holy Matrimony opposite Patricia Arquette when I was about 10 years old. I remember thinking to myself, “That kid will one day be Hotness Walking.” He was talented then, as a Hutterite on the verge of arranged marriage, and he has only grown. JGL is a man who rarely disappoints. I will see anything he’s in, because he chooses riveting work and plays his roles with mind-bending intensity. Yeah, even on “Third Rock from the Sun,” and again in that teen number, 10 Things I Hate About the Fact that 10 Things I Hate About You Might Become a TV Show (we can discuss that later). His body of work has been described as “acclaimed and underseen,” and you know what, Boston Herald, I agree with you. Because if Joseph Gordon-Levitt says he’s an alien, I believe him. He says he’s a nerd, I believe him. He says he’s mentally challenged, a prostitute, physically disabled or—in this case—a teenage detective out to avenge his missing girlfriend; I believe him. His presence alone will draw you in.
3.) Addictively indie. Much like this year’s Best Picture Oscar winner, Slumdog Millionaire (and many other movies, might I add) Brick tread a long path to the big screen. With Slumdog, Danny Boyle and his team achieved what others would never have attempted to try on $7 million. Originally penned in 1996, Brick took nearly ten years to hit the art house circuit, and that was after being whittled down to a $475,000 budget! They faked the special effects with a bit of creativity and edited the rest like mad. After all that, the writer still was able to work out a deal with Fox Searchlight, the distributor, and hence to this day, he offers his entire, annotated shooting script for anyone to read and download online. That’s right: “Free on the internet.” That is so indie, it’s like listening to Radiohead and Fleet Foxes at the same time. You gotta respect a filmmaker who honors the unspoken artist’s covenant: though shalt share thine art—at any cost.
4.) The name game. You know you’re really floating in a pool of noir once you encounter a character that goes by something like “Acey,” “Sonny” or by “The [Insert Noun]” in an already dark film. Well, Brick has “The Brain,” JGL’s partner in solving crime, and “The Pin,” our post-teen, bad guy extraordinaire. Five minutes in, and you’ll guess right away: Something’s up, and it ain’t what you thought. Though our lead is simply “Brendan,” the softness of that name defines him entirely: he’s in this for love, and love will put up a fight. Other character names do not disappoint, however. There’s also Tug (bad guy) and Dode (bad guy) and a slew of knick-names for outliers, like “Dangle” and “Flatfoot.” Between these names and the stylized, genre-loving dialogue, it’s almost hard to keep up with the plot. But don’t worry: this is a movie you’ll want to see twice, so just pick it up on the next viewing. Or read the script for free on the internet!
5.) Score. That is to say, the music tracks. Pays to have a multi-platinum record producer in the family. Brick’s writer, Rian, has that brother—his name is Aaron. But the music talent didn’t stop there. Rian’s cousin, Nathan, reined over this composition. Rumor (read: wikipedia) has it that Brick was scored mostly by way of iChat, i.e., Rian sent clips of his film-in-progress from Los Angeles to his cousin in New York, who scored on the go at the reduced, family rate. With further help from The Cinematic Underground, an indie (natch), alt-rock group, Brick’s score came together. The music in this film is telling and adds to the surreal nature of the action. Again, if your TV choked for a couple hours and all that worked was the sound—put the DVD in anyway. You’ll be alright.
Now some might say that Brick is a little over the top in its noir-ittude. The lingo, the name game, the score, the Hotness Walking…these are all elements that collectively strike a pose as recognizable as Heidi Klum’s on the catwalk. This film is making a statement. And it’s going to hit you over the head with it a little bit. Repeat viewings, however, will reveal that the artistry supporting this statement is fairly intact. And because the man behind Brick also scribed the upcoming The Brothers Bloom (starring Adrien Brody and Rachel Weisz), we can guess that he is not a one-trick pony.
I have yet to see Brothers Bloom, but I’m excited to see the next step in Rian Johnson’s repertoire. Bloom looks like a comedy, which already differentiates it from Brick. I suggest getting your hands on Brick before heading forward, get to know Rian a little. Embrace this journey, and you will feel artistically revitalized afterwards, I can almost guarantee it. You also may never want to watch She’s the Man again. It’s an unfortunate side effect of enlightenment.
dimanche 15 février 2009
Overlooked Greatness: 'American Outlaws' (2001)
**This article also appears on RopeofSilicon.com.**
I can guess what you must be thinking. A cowboy movie? With Colin Farrell? Yes, you’re right. It was an unknown Irishman playing a classic American cowboy—and Jesse James, to boot. It’s everything wrong, and perhaps that’s why, seven years ago when I first heard about it, I was immediately intrigued.
