Author: Jandy Page 50 of 145

Movie Club Podcast – The Driver and 52 Pick-Up

My grand plans to get blogging regularly again over here are still working themselves out, but in the meantime, I recorded an episode of the Movie Club Podcast with a bunch of colleagues from Row Three (and a friend from the Director’s Club Podcast), discussing Walter Hill’s 1978 The Driver and John Frankenheimer’s 1986 52 Pick-Up, two thrillers showcasing the sleazy side of Los Angeles. I hadn’t seen either film before, so it was fun to experience them for the first time and chat about them with Kurt, Andrew, Bob, and Jim.

We did it via Google+ Hangouts and recorded it to YouTube, so you can watch the entire podcast embedded below, or you can click over here for an audio-only version. Or just subscribe to the podcast in iTunes. It’s a sporadic podcast, originally meant to be once a month, but it’s been a bit more spread out than that, thanks to everyone’s schedule, with an ever-changing cast from various websites (usually Row Three and Film Junk, though the Film Junk guys were busy this month). The next one is planned for February, discussing divisive metaphysical love stories Mr. Nobody, The Fountain, and Cloud Atlas.

Scorecard: July-October 2012

Four months at a whack here, but really, I haven’t been watching all that much, thanks to sleeping almost all of the time and lacking the attention span for more than 30-minute TV shows when I AM awake (see why here). Interestingly, all of my “loved” films this time around are 2012 films. That’s strange and weird to me, especially since I watched a few “unassailable” classics, but I’m being honest about how I felt about them at the time I watched them. Also, there’s a preponderance of new releases anyway since going to the theatre tends to keep me awake and engaged a bit more right now than watching films at home, so I’ve watched fewer films at home than usual.

What I Loved

Cloud Atlas

I’d heard everything from “mind-blowing masterpiece” to “vapid, messy drivel” about this film coming out of TIFF, so I had no idea what to expect when I went into it. As you may have guessed, I’m far closer to the “mind-blowing masterpiece” side of the scale; in fact, as of right now, it’s sitting atop my Top 2012 Films list. I read the book a couple of months ago in preparation, and I’m sure that affected how I received the film – I didn’t actually love the book, largely because I felt like it was more of an exercise in pastiche, more interested in proving David Mitchell’s chops at imitating different styles of writing and less interested in actually making meaningful connections between the different stories. The movie still has the different styles, but less pronounced (because it’s difficult to get such things as “19th century journal” and “epistolary novel” to translate to film stylistically), and the stories are all intercut with each other, a brilliant way to strengthen and highlight the thematic tissue connecting the stories. Putting the music of the Cloud Atlas Sextet front and center lends the film a symphonic quality heightened by the editing to create something that as a whole is greater than the sum of its parts, which is exactly what I was missing from the book. It’s rare to say, even for a non-book-purist like me, but in this case, the movie is easily better than the book – quite a statement especially for a book that many people have long considered unfilmable. Well done.

2012 USA. Directors: Andy & Lana Wachowski & Tom Tykwer. Starring: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Doona Bae, Jim Sturgess, Ben Whishaw, Keith David, James D’Arcy, Hugh Grant, Susan Sarandon.
Seen October 27 at AMC Burbank 16.

The Master

I came into The Master with some trepidation, since I’m just about the only person on earth who really disliked There Will Be Blood, and I wasn’t sure if PT Anderson could get back on my good side or not. Thankfully, he did, and while I would say I only “really liked” The Master when first leaving the theatre, thinking back on it and talking about it has raised it my estimation a LOT. I might still like Magnolia (see below) a bit better of PTA’s films, but it’s close, and so far The Master is probably the best movie of the year for me. The interplay between Phoenix and Hoffman is incredible – two actors at the top of their game, playing off their very different styles (and very different characters) against each other. Amy Adams holds her own as well, which I didn’t expect. And the jittery camerawork/focus underscores the story – really, the character study – perfectly. Images, lines, contrasts, outbursts, quiet moments – they’ve all come flooding back to me without warning over the weeks since I saw the movie, and that’s what I call a sign of a great film. Great enough I might be willing to give TWBB another chance. We’ll see.

2012 USA. Director: Paul Thomas Anderson. Starring: Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams.
Seen September 15 at Arclight Hollywood.

Argo

With Argo, Ben Affleck cements his career as a director even further, proving that while many of us have lost faith with him as an actor, when he’s behind the camera, he can do little wrong. This time he’s in front of the camera as well, which worried me a little (I didn’t see The Town, which also had him as actor-director), but he comes through in both roles. Taking a side story from the Iran Hostage Crisis of six Americans who managed to escape the embassy and hide out in the Canadian ambassador’s house, Affleck plays an extraction expert whose crazy plan to get them out involves a fake movie for which they will be the fake scouting crew in Tehran. The film’s seemingly unwieldy combination of real-life political thriller (which is highly tense and dramatic) and Hollywood show biz story (which has a good deal of comedy) comes together perfectly, while Affleck and Co’s eye for period ’70s detail puts him right up there with Soderbergh. An old-fashioned thrill ride with a great cast.

