Showing posts with label Patrick Wilson. Show all posts
Showing posts with label Patrick Wilson. Show all posts

Monday, October 04, 2010

What Were We Talking About?

When Sam Mendes and Maggie Gyllenhaal had lunch recently in NYC, what do you suppose they were talking about? I hope Maggie was saying "sorry about being such a one-dimensional cartoon in Away We Go -- but you weren't helping, mister man!"


What were they talking about? What were we talking about? What are we still talking about? (That actress list fo' sure and also the August: Osage County casting)  Here's some recent comments on older posts that I wanted to call your attention to. Yes, I read everything! Thank you to everyone who comments. It makes the work of writing of the blog more like fun.

silencio actually loves Perfume Story of a Murderer more than Se7en  in the serial killer genre. I don't hear that often. Truth (I haven't seen it. Shhhh). But it's funny that silencio should mention it since I have been thinking about Ben Whishaw all week. I'm fond but his part made-a me crazy in Julie Taymor's Tempest (for a few reasons... not really his fault. More on that later). How come I haven't seen Perfume?

Robby notices how many Oscar nominees are dropping off lately. Trust when I wrote that "still with us!" list in July I REALLY did not intend it as a morbid countdown. I just wanted to honor people while they were still with us. But yes it's already really out of date. Rough month of RIPs.


Kevin thinks the death of P.T. Anderson's The Master ought to free him up to do a musical. Wouldn't that be great?



Jordan ranks David Fincher's films and is fond of the Modern Maestro series as a whole. I didn't mean to scare y'all with saying that it's wrapping up soon. Robert is staying with us. I love the column too but it's time to switch it up after a short break.



james t rediscovered the huge voice / brilliance of Ellen Greene in Little Shop of Horrors and pointed me to this Patrick Wilson / Carrie Underwood version (what the he--uh?) I included an Ellen Greene version too (from the Tonight Show) because I can never get enough of her as Audrey and I'd never seen this clip... apparently Siskel & Ebert talked her up on the Tonight Show too back in the day.



And finally, I was pleased to see that in the Tangled post, there were quite a few people popping in to express their love for the music of Hunchback of Notre Dame. I'm glad I wasn't alone in thinking that Judge Frollo's songs really are special in that movie.

My point is this: Thanks for visiting The Film Experience every day! It was our biggest September over and I suddenly feel very enthused about the rapidly approaching awards season.

Consider this an open comment thread!
What's on your movie-lovin' mind?

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Tuesday, August 24, 2010

"You are such a buzz kill"


That's a Juliette Lewis moment from the Jennifer Aniston comedy The Switch. I'm glad that this scene in which she (apparently) gently chastises Jason Bateman for being insufficiently perky is on Apple. It's the closest I want to come to that movie, unless there's a scene in which Patrick Wilson actually performs his "donor" duty. What? I'm only human.

And speaking of... Patrick Wilson needs to be a bigger star. I suspect people have found him too bland for leading roles but that's a shame really because he's terrific in both Little Children (2006) and Angels in America (2003) and it's not like anyone was all that good in Watchmen (2009) or Phantom of the Opera (2004), so why hold those against him? Plus he was kinda great on Broadway in both The Full Monty and Oklahoma! ...not that they're making that many movie musicals and when they're making them they aren't casting for musical ability. [Editor's note: Dead horse. You are beaten!] It's just that he's totally great at playing these "generically idealized man" types and those characters are often in danger of being a touch bland... even or maybe especially if you're playing them well.

<-- Maybe Barry Munday (pictured with Judy Greer) will help since his looks are so downplayed and his body is so unchararcteristically that of a mere mortals?

Anyway...

I hate to be a buzzkill myself but I just can't get behind Jennifer Aniston as a movie star (though I would gladly watch her headline a sitcom). I always seem to want to recast movies with the lively supporting character actors switching places with the duller leading ladies and men. I would totally buy a ticket to see an artificial insemination comedy that was about Juliette Lewis's romantic foibles with Patrick Wilson wherein Jennifer Aniston throws some sort of party and dispenses supporting actress advice. Just like I might have actually bought a ticket to P.S. I Love You if Gina Gershon or Lisa Kudrow were communing with their dead husbands played not by Gerard Butler while Hilary Swank smiled from the sidelines doing best friend duty, always in danger of landing on the cutting room floor.

But if Hollywood made movies to please me they'd go bankrupt. Truth.

Here's the Weekend Box Office should you be curious about these things. (I know nobody comes here specifically for this -- why would you? -- but would you like seeing the chart referenced casually each week? Maybe you do look it up each week even if you don't really care. That's how I do.)
  1. The Expendables $16.9 (total $65) 2nd weekend
  2. Vampires Suck $12.2 (total $18.5) opening weekend
  3. Eat Pray Love $12.1 (total $47.2) 2nd weekend
  4. Lottery Ticket $10.6 opening weekend
  5. The Other Guys $10.1 (total $88.2)
  6. Piranha 3D $10.1 opening weekend
  7. The Switch $8.4 opening weekend
  8. Nanny McPhee Returns $8.4 opening weekend
  9. Inception $7.8 (total $262, #5 of the film year thus far behind some teen vampire thing) 6th weekend
  10. Scott Pilgrim vs. The World $5.2 (total $20.8) 2nd weekend
Did you contribute to any of these box office takes? Money well spent? Also if you've seen The Switch do speak up. I'm curious against my will. Some people I follow on Twitter had me convinced that Jen would soon win an Oscar (not for this but for something). That's totally plausible given what AMPAS voters value most in Best Actress (likeability, sex appeal, career heat. Acting is like 7th on the list.). But I'd have to retire. I just couldn't deal. The horror. The horror.
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Thursday, August 12, 2010

Hit Me With Your Best Shot: Angels in America

We're only three episodes in and I've already polluted the idea of this new series, in which participants are supposed to choose their single favorite shot from a film. I offered up a fantasia of multiple shots from Showgirls. The idea is to choose only one shot from each film. I did a better job with X-Men. And I'm so happy that people are now playing along... even if the one shot thing is difficult difficult difficult. But this time our indecision is totally rational. Tony Kushner's extraordinary stage epic Angels in America was adapted for the screen in 2003 by Oscar winning Mike Nichols. Rather than limit myself to one shot I'm picking one from each chapter. This I can manage!