Unless watching gay cowboys who are in love with each other, I’ve never been that much of a Western fan. I’m not saying that to immediately discredit any words I might share about this particular Western (though that might be the result). I’m saying it, in fact, to bolster the film’s credibility. It didn’t spin itself as an historical drama. It’s a popcorn flick with some horses thrown in, and if you think of it that way, you’re already saddled up for a smoother ride. But if you need further convincing, hopefully that’s where the following Five Factors of Greatness come in.
1. Colin Farrell: We know the Hollywood Talent Trajectory™ by now: Early Speculation of Star Status leads to Quagmire of Cocaine, which leads to 100 Years of Solitude, which leads to Awesome Phoenix-Like Rebirth. Note those who spun out early (River Phoenix) and those who have finished the journey (Mickey Rourke). Having just won a Golden Globe for his wonderful portrayal of a hitman with heart in the BAFTA Award-winning In Bruges, Farrell has come out of the quagmire of cocaine and is on his way back to potential Phoenix Status. And I’ll argue that American Outlaws, Farrell’s second American film, was a hint to the masses about what was in store. Though it might be a stretch to say he was “discovered” thanks to this film (he did act for Schumacher a year prior in Tigerland), it definitely helped put him on the HTT ™ and defined him as a heartthrob to watch. In Outlaws we get to see Farrell act two roles: swashbuckling ne’er do well and hopeless romantic. It’s sweet, endearing, youthful and exciting. Someone else might have made more sense for a Jesse James, but Farrell made this Jesse James all his. (And as an aside: Kathy Bates plays his mom. Love her.)
2. Dialogue: There are some truly great lines in this film. From “Hey! You wanna die?” to “It’s going to be a long [insert season],” Outlaws always makes me smile. It is memorably quotable, and the only reason people don’t think about the dialogue’s repeatability is—well, there are two reasons. One, not enough people have seen this movie, and two, when it isn’t Will Ferrell-funny or Meryl Streep-dramatic, less people care to play along. I know quotes from small films like Napoleon Dynamite or Juno have eked through, thanks to the portrayal of the offbeat American family behaving in an offbeat way, so there’s got to be room for an offbeat American western in our memories somewhere. Right? I love “This is one doodle that can’t be undid, Home Skillet” (Juno), just as much as I love, “Younger-James gang? Is there an older James gang?” And that’s why I watch and re-watch this movie every year. The quotes never get old, and the fun never wanes.
3. Robin Hood factor: The heart of this Jesse James story is simple. When the railroad company tries to shoulder its way through his family’s homestead, Jesse and his band unite to bring them down, one bank at a time, while providing their neighbors with both physical and financial security. In short, he and his posse steal from the rich and give to the poor. Well, there’s something about stickin’ it to the Man that always makes for a winning plotline. We like the underdog (or the “slumdog,” if you will), the upstart, the gangster with a heart of gold. And you can’t help but root for him in his quest—especially if he’s got a face like Colin Farrell.
4. Butchering of history for entertainment’s sake: Like I mentioned before, Outlaws never intended—or at least I hope it didn’t intend—to be an historical drama. It is neither a history lesson nor a biopic. Who knows if it got the Jesse James and the Younger Brothers’ story right? I’m going to assume it did, pop some popcorn, and move on with my movie night. It’s this same ability to ignore the details in favor of some amusement that lets us enjoy Shakespeare in Love (another perennial favorite of mine). And though, clearly, Shakespeare is the “better” film, both that film and this one operate with the same premise: get the basics down, and then have a laugh. If you like a bit (or a lot) of cheese with your popcorn, Outlaws will taste just right.