2012 USA. Director: Ben Affleck. Starring: Ben Affleck, Bryan Cranston, John Goodman, Alan Arkin, Victor Garber, Tate Donovan, Clea Duvall, Scoot McNairy.
Seen October 13 at AMC Burbank 16.

Looper

This has been my most-anticipated film ever since I first heard about it more than a year ago, thanks to my abiding love for Rian Johnson films (I loved Brick more than The Brothers Bloom, but they’re both really good), Joseph Gordon-Levitt, and time travel. I successfully avoided almost all the marketing for it, so I went in pretty cold, and I’m glad I did. The story is more about Gordon-Levitt’s character development (thanks to the incursion of his future self in the form of Bruce Willis) than time travel itself – in fact, Johnson actually wisely refrains from getting into the nitty-gritty of the time travel, which keeps the focus squarely on the characters, and I liked that. There are a few plot holes if you analyze the time travel too deeply, but I don’t think they ultimately matter in terms of the character-focused story, and the combination of character drama and action flick with just a touch of sci-fi works really well.

2012 USA. Director: Rian Johnson. Starring: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt, Jeff Daniels, Paul Dano, Piper Perabo.
Seen September 29 at AMC Burbank.

Premium Rush

Bike messenger Joseph Gordon-Levitt rides his bike around NYC at breakneck speeds, trying to deliver a life-or-death package, avoid the dirty cop trying to catch him, the real bicycle cop he pissed off, and fight a rival bike messenger for the affections of his girlfriend. And it’s pretty much non-stop adrenaline from start to finish. That’s about all you need to know. This is an old-fashioned B-level genre movie, and it hits every note right. Sure, it’s got nothing deep going on, but it doesn’t try to be any more than it is and for 85 minutes of pure fun, this kind of thing is hard to beat for me. And Michael Shannon is awesome in this kind of no-holds-barred role (he’s always awesome, but he’s all kinds of fun when he really lets loose).

2012 USA. Director: David Koepp. Starring: Joseph Gordon-Levitt, Michael Shannon, Dania Ramirez, Sean Kennedy.
Seen August 8 at AMC Burbank.

Exciting Times in the Frame Household

Observant readers may have noticed that the last post on The Frame is dated something like three months ago, which essentially means I’ve been on unannounced hiatus for a while. If you follow me on Twitter or Facebook, there’s a good chance you already know my big news, but as I’m starting to get the writing bug again and want to get back into the blog, a bit of an explanation seemed to be in order. My husband Jonathan and I are expecting our first child next March, so the last few months have been spent doing a lot of sleeping and resting as I get used to sharing my body with another person, and the last few weeks have been spent moving into a new apartment with shorter commutes and bigger rooms for all the baby stuff we’ll be acquiring very soon.

Things seem to be settling into more of a routine now, though, and I’m hoping to at least keep up a little better with movie watching and writing than I have been. We found out a few weeks ago that it’s a girl, and we’re pretty stoked to share our love of everything movies with her. (To the question I’m learning is inevitable: yes, we have a name picked out, but we’re keeping it to ourselves for now.) I’m sure as she grows old enough to start watching movies with us, I’ll be posting more about her and the movies we’re watching with her.

On Not Watching Trailers…

Over the past several months and even years, I’ve essentially stopped watching trailers, at least intentionally. I’ll still generally watch them in theatres, but even then there are a few I’ll cover my eyes for and try to tune out as much as possible (two years ago it was Inception, this year it’s Looper). I almost never seek them out to watch online, or even watch them when they’re posted on sites I regularly read or write for. Once in a while I point out that I’m not watching a trailer (the most recent case is the Cloud Atlas trailer, which dropped yesterday), and I’m usually greeted by a couple of responses. One, people assure me that the trailer in question doesn’t give the plot away or really tell much about the story at all. They assume that I’m not watching because I don’t want to be spoiled, which is indeed a major concern these days, as a lot of trailers get waaaaay too detailed in explaining plots. The other response is to tell me how awesome it is, how it made them really excited to see the movie, and how it would probably really appeal to me. This one assumes that I’m not watching out of indifference, and that watching the trailer would excite me about the movie more than I am, which is apparently not much, since I can’t even drum up enough interest to watch a trailer.

Neither of these is really accurate in principle (though, sure, I also don’t watch trailers known to be spoilery or trailers for movies I have zero interest in watching).

