THE HATEFUL EIGHT: America's Secret Sin

Director: Quentin Tarantino
Writer: Quentin Tarantino
Cast: Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Tim Roth, Michael Madsen, Demian Bichir, Bruce Dern, James Parks, Channing Tatum
Runtime: 187 mins.
2015

I take pains to keep my reviews here as substantive as possible while providing the fewest number of plot and story details I can get away with. The lowest form of film criticism is by-the-numbers plot recap. I admire film reviews that can give me an idea of the movie while skirting any information that might influence my experience of the story.

However, I don't feel like I can give a proper review of The Hateful Eight, one of Tarantino's more controversial works, without digging into heavy spoilers. So I'm going to split this post into Spoiler and Non-Spoiler sections.

STAR WARS: THE FORCE AWAKENS - May the Force Bewitch You

More Star Wars Reviews.

Director: J. J. Abrams
Writers: Lawrence Kasdan, J. J. Abrams, Michael Arndt
Cast: Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Harrison Ford, Carrie Fisher, Domhnall Gleeson, Lupita Nyong'o, Andy Serkis, Peter Mayhew, Anthony Daniels, Mark Hamill
Runtime: 135 mins.
2015

Thus the tang of the prequels is washed from our mouths.

Sixteen years ago the whole world was anticipating the revival of the Star Wars franchise. The Phantom Menace was perhaps the most widely anticipated movie of all time. Star Wars fans had assumed for years that they would never have another new experience in their beloved fantasy world, yet here Lucas was returning to his old stomping grounds. He had a new story to tell, and his audience anticipated it with bated breath and open arms. Then the movie was released...

Many people walked out of that theater shellshocked, having realized from the moment of the opening crawl that something was very rotten in Denmark. Some people walked out thinking they had seen something good, already preparing their defenses via a psyche suffering from heavy cognitive dissonance. Few people walked out satisfied in any meaningful way.

The prequels wrapped up and Star Wars was dead yet again, leaving fans with a decades-spanning case of blue balls. It seemed impossible to conceive of being excited about another Star Wars revival after Lucas's last debacle--and yet, here we are, staring down the barrel of a Star Wars movie that has become the new most anticipated film of all time. This franchise is a titan that will not die.

The excitement did not spring up overnight, to be sure. A great deal of work was put into refurbishing the franchise's image by a great number of talented people (the marketing push for The Force Awakens has been one of the most skillful and massive advertising assaults ever). At the pinnacle of all this was J. J. Abrams, a man with an unparalleled love for Star Wars whose entire career seems to have built to this point. From the first bits of Star Wars information that came down the pipeline, Abrams and co. actively, if not explicitly, disavowed the prequels and promised a return to form. J. J. convinced us all that he understood why Star Wars became such a cultural phenomenon in the first place, and he reassured us that we were all in good hands.

All of that turned out to be true to a fault. The great failing of The Force Awakens is its unforgivable similarity to the original trilogy, A New Hope in particular. Yes, the movie is a return to form, but it accomplishes this by replicating large swathes of the originals. This goes deeper than winky and noddy homages to the original trilogy, though there are plenty of those. I'm talking about a lack of imagination on the structural level. Yet again a droid is secretly given documents of incredible importance. Yet again our characters walk into a shady cantina with aliens playing snappy music in the background. Yet again, and this is the most egregious example, our plot centers around the destruction of a massive planet-killing weapon.

FINDING NEMO: The Emotion of the Ocean

Twenty years ago Pixar Animation Studios revolutionized cinema with the first full length completely computer-generated film. Two decades later and Pixar is still one of the most consistently groundbreaking studios in the business. Leading up to the release of their new film The Good Dinosaur, I will be going through Pixar's entire filmography at the rate of two movies a week. Today it's Finding Nemo, which still maintains its quality and power despite everyone quoting it to death for years after its release.

Other Reviews in this Series.

Director: Andrew Stanton, Lee Unkrich (co-director)
Writers: Andrew Stanton, Bob Peterson, David Reynolds
Cast: Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe, Brad Garrett, Allison Janney, Austin Pendleton, Stephen Root, Vicki Lewis, Joe Ranft, Geoffrey Rush, Andrew Stanton, Elizabeth Perkins, Nicholas Bird, John Ratzenberger
Runtime: 100 mins.
2003

Finding Nemo is Pixar's second stone cold masterpiece, and the starkest departure from their previous film is a visual one. I mentioned in my Monsters, Inc. review that although the monsters looked great, the characters spent most of the movie running around corporate hallways that lacked any visual pizzazz. Almost as if Pixar heard that very complaint and determined to never again allow their films to be accused of visual mediocrity, Finding Nemo is one of the most epic, expansive, gorgeous masterworks of production design ever created by computer animation. The visual landscape is at times populated by Pixar's signature visual gags, like a group of fish popping out of a doting mother fish's mouth, but for a far larger portion of the runtime the picture is dedicated to images that flirt with the sublime. The ocean is vast and full of darkness, terror, wonder, perversion. Finding Nemo captures all of this while still somehow maintaining a G rating.

