The Magnificent Seven (Seven Samurai)
Girl with the Dragon TatooThe Ring
Brothers
That teen vampire movie...
Infernal affairs
Stephen Spielberg's 'Oldboy'
Wednesday, 31 March 2010
The Sopranos: an interpretation of the very last episode
Was looking for a place to put down random Quotes from the series, and came across this from the Facebook group on The Sopranos.
Definitely an article worth reading in depth!!
Scott Pilgrim vs the World - looks promising! It's grown on me...
When I first saw the trailer for Scott Pilgrim vs the World at the cinema (screening of Kick-Ass), I was mystified and bewildered to see Michael Cera (of 'Juno' and 'Superbad' fame), light-sabering, kung-fu kicking in some Street-Fighter-esque game replicate of a movie!
In one scene, seeing the future Captain America (Chris Evans) hurtling the loveable nerd from the ground skywards towards the high reaches of city building, brought immediate echoes of Superman II's Metropolis fight scene (where Christopher Reeve sends one of the three Kryptonions his way).
Initial reaction: this looks poo - another attempt to throw together a comic-book movie together, pastiching elements of previous ventures to cinema.
On second viewing, to know that Edgar Wright (Shaun of the Dead, Hot Fuzz) is Director lends some sort of an edge to my initial impressions. Also the presence of that chick from Up in the Air, throws in a touch of gravitas - this is a movie NOT to be taken at face value. Randomly, the romantic interest very much reminds me of Zoe Deschamel (500 Days of Summer, Weeds).
The crazy computer-game feel, with the impression that this is a movie that's going to take the piss out of itself, fully conscious of the genre it's alluding to (in the style of the Director's previous work), makes for something that could be hugely fun and entertaining! I'll certainly be looking forward to it!
According to Wikipedia, it's out for a world-wide release August 13th.
Tuesday, 30 March 2010
Peter Bogdanovich - the rise and fall...
Was randomly thinking of him this morning...
Someone who was fanatical about film, and went to some extraordinary lengths to get into the business. Got his first proper 'work experience' by being part of the audience for a movie premiere, and striking up a conversation with a Director! (He was already a writer for Esquire Magazine at that time though - a few steps ahead of me there already).
Perhaps that's the sort of action I should take...
Something bold and drastic.
Also that he's been in a few episodes of The Sopranos I've seen recently! Off the top of my head, I think he made his first appearance in Season 2's: 'Toodle-fucking-doo'. Might need to double check that though.
Monday, 29 March 2010
Vacancy for 'Promotional trailer Editor': No thanks!
Just occurred to me listening to the Quantum of Solace Soundtrack: I would have hated the job of cutting and editing a promotional trailer for that movie, and indeed any movie in general.
First impressions last. There was a sense of excitement and intrigue prior to Casino Royale's release some years ago, as I recall trailers for the movie then. But the trailers for Solace sold it as a straight actioner, showcasing the more unrealistic action sequences that invited immediate comparison to Bourne, and therefore was set up for critical panning from the get go.
A better idea would have had to have presented a poetic, contemplative narrative, with flashes of the action, teasingly suggestive (and certainly not the 'falling down shards of glass grabbing gun and accurately firing it' scene), more iconic poses of Bond (especially the chiaroscuro light-dark image of Bond in the caves) and Judi Dench's 'M', even flashes of Gemma Arteton in the buff. That would have been more true to what the movie was about, as well as subverting expectation: it would actually turn out to be a frenetic action movie. People would have seen it anyway - it's the second Bond movie with Daniel Craig! - and word of mouth would have spread...
Forster could have anticipated that the movie, with its arty style and direction would have a fringe appeal. Why hide it then? Would have been better to have treated it as such in the promotional stages. I suspect, however, a conflict of interests with the producers and product placement companies may have made that last suggestion impractical, near impossible... To go full-out selling it as a straight actioner limited the scope of appreciation for the artistic heights the movie obviously aspired to reach.
I don't envy the guy responsible for final cuts to shape a world view on a Director's vision. If you had a conscience, that margin of error you missed, causing a product millions in losses would be quite a weight on your mind. Perhaps a job best suited to heartless bastards, with a more scientific eye in mind.
