Seen for the first time in August 2013.
"Synecdoche, New York" may be the most depressing film I've ever seen. This is because it by and large succeeds at meeting its ambitions ruminating on life and death and loneliness and love. It's big and grand and I love its ambition. Even when it's funny, in its low key way, it's nonetheless kind of sad and miserable, and there's also something kind of funny in its sadness and misery.
It maybe devolves into some kind of platitude toward the end, but nonetheless, it's an enviable powerful movie. Put it alongside Magnolia as big ambitious movies, that risk ponderousness, but succeed with their grand graveness. Grade A.
Monday, August 19, 2013
The Seven Year Itch - Billy Wilder
Seen for the first time in August 2013.
I'm extremely disappointed with this film. You would think Billy Wilder, one of the all time greats, would deliver with one of his better known works. But this really has nothing going for it. Perhaps all that talking to himself the main character does would work on a stage, but it doesn't work in a film. Marilyn Monroe was in some good movies. But she is no reason to watch a movie. Sorry Billy. Grade D.
I'm extremely disappointed with this film. You would think Billy Wilder, one of the all time greats, would deliver with one of his better known works. But this really has nothing going for it. Perhaps all that talking to himself the main character does would work on a stage, but it doesn't work in a film. Marilyn Monroe was in some good movies. But she is no reason to watch a movie. Sorry Billy. Grade D.
We're the Millers
Seen in the theater for the first time in August 2013.
"We're the Millers" is not a good movie. Most of the humor is exceptionally lazy, saved only by solid performances and miraculous line readings. It's not as funny as the third Hangover film, which though incredibly flawed, was nonetheless incredibly funny in parts. I should think that asking a film to be better than the second sequel to a reasonably funny movie is a reasonable hurdle for any movie to clear.
Jason Sudeikis's character has some parallels with Cary Grant's character in the great "His Girl Friday." And yet Cary Grant's character never changed or was redeemed in that movie. He basically stayed the same selfish, self-involved narcissist he was at the beginning of the film. But "His Girl Friday" never asked us to dislike Cary Grant despite all his schemes to get in the way of his ex-wife and her fiance's happiness. So we never needed a moment where Cary Grant apologizes. Instead, Cary Grant wins, because his ex-wife would never be happy living the conventional life with her conventional groom, and she comes to realize this.
I'm not sure that "We're the Millers" really succeeds in getting us to the point where Sudeikis needs to apologize for who he is, but it gives us that redemptive moment anyway. I'm not sure if politically or morally "We're the Millers" is better for bowing to a pandering, conventional sensibility, it might be. But this pandering obeisance to formula certainly makes for inferior art.
But failing to be as good as "His Girl Friday," is no unforgivable sin. This movie was conceived well enough and it was executed well enough. The terrible flaw is that it's extremely poorly written. There is one exception: The character of the daughter was not well conceived, nor was she well executed, by anyone. But ultimately, this film is forgettably mediocre. No that's too generous. I like forgettably mediocre comedies. This film is bad. Grade D.
"We're the Millers" is not a good movie. Most of the humor is exceptionally lazy, saved only by solid performances and miraculous line readings. It's not as funny as the third Hangover film, which though incredibly flawed, was nonetheless incredibly funny in parts. I should think that asking a film to be better than the second sequel to a reasonably funny movie is a reasonable hurdle for any movie to clear.
Jason Sudeikis's character has some parallels with Cary Grant's character in the great "His Girl Friday." And yet Cary Grant's character never changed or was redeemed in that movie. He basically stayed the same selfish, self-involved narcissist he was at the beginning of the film. But "His Girl Friday" never asked us to dislike Cary Grant despite all his schemes to get in the way of his ex-wife and her fiance's happiness. So we never needed a moment where Cary Grant apologizes. Instead, Cary Grant wins, because his ex-wife would never be happy living the conventional life with her conventional groom, and she comes to realize this.
I'm not sure that "We're the Millers" really succeeds in getting us to the point where Sudeikis needs to apologize for who he is, but it gives us that redemptive moment anyway. I'm not sure if politically or morally "We're the Millers" is better for bowing to a pandering, conventional sensibility, it might be. But this pandering obeisance to formula certainly makes for inferior art.
But failing to be as good as "His Girl Friday," is no unforgivable sin. This movie was conceived well enough and it was executed well enough. The terrible flaw is that it's extremely poorly written. There is one exception: The character of the daughter was not well conceived, nor was she well executed, by anyone. But ultimately, this film is forgettably mediocre. No that's too generous. I like forgettably mediocre comedies. This film is bad. Grade D.
Tuesday, July 30, 2013
Brick - Rian Johnson
Seen for the sixth time in July 2013.
"Brick" was the best movie released in the first decade of this century and the only other movie that comes close is Larry Clark's "Bully." What does Brick do well? It perfectly emulates the style and atmosphere of classic noir. Shit, it takes the platonic ideal of noir, and emulates that, giving us the witty dialogue, the style, the suspense and atmosphere. It's extremely well cast with only one bad performance coming from the girl from "Lost."