5. The tagline and the trailer. They are both seriously so bad, the film just has to be good. Now, obviously when I say “good,” I don’t mean Amistad-good. But in its own, wonky way, American Outlaws is great, and both the tagline and trailer tell you why. With all the guns and action, Outlaws channels more than a bit of 1988’s Young Guns but it uses one-too-many Moby songs (i.e., one) to get to this point. Watch the trailer, and you won’t be able to figure out if you’re in post-Civil War America or in 2001: A Musical Odyssey, in which the members of the band Saliva decide to become cowboy bank robbers. But filter your confusion towards the tagline of the film: “Bad is Good Again.” Um…that says it all. Outlaws doesn’t take itself seriously, and that’s its strength. Bad is good again. And I’m watching.
I think the leading fault of American Outlaws is that it doesn’t quite embrace a genre. Above, I referred to it as an “offbeat American Western,” but that’s not entirely how it sold itself. Outlaws tight-roped between offbeat and ordinary, and there was its undoing. It wasn’t quite clear if viewers should take the film seriously or not. Was it a true telling of the legend of Jesse James? Was it a farcical remake of an American tall tale? Or was it just another shoot-‘em-up comedy with some famous names haphazardly thrown in? Unwilling to pick sides, Outlaws alienated most critics and viewers alike, succumbing to meager box office receipts and thus, obscurity.
But to this day, American Outlaws is the most watched film I own in my DVD collection. Perhaps that’s a little weird. But that’s not to say it’s my favorite film; it just never really gets old to me. Every time Scott Caan shouts, “Let’s ride!” I get into it all over again. It is familiar and fantastic, and it’s truly so bad it gets better every time.
I can guess what you must be thinking. A cowboy movie? With Colin Farrell? Yes, you’re right. It was an unknown Irishman playing a classic American cowboy—and Jesse James, to boot. It’s everything wrong, and perhaps that’s why, seven years ago when I first heard about it, I was immediately intrigued.
Unless watching gay cowboys who are in love with each other, I’ve never been that much of a Western fan. I’m not saying that to immediately discredit any words I might share about this particular Western (though that might be the result). I’m saying it, in fact, to bolster the film’s credibility. It didn’t spin itself as an historical drama. It’s a popcorn flick with some horses thrown in, and if you think of it that way, you’re already saddled up for a smoother ride. But if you need further convincing, hopefully that’s where the following Five Factors of Greatness come in.
1. Colin Farrell: We know the Hollywood Talent Trajectory™ by now: Early Speculation of Star Status leads to Quagmire of Cocaine, which leads to 100 Years of Solitude, which leads to Awesome Phoenix-Like Rebirth. Note those who spun out early (River Phoenix) and those who have finished the journey (Mickey Rourke). Having just won a Golden Globe for his wonderful portrayal of a hitman with heart in the BAFTA Award-winning In Bruges, Farrell has come out of the quagmire of cocaine and is on his way back to potential Phoenix Status. And I’ll argue that American Outlaws, Farrell’s second American film, was a hint to the masses about what was in store. Though it might be a stretch to say he was “discovered” thanks to this film (he did act for Schumacher a year prior in Tigerland), it definitely helped put him on the HTT ™ and defined him as a heartthrob to watch. In Outlaws we get to see Farrell act two roles: swashbuckling ne’er do well and hopeless romantic. It’s sweet, endearing, youthful and exciting. Someone else might have made more sense for a Jesse James, but Farrell made this Jesse James all his. (And as an aside: Kathy Bates plays his mom. Love her.)
2. Dialogue: There are some truly great lines in this film. From “Hey! You wanna die?” to “It’s going to be a long [insert season],” Outlaws always makes me smile. It is memorably quotable, and the only reason people don’t think about the dialogue’s repeatability is—well, there are two reasons. One, not enough people have seen this movie, and two, when it isn’t Will Ferrell-funny or Meryl Streep-dramatic, less people care to play along. I know quotes from small films like Napoleon Dynamite or Juno have eked through, thanks to the portrayal of the offbeat American family behaving in an offbeat way, so there’s got to be room for an offbeat American western in our memories somewhere. Right? I love “This is one doodle that can’t be undid, Home Skillet” (Juno), just as much as I love, “Younger-James gang? Is there an older James gang?” And that’s why I watch and re-watch this movie every year. The quotes never get old, and the fun never wanes.
3. Robin Hood factor: The heart of this Jesse James story is simple. When the railroad company tries to shoulder its way through his family’s homestead, Jesse and his band unite to bring them down, one bank at a time, while providing their neighbors with both physical and financial security. In short, he and his posse steal from the rich and give to the poor. Well, there’s something about stickin’ it to the Man that always makes for a winning plotline. We like the underdog (or the “slumdog,” if you will), the upstart, the gangster with a heart of gold. And you can’t help but root for him in his quest—especially if he’s got a face like Colin Farrell.