The story follows overprotective clownfish Marlin (Albert Brooks) who must cross vast expanses of ocean in search of his son Nemo (Alexander Gould), who was taken by scuba divers and imprisoned in a dentist office's glass tank. Along the way Marlin meets Dory (Ellen DeGeneres), a forgetful blue regal tang, and together they encounter all sorts of friendly help and unspeakable hindrance.

THE GIFT: That Keeps on Giving

Director: Joel Edgerton
Writer: Joel Edgerton
Cast: Rebecca Hall, Jason Bateman, Joel Edgerton
Runtime: 108 mins.
2015

The Gift is an incredibly functional movie, accomplishing everything it set out to accomplish by using every tool at its disposal. Edgerton's directorial debut sees him attempting the triple crown--writing, directing, starring--and he nails each of those three roles. The Gift is lean and mean, with no wasted moment. So I can't say it's the movie's fault that it doesn't contain the spark necessary to vault into the pantheon of Instant Classic the way Nightcrawler did for me last year. I'm not the first to make that comparison, but it's a fruitful one; Nightcrawler may be messier than The Gift, but that movie's frequent high points court transcendence. The Gift is just more subdued, which is a choice rather than a flaw.

Perhaps a more generous comparison to establish is that The Gift is a far more subtle version of Fatal Attraction. The movie follows a loving couple who have just moved to a gorgeous hillside home in California. While out and about they encounter one of the husband's childhood acquaintances, Gordo (Joel Edgerton). Simon (Jason Bateman) doesn't recognize him right away, but later informs his wife Robyn (Rebecca Hall) that Gordo was something of a weirdo back in school. Thus it's no surprise that Simon rapidly becomes uneasy when Gordo keeps showing up at their house unprompted, butting in on meals and leaving gifts that eventually take a sinister turn.

MR. HOLMES: Elementary, My Dead Watson

Director: Bill Condon
Writers: Jeffrey Hatcher
Cast: Ian McKellen, Milo Parker, Laura Linney, Hiroyuki Sanada
Runtime: 104 mins.
2015

Mr. Holmes presents an aged Sherlock with decades standing between himself and many of the aspects of the character that we would typically consider mandatory, or at the least recognizable. Holmes (Ian McKellen), a once infamous detective, is now wiling away his life in the quiet English countryside with his caretaker (Laura Linney) and her child Roger (Milo Parker). He chafes at this lifestyle, yet has been resigned to it ever since his long distant Last Case and subsequent retirement. The trouble is, he can't remember why that final case drove him into retirement, and he doesn't trust the long-deceased Watson's fictionalized take on the matter. Sherlock Holmes is only interested in the hard truth, a difficult proposition when suffering from heavy bouts of memory loss and senility. Mr. Holmes is about an aging genius attempting to reconstruct his memories to understand an important decision he made many years ago, and he only manages to make progress with the insistent prodding of his new friend and protege, Roger.

WE ARE THE BEST!: It's the Best

In which three young girls kick ass and take names--ideologically.

Director: Lukas Moodysson
Writer: Lukas Moodysson
Cast: Mira Barkhammar, Mira Grosin, Liv LeMoyne
Runtime: 102 mins.
2014

Normally going into these things I have a structure outlined in my head, and I work through the review beat by beat. I don't have that for We Are the Best! I think, in the spirit of punk, I'll bang this one out as I go along.

We Are the Best! follows two thirteen year old girls in 1980's Sweden as they sort of fumble around from day to day, hating what they hate and loving what they love, until they happen into this idea that they should really just start their own punk band--despite having no previous musical experience. Once they recruit an unlikely third member--a young Christian girl who has years of experience on the guitar--the band starts becoming something and taking on a central importance in their lives. Meanwhile they deal with drama and trauma surrounding school, parents, and especially love interests.

More than all that, this movie is about the spirit of PUNK. And the spirit of GIRLS. And the spirit of GIRLS doing PUNK.

But more than THAT this movie is about those girls--as people.

I'm going to reiterate because that is the most important thing I can say about this movie, as it is 2014 and this sort of thing is still a revolutionary concept in cinema:

We Are the Best! treats children as though they are people. We Are the Best! treats girls as though they are people. These are two of the most egregiously uncommon achievements of contemporary film, and two reasons why We Are the Best! has to be considered one of the most incredible things to be released in 2014.

NIGHTCRAWLER: It's a Game Where They Crawl Around in the Night Like Worms

In which Jake Gyllenhaal finally makes his X-Men debut.