The part that makes it controversial is that its set in modern high school, which misleads the pre-concepted into expecting realism, as if this would be a good movie if it were a realistic high school drama about drugs. I scoff. Like what Havoc? I can't think of any good high school dramas. Can anybody think of one since "American Graffiti"?
But I digress, what makes "Brick" great is that it's a great noir, not a great piece of realistic film-making. "Brick" helps us to understand that noir was never about realism. It was about style, wit, suspense, and atmosphere. It was about an idealized form of masculinity, imperfect but essentially good, doing the best he can using his wits in an undefeatable and essentially corrupt world, and maybe even surviving. This is what Brick is about.
And the high school setting is essential. It is essential to create a stylized world for these characters to inhabit. Even classic noir was staged in a stylized world and not a realistic one, though many of us wouldn't know that these days. Nonetheless the traditional noir setting may be too dated and cliched at this point to produce something truly noteworthy and exceptional. New and fertile worlds must be sought for noir to excel at it's brand of urbane sophistication.
"Brick" uses the high school setting to create this very necessary stylized world where the conventions of noir can successfully be revealed without seeming cliche. And the underlying noir that takes place in this setting is a very very good one. The world of "Brick" is hermetically sealed one, similar to our own, but very much not our own. Like a billion other realistic teen sagas, it's not a very good teen drama. It is however, an exceptionally good piece of film noir, and it deserves its place right alongside Chinatown, and The Maltese Falcon, and The Big Sleep. It's that good. Even accounting for parasitism. It's that good. Grade A.
"Brick" was the best movie released in the first decade of this century and the only other movie that comes close is Larry Clark's "Bully." What does Brick do well? It perfectly emulates the style and atmosphere of classic noir. Shit, it takes the platonic ideal of noir, and emulates that, giving us the witty dialogue, the style, the suspense and atmosphere. It's extremely well cast with only one bad performance coming from the girl from "Lost."
The part that makes it controversial is that its set in modern high school, which misleads the pre-concepted into expecting realism, as if this would be a good movie if it were a realistic high school drama about drugs. I scoff. Like what Havoc? I can't think of any good high school dramas. Can anybody think of one since "American Graffiti"?
But I digress, what makes "Brick" great is that it's a great noir, not a great piece of realistic film-making. "Brick" helps us to understand that noir was never about realism. It was about style, wit, suspense, and atmosphere. It was about an idealized form of masculinity, imperfect but essentially good, doing the best he can using his wits in an undefeatable and essentially corrupt world, and maybe even surviving. This is what Brick is about.
And the high school setting is essential. It is essential to create a stylized world for these characters to inhabit. Even classic noir was staged in a stylized world and not a realistic one, though many of us wouldn't know that these days. Nonetheless the traditional noir setting may be too dated and cliched at this point to produce something truly noteworthy and exceptional. New and fertile worlds must be sought for noir to excel at it's brand of urbane sophistication.
"Brick" uses the high school setting to create this very necessary stylized world where the conventions of noir can successfully be revealed without seeming cliche. And the underlying noir that takes place in this setting is a very very good one. The world of "Brick" is hermetically sealed one, similar to our own, but very much not our own. Like a billion other realistic teen sagas, it's not a very good teen drama. It is however, an exceptionally good piece of film noir, and it deserves its place right alongside Chinatown, and The Maltese Falcon, and The Big Sleep. It's that good. Even accounting for parasitism. It's that good. Grade A.
The Big Sleep - Howard Hawks
Seen for the eighth time in July 2013.
I can usually make sense of "The Big Sleep" for maybe an hour after I watch it and then it becomes a jumbled confusing mess again. But what it lacks in coherence, it more than makes up for in style and atmosphere. I don't believe that Bogart was ever more enjoyable than he is in "The Big Sleep," and Bacall keeps pace in impressive fashion. The labyrinthian machinations and motivations intertwining in this convoluted tale are an asset and the need to make sense of the plot here is the hallmark of monomaniacal.
"The Big Sleep" is to be enjoyed for Bogart's brand of rugged sophistication, gruff and savvy, tough and yet at the same time, discerning. He balances a kind of heroic stoicism with a brash wit. It's a treat to watch him work here, a man's man and yet charming to women too, always a few steps ahead of his adversaries even when he's a step behind. And Bacall is at her best as his foil, given lines to keep pace with Bogart's wit, as the dance of mutual flirtation leads them further and further into this mystery.
The supporting cast is all top-notch as well. And the guy who plays the little guy deserves to be singled out for a great performance of a great minor character. But overall it's the aura of mystery and the cool wit of the writing along with some fantastic performances that makes this film such a dazzling experience. Grade A.
I can usually make sense of "The Big Sleep" for maybe an hour after I watch it and then it becomes a jumbled confusing mess again. But what it lacks in coherence, it more than makes up for in style and atmosphere. I don't believe that Bogart was ever more enjoyable than he is in "The Big Sleep," and Bacall keeps pace in impressive fashion. The labyrinthian machinations and motivations intertwining in this convoluted tale are an asset and the need to make sense of the plot here is the hallmark of monomaniacal.