Chapter 1 "Bad News"


Mary Louise Parker and Justin Kirk in their pre-Weeds duet. Harper and Prior, the abandoned lovers, are dolled up to provide themselves with distracting glamour in their shared hallucination. But their lonely hearts club memberships are too strong for these distractions to be successful. The framing is deliciously funny here. You could title this still "The Lurking Homosexual" and really, whether it's the men she imagines behind walls, or her own husband or this imaginary friend "aren't you too old for imaginary friends?" she knows he's there.

Chapter 2 "In Vitro"


There are so many shots in the six hours where Prior looks devastatingly lonely as both his condition and his fury at the deficient boyfriend grows. The darkness is going to swallow him up.

Chapter 3 "The Messenger"


It's a slightly canted angle, which tends to be lazy shorthand for "TENSION!" but I mostly chose this shot because the physicality in the relationship between leering Roy (Al Pacino) and confused Joe (Patrick Wilson) is so fascinating. Roy is constantly pawing at Joe, totally hot for the young buck. Joe is mostly oblivious but likes to be touched and yet, it always comes out wrong... particular between the two of them (their next close physical contact will involve clenched shirts, gay confessions and lots of blood). Joe raises his fist and Roy keeps egging him on (he wants sex but he'll definitely take violence as a substitute -- check out the dirty thrill in Pacino's eyes with a sideways glance to Joe's fist)... it's all so disturbing. Roy Cohn is basically the devil. He's asking Joe to sin -- pick a transgression, any transgression -- but the genius of the scene is that it's not terrible advice in this case. Something's gotta give.

Chapter 4 "Stop Moving"


This scene is excitingly lit, both for its obvious bids for EPIC MOMENT status and for its rapidfire shifts in feeling: glaring whites, golden softness, blue mood. Plus, Emma Thompson is just hilarious as the self regarding, impatient and highly vocal heavenly creature.

Chapter 5 "Beyond Nelly"
Here's where I stop being able to choose. It's late at night. I'm exhausted and I love every hallucination in this great piece of theatermovie. An astounding monologue about racial impurity and the afterlife from Belize (Jeffrey Wright) to Roy ends with this condescending dreamy dismissal "Go to sleep now baby. I'm just the shadow on your grave." Director Mike Nichols and cinematographer Stephen Goldblatt chase that line with this incredible image.


Both the dead (Meryl Streep as Ethel Rosenberg) and the living (Belize...but "out" gay men in general, really) are haunting Roy. And they'll cast a shadow over him forever. But isn't it rich that you could layer that threatening lullaby monologue over the nearby image of Joe and Harper's tragically unsexy reconciliation and it would work just as well.


Everyone is haunting everyone.

Chapter 6 "Heaven, I'm in Heaven"


My favorite part of chapter six is the frankly incredible duet between Meryl Streep and Al Pacino as they trade hauntings and tauntings, one dead and one dying but both entirely obsessed with defeating the other. "I WIN!" It's the kind of lengthy scene you dream of seeing Great Actors perform together. Neither of them pull any punches but it's also not lazily over the top. It's just perfection, a lucid dream of a duet. But I couldn't decide on a shot. So let's hear it for the absurd diorama (so chintzy, boxy and tiny) that is the angel's final arrival. It's an epic in miniature, both entirely cinematic and thoroughly stagebound. Any time Angels in America embraces both modes simultaneously, it wins.

"Best Shot" Angels
Thank you to these fine heralds for spreading the holy 'Best Shot' word. "I... I... I... I... I..."
  • Crossover Man 'Joe & Roy gathered at the edges' is totally interesting. Read it.
  • Serious Film "The magic of the theater" ohmygod. almost picked this same shot.
  • Nick's Flick Picks the always provocative Mr Davis, picks a naked addition to the text as an emblem of his feelings.
  • Low Resolution Belize and Ethel and the most potent of Angels many messages.
  • Well, Hello Achilles divvies up the best shots to part 1 (Prior) and part 2 (a chaos of character)
  • Much Ado About Nothing highlights the characters and great quotes (but doesn't like the way the movie treats Joe Pitt)
  • Against the Hype goes all Lust, Caution on us. Not only do I think Angels in America is brilliant but I think it tends to inspire brilliance in the audience, too, lifting them up. It's just so rich for personal connections and time and place cultural slotting.
  • vg21random Redemption as Orgasm. See what I mean?
 Other Films in This Series
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Wednesday, June 23, 2010

Seventeen Years, Several Inches

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JA from MNPP here, with a fun factoid for y'all: Seventeen years ago on this day Lorena Bobbitt took matters into her own hands... and by "matters" I mean "her husband's penis" and by "her own hands" I mean "her own hands holding a carving knife." The rest is infamous tabloid history - the throwing of the severed member out a car window, the trial, the adult film Frankenpenis... sordid, so very sordid.

But an anniversary is a time to celebrate, not to judge, so here in its dubious honor are my five favorite castration scenes - favorite is such a relative term here, by the way - from films since the Bobbitt incident happened in 1993. (Actually strangely enough all these films are from the past 5 years.) Enjoy, with or without your hands protecting your nethers (I recommend with).


Sin City - Hartigan (Bruce Willis) literally rips The Yellow Bastard (Nick Stahl)'s yellow bastard-stick off with his bare hands. Manliness!


Hard Candy - Pretty people like Ellen Page and Patrick Wilson should not partake in antics as confoundedly cruel as this exercise proves. Just be pretty, people! A peck of pickled peckers Ellen Page has picked.


Hostel: Part II - The sequel that everybody loves to hate to the original film that everybody loves to hate basically ends its female-sided saga with an explicit castration gag. You know what they say - make 'em leave the theater with a laugh! Ha ha ugh.