Director: Dan Gilroy
Writer: Dan Gilroy
Cast: Jake Gyllenhaal, Riz Ahmed, Rene Russo, Bill Paxton
Runtime: 117 mins.
2014

The brilliant feat of Nightcrawler is that it manages to be scathingly political without ever emphasizing that that's what it has on its mind. I tend to be suspicious of art that brands itself as "political" because it's often obvious... on the nose... self-important. At any rate, I've found that every work of art is political in its own way, consciously or no, and the most effective art is frequently covert or subtle when it comes to that affiliation.

Nightcrawler is a savage takedown of capitalism and news journalism, without pretending to be anything more or less than a crackling thriller. Maybe movies like these are the most politically important, since the plot and premise are enough to get them greenlit by the studios, and the themes and motifs are enough to make the audience question established moneymaking systems like the studios that approved them. It's a neat trick, one that I noticed recently in The Lego Movie, of all things.

The catalyst for all the action that unfolds is Lewis Bloom (Jake Gyllenhaal): sociopath, fence-stealer, smooth talker, professional miscreant. The lurid fluorescent setting of Los Angeles does not surround Lewis Bloom--Lewis Bloom penetrates Los Angeles. Nothing happens outside of his desire for it to happen, a desire that is at once monstrous and coolly efficient. The machine of his will encounters resistance, to be sure; the world does not bend to accommodate Lewis, nor does Lewis bend to accommodate the world. He reaches out and forcibly twists the world into the shape of his choosing. He is a god to those around him, and this god in turn prays to the sacred altar of the television.

DUMMY: Hollywood's Hand Up Ventriloquism's Butt

In which a ventriloquist's dummy is creepy for one scene and a ventriloquist is creepy for most.

Director: Greg Pritikin

Writer: Greg Pritikin

Cast: Adrien Brody, Milla Jovovich, Vera Farmiga, Illeana Douglas, Jessica Walter, Ron Liebman, Jared Harris

Runtime: 91 mins.

2002

More than anything, Dummy feels like a movie that is unstuck from reality. Temporally speaking, there is little to suggest that the movie was released in 2002. The protagonist is the sort of bumbling man-child living-with-his-parents figure to whom we've grown accustomed in the late 00s and early 10s, but Brody plays the character with a docile earnestness that feels more at home in the 50s. The broad, almost interesting yet still firmly conservative nature of the comedy feels more at home in the 90s, when that sort of thing proliferated. The punk rock sensibilities and screw-the-man attitude displayed by Milla Jovovich's character (and sometimes the movie's tone) are ripped straight from the 80s, while some of the outfits--namely those of Illeana Douglas's character--make you want to sigh, "That's the 70s for you." Cover all this over with a simultaneous love for old-fashioned 20s (or 50s) showmanship and 30s (or 60s) deconstruction of said showmanship, and you get what amounts to a weird niche 2002 comedy picture about an awkward fellow and the dummy that he uses to try to get laid, though the movie would never be so courageous as to put it in those terms.

You can call me out on my awfully vague characterizations of decades that I didn't live through, but the point stands that Dummy suffers from what you could call a confused identity.

GUARDIANS OF THE GALAXY: Hooked on a Feeling

Director: James Gunn
Writers: James Gunn, Nicole Perlman
Cast: Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, Dave Bautista, Lee Pace, Michael Rooker, John C. Reilly, Glenn Close, Benicio Del Toro, Karen Gillan, Djimon Hounsou, Sean Gunn
Runtime: 121 mins.
2014

First the numbers.

Guardians of the Galaxy grossed $94 million in its opening weekend. The only 2014 movies to have bigger opening weekends were Transformers: Age of Extinction at $100 million and Captain America: The Winter Soldier at $95 million. More notable is the fact that Guardians managed to accomplish these numbers in August; compared to the triad of May-June-July, August box office numbers are usually slight. In fact, Guardians shattered the previous August opening weekend record, which belonged to The Bourne Ultimatum at $69.3 million. That's a solid $25 million margin.

Perhaps most notable of all, Guardians managed to achieve these astronomical numbers despite not being a sequel or a well-known property. Ticket buyers generally flock to the familiar. Take a look at all the other movies mentioned in the previous paragraph: The Winter Soldier, Ultimatum, and Age of Extinction are the second, third, and fourth movies of their respective franchises. Not only that, but two of them feature well-known protagonists who have achieved widespread cultural penetration over the course of decades, and the third features the protagonist of a series of very popular Ludlum novels. My point is that this cume represents an unprecedented level of financial success for a movie starring characters that almost nobody (including myself) had heard of a year ago. Even The Amazing Spider-Man 2 made less opening weekend cash despite featuring one of the most recognizable characters in pop culture. Part of that is the Marvel Cinematic Universe brand, and part of it is Disney's (impressive) marketing campaign. But I have to believe that a lot of this bottled magic has to do with the movie itself. Guardians of the Galaxy has energy, and it has soul; these qualities bleed through the advertisements, critical acclaim, and word-of-mouth.