4. Butchering of history for entertainment’s sake: Like I mentioned before, Outlaws never intended—or at least I hope it didn’t intend—to be an historical drama. It is neither a history lesson nor a biopic. Who knows if it got the Jesse James and the Younger Brothers’ story right? I’m going to assume it did, pop some popcorn, and move on with my movie night. It’s this same ability to ignore the details in favor of some amusement that lets us enjoy Shakespeare in Love (another perennial favorite of mine). And though, clearly, Shakespeare is the “better” film, both that film and this one operate with the same premise: get the basics down, and then have a laugh. If you like a bit (or a lot) of cheese with your popcorn, Outlaws will taste just right.
5. The tagline and the trailer. They are both seriously so bad, the film just has to be good. Now, obviously when I say “good,” I don’t mean Amistad-good. But in its own, wonky way, American Outlaws is great, and both the tagline and trailer tell you why. With all the guns and action, Outlaws channels more than a bit of 1988’s Young Guns but it uses one-too-many Moby songs (i.e., one) to get to this point. Watch the trailer, and you won’t be able to figure out if you’re in post-Civil War America or in 2001: A Musical Odyssey, in which the members of the band Saliva decide to become cowboy bank robbers. But filter your confusion towards the tagline of the film: “Bad is Good Again.” Um…that says it all. Outlaws doesn’t take itself seriously, and that’s its strength. Bad is good again. And I’m watching.
I think the leading fault of American Outlaws is that it doesn’t quite embrace a genre. Above, I referred to it as an “offbeat American Western,” but that’s not entirely how it sold itself. Outlaws tight-roped between offbeat and ordinary, and there was its undoing. It wasn’t quite clear if viewers should take the film seriously or not. Was it a true telling of the legend of Jesse James? Was it a farcical remake of an American tall tale? Or was it just another shoot-‘em-up comedy with some famous names haphazardly thrown in? Unwilling to pick sides, Outlaws alienated most critics and viewers alike, succumbing to meager box office receipts and thus, obscurity.
But to this day, American Outlaws is the most watched film I own in my DVD collection. Perhaps that’s a little weird. But that’s not to say it’s my favorite film; it just never really gets old to me. Every time Scott Caan shouts, “Let’s ride!” I get into it all over again. It is familiar and fantastic, and it’s truly so bad it gets better every time.
vendredi 6 février 2009
Overlooked Greatness: 'Bottle Rocket' (1996)
**This article also appears on RopeofSilicon.com.**
"Bob's gone! He stole his car!"
Have you ever been separated from your friends or family at the supermarket and had to be summoned via overhead speaker, because "your party" was waiting for you? You duck your head, pretending it isn't you, pretending you just wanted to saunter to the front of the store at just that moment. But you know they know. Everyone knows. Why did you leave your cell phone in the car?
3.) Nonsensical plot: "Some friends try to do some robbing and fail repeatedly." That might be the meat of Bottle Rocket, but as intimated above, it does zap a bit of the life from the story. Even to say Bottle Rocket is a comedy isn't enough. With every plot turn, whether it's surprising or predicted, we get a quotable moment written (or ad-libbed) by Anderson and O.Wilson to sum up the action. They rob a house -- and it's Anthony's parents' house. They steal some money -- and they're stealing from a neighborhood bookstore. They plan a big heist -- and they actually think they can accomplish it during lunch, in broad daylight, wearing yellow jumpsuits. It's an hilarious mélange of mixed up scenarios that, with one element changed, would seem utterly normal but, twisted how they are, are uproariously funny. And I'm not talking the funny that you see on the screen, necessarily -- this is funny that you feel. Your brain gets happier with each repeated viewing as you realize things you missed the time before and how the story stayed good anyway. It's one of those films you've got to see in order to understand its layers.
"Bob's gone! He stole his car!"
Have you ever been separated from your friends or family at the supermarket and had to be summoned via overhead speaker, because "your party" was waiting for you? You duck your head, pretending it isn't you, pretending you just wanted to saunter to the front of the store at just that moment. But you know they know. Everyone knows. Why did you leave your cell phone in the car?