Teeth - It's true! Vagina dentata! Vagina dentata! Vagina dentata! (Sidenote: the wonderful character actor Josh Pais, seen there above about to utter those memorable lines, just had a birthday on Monday! Everybody wish him a long healthy manhood.)


Antichrist - A little something for the ladies! Lars Von Trier's always got a little something for the ladies. If by "something" I mean "everything awful ever thought, captured so prettily," and obviously I mean just that. Heady times...
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Wednesday, November 18, 2009

Birthday Suits and a Ballsy Actress

Today's stars! Well not literally today's but November 18th. Get a little history. Celebrate one of these cinematic entities today in whatever way occurs to you.

Senors Gilbert, Hemmings and Infante

1836 W.S. Gilbert of 'Gilbert & Sullivan' legend. If you've never seen Mike Leigh's exceptional biopic of this creative giant, Topsy-Turvy, drop everything right now and do so.
1908 Imogene Coca beloved comic actress, mostly known for TV roles
1917 Pedro Infante Mexico's biggest movie star ever. Here he is singing. Pedro Almodóvar fans will recognize this one immediately



1939 Margaret Atwood, best-selling much-awarded author. Strangely Hollywood doesn't seem to have taken to her in a big way. The Handmaid's Tale (1990) starring Natasha Richardson is one of the few adaptations
1939 Brenda Vaccaro, Midnight Cowgirl and she of one of the oddest Oscar nominations of all time... seriously, have you seen Once Is Not Enough? Here's StinkyLulu's look at that Oscar year.
1941 David Hemmings, actor. Star of Michelangelo Antonioni's riveting Blow-Up (1966). Also: Camelot, Barbarella and Gladiator...
1942 Linda Evans, silver helmeted TV diva, Mrs. Blake Carrington.
1952 Delroy Lindo Spike Lee regular, the voice of "Beta" in Up and fine stage actor -- recently saw him on stage with Garrett Dillahunt.
1953 Alan Moore, eccentric comicbook genius: From Hell, Watchmen, etc...
1960 Kim Wildeyoujustkeepmehanginon
1960 Elizabeth Perkins Weeds has cast a long shadow backwards but remember when she was Wilma Flintstone or Demi Moore's bitchy BFF in About Last Night or Tom Hanks's girl in Big?
1968 Owen Wilson to me he'll always be Hansel. And Eli Cash. (mmmm, The Royal Tenenbaums). That scene where he describes the rules of Whack Bat in Fantastic Mr. Fox is pretty choice, too. "It's real simple..."

Finally, a happy 35th birthday to Chloë Sevigny who has never been shy about wearing suits, birthday or otherwise, in her rampage through fashion and film. It seems strange to me that this actress who debuted in the savage Kids and was no stranger to provocations (Brown Bunny, Boys Don't Cry, Gummo) would end up best known for television work (Big Love) ... but at least her excellence is within a semi subversive TV show.

Next Up: Mr. Nice starring Rhys Ifans and Barry Mundy starring Patrick Wilson without his balls. Won't anyone leave Patrick Wilson's private parts alone? I'm talking to you Kate Winslet, Malin Akerman, Ben Shenkman and especially Ellen Page !!!

Friday, July 31, 2009

Fancying Hugh Dancy

It's Nathaniel (not quite back yet) just popping in to point you to this week's Towleroad column in which I swoon for Hugh Dancy despite having insufficient interest in his new picture, Adam.


Have you seen the shameless TV spot for the movie? It opens by declaring him an Oscar contender for Best Actor and then cuts immediately to Adam explaining that he has Asperger's Syndrome. Way to sell stereotypes, marketing team. "Watch this movie! Mental disorders = Oscar Gold!"

In real life Hugh Dancy is still hooked up with Claire Danes. In the movie he's fallen for Rose Byrne (sans Glenn Close). But in my dreamworld he's still macking on Patrick Wilson -- the most exciting moment in Evening (2007) by an incalculably large margin -- or having threesomes with Julianne Moore or...



What? Shut up.
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Monday, July 20, 2009

DVD: Coraline, Hotel, Watchmen

Try to imagine this DVD release roundup in 3-D for maximum enjoyment.

What's new on DVD Tuesday? We'll bookend this roundup with the two best releases. Links to add them to your queues provided because I'm sweet and helpful like that.

Coraline - I loved the use of 3D in Coraline so I'm wondering how it will transfer to the flatter world of home entertainment: Will that tunnel into Other Mother be as beckoning? Would the transformative acrobatic sister act pay off quite so well? Even if they won't, the film's imaginative visuals and fun character play will pull you into its rewarding tale of a bored little girl suddenly fighting for her soul and her parent's lives in a fantasy world that's not quite like her own. Coraline's journey is often compared to Alice's trip through the looking glass or down the rabbit hole. Miyazaki's Spirited Away was also described that way. It's good company to be in. [netflix / blockbuster]

I had never heard of koumpounophobia (the fear of buttons) before discovering the world of Coraline but I suspect many wee viewers of this movie might have it once they grow up. If you have children, did you take them? Was it too scary for them?

Watchmen - Were Zach Snyder not so slavishly devoted to the recreation of the brilliant source material's 2D compositions, I feel certain that he would've wanted his dark superhero epic to be in 3D. Imagine the stylized carnage: that iconic smiley face pin would spin madly right in the air between your eyes before disappearing deep into the frame as it falls to the pavement, ashes of Dr. Manhattan's enemies would flutter about your face and easily frightened viewers would be jumping, ducking and squirming as boiling oil, shattered glass, stantions, axes and bullets optically careened toward their faces.

On the other hand, who needs it? Patrick Wilson's ass is its own 3D effect and no amount of camera tricks will deepen Malin Akerman's flat performance.