So now that we are finished parsing the soulless numbers, let's talk about soul.

SNOWPIERCER: Crazy Train

Director: Bong Joon-ho
Writers: Bong Joon-ho, Kelly Masterson
Cast: Chris Evans, Song Kang-ho, Ko Ah-sung, John Hurt, Ed Harris, Tilda Swinton, Jamie Bell, Octavia Spencer
Runtime: 126 mins.
2014 (2013 in South Korea)

In the online film community that I haunt, there has been a lot of rumbling about people going to the wrong movies. Or rather, that rumbling always exists, it has just been exacerbated recently by a few factors. Between the movie you came here to read about, X-Men: Days of Future Past, and the excellent Edge of Tomorrow (as well as the much-hyped forthcoming Dawn of the Planet of the Apes, Guardians of the Galaxy, and Mockingjay: Part 1), 2014 is turning out to be a banner year for mainstream sci-fi films--and yet, everybody and their reluctant mother is going to see the predictably steaming pile that is Transformers: Age of Indistinction.

That is why my goal in writing this particular review is to mobilize you to get out and go see Snowpiercer, a film that you likely haven't heard anything about, except perhaps snippets here and there: whispers in dark alleys, notes passed under restroom stalls, covert communiqués exchanged away from the watchful eyes of the Transformers marketing campaign.

In the world of Snowpiercer, the Earth has succumbed to a new ice age, brought about by humanity futzing with the atmosphere in an effort to counteract global warming. Now everything is dead. Cue the Snowpiercer, a massive train that contains the only remaining human life. It operates as a self-contained ecosystem that circles the entire globe once per year. All is not well on the so-called Rattling Ark, however. Our protagonists live in squalor in the tail of the train, cut off from the relative comfort and prosperity of the front-dwellers by a series of gates and armed guards. The gates only open once per day, for about four seconds, to allow the delivery of the nasty looking protein blocks that sustain the lives of the tailies. Guess what, though? Our hero, Curtis (Chris Evans), is planning a revolution! If our ragtag band of misfits can unite in order to press forward, and if they can wrest control of the Eternal Engine (that which sustains all life on the train) from the industrial despot Wilford, then they will have all the bargaining chips necessary to upset the established order.

But that's just the beginning. What sounds like a familiar plot opens out and contorts in all manner of unexpected ways--without ever leaving the cramped confines of the train.

AMERICAN HUSTLE: Neither Profundity Nor Moribundity

Director: David O. Russell
Writers: Eric Singer, David O. Russell
Cast: Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence, Jeremy Renner, Louis C.K.
Runtime: 138 mins.
2013

American Hustle lives in the endlessly entertaining realm of smart cinema, breezing past clever and falling short of intelligent.  It never even brushes its gaudy sleeves against profound, but the good thing is it never tries.

Our heroes are Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams), lovers and small-time con artists who get nabbed by F.B.I. agent Richie DiMaso (Bradley Cooper).  They make a deal to participate in a sting that, thanks to DiMaso's wild and dangerous impulses for glory, spirals into a situation too big for our savvy con artists to handle.  Irving's ditzy, manipulative wife Rosalyn (Jennifer Lawrence) is a wild card who only complicates matters.  Through all of this, the characters struggle to find something real and genuine in love and friendship despite the constant subterfuge.  But the plot isn't really what's important here.

ELYSIUM: The Dangers of Assumed Empathy

Director: Neill Blomkamp
Writer: Neill Blomkamp
Cast: Matt Damon, Jodie Foster, Sharlto Copley, Alice Braga
Runtime: 109 mins.
2013

I remember enjoying District 9.  It felt fresh, character-driven, and deep despite the straightforwardness of its political allegory.  Neill Blomkamp was going to be one to watch, especially with a blockbuster budget and Hollywood grade-A talent at his disposal.

What happened?

Elysium had a mountain of hype behind it, but its reception was lukewarm.  Many people seemed to like it, and they defended it against the critiques of the malcontents.  Full disclosure, I am one of the malcontents.  Being disillusioned with the film, I've been thinking about why the film was generally well-received.  Maybe it was the excellent special effects, or the cinematography (although I felt the pacing didn't allow me to take in any single moment).  Maybe it was the detailed sci-fi worldbuilding (although I wish they would have explored that world more).  Maybe it was that a big budget summer genre blockbuster had a discernible high-minded theme underpinning it (although I found that theme's presentation simple and borderline condescending).

These are all almost-merits.  But I won't get into the aesthetics of the movie very much.  I want to talk about how I found Elysium unsatisfactory on a basic narrative/dramatic level, and I want to do that by looking at each of the nine primary characters and their impact on the story.