The complete list of Bond girls?
Probably featured in The Sun every time a Bond movie comes out!
But would be curious to compile a list for trivia's sake!
Daniel Craig's thoughts on Marc Forster...
I actually really loved Quantum of Solace. It's definitely my favourite Bond movie - and I'm well aware that I'm in the minority.
It's the most artistic, thoughtful and expressive of the Bond movies, that doesn't conform to the mould of expectation. Love that fierce, angry, tension that the movie dramatises, which just about finds it's resolve by the end.
Do we really care who or what Quantum represents? It's really a poetic metaphor to say: you can never really know who's behind things at the level of government and international politics. You think you do, but you don't. To use a crap Star Wars line from Episode I: "there's always a bigger fish"... To conquer all is a futile endeavour. And with the backdrop of that environment, Bond's connection with the audience lies in his battle re-establish some sense of peace with his soul, whilst continuing to live and do his job: serving and protecting as the unconventional anti-hero.
I think it's a big ask for an audience (familiar with a tried, tested, and worn formula for forty plus years) to accept, and I highly commend and applaud Forsters' courageous take, and achievement.
I would be happy enough for there NOT to be a follow-up, and would accept the duo of movies as something that chornicled the defining moments of Bond's formation.
I would be very curious to know Forster's reaction to audience perception of his Direction, as well as Daniel Craig's.
Research so far:
News: Rachel Weisz - the new Bond girl...
Mixed feelings about it, verging more towards the unconvincing...
It's better to have more unknowns for the role, there's less expectation... Probably the most accomplished actress to have that title - it's like putting your reputation on the line... Halle Berry, would probably be a close second in terms of going on set with a commercially successful body of work. Would be curious to know the motivations for accepting it: the Director, the label, the story?
Looking forward to it nonetheless!
Claudia Winkleman to replace Jonathan Ross for Film 2010!
Can see how that might have come about, but not overly enthused.
I hope, like a bad tooth, it's a temporary filling.
I enjoyed the whole subversive, humorous angle that made for great entertainment with Ross. Winkleman will definitely bring about a new audience (poached from Sky), but the inevitable shallowness of glitz and glamour would eventually smother an appreciation for artistic integrity and that verve for esoteric knowledge pertaining to Film - something which in my view was esentially characteristic of the BBC's Film show.
Perhaps it shows the more commercial direction the BBC's taking, at the direct expense of quality programming.
Source: News from IMDB website.
9:58pm
A more comprehensive view from Empire's Damon Wise!
I especially like the last paragraph:
"So when he's talking, what do we think? That the film is good or bad, that we must or mustn't see it? Or that this is just what Jonathan Ross thinks?
Increasingly, I think, more people are thinking the latter, and when Ross goes, a lot of viewers may go with him. Film 2010 has lost some of its authority at a time when it should be a brand that dictates, not courts, public taste. In an age when the most common word in the film lexicon is “reboot”, the BBC are taking a different route, and if it does follow TOTP into the ether, Film 2010 will be remembered as a missed opportunity.
Increasingly, I think, more people are thinking the latter, and when Ross goes, a lot of viewers may go with him. Film 2010 has lost some of its authority at a time when it should be a brand that dictates, not courts, public taste. In an age when the most common word in the film lexicon is “reboot”, the BBC are taking a different route, and if it does follow TOTP into the ether, Film 2010 will be remembered as a missed opportunity.
Film knowledge is a great thing; it's fresh, alive and it can be very, very funny.
The way it's going, though, Film 2010 might end up ignoring all that, and what we'll end up with is just another TV programme, one that doesn't educate, illuminate, or celebrate. Which, in a sense, as Barry Norman might say, is what Film 2010 is there for..."
Sunday, 28 March 2010
Movies that opened the Cannes Film Festival
Star Wars: Episode III - Return of the Sith
Robin Hood - Ridley Scott
Kingdom of the Crystal Skull
Inglourious Basterds?...