In my original review I explained in far greater detail why I'm down on the movie (I love the comic) but I might give this another go on DVD. They've added 24 minutes for the director's cut and while that might just be padding, you never know. The movie's weird start and stop pacing will probably feel less awkward on DVD as well. [netflix / blockbuster]

The Unknown Woman - This was Italy's Best Foreign Film submission way back in 2007 for those of you who care about such things. I do care but I worry that I don't care quite enough. By the time I finally have access to the foreign films that sound most interesting, it's often years later and I've usually forgotten why I was interested in the first place and have moved on to obsessing about newer foreign films that I'll also forget about by the time someone deigns to release them. [netflix / blockbuster]

As is ever the case there's also old seasons of TV shows hitting the stores.

Charlie's Angels fourth season is just out (at this point in the series Farrah Fawcett and Kate Jackson were no longer with the show. The trio is Kris (Cheryl Ladd), Kelly (Jaclyn Smith) and new girl Tiffany (the unfortunately named Shelley Hack). [netflix/ blockbuster]

Anyone remember Hotel? It's coming out. Having some knowledge of the hospitality industry I can assure you that a series could be made of the fascinating, serialized complex variety (like The Wire, Mad Men, The Sopranos, etcetera). Hotels are crazy microcosms of the larger world, everything being shoved into one building (restaurants, bars, living environments, the workplace). There's abundant politics, celebrity cameos, union and management scuffles, guest stars, occasional crime and dangerous liaisons (24/7 workplace that also contains alcohol and beds. Do the math). But if I'm remembering Hotel correctly (and I only saw it when I was a little kid) it was just The Love Boat in a building with a rotating cast of mildly famous or formerly hugely famous guest stars having short form drama. Still, Old Hollywood fans should note that Anne Baxter is a series lead and first season guest stars include Bette Davis, Shirley Jones, Donald O Connor, Shelley Winters, Margaret O'Brien and Jean Simmons [netflix / blockbuster]

I've saved the other best for last. Pushing Daisies 2nd Season is freshly served. The show about a pie maker who can raise people from the dead is dead. Pushing Daises is dead. Long live Pushing Daisies. Excuse the redundance. My mind goes into looping sadness when I think about this show for the second season is also The Final Season. The television gods are as cruel and fickle as any deity from Mt. Olympus or Asgard. [netflix/ blockbuster ]

Which will you be renting or do you have movies still to be watched stacked near your TV?
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Friday, March 13, 2009

Watchmen Review (Time Being Relative)

Who watches the Watchmen? A lot o' people even if not quite as many as projected

If time is relative, as Einstein and Dr. Manhattan, a fictional blue god and one of the Watchmen, like to tell us, than it’s never too late for a Watchmen review. In our opening-weekend-only film culture that’s usually a sin. But if the filmmakers are asking you to return, fear of second weekend box office drops hanging over them like a mushroom cloud, another round of reviews should also be encouraged. Time being relative...

It is today and you are reading this review. It is March 6th, 2009 and you are sitting in the theater watching the Watchmen. It is 1986 and the first issue of Alan Moore’s Watchmen is in comic book stores. Director Zach Snyder is twenty-years old and studying painting in London. It is eight minutes from now and you have finished reading this review. You are commenting. It is the 1990s and the movie is in development hell. It is March 6th 2009 and you are sitting in the theater watching the Watchmen. It is tomorrow and you are returning to The Film Experience to read more daily updates. You are still annoyed by something you read the day before.

Watchmen is based on a comic book cum graphic novel from the 1980s. It takes place in an alternate version of our earth where costumed vigilantes (i.e. superheroes) have been outlawed unless they’re working for the government. The Cold War still rages with Russian and American leaders ready to destroy the world in a nuclear holocaust should the other side look at them funny.

One of the few active heroes “The Comedian” is murdered and the members of the disbanded superhero group “The Watchmen” realize they’re being targeted. But why? They’re retired.

Plot descriptions leave Watchmen wanting because it’s so many things: a book of ideas, a visually compelling oddity, a product of its time with cold war paranoia encased wittily in spandex, and a meta-deconstruction of the superhero genre: What makes superheroes tick? What kind of a sicko would someone have to be to put on tights and beat criminals up as a hobby? Would man’s inhumanity to man eventually break their spirit? What would happen when they hit middle age?

You’ve seen other films that ask these questions in the service of comedy or spectacle (The Incredibles and Hancock spring to mind as recent variations) and violent heroes are nothing new either (Wolverine, The Dark Knight, etc...) but the influential Watchmen had a hand in all of this. The current psychoanalytical angst-ridden view of superheroes was probably a natural result of Marvel Comics brilliant move in the 1960s to shift the genre away from DC's godlike heroes (Superman, Wonder Woman) to those who were decidedly less super under the mask (Spider-Man, The Fantastic Four, etcetera). One could argue that Watchmen was the brilliant apotheosis of that evolution.

Minute Men: Compelling history in graphic novel form. Unwieldy backstory in movie.

It is 2009 and there’s finally a film version of all of this. And I mean all of this. Barely anything save The Black Freighter (a comic within the original comic) has been jettisoned even if it’s only squeezed in with a quick edit here or there. The resulting movie is inevitably cluttered and overlong, making one long for a miniseries to do it justice or more merciless scripting. It’s pleasing and disappointing, exciting and dull. Fans of the comic book will enjoy seeing the characters finally come to life (I know I did) but might not learn anything new through this living. The visual effects and art direction are beautiful but to what end?

The source material wasn’t deemed unfilmable for so many years for its visuals but for the density of its storytelling. Watchmen’s original power was closely tied to its medium: paneled storytelling, the long form storyline and chapter construction, the very language and history of comics. The movie is not tied to its medium: the power of motion, streamlined narrative arcs, the distilled humanity of acting and the language and history of cinema aren't well leveraged.