"The Big Sleep" is to be enjoyed for Bogart's brand of rugged sophistication, gruff and savvy, tough and yet at the same time, discerning. He balances a kind of heroic stoicism with a brash wit. It's a treat to watch him work here, a man's man and yet charming to women too, always a few steps ahead of his adversaries even when he's a step behind. And Bacall is at her best as his foil, given lines to keep pace with Bogart's wit, as the dance of mutual flirtation leads them further and further into this mystery.
The supporting cast is all top-notch as well. And the guy who plays the little guy deserves to be singled out for a great performance of a great minor character. But overall it's the aura of mystery and the cool wit of the writing along with some fantastic performances that makes this film such a dazzling experience. Grade A.
The Awful Truth - Cary Grant
Seen for the second time in July 2013.
Cary Grant's charisma is probably the one thing that separates classic screwball comedy from the insipid fare that passes for romantic comedy for the past 30 or so years. As great as Cary Grant is, he's still an underrated performer. I've heard him compared to George Clooney for example, but Grant towers over his imitators. I've never seen George Clooney pull a pratfall, much less pull a pratfull and still seem as though he's the most charming and sophisticated person on the entire planet. I've seen Cary Grant do that. I saw him do it in "The Awful Truth," which is a great movie, and probably the best of Cary Grant in the screwball era, though "His Girl Friday," isn't edged out easily.
It's interesting to me the snobbery that this film gets away with. Cary Grant and Irene Dunne's characters are both clearly well-educated and well-off and much of the humor in this movie is a result of them snidely turning their noses up at their less well-heeled brethren. Whether it's Bellamy's mid-American rube or the risque act of a working class dancing girl or even Dunne's imitation of such. I'm not sure how this stuff would play in today's political environment. I don't believe that a film of mass appeal made today would get laughs by appealing to an urbane sensibility's disdain for the masses.
"The Awful Truth" gets away with it nonetheless, I'm sure not just by having the carte blanche of being classic Hollywood, but also by being so goddamned relentlessly entertaining. Irene Dunn and Ralph Bellamy are at their best, and Cary Grant gives one of the all time most charismatic performances. Grade A.
Cary Grant's charisma is probably the one thing that separates classic screwball comedy from the insipid fare that passes for romantic comedy for the past 30 or so years. As great as Cary Grant is, he's still an underrated performer. I've heard him compared to George Clooney for example, but Grant towers over his imitators. I've never seen George Clooney pull a pratfall, much less pull a pratfull and still seem as though he's the most charming and sophisticated person on the entire planet. I've seen Cary Grant do that. I saw him do it in "The Awful Truth," which is a great movie, and probably the best of Cary Grant in the screwball era, though "His Girl Friday," isn't edged out easily.
It's interesting to me the snobbery that this film gets away with. Cary Grant and Irene Dunne's characters are both clearly well-educated and well-off and much of the humor in this movie is a result of them snidely turning their noses up at their less well-heeled brethren. Whether it's Bellamy's mid-American rube or the risque act of a working class dancing girl or even Dunne's imitation of such. I'm not sure how this stuff would play in today's political environment. I don't believe that a film of mass appeal made today would get laughs by appealing to an urbane sensibility's disdain for the masses.
"The Awful Truth" gets away with it nonetheless, I'm sure not just by having the carte blanche of being classic Hollywood, but also by being so goddamned relentlessly entertaining. Irene Dunn and Ralph Bellamy are at their best, and Cary Grant gives one of the all time most charismatic performances. Grade A.
Monday, July 29, 2013
The Public Enemy - James Cagney
Seen for the first time in July 2013.
James Cagney may not seem like much of an actor in "The Public Enemy" - his lines sometimes come off as stiff and wooden - but his presence is undeniable. He pops right off the screen and his charisma overwhelms the performances of the rest of the cast, the rest of the film too as a matter of fact, which is a diverting 80 odd minutes but underwhelming when put against the pace of modern gangster fare. It's a probable influence on "A Clockwork Orange" and Cagney is an enjoyably funny scumbag, sort of a proto-Pesci, if you will. Nonetheless, the film is more dusty and cobwebbed than finely aged, though nonetheless entertaining. It certainly illustrates how stars become stars, by virtue of presence and charisma. Cagney has both to spare. Grade B-.
James Cagney may not seem like much of an actor in "The Public Enemy" - his lines sometimes come off as stiff and wooden - but his presence is undeniable. He pops right off the screen and his charisma overwhelms the performances of the rest of the cast, the rest of the film too as a matter of fact, which is a diverting 80 odd minutes but underwhelming when put against the pace of modern gangster fare. It's a probable influence on "A Clockwork Orange" and Cagney is an enjoyably funny scumbag, sort of a proto-Pesci, if you will. Nonetheless, the film is more dusty and cobwebbed than finely aged, though nonetheless entertaining. It certainly illustrates how stars become stars, by virtue of presence and charisma. Cagney has both to spare. Grade B-.
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