Tuesday, 6th April 2010
4:26pm
Written by Phil De Semlyen
The Hunchback of Notre Dame (1939)
Amarcord (1974)
The King of Comedy (1983)
The Hudsucker Proxy (1994)
Ridicule (1996)
Moulin Rouge (2001)
Bad Education (2004)
Up (2009)
Saturday, 27 March 2010
5 Reasons to like 'Mad Men'
Note: Whilst this blog primarily pertains to Movies, in the style of Empire Magazine I think I'm justified in writing/blogging about television for the fact that movie actors also star and appear there; and that the medium also has cinematic styles/tendencies/leanings. Though a tenuous link, one of the main characters of Season 1's Mad Men appeared prominently in Clint Eastwood's Flags of Our Fathers! It's like justifying writing about Desperate Housewives because Teri Hatcher was in Tango and Cash; like writing about House because that dude was in Sense and Sensibility; writing about LOST because Sayid (Naveen Andrews) was in Karma Sutra and The English Patient, Matthew Fox in Vantage Point, and Evangeline Lily in The Hurt Locker - you get the idea!
__________________________________
Unsatisfied with this, I hereby write to elucidate (hopefully more coherently) what I actually think and feel!
1. Numero Un
I like Mad Men for it's sense of authenticity, and a genuine whole-hearted attempt to replicate and dramatise a time period so completely: visually, musically, and the contentious social issues of the time (homosexuality, divorce, feminism, xenophobia, amongst numerous others). And not just any time period. But a focus on an arguably exciting period of American politics: the battle between Nixon and Kennedy for the Presidency.
Much of the drama is set against this backdrop, and from the unique perspective of the lives of Advertising Executives on Madison Avenue (hence the name Mad Men), as well as the people immediately around them - a burgeoning clique of people (essentially men) who wield potentially great power, for how it might influence, or rather did influence modern America from the 1960s onwards...
It's the equivalent of fifty years from now writing about the lives of bankers during the recession: I'm sure there's a lot more to be said for bankers than dull people who work stupid hours and cheat on their partners with their secretaries. But with plenty of sex, politics, and power games.
2. Numero deux
But what keeps it interesting for me, and hopefully the audience too, is that Mad Men's protagonist, aptly named Don (short for Donald Draper), is someone who has reached the pinnacle of the metropolis lifestyle from 'nothing'. This 'nothing' is something that's kept extremely private, from the people at work, from his family, and even the audience.
Part of the interest in the protagonist is the thought that: what exactly was so bad about his upbringing, childhood, growing up that he is so wholeheartedly ashamed of, and needing to hide, that he needs to over-compensate so lavishly, opulently with this convincing facade? He's losing himself the longer he stays there, as he muses to the owner of the company: 'I want more', and not in the material sense. He's reminded from time to time that there is more out there: a close colleague surprisingly and unexpectedly at one point questions his belief in an 'energy' or soul following a life-threatening (career-ending) heart-attack; and time spent with a prostitute who associates herself with the underground bohemian, impoverished jazz-loving non-conformists of the day. For the latter, there is a mutual loathing. They hate him for his vocation to populate lies. He hates them because he despises their freedom of living, loving, and expression. He's hypocritical because he does exactly the same thing, but hidden, private and ashamedly, behind a veneer of 'sophistication'.
There's an intrigue for what drives and motivates him: we don't know. We continue to watch for more clues. At the top of his game, where he seemingly has everything, yet actually has nothing, will he ever find peace and content? There are flashes that he has this potential, and we, as an audience empathise. We believe he just might.
If the entire psychology of Donald Draper were to played out in a particular episode, Mad Men would not be worth watching. Much like the character of Tony Soprano in The Sopranos.
3. Numero trois
Admittedly, the pace is very much on the slow side - a facet sure to alienate a commercial consumer audience. But for it's lack of pace, it makes up for subtlety, leaving ample space for thought and imagination to work for the small snippets of info we are presented with. It's challenging to watch, and not in a negative way. But in that it really challenges you to think about what's going on.
4. Numero quatre
I like Mad Men for the allusion to that lifestyle: so lavish, self-assured, materialistic, even male chauvinistic, very James Bond-ian - but for every step of the way there's a real sense that that world could fall apart at any given moment. It's never over-indulgent, self-absorbed. More self-critical and analytical actually. There are mechanisms at work from the very first episode that set to destroy this male illusion of security, even superiority. I think that makes for very compelling drama, and I continue to watch with enthusiastic intrigue.