The actors embodying the anti-heroes are hemmed in in this bookmovie (boovie?). Jeffrey Dean Morgan is appropriately vile as The Comedian, Patrick Wilson is game for the sad sack Nite Owl and Matthew Goode is slightly amusing in his total superiority as Ozymandias the smartest man in the world, but there’s precious little depth. Silk Spectre II has the most to offer the movie, emotionally speaking, but Malin Akerman seems disinterested in her material. She delivers all her lines in the same vaguely negative if not quite whiny fashion. No wonder her super powered lover Dr. Manhattan, embodied by impressively creepy and intimidating CGI and Billy Crudup’s face, is drifting away from his humanity. She’s his tether to Earth? Mars looks better all the time! Jackie Earle Haley tries hard as Rorschach, a fan favorite, but this isn’t an actor’s film.

Maybe it should have been. Watchmen is not an action comic. It thrives on ideas and the psychology (however bluntly defined) of its heroes. The film needed an actor’s director who could also handle the demands of a colossal technical project. Snyder is more than capable with the latter but his heart is with storyboards not actors (see also: 300). Faced with oppressive costumes, one note roles and dialogue insufficiently altered to flow in a different medium the actors choke. Their conversations have the distinct feeling of word balloons: dialogue in cages.

But it’s not just stiff acting and stop and start dialogue that gives Watchmen its weirdly staccato anti-rhythm. The action sequences, usually a highlight of superhero movies are a bigger problem. They actually do start and stop, refusing the potentially exciting momentum that action scenes can build and soar with. Where has the impressive Zach Snyder of Dawn of the Dead gone? His first film was relentless in its forward motion and growing sense of dread. Both were needed here.

At this point I should note a personal prejudice. I dislike slo-mo. It's my least favorite of cinematic action devices. It trips the "pretentious" switch in my head, as if the director thinks his visual choices so portentous that the masses require extra time to properly notice them. This technique can be useful if a director uses it in tiny portions for emotional punch or to convey something so inherently fast that one wouldn’t be able to see it in real time (Ozymandias’s swinging stantion attack is the one truly effective slomo moment in the film –we’ve been told that he can move with inhuman speed. We see it). Even if you don’t share my aversion, you’ll notice that Snyder has a limited arsenal of action tricks. Literally every fight scene in Watchmen uses slo-mo and frequently at that. Any film device constantly employed loses power and meaning.

It’s not appropriate to review a film based on its marketing but I do wish we’d stop hearing Zach Snyder referred to as a “visionary director”. He has made one remake (Dawn of the Dead) and two extremely faithful adaptations of visual work (300, Watchmen). He’s yet to reveal any particular visual ideas of his own. He may well have them but how would we know? Snyder’s latest adaptation prefers to function as a photorealistic recreation of the comic book. Watchmen the movie is ambitious in scope if not quite in cinematic design. To function as superbly as cinema as the comic did as literature, the adaptation would have had to have been a movie first and foremost. In its new hybrid form, all glories (and there are a few) are borrowed.

Movie: C
Comic: A

Movie if you haven't read the comic: I can't even imagine. D ?

Monday, February 09, 2009

We Can't Wait #11 Watchmen

Directed by Zach Snyder
Starring Billy Crudup's CG'd manhood, Malin Akerman's pleather dominatrix get-up, possibly Patrick Wilson's ass (do not cheat me of Patrick Wilson's ass, Zach Snyder! You promised you're staying true to the book!), and other people obscured to varying degrees by CG and their outfits
Synopsis In an alternate version of 1985 where Richard Nixon is still president and the world is on the edge of apocalypse, somebody's decided to start offing retired superheroes. Masked man Rorschach wants to find out why. Lots of bad stuff happens. Maybe a squid is involved. The end.
Brought to you by the man responsible for 300, of which people's mileage will most certainly vary wildly
Not Brought to You By Alan Moore, the graphic novel's author, who is a little bit crazy and a lot vociferous on the fact that this should have never been made (he calls it "regurgitated worms"!)
Expected Release Date March 6th, now that the FOX execs have been fed their seventy virgins.

Billy Crudup as Dr. Manhattan

JA: I for one am a 300 defender, but this is a whole different ballpark for Mr. Snyder to be wandering into. This isn't just pretty pictures of mostly-naked men, decapitations, and giant elephants in the Spartan version of those 40's propaganda cartoons starring Daffy Duck. This is holy land. Watchmen is sacred geek ground, and the apex of what superhero storytelling is all about. It's as good as it gets.

Where The Dark Knight made strides towards
a more adult realization of the genre's possibilities, if Snyder were to capture all that this story has on the page then this could, then this should, be the first superhero movie nominated for Best Picture.

Nathaniel: I know you just didn't open up that can of worms again! [editor's note: Nathaniel's rant about stuffy Oscars, crazy fanboys & "dark" superheroes has been excised on the grounds of 'let's not go there again'] ...I don't trust this Zach Snyder person!

Joe: Oddly enough, after hating the shit out of 300, I do trust Snyder. What he did right on that dick-measuring-contest-put-to-celluloid (the spectacle, the fidelity to the source material; the operatic drama) will work well on Watchmen, and this time he doesn't have to worry about Frank Miller's weird psycho-sexual hangups. Between these two and the Dawn of the Dead remake, Snyder has become THE go-to guy for faithful ambitious adaptations of genre material,

Nathaniel: There was more to this conversation readers but I have to interrupt. I caught about 17 minutes of Watchmen at Comic Con.

[Spoilers follow]

The movie begins with a newscast talking about possible nuclear attacks on America. We're back in the Cold War 80s but in an alternate reality from our own. The newscaster assures us that there won't be a nuclear war because of somebody named "Dr. Manhattan" (that'd be glowing blue Billy Crudup. I have not read Watchmen as Joe and Ja have but I have absorbed a few character details over the years). Cut to Jeffrey Dean Morgan who plays "The Comedian" smoking a cigar in his apartment. He wears that famous yellow happy face pin from the 80s on his bathrobe. He recognizes the intruder and they have a nasty wince filled fight (one shot of the Comedian's head taking a huge chunk out of the kitchen counter. Ouch). Morgan is sent through a plate glass window and plummets to his death. Cue: Watchmen's iconic marketing image, the happy face marred by a blood splatter. Cue: opening credits.