Generally, I don’t decide what movies I want to see based on studio marketing. I decide based on who’s involved in making it, primarily the director, to some extent the actors, writers, source material, etc. I decide based on buzz coming from festival and early screenings. I decide based on general critical reaction (I don’t tend to read full reviews before a movie comes out). Once in a while a trailer may whet my appetite for more, but generally by the time trailers come out, I’ve already decided whether or not I’m interested in seeing a movie. Even the exceptions, like Wreck-It Ralph, which I wasn’t interested in until I saw the trailer, I turned the trailer off as soon as I got a glimpse of what it was going to be. Once I’m sold, I don’t want to see any more.

So why am I averse to seeing them? It’s not primarily because I fear they’ll give away key plot points, though there is that fear especially on big Hollywood films. And it’s not primarily because I’m uninterested in the product they’re presenting. It’s primarily because if I want to see a film, I don’t care to have any visuals or dialogue already in my head when I go in to watch the film. Maybe others can put that out of their head when they see a movie, but I can’t. When we get to a scene in the film that was in the trailer, I instantly think “oh, this is that part that was in the trailer; I already know this part.” It’s still probably funny (or moving, or impactful, or whatever), and I still probably laugh (or cry, or feel gutted, or whatever), but for that split second, I’m out of the movie. I’m not thinking about the movie anymore, I’m thinking about the trailer.

Then I mentally check off that scene from the trailer. “Three down, five more to go.” I’m waiting for those other scenes to happen. I know they’ll come up sometime. When will they be? Oh, hey, this line that sounded like it’s all one piece in the trailer is actually cut from two different scenes. That’s interesting, but it takes me out of the movie as I re-orient myself to the movie’s script. Huh, this line reading sounds different than it did in the trailer; they must’ve used a different take for some reason – which do I like better? Hmmm, we’re getting close to the end of the film, and that one shot from the trailer hasn’t happened yet, wonder when it’s going to turn up? Oh, I bet it’s going to be right here at the climax – yep, there it is, okay, that was kind of anti-climactic since I’d already seen that shot. These are all things I actually thought while watching The Avengers for the first time. Now, granted, this isn’t necessarily a huge deal, and it probably isn’t going to ruin any movies for me – I still loved The Avengers. But I really wish I hadn’t watched the trailers first, because I would’ve liked to have experienced those moments fresh in the film. I’m learning from my indiscretions.

The Cloud Atlas trailer is almost six minutes long. Most trailers are around one and a half to two minutes long, so this one is three times longer than most trailers. Three times as much footage, three times as many visuals, three times as many shots that I’d see out of context, and be waiting to see in the movie. I won’t do that to myself. I don’t really understand why people want to see that much of a movie months before it comes out, why people want that imagery in their heads ahead of time instead of seeing it all as a whole, as it was meant to be experienced, but clearly I’m weird about it. Most people want to watch 5-10 minute clips of movies before they come out, something that’s become increasingly common for studios to release within the week or two leading up to release. And that’s fine, but I avoid those like the plague. It’s not a spoiler thing, I just don’t want them in my head, I don’t want to be waiting for them, I don’t want to be wondering when they’ll turn up. A lot of these, granted, are the opening of the film, which isn’t as big an issue (at least you’re not waiting for it to happen, because it’s right at the beginning), but still, that means when I go see the movie, I’d be seeing stuff I already saw for the first five or ten minutes, and I can’t think why I’d want to do that.

So that’s why I rarely watch trailers anymore, especially when it’s for a movie I already want to see. It rarely adds to my anticipation, it often yields distraction and mild disappointment while watching the movie, and it’s simply not worth it. I’m not that hard-core about it, and unless it’s the rare Inception or Looper where I really do want to go in totally blind, I don’t turn away from trailers in theatres. But I’m not going to seek them out or watch them online, so if you ask me “hey, did you see that awesome trailer for xyz,” the answer is probably no. And I probably don’t care to, so don’t try to convince me.

For the record, this is my favorite trailer of all time (regardless of the eventual quality of the movie):

My Movie Confessions

What’s that you say? A film survey/blogathon about those deep dark secrets we all hide about our moviegoing past and present? Yep, Nostra over at MyFilmViews has put together a nifty little quiz that’s making the rounds this week, and I figured I’d throw my own confessions out there, for better or worse.

Which classic movie don’t you like/can’t enjoy and why?

I enjoy most classic movies, at least ones that anybody cares about, so this is kind of a tough one. I would say that I don’t like Citizen Kane or The Godfather or Apocalypse Now AS MUCH as most people do, but I wouldn’t say I don’t like at all. I might go with The African Queen as one that people acclaim and I thought was pretty dull and average, which especially gets to me because I love both Humphrey Bogart and Katharine Hepburn, and I was expecting to like it a lot more than I did.

Which ten classic movies haven’t you seen yet?