Well, if you had seen today's overlooked classic, the Wes Anderson-Owen Wilson-Luke Wilson cherry-popper, Bottle Rocket, you could have spared yourself the shame of hearing your name mispronounced on that Whole Foods loudspeaker. Because then, had you been faced with flaxseed on your right, quinoa on your left and friends nowhere around you, you would have known the solution. Just call out, "Ca-CAW, ca-CAW!" Your friends, who in this scenario are no less classy than you, will find you just fine.
The magically quotable moments of this offbeat buddy caper begin with birdcalls and don't end until the credits roll. As Rope of Silicon has noticed before, Bottle Rocket is a classic. Based on the Sundance short film of the same name, also starring the AWW trio (that's Anderson, Wilson and Wilson), the feature-length Bottle Rocket showcases these three dark comedy pros at their finest. And I like The Royal Tenenbaums as much as most Anderson fans do -- "That's a trick; you don't have a middle name." -- but I'll argue now why the best of Anderson may very well have been his first attempt. Though if you're not an Anderson fan, know this: Bottle Rocket is not like Anderson's later works. Yes, still co-written by Owen; yes, still technically a commercial failure; yes, still placing his muses in their best light; but trust, their light is one you should gladly stare into, even may your retina burn and burn.
1.) Character names: The names a writer picks for his or her principal characters say a lot. And sometimes they carefully say nothing at all. Look out: Owen plays Dignan. Robert Musgrave plays a guy named Bob. Owen's older brother Andrew plays a guy who goes by the name Future Man -- no explanation. James Caan plays Mr. Henry -- no first name. And Luke plays Anthony Adams, whose last name is akin to the first man on Earth. These names are great, as they carefully set the scene for what's to come. Dignan is unusual, original and yet always trying to stand out; Bob is nondescript and kind of useless, described early on by Dignan as "the zero out in the car." Future Man is threatening; Mr. Henry is a drifter; and Anthony Adams is the Beta-male disguised in Alpha packaging. We'd get it if they didn't say anything. But luckily, they exchange witty dialogue with the sharp repartee that only comes when friends conspire together. Aww... that's so sweet.
2.) The cast: It's the first reason to roll with any indie film whose plot can't easily be explained without grazing a lot of the life out of the story. For instance, on the surface, Napoleon Dynamite could be described as a "slice of life tale about a nerdy teenager who tries to help his equally awkward friend run for class president." Sure, that's it. But who would Napoleon have been had he not been played by Jon Heder? So it is with Bottle Rocket, a film in which, at the time of its making, contained no known names except James Caan, who by this time, had already had three wives, if that says anything. Luke and Owen together are a great comedic balance that I wish happened more often. Throw in another Wilson brother and a guy with worse hair than all three Wilsons combined (that'd be Robert Musgrave as Bob), and you've got greatness. Wouldn't you figure that buddies making movies together make some of the finest weird films? Hence, Nappy D with Heder and homies, the upcoming Mystery Team featuring Derrick Comedy, and today's OG, Bottle Rocket.
3.) Nonsensical plot: "Some friends try to do some robbing and fail repeatedly." That might be the meat of Bottle Rocket, but as intimated above, it does zap a bit of the life from the story. Even to say Bottle Rocket is a comedy isn't enough. With every plot turn, whether it's surprising or predicted, we get a quotable moment written (or ad-libbed) by Anderson and O.Wilson to sum up the action. They rob a house -- and it's Anthony's parents' house. They steal some money -- and they're stealing from a neighborhood bookstore. They plan a big heist -- and they actually think they can accomplish it during lunch, in broad daylight, wearing yellow jumpsuits. It's an hilarious mélange of mixed up scenarios that, with one element changed, would seem utterly normal but, twisted how they are, are uproariously funny. And I'm not talking the funny that you see on the screen, necessarily -- this is funny that you feel. Your brain gets happier with each repeated viewing as you realize things you missed the time before and how the story stayed good anyway. It's one of those films you've got to see in order to understand its layers.