5. Numero cinque
(I also like Mad Men because it won quite a few awards at the 2010 Golden Globes - over Dexter - and I want to understand and appreciate why!)
Nic Cage is The Sorcerer's Apprentice!
That Disney animation (Fantasia) with Mickey Mouse and the broomsticks, right?
Wrong! An all-out blockbuster actioner, courtesy of Jerry Bruckheimer collaborating with Disney, released August 13th 2010! How the hell would they go about doing this?
Apple trailer (from the Empire website).
Looks okay, actually. Fairly standard Hollywood fare.
Seems very Harry Potter-esque, mixed with Star Wars, Lord of the Rings and Transformers.
With the obligatory love story.
It's that dude from Knocked Up and Million Dollar Baby.
And Alfred Molina: Doc Ock from Spiderman 2, that arty movie with Penelope Cruz, and Educating Rita.
Friday, 26 March 2010
movie mood: With Kenneth Branagh's Hamlet
Probably the most expressive example of rage, anger, and depression captured on a cinema screen - in my view, or at least amongst my DVD collection.
The gargantuan eruption of emotion from the titular antihero, and the consequences it has for him and the people around him very much encapsulates how I think and feel right now; but would nowhere near be able to express or attempt to replicate with such articulate complexity and sophistication.
Have to go right now.
Will probably want to watch a bit later.
Thursday, 25 March 2010
Alec Baldwin is MACUNGA!
1:08am
Madagascar 2 - sis watching right now.Just learnt that now.
Quite funny! Love the whole Elvis look, arrogant and villainous!
A funnier version of Scar!
The tenor of Darth Maul
Watching Shaun of the Dead the other day with my sis..
Remember spotting Peter Serafinowitz's name in the credits as they were rolling out.
I immediately exclaimed: "That's the voice of Darth Maul!"
Suspected he might have been the third flatmate of Simon Pegg and Nick Frost, and played back the credit roll to confirm! Checked it out on iPhone, produced Ray Park's picture in a Wikipedia article that clearly stated, "with the voice of Peter Serafinowitz!"
Sis staring at me: a look of bemused shock, bewilderment which momentarily progressed to that other look (that 'how sad' look).
Recalled an interview I saw with Ray Park some years ago for Star Wars (probably on the Episode I Bonus/Extras DVD) that this was the case; and also recall Peter Serafinowitz's stint on The Jonathan Ross Show promoting a comedy series he had for the BBC.
Hmm.. Funny what the mind remembers! (Selective memory?)
Maybe I do need to get a life, and get out more.
A closer look behind Wall-E...
9:25am
Sis watching from bed. Just came in to check on her, but hooked from where she was at to the end! A great feel-good movie!A few things I learnt:
The Buy n Large (BnL) CEO is played by Fred Willard.
He doesn't play the President of the United States, which is what I always thought for some reason.
Sigourney Weaver plays the voice of the ship.
John and Mary are the only other human characters (apart from the Captain) that have speaking parts.
Mary's played by someone called Kathy Najimy.
John's played by someone called John Ratzenberger.
Sis thought she identified John as Mr Potato Head from Toy Story. Not too far off!
Checks out that he's the Moneybox Pig (Ham)!
He's also got quite a history involved with:
Up
Ratatouille
Cars
The Incredibles as The Underminer
8 Simple Rules
Finding Nemo
Frasier
Monster's Inc
That 70s Show
A Bug's Life
Sabrina the Teenage Witch
Sister Sister
The Simpsons
Cheers
Captain Planet
Gandhi
Superman II
The Empire Strikes Back
Superman
Wednesday, 24 March 2010
That Bollywood-esque tune opening Ghost World!
10:31pm
"Jaan Pehechan Ho" (Mohammed Rafi) – 5:28
- From the opening sequence of the film, during which Enid is watching and dancing to a video clip of a dance number from the 1966 Bollywood musical Gumnaam.
Check out the dude in 0:54!
(Though the actual clip used in the movie is obviously more edited and condensed: serving as an intro for opening credits.)