I’ll cheat and pull some from my Blind Spots list (which I’m woefully behind on), and fill in to replace the non-classic films on there:
The Passion of Joan of Arc (1928)
Pandora’s Box (1929)
A Place in the Sun (1951)
Tokyo Story (1953)
Stalag 17 (1953)
Cat on a Hot Tin Roof (1958)
Wild Strawberries (1958)
Cool Hand Luke (1967)
Solaris (1972)
The Outlaw Josey Wales (1976)

Of course, this list is never-ending. :)

Have you ever sneaked into another movie at the cinema?

One time, in terms of actually doing it and watching the whole second movie, and not that long ago, either (I was such a rebel in my late twenties…) – I paid for Kick-Ass and watched it, then snuck into The Losers and watched it all the way through. I’ve walked into the back of theatres at multiplexes and watched a few seconds/minutes of things fairly often, when I get there early for my movie.

Which actor/actress do you think is overrated?

I’m gonna get raked over the coals for this, but Daniel Day-Lewis. I just can’t get into his performances at all; they’re so big and intense they pull me right out of the movie.

From which big director have you never seen any movie (and why)?

I try to hit all the big name ones, but one that’s eluded me so far is Rainer Werner Fassbinder. As far as why…no reason, really, other than the ’70 and ’80s have generally been blind spots for me – I grew up watching classics (1930s-1960s) and then added in current films in the ’90s, so getting to those ’70s and ’80s has been a slower process. Plus, I’ve never really known where to start with him, and I remember having trouble with Netflix putting his movies into perpetual “saved” mode, back when I had DVDs. So yeah. I currently have Ali: Fear Eats the Soul on my Blind Spots list, so hopefully I’ll be able to locate and watch that one this year.

Which movie do you love, but is generally hated?

Hmmm…hated is such a strong word. And so is love. Heh. Most of the movies that immediately spring to mind (Speed Racer, The Fountain, etc) have a lot of supporters as well as all the detractors. Similarly, most of the films I’d consider guilty pleasures (like Bring It On or Mystery Men) fall into the same category for a lot of other people, so I can’t really say they’re hated. I dunno. Speed Racer. :)

Have you ever been “one of those annoying people” at the cinema?

I remember one time when I was like twelve, maybe? My parents and I were on a family trip and we’d stopped at Sun Valley, Idaho. A theatre there played the 1941 movie Sun Valley Serenade with Sonja Henie on a constant loop, pretty much, and being a classic movie addict, I got my parents to go see it. (I also got them to stay an extra couple of days to watch a professional figure skating competition that was about to take place there, but that’s a different addiction.) The film stars John Payne, who was a pretty common leading man in 1940s programmers (his most well-known film is Miracle on 34th Street, as Maureen O’Hara’s love interest). Anyway, he’s a blander doppleganger for Robert Taylor, and since I hadn’t seen Payne in much before, I was fascinated by how much he looked like Taylor, and I loudly whispered such to my mom OVER AND OVER every time he was on-screen (which was often) until my dad finally shushed me out of respect for the two other people in the theatre. I was so chagrined I’ve barely made a peep in any theatre since then.

Did you ever watch a movie, which you knew in advance would be bad, just because a specific actor/actress was in it? Which one and why?

The entire filmography of Milla Jovovich. Why? *points up*

Did you ever not watch a specific movie because it had subtitles?

No. I may have at times delayed watching a subtitled movie in favor of a non-subtitled one depending on mood or attention span, but I’ve always returned to the subtitled one at a better time.

Are there any movies in your collection that you have had for more than five years and never watched?

I’ve had A Beautiful Mind for a very long time and haven’t watched it. I bought it in the wake of its Oscar win, because I was big on watching Oscar-winners at that time, but then sometime between buying it and watching it, I became wholly disenamoured of Ron Howard and didn’t feel like watching it. I still should at some point, I guess.

Which are the worst movies in your collection and why do you still own them?

Geez, for this I’d have to go look at the boxes I never unpacked after my last move, because I left most of the bad movies packed up. One I know for sure is Daredevil. I actually didn’t hate it when I first saw it, and picked it up from Blockbuster used for like $2 or something. I haven’t watched it all the way through since, but I saw some clips on YouTube not long ago and yeah. I don’t know what I was thinking. Anyway, the reason I still have this and several other bad movies is because I tried to sell them to a second-hand shop, and because a lot of them were rental copies before I got them on the cheap, they were too scratched up for the shop to take them. And I hate throwing things away. So there in the boxes they sit.

Do you have any confessions about your movie watching setup at home?

Well, I’m not sure I have the surround sound hooked up right. But I’m too lazy/unknowledgable to fix it. I know one of the speakers is broken because I just have them on top of DVD shelves and one fell off when I was getting everything set up. Beyond that, not really – I’ve got a pretty good set-up, at least until I can afford a projector. :)

Any other confessions you want to make?

Not really. I’ve done enough, I think.

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