The credits were very cool and filled with brief illustrated tableau referencing either famous cultural moments twisted for this alternate universe --the recreation of that famous WW II kiss is awesome -- or the history of the Watchmen characters. I know that people are expecting this movie to be huge but I wonder. Everyone knows the Batman mythos. It's been with us for 70 years. I'm guessing non Watchmen readers will be very confused. Trust me, I was... and I basically know the concept and characters.

Once the credits are over, we meet Rorschach, pictured left. He's played by Little Children's Jackie Earle Haley and he speaks in Batman Bale's voice (???). He also hates liberals and intellectuals. (Er... is this another neo conservative movie? Aren't we supposed to be entering a new era? Bah!) He uses a grappling hook to scale the building and searches the apartment of the dead guy we met pre-credits. Fade out. That was the first 16 minutes or so.

We were also treated to a very brief scene from somewhen else in the movie (inside a prison). Rorschach is waiting in line for grub and hurls frying oil from the line onto the face of a fellow prisoner who was threatening him. Gruesome! As the guards restrain him he growls...
You don't understand. I'm not locked in here with you. You're locked in hear with me!
This would have been very scary -- Haley is good at creepy -- were it not for Batman's voice.

The Comic Con crowd went absolutely wild for all of this. At the Q & A that followed audience members at the mic gushed that the movie would be perfect and thank-you-so-much-for-making-such-a-wonderful-movie (Here we go again! Another #1 on the IMDB the day the movie opens. Trust me. People have already decided it's their favorite movie). Original Watchmen artist Dave Gibbons was an engaging presence and gave details: no squid --sorry JA, total Dr Manhattan nudity assured. He also discussed why Watchmen creator Alan Moore's name is nowhere on the movie. But what's odder than Moore not wanting credit is that he also turned down all moneys. He crazy!

Carla Gugino and Malik Akerman as Silk Spectre & Silk Spectre II

The most interesting part of the conversation was Gibbons' well spoken dismay at how influential Watchmen has been. Both he and Moore wanted to do a fresh adult take on superheroes (this isn't a superhero film for kids) but they certainly didn't think that all comic books that followed should decide that dark and cynical was the way to go. He cited the Spider-Man movies (thank you) as another great way to do things and said there's room for multiple takes on the genre. Exactly!

Readers... do you need a break from superhero movies or will you be lining up to see Nite Owl, Silk Spectre and Dr Manhattan strut their CGI stuff?

In case you missed any entries they went like so...
*
We Can't Wait:
#1 Inglourious Basterds, #2 Where the Wild Things Are, #3 Fantastic Mr. Fox,
#4 Avatar, #5 Bright Star, #6 Shutter Island, #7 Scott Pilgrim vs. The World
#8 Imaginarium of Dr. Parnassus, #9 Nailed,
#10 Taking Woodstock,
#11 Watchmen, #12 The Hurt Locker, #13 The Road, #14 The Tree of Life
#15 Away We Go, #16 500 Days of Summer, #17 Drag Me To Hell,
#18 Whatever Works, #19 Broken Embraces, #20 Nine (the musical)
intro (orphans -didn't make group list)

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Thursday, March 06, 2008

Ubiquity: The 2008 Edition (Pt 2)

Last year about this time we investigated a group of actors who might dominate 2007, hard working SAG card holders with 3 or more movies arriving. Doing it again for 2008... (if you missed Part One ---which has been updated, click here)

Ubiquitous Actors
Part 2 ~ L-Z

This is part 2... Part 1 was lorded over by Cate Blanchett and the ruling spirit for Part 2 is sneaky Channing Tatum (a TFE favorite) who goes mosty AWOL this year after this month's Iraq drama Stop-Loss. So why is he mentioned? Well, he should have about 7...12...21 movies ready for release next year at the rate he's signing contracts. So, get used to that mug. 2009 belongs to him.

*


Frank Langella, will be in three films. The most attention will be paid to his star turn in Frost/Nixon, a role for which he won a TONY already. Langella never quite became a movie star, preferring the stage, but the closest he got was in his Dracula stint in 1978 (a role he also incidentally did first on stage). He got a little bit of Oscar buzz last year for the indie Starting Out in the Evening, but this year he'll have more success with the Academy. What's baitier than playing a famous person? Nothing. Watch for abundant "OMG... FrankLangella IS RichardNixon" style reviews and an Oscar run for the Ron Howard film. Oh, there's more? Yes. He's in the next oddball Richard Kelly effort The Box which is a horror thriller of sorts (pssst. Never trust easy genre categories for Kelly who previously made Donnie Darko and Southland Tales). He's in a corporate corruption drama The Caller, too.

Sienna Miller, Jude Law's on & off girl and inexplicably very famous actress (quick: what's she famous for?) has five films due. There's the title role in the completed Camille where she takes a honeymoon with James Franco but there's no release date in sight yet. She has the principle female role in the bowdlerized adaptation of the great novel The Mysteries of Pittsburgh (I haven't seen it but I'm free to judge since I love the book and the reported changes are... ghastly. I may join the boycott). Sienna is also getting mixed up with Cillian Murphy in not one but two biopic period pieces. The first is The Edge of Love (Keira Knightley co-stars) which takes place in the 30s and 40s and the second is the British 60s counterculture story Hippie Hippie Shake. Finally, if they're quick about the adaptation of Oscar Wilde's A Woman of No Importance, she could end the year with that.

Viggo Mortensen fans are thrilled that he finally got an Oscar nomination last season (for his second Cronenberg film, Eastern Promises). More meaty roles and challenges are coming his way. You may remember that celebrated Ed Harris directed himself and Marcia Gay Harden into the Oscar race for Pollock in 2000. He's finally made a follow up feature, a western named Appaloosa which stars Viggo, Harris himself, Jeremy Irons and Renée Zellweger. He'll play a novelist named "Halder" in Good who gets swept up in the rise of socialism in Germany. It's based on a stage play. Further away but possibly ready in 2008 will be his darkest role yet as "Father" in The Road. I've read the genius novel by Cormac McCarthy and its so bleak that No Country For Old Men's die hard fans will whimper. I have no idea how they'll make it work as a movie but the director of The Proposition (John Hillcoat) is the one who attempts it.