Wanted to show it off to my sis!
Thought it was quite funny, quirky, and unexpected.
Sis not amused, and not impressed.
movie mood: Attacking the Clones for mindless escapism
10:08pm
Star Wars: Episode II - Attack of the Clones, to give it its full title.
Have had a crippling headache for much of today.
Induced by circumstances beyond my control.
Two Nurofen, Ginger and Lemon Herbal tea, and some bedrest.
Finally have some energy to do stuff...
I often watch movies, or have movies I know well playing in the background, according to my mood. Want to have something 'lush', romantic, fantastical, over the top and dare I say, 'cool' in the background! Originally wanted to have House of Flying Daggers, but unavailable at present.
So Episode II I'm settling with!
That immersive John Williams score! That touching 'Love theme' helping to elevate the actual mediocre love story. Contrasts with the cool sabre-fights!
Something I don't have to think about too much, yet evokes the appropriate mood for what I want to do (writing in blogs), before going to sleep.
A bedtime story if you will!
Tuesday, 23 March 2010
Flash feature for 'Shutter Island'
Damn I missed it! Had it down in my diary as something to look back on, and study!....
But it's been replaced by three new features:
1. An advert for the Blockbuster Issue of the Magazine (which I have)
2. Inspirational Ingredients (for a Sports movie)
3. Best of Mike Judge
Items I'm not so interested in...
Occurs to me that there are about 5 Main Features at a time on the Empire website. Have to catch them quick before they disappear forever (even from the Archives). I don't think you can archive Flash presentations... Doesn't appear on searching the site...
From what I vaguely remember, there were about 8 main points from the presentation:
1.
Scorsese made the cast and crew watch Hitchcock's 'Vertigo' for preparation
2.
Influenced by Franz Kafka, Scorsese had apparently been reading a lot of that prior.
3.
The opening boat to island scene is a direct reference to some Japanese movie.
Bugger. I don't remember the rest. A lesson for next time I guess...
Another interesting article from the website by Damon Wise from 'Off the Wire':
Talking about the need for this movie in the current politico-socio climate. A different sort of entertainment, that's been very deliberately and purposefully considered.
Having seen the movie already, I agree with all that has been said, and found most of that article quite enlightening!
My own personal main points of observation and reflection directly after watching the movie revolved around: a minimalist approach (further consolidated by the use of John Cage music in the credits), the detailed setting for time period (I guessed it was Dinah Washington jazz vocals singing at the end), and the preoccupation with 'conspiracy'. I thoroughly enjoyed it! A psychological thriller bordering horror (as suggested by Roger Ebert in his review).
movie mood: Beginning with Batman
Something that's in touch with being cool and solitary.
Dark and brooding.
Figuring out what you want to do with your life.
Atmospheric...
Evoked by the soundtrack...
A choice between Batman Begins and Ghost World.
Chose Batman Begins, owing to the fact that the latter's more of a small-scale situational drama.
Requires a visual to see what's going on.
Where as Begins is slightly more epic in scale and has a soundtrack that really compliments, and helps to create that visual (whilst doing stuff online).
10:39pm
Comparisons to The Dark Knight
There's a light-heartedness about the movie- makes it quite fun to watch!
(Notably, Alfred's attempt to get Rachel back into the car)
Especially compared to the more serious Dark Knight.
Also quite a few references to Batman of the past, though miniscule and peppered into the script. For example, the confusion as to the existence of Batman as a 'creature', within the Police department, reminds me of Knox's amusing speculations in Burton's Batman. And Batman's rescue of Rachel Dawes to the batcave is also reminiscent of Kim Basinger's rescue in the 1989 version. The gas and ensuing chaos in the streets is also visual echo of the same film, when the Joker unleashes toxin.
Opinion
Really think it would have been good if Katie Holmes reprised her role, though Maggie Gyllenhall did a great job (I found her initially quite grating, irritating and annoying, but has grown on me over multiple viewings). Tom Wilkinson's a superior mob boss to Eric Roberts, though the latter definitely adds some b-movie gravitas/colour to the cast. Helps the main protagonists to shine more. Good casting, actually. One misgiving is the role of Ken Wantanabe, who in my opinion was used as a carricature, wasn't wholly believable. Definitely could have been used more effectively. Fight scenes could have been more visual rather than implied through flashes, not sure if that was a comic book idea: you literally see stills of action on paper, maybe that's what Nolan was going for...