4.) Un-annoying romantic subplot: Another favorite comedy of mine, Wedding Crashers, also stars Owen Wilson. It's f'ing ridiculous good fun. Great dialogue, great characters, great premise, all. But the first half of the film feels surprisingly more upbeat than the latter half, and here's why: Crashers got "romanced." True, almost every film featuring a cast of crass men needs a romantic subplot, for whatever reason (To humanize the men? To anchor in some ladies? To make me roll my eyes?), but problems can occur when that thread takes over the whole quilt. The brilliant nature of Bottle Rocket is that the romance between L.Wilson's character, Anthony, and a motel maid, Inez, remains a subplot. In some ways it is crucial to Anthony's development, but we get the sense he would have been fine with out her. Hence, while Crashers crossed from buddy comedy to romantic comedy, Bottle Rocket retains its bromance angle -- without drowning in testosterone.
5.) Strong finish: There's a moment, a distinct one, in Bottle Rocket, where mentally, with a heavy dose of emotion, I always say, "I... love... this... movie." It's the last two minutes. Dignan walks away from Anthony and Bob, casting a wistful look, leaden with gravitas, over his shoulder, and I'm hit. The music swells, the image slows; I can't look away. There he is, I think. There is Owen Wilson, exposed. I think good movies reveal not only the intent of the writer or the director, but also the intents of the actors -- they're the ones portraying the characters, after all. And when you've got the right actor for the part -- or in this case, when the actor actually wrote most of the part -- a character can take on depth you wouldn't believe. Bottle Rocket may now be a goofy, Saturday afternoon movie to watch between rounds of pot brownies and beer, but in its finish, it becomes a little bit more. Maybe that's why Martin Scorsese names it as one of his top ten films of the nineties. Well, Marty (may I call you that?), so do I.
I don't intend to wax too meta, but the Bottle Rocket story arc in some ways actually parallels the lives and careers of its main stars. The first small caper the men try, they essentially succeed at -- though it was a small job robbing a relative's house. The second is their big win. And after that come mistakes and missteps, Bob as the zero out in the car, some crossed attempts at love, then Dignan contemplating the irony of their story: he was able to save Anthony at the nut house, but now he can't escape the clink. Replace "nut house" with "box office," and "the clink" with "depression," and you'll see where I'm going. This movie is an ode to Owen Wilson, that quirky, secretly nerdy comic, that Beta-male in Alpha-male packaging who keeps on trying to get it right. Well, you got it right, Mr. Wilson. You already got it right.
dimanche 11 janvier 2009
Overlooked Greatness: ACROSS THE UNIVERSE (2007)
These films may have missed the mainstream’s radar…but they will be seared indelibly onto yours.
You bring up ACROSS THE UNIVERSE in conversation with a few friends, and they all have an opinion. Either it was too “all over the place” or too “Moulin-Rouge-y,” but ask your dear friends when they saw the movie—Was it with you? Or with someone else?—and they’ll have to confess: they downloaded it on their iPod Touch, or worse, they haven’t even seen it. They just have their smacking loud opinions.
You and I both know it—and if you don’t know it, I’m here to tell you: ACROSS THE UNIVERSE was great. If you haven’t seen it yet, please, my dears, update your queue. And here are five reasons why I wholeheartedly recommend you get that shit.
1. Historical relevance: ATU portrays an era that, at the time of its release and even now, is historically relevant. It borders on preaching a bit, what with our leading female’s overly can-do quest to aggressively flip off The Man, but the music mellows the message. And you don’t need to sew a pair of hemp pants or burn a bra to get down with some ‘60s counterculture. They were in the midst of war; we are in the midst of war. They were young, impressionable and hungry to make a difference; we are in quarter- or mid-life crises, still responsive to stunt casting in advertising (I want the new Rock Band, Michael Phelps!) and experimenting with vegetarianism. They sang about their dilemmas; we posted youtube videos about ours. We are kindred, and the relevance of that historical tie should make you—or your friends—feel at least a small sense of familiarity with the tale.
2. Musical marvelousness: You’re right—it’s not a word. But it does aptly describe the 33 fantastically inspired musical numbers that anchored the heart of this film. Their portrayal didn’t always make sense, but did the Beatles songs all make sense? I am the Walrus? Just go in to this film knowing you’re about to watch a two-hour Beatles music video, and you’ll fare much better. Now, I’ve heard in some circles it’s considered “cool” to hate the Beatles—these are the same circles that think it’s “cool” to enter a conversation about TITANIC by asking, “What happens in that movie?”—and to those circles, I say, “SHAME.” Sure, they only really played about three chords. But they defined an era, in all their goo goo ga joob glory; so if you’ve worn or even thought about wearing tight pants, shaggy hair or anything yellow, you need to embrace the Beatles.