Cillian Murphy was everywhere a few years back but it's been quiet. Why? He was working. He has six films in the pipeline (though I'd be surprised if they all opened in the next 9 months). We've already discussed the two with Sienna Miller (The Edge of Love and Hippie Hippie Shake) but Murphy nuts will be happy to know that they're both biopics so he could end up with his first Oscar nomination. Edge... is about Welsh poet Dylan Thomas (played by Matthew Rhys) and his rival William Killik (Murphy) for the women in his life. Counterculture figure Richard Neville is the focal point of Hippie. The biopic Oscar tactic seems to work best if the Academy is very familiar with who you're pretending to be. So maybe not... Murphy will be reprising his Scarecrow role (in cameo form?) for the Batman Begins sequel The Dark Knight and you'll have to catch Watching the Detectives on DVD shortly. There are two more films (Telepathy and Dali & I: The Surreal Story) that are looking more like 2009 prospects. Remember, nothing is ever definitive with release dates.

Guy Pearce might have six (!) releases this year. He was originally reported to have replaced Viggo Mortensen in The Road but they're both still listed as cast members at IMDB and the movie is filming. Perhaps those rumors were erroneous. Even if we don't think he's quite the actor Viggo is, they can both certainly do the emaciated thing that will be crucial to this movie's post-apocalypse believability. (Where's Christian Bale?) Further along in production, i.e. already wrapped, are five films. They go by the names of Traitor (a CIA drama with an outstanding cast that includes Don Cheadle, Saïd Taghmaoui, Jeff Daniels and A Mighty Heart's Archie Panjabi), The Hurt Locker (Kathryn Bigelow's Iraq thriller), How to Change in 9 Weeks (an Australian crime drama with Sam Neill and Miranda Otto), Winged Creatures (a post traumatic stress group therapy drama with an all star cast), and Death Defying Acts (as famous magician Harry Houdini. It played at Toronto last fall).

Dennis Quaid had a bit of a rocky patch in his career but two films in 2002, Far From Heaven and The Rookie, reminded people of his talent and charisma. He's in demand again, or thereabouts. His first 2008 film (in theaters now) is the action thriller Vantage Point. He'll follow that up next month opposite Sarah Jessica Parker in the comedy Smart People. He's got a big role in The Express due in October, the latest entry in the very crowded true life inspirational sports drama genre and he plays a bitter detective in the serial killer thriller The Horsemen which is due in May.

Eddie Redmayne was last seen flopping in his attempt to murder Cate Blanchett. The glow off of her Oscar winning costumes in Elizabeth the Golden Age temporarily blinded him. Seriously. She was bathed in white. The sunlight really reflects! He can currently be seen in the ensemble of The Other Boleyn Girl. He's paired up with Julianne Moore in the shocking true life 1972 murder of Savage Grace. And still two more movies await. Yellow Handkerchief finds him on a road trip through Louisiana with William Hurt and in Powder Blue he's got one of the four central roles in a Los Angeles set 'strangers colliding' drama -- we expect that we'll be seeing a lot of that subgenre in the coming years. Ahem.

Mark Ruffalo has four films ready for you. Nah, let's make that three. I mean, does anyone believe that Kenneth Lonergan's (You Can Count on Me) Margaret is ever going to open? It's two years late. But we'll still get a triple fix of this almost big star (seriously, when will he "break"?). In no particular order we'll get the con-artist film from the director of Brick (Rian Johnson) which is called The Brothers Bloom. There's also Real Men Cry about Boston boys turning to crime (another subgenre that's hot in Hollywood). Finally, he'll play the Doctor in Fernando Meirelles adaptation of the classic novel Blindness which I've discussed a bunch already.


Amy Ryan was all smiles on Oscar night. It wasn't just because she was a nominee. She's been working a lot, too. And that's even before the after-effects of the Gone Baby Gone breakthrough have hit. The only way is up. She's got one unreleased film from last year's festival circuit called Neal Cassady (which is about the inspiration for Jack Kerouac's "On the Road"). We'll also see her in The Missing Person (her third film with Bug's Michael Shannon) and the comedy Bob Funk. The big dog in her 2008 roster is undoubtedly the Angelina Jolie drama Changeling. No word on who she is playing but she's in it. And since it's a Clint Eastwood picture, that alone is a big deal.

Terence Stamp, now in his 5th decade of screen stardom, is busier than ever. He's playing Siegfried in the Farrel/Hathaway adaptation of TV's Get Smart. His inimitable silver haired presence will assist Angelina Jolie and Tom Cruise in Wanted and Valkyrie, respectively. At Christmas time he'll be part of the Jim Carrey comedy Yes Man. If I had to guess I would say that 2009 will be full of him, too.

Mark Strong was the most evil of the plentiful evil princes in Stardust and he's working the dangerous man angle in the period comedy Miss Pettigrew Lives for a Day too. It opens tomorrow. You'll also see him in five other films this year. Busy, busy, busy. The films: Good (that German nationalist drama with Viggo Mortensen), Babylon A.D. (Vin Diesel's summer action pic) RocknRolla (another Guy Ritchie crime film), Flashbacks of a Fool (a Hollywood memoir piece with Daniel Craig), and The Young Victoria (he plays "Conroy" to Emily Blunt's queen). If you've read all this and you're still scratching you're head saying "who the hell is Mark Strong?", here's an earlier post that explains.

Olivia Thirlby was the least famous of Juno's celebrated ensemble (she played Juno's BFF Leah) but she's aiming to correct that fame disparity this year. The beautiful New Yorker has a couple leftover films from last year that haven't opened in the States yet called Si j'étais toi and Love Comes Lately. First to find release this year will be Snow Angels, the David Gordon Green film. It opens tomorrow. You'll also see her in Margaret (if it ever gets released) as well as the comedy The Wackness. Finally there's two dramas coming from exciting directors. The first Uncertainty comes from the pair behind the Tilda Swinton film The Deep End, remember that? Her co-star is Joseph Gordon-Levitt. And last but probably not least she'll be Jonathan Glatzer's (Birth, Sexy Beast) Safety Glass which is set in the 80s and centers around a group of students and the Challenger Space Shuttle launch.