11:02pm
The police-car-thrashing Tumbler scene is easily the best set-piece of the movie!
Exhilarating.
A list of set-pieces?
11:32pm
Like the way the recycling of dialogue is emphasised to make a point!
"You never did learn to mind your surroundings"
"Theatricality and deception"
"It's not who you are that matters, it's what you do that defines you"
"You've never given up on me, Alfred" "Never"
"Why do we fall? So we can learn to pick ourselves back up again".
Literature reading at the moment...
Trying to nip in chapters where and when I can.
Usually in coffee shops. Chapters at a time.
Film Music, by Peter Larson
Just finished reading Chapter 2 yesterday
The Cinema of Ang Lee: The Other side of the screen
Finished reading Chapter 11 last week
Empire Magazine
A snippet of the April 2010 Edition in WH Smith on Sunday; and the 'Contents page'/'Letters to the Editor' from the May 2010 Edition (which I received in the post yesterday as part of a yearly subscription!).
Usually in coffee shops. Chapters at a time.
Film Music, by Peter Larson
Just finished reading Chapter 2 yesterday
The Cinema of Ang Lee: The Other side of the screen
Finished reading Chapter 11 last week
Empire Magazine
A snippet of the April 2010 Edition in WH Smith on Sunday; and the 'Contents page'/'Letters to the Editor' from the May 2010 Edition (which I received in the post yesterday as part of a yearly subscription!).
Happy 100th Birthday Akira Kurosawa...
Following a curious 'Google doodle' on the main Google search engine page today, did I stumble across the fact that the legendary Director was born this day 100 years ago!
Another fact of trivia to add to my accumulation of all things to do with movies.
Presently own Seven Samurai as part of my DVD collection (the Bfi edition), which I bought sometime last year, as I recall.
Thought it was pretty awesome, definitely more authentic and emotionally engaging than The Magnificent Seven. Loved that sense of authenticity, far from the glitz and glamour of Hollywood. A raw graininess, that no wonder lent itself towards a Western remake. Reminded me a little bit of the opening scenes of Ong Bak (a Thai village in peril from outside forces, needing to be saved). Though I'm sure that the two can't be compared (being of different genres), and in some circles could be considered ludicrous to mention in the same context.
Clint Eastwood and Ang Lee @ the Library
Feel I seem to identify most with these Directors.
Just a vibe. A feeling. An impression.
Therefore curious to explore their body of work.
Clint Eastwood:
For his love and passion for Jazz, a quiet and reserved character, a strong emotional depth to his Directorial movies (at times a little saccharine, indulging in sentimentality), as well as an enduring figure of iconic masculinity.
Movies off the top of my head:
Absolute Power
Bronco Billy
For a Few Dollars More
In the Line of Fire
Unforgiven
Changeling
Mystic River
Million Dollar Baby
Flags of Our Fathers
Letters from Iwo Jiima
Gran Torino
Invictus
Themes/elements that occur to me include:
Failure and inadequacies as a parent; composing his own music; extremely economic filming technique (doesn't often redo takes); an intention to control most of his own production (without the influence of studios); a non-conformist - not pandering to Oscar, BAFTA, The Hollywood Foreign Press Association et al.
Ang Lee:
For his penchant for dramatising 'repressed' emotions, and the struggle/conflict of establishing identity (being a Chinese-American). I think I identify with being brought up by traditional conservative parents bound by a cultural and social expectation. Greatly admire his success in breaching those barriers to become the artist he naturally became, and his perseverance to persue dreams against strong criticism, and being perceived in a negative light for so many years (as a house-husband whose wife was the sole bread winner of the family, a social faux-pas in Chinese culture).
Movies off the top of my head:
Pushing Hands
The Ice Storm
Sense and Sensibility
Crouching Tiger, Hidden Dragon
Hulk
Brokeback Mountain
Lust, Caution
Taking Woodstock
Subscribe to:
Posts (Atom)