3. Artistic awesomeness: For the color saturation alone, ATU is worth a wide-eyed stare. That’s why I scoff at your buddy with the touch-screen gadget sitting on the big corner couch at Starbucks thinking he’s got the best view of the movie. The best view is on the big screen, mister. And if you don’t own one, at least mooch off someone who does. Yes, that’s a TV in my pants, and yes, I’m delighted to see you. 52 inches of HD glory, and you are invited over to play—provided you don’t talk during the road trip scene. Give me Bono tripped out in a Scooby Doo bus crossing the country with a contortionist from a circus freak show, and I will salute you. Artistic awesomeness.
4. Great casting: I love unknown, un-Hollywood-ified actors. I think you do, too. If you liked Tom Cruise in RISKY BUSINESS, Vince Vaughn in SWINGERS or heck, even Shia LaBeouf in SHAKER HEIGHTS (maybe?) then you do, too. Now let me be clear—I am not comparing Jim Sturgess to any of these people; I’m just saying he hasn’t been tainted by stardom yet—at least not in this picture—and hence is rather enjoyable to watch. There’s something about an actor not knowing how good he is that bleeds through the screen, and that’s what I liked about Sturgess and his costars Evan Rachel Wood and Joe Anderson. A little raw and a little rough led to a lot of good.
5. Cameos galore: We’ve got Bono, Eddie Izzard, Salma Hayek, Joe Cocker…and Neil Patrick Harris might not like it, but sometimes stunt casting makes for good action. So come for the music and the beauty, but stay to count the familiar faces. It might make for a good drinking game.
Clearly, I’m a fan of this film. Unfortunately, the hurdles surrounding ATU’s release got in the way of its coronation within the hall of Great Musical Movies of All Time. Not only did artistic differences abound between the director and producers both on set and during post, but these differences even led the distribution companies to wash their hands of the film’s marketing, reportedly. And why shouldn’t they? They got their paycheck. Furthermore, the skeptics turned a judgy eye on Beatles songs being sung by—not the Beatles, not Michael Jackson—but by virtual inconnus. It was a bit too much for them to handle, and instead of trying to cope, they just moved on. Poor ACROSS THE UNIVERSE.
Look, it’s true, she doesn’t make sense every time she opens her mouth, but she’s still a looker. And she’s got personality! She also rolls deep with weed, mushrooms and LSD. What more do you want? Just bake her something special, maybe brownies, and take her out already. But remember that HD-TV (she’s a little high maintenance). Let me know how it goes.
Click here to see this post at RopeofSilicon.com.
You bring up ACROSS THE UNIVERSE in conversation with a few friends, and they all have an opinion. Either it was too “all over the place” or too “Moulin-Rouge-y,” but ask your dear friends when they saw the movie—Was it with you? Or with someone else?—and they’ll have to confess: they downloaded it on their iPod Touch, or worse, they haven’t even seen it. They just have their smacking loud opinions.
You and I both know it—and if you don’t know it, I’m here to tell you: ACROSS THE UNIVERSE was great. If you haven’t seen it yet, please, my dears, update your queue. And here are five reasons why I wholeheartedly recommend you get that shit.
1. Historical relevance: ATU portrays an era that, at the time of its release and even now, is historically relevant. It borders on preaching a bit, what with our leading female’s overly can-do quest to aggressively flip off The Man, but the music mellows the message. And you don’t need to sew a pair of hemp pants or burn a bra to get down with some ‘60s counterculture. They were in the midst of war; we are in the midst of war. They were young, impressionable and hungry to make a difference; we are in quarter- or mid-life crises, still responsive to stunt casting in advertising (I want the new Rock Band, Michael Phelps!) and experimenting with vegetarianism. They sang about their dilemmas; we posted youtube videos about ours. We are kindred, and the relevance of that historical tie should make you—or your friends—feel at least a small sense of familiarity with the tale.