Tilda Swinton follows her Oscar win for Michael Clayton by logging more time in Hollywoodland. She's reprising her White Witch role for summer's The Chronicles of Narnia: Prince Caspian. She's costarring with fellow 2007 Oscar nominees George Clooney (again) in the Coen Bros Burn After Reading which is opening wide in September and Cate Blanchett in The Curious Case of Benjamin Button which opens in November.

For die hard Swintonians who may soon start to resent the post-Oscar silliness of "discovery" when she's already been famous for culturally savvy types for close to 20 years, there's arthouse fare too. The festival circuit has already seen her in Bela Tarr's The Man From London. She's the title character Julia who is extorting a bunch of money with a young boy as bait. Bad Tilda! The chief non-Tilda reason to be excited about that one is that Erick Zonca (The Dreamlife of Angels) is the director. She's got three other more art films lined up, too but don't expect these until 2009: a Lady Macbeth (!) turn in Come Like Shadows , teamed up with Marilyn Manson in the Alice in Wonderland derived Phantasmagoria: The Visions of Lewis Carroll and a supporting turn in the new Jim Jarmusch picture The Limits of Control (with Bill Murray). The 47 year old (but ageless) icon is not going away anytime soon.

Charlize Theron is a smart woman. Once known mostly for her astonishing beauty she worked ferocious deglam magic in Monster to win very own Oscar @ 28. So here she is in her early 30s, already firmly established as a seriously talented actress --perfect timing. I expect she'll be in demand until at least until 2020. The first of her three '08 pictures is Sleepwalking in which a young girl most cope with her mother's abandonment. She'll co-star in the Will Smith superpowered vehicle Hancock... And if they're quick about it, she'll play "wife" in the apocalyptic drama The Road. It's not a big role but it's bound to be a devastating one. 2009 looks even better but we'll cross that bridge when we come to it.

South African supertstar Theron and Dutch sensation van Houten

Carice Van Houten found her international breakthrough last year with Paul Verhoeven's Black Book and offers apparently starting pouring in. I have no idea if her Dutch romantic comedy Love is All will find release but why not? People are curious about her. Strike while the iron is hot, distributors. But even if that's just something to track down on DVD eventually, Carice speaks four languages so she's totally mobile for the good roles. She's playing a German in the Bryan Singer WW II picture Valkyrie opposite Tom Cruise. She's got the lead role of the psychiatrist dealing with a troubled girl in the English language thriller Dorothy Mills and in October she'll be supporting two mega stars (Leonardo DiCaprio and Russell Crowe) in Ridley Scott's CIA drama Body of Lies.

Sigourney Weaver. Sigweavy for short... only she's very tall. Will this post ever end? I miss her and hopefully her gut busting turn in The TV Set reminded Hollywood was a unique and valuable assett she is too films. Films already in theaters include Be Kind Rewind and Vantage Point. Still to come: the drama The Girl in the Park (delayed from last year) and the Tina Fey surrogate mom comedy Baby Mama.

Rachel Weisz has been flirting with the supporting actress Oscar curse since winning for The Constant Gardener doing films like Fred Claus and as the voice of the dragon in the silly Eragon. But 2008 looks pretty good, 2009 even better. But why am I always jumping ahead? This year we'll see in the promising sounding The Brothers Bloom, the long delayed Wong Kar Wai road trip movie My Blueberry Nights and she's already in theaters as one of the women opposite Ryan Reynolds in Definitely, Maybe

David Wenham. If you're saying "who" just think "Faramir" in Lord of the Rings or one of those oiled and ab'ed warriors in 300. The talented and handsome Australian will be seen in the Baz Luhrman Nicole Kidman epic Australia... (see previous posts). He's part of the strong cast of the the China set orphanage / war drama called The Children of Huang Shi (which co-stars Jonathan Rhys Meyes and both Michelle Yeoh & Chow Yun Fat of Crouching Tiger fame). Last but not least, he's delicious in a relatively small role in Married Life (opposite Patty Clarkson) which is about to open.

Michelle Williams was last seen as a socialite having a complicated affair with Cate Blanchett's Bob Dylan in I'm Not There. The former Brokeback Mountain Oscar nominee's face will adorn screens throughout the year. She's one of a bevy of beautiful women involved with Hugh Jackman and Ewan MacGregor in the sex club thriller The List. And proving once again that she's got a taste for dark and serious filmmaking, she'll be seen in Incendiary (about a suicide bombing), Lukas Moodyson's new film Mammoth with Gael Garcia Bernal and something a little lighter but still intelligent: Charlie Kauffman's ensemble film Synecdoche, New York (previously discussed here... my god what a cast)

Patrick Wilson, Kate Winslet seducer par excellence (Little Children), is still working for A list leading man status. Why is it so elusive? Neither Brothers Three: An American Gothic or the Ed Burns romantic drama Purple Violets found suitable release last year but you can maybe pick them up on DVD soon. Violets is on iTunes. Later this year, this looker will be part of the ensemble of the grief counselling drama Passengers (with Dianne Wiest and Anne Hathaway), he's a troubled architect in Life in Flight and he's the husband in the potentially buzzy Neil LaBute picture Lakeview Terrace which is about an interracial couple (Wilson & the ever-wondrous and gobsmackingly gorgeous Kerry Washington, a TFE favorite) who are being harassed by a cop (Samuel L Jackson). But what I want to know is why on earth isn't Mr. Wilson being cast in any of these new movie musicals? They're making them again and that's how he got famous in the first place. It's a head scratcher. The voice is as beautiful as the face.

and we're done. WHEW.
[Back to Part 1 if you missed it]



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