2. Musical marvelousness: You’re right—it’s not a word. But it does aptly describe the 33 fantastically inspired musical numbers that anchored the heart of this film. Their portrayal didn’t always make sense, but did the Beatles songs all make sense? I am the Walrus? Just go in to this film knowing you’re about to watch a two-hour Beatles music video, and you’ll fare much better. Now, I’ve heard in some circles it’s considered “cool” to hate the Beatles—these are the same circles that think it’s “cool” to enter a conversation about TITANIC by asking, “What happens in that movie?”—and to those circles, I say, “SHAME.” Sure, they only really played about three chords. But they defined an era, in all their goo goo ga joob glory; so if you’ve worn or even thought about wearing tight pants, shaggy hair or anything yellow, you need to embrace the Beatles.
3. Artistic awesomeness: For the color saturation alone, ATU is worth a wide-eyed stare. That’s why I scoff at your buddy with the touch-screen gadget sitting on the big corner couch at Starbucks thinking he’s got the best view of the movie. The best view is on the big screen, mister. And if you don’t own one, at least mooch off someone who does. Yes, that’s a TV in my pants, and yes, I’m delighted to see you. 52 inches of HD glory, and you are invited over to play—provided you don’t talk during the road trip scene. Give me Bono tripped out in a Scooby Doo bus crossing the country with a contortionist from a circus freak show, and I will salute you. Artistic awesomeness.
4. Great casting: I love unknown, un-Hollywood-ified actors. I think you do, too. If you liked Tom Cruise in RISKY BUSINESS, Vince Vaughn in SWINGERS or heck, even Shia LaBeouf in SHAKER HEIGHTS (maybe?) then you do, too. Now let me be clear—I am not comparing Jim Sturgess to any of these people; I’m just saying he hasn’t been tainted by stardom yet—at least not in this picture—and hence is rather enjoyable to watch. There’s something about an actor not knowing how good he is that bleeds through the screen, and that’s what I liked about Sturgess and his costars Evan Rachel Wood and Joe Anderson. A little raw and a little rough led to a lot of good.
5. Cameos galore: We’ve got Bono, Eddie Izzard, Salma Hayek, Joe Cocker…and Neil Patrick Harris might not like it, but sometimes stunt casting makes for good action. So come for the music and the beauty, but stay to count the familiar faces. It might make for a good drinking game.
Clearly, I’m a fan of this film. Unfortunately, the hurdles surrounding ATU’s release got in the way of its coronation within the hall of Great Musical Movies of All Time. Not only did artistic differences abound between the director and producers both on set and during post, but these differences even led the distribution companies to wash their hands of the film’s marketing, reportedly. And why shouldn’t they? They got their paycheck. Furthermore, the skeptics turned a judgy eye on Beatles songs being sung by—not the Beatles, not Michael Jackson—but by virtual inconnus. It was a bit too much for them to handle, and instead of trying to cope, they just moved on. Poor ACROSS THE UNIVERSE.
Look, it’s true, she doesn’t make sense every time she opens her mouth, but she’s still a looker. And she’s got personality! She also rolls deep with weed, mushrooms and LSD. What more do you want? Just bake her something special, maybe brownies, and take her out already. But remember that HD-TV (she’s a little high maintenance). Let me know how it goes.
Click here to see this post at RopeofSilicon.com.
vendredi 2 janvier 2009
letop5 introduces: Girl's Best Friend & Overlooked Greatness
I've just started writing for a great film website called Rope of Silicon, and I'm set to have two recurring editorials--v.exciting. I'll also try to post them here consistently.
The first is called "Girl's Best Friend," within which I'll discuss the chick flick that all the girly-girls and girly-guys just gotta go see each week. If you know me, you know I hate chick flicks. So it's ironic. (Or is it, Alanis?)
The second article is called "Overlooked Greatness," and focuses on the slew of films in my memory bank that I've seen and love, yet which always, when brought up in discussion, receive blank stares from others. What do you mean you've never seen BOTTLE ROCKET? I will teach you.
So hooray, new moves for '09. Let's hope we don't forget our deadlines.
The first is called "Girl's Best Friend," within which I'll discuss the chick flick that all the girly-girls and girly-guys just gotta go see each week. If you know me, you know I hate chick flicks. So it's ironic. (Or is it, Alanis?)
The second article is called "Overlooked Greatness," and focuses on the slew of films in my memory bank that I've seen and love, yet which always, when brought up in discussion, receive blank stares from others. What do you mean you've never seen BOTTLE ROCKET? I will teach you.
So hooray, new moves for '09. Let's hope we don't forget our deadlines.
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