Trying to change the world, one movie at a time (and other things)
Trying to save the world, one movie at a time (and other things)
So, I watched 15 movies for this theme week and write about two of them separately. What about the 13 others? Will they just vanish and be forgotten? I decided to write one article about all of them instead and focus on different aspects. After I was done, it was too much for one article, so I decided to split it in two articles.
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I watched so many movies for this week and when I decided to stop I had a hard time deciding which movies to focus on. Surprisingly, I picked Enter the Ninja, probably the goofiest movie of them all. But it is one of those really enjoyable bad movies that I love (and that you have to watch a dozen terrible movies before finding one). The story is a joke, the acting is horrible, even a kid could point out the continuity errors, it’s offensive in many ways and many, many, many things make no sense whatsoever. But somehow, it’s fun to watch Franco Nero play a ninja (which is a silly idea in itself), only to clearly see that he never does any ninja stuff which is reserved for his stunt double (and original lead actor Mike Stone). The fight scenes are even decent in some regard, just everything else is incredibly sloppy and over the top. If you enjoy these kinds of movies, you’ll love Enter the Ninja.
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Blow Out is an incredibly cinematic movie but it never becomes just an exercise in moviemaking by actually having something to say. Still, director Brian de Palma uses every trick in the book to enhance this story and to (often) visually explore an aspect of moviemaking that is not visual: sound. That alone is fascinating to watch but the movie also works as a dark conspiracy thriller about a disillusioned generation that mourns the 60s and 70s. John Travolta delivers a great performance here with a wide range of hopelessness, excitement, anger and despair. But this is a director’s movie and I’m not the first to suggest that this might be de Palma’s finest moment both as a director and a writer. The use of split-screens, change of focus with special lenses, long takes and a circling camera (in one spectacular scene that doesn’t ever seem to stop) are impressive and effective at the same time. After watching so many movies from 1981, this one stands out so spectacularly that even weeks after seeing it, it makes me feel good to see so much passion on the screen.
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X-Men: First Class is an excellent comic book movie that is very satisfying for a comic book reader on a sheer entertainment level. It adapts the source material with joy and knowledge that is really refreshing. I honestly can’t say how enjoyable the movie is for a non-comic reader but I know that the acting is great (showing off a great cast from Michael Fassbender to Jennifer Lawrence to Nicholas Hoult to Kevin Bacon to Rose Byrne and, yes, James McAvoy who I’m not a fan of, but was still good), the effects are impressive, the 60s style camera and editing is fun and director Matthew Vaughn (also not a fan, but) does some nice things with the movie. The movie knows how to balance action, drama and humor unlike many other movies.
Read MoreSouthpaw is an utterly conventional and manipulative movie that is only saved one of Jake Gyllenhaal’s most unique (and best) performances as the boxer Billy Hope. Gyllenhaal is not just good, he creates a character unlike anything we’ve seen before. Hope is so different and ambiguous. We cannot entirely figure him out, but that is part of his appeal. If you have seen the trailer, you basically know everything about the movie’s standard plot. There are no surprises and the emotions asked of you are a high form of manipulation. Sure, on some level it still works (daddy-daughter dramas always get me), but I can still criticize the movie’s laziness. The script by Kurt Sutter is a mess, leaving many plotlines unresolved and instead relying on us knowing how these stories go. Aside from some questionable shots, Antoine Fuqua’s direction is well done, especially the boxing scenes. I would recommend the movie only for Gyllenhaal’s performance, although it is strangely effective if you turn off your brain.
Read MoreEver since I read J. Zornado’s revolutionary important book Inventing the Child, in which he examines children’s fiction and its underlying messages, I looked at books and movies in a different way. Among all the brilliant things this book achieves, what spoke to me in a special way was how he dissected Disney movies, specifically The Young Mermaid and The Lion King. Uncovering their themes of parent authority, gender politics and identity manipulation was a big revelation to me. And ever since then I wanted to look at Disney movies, which are so beloved and popular until today, and see if I could figure out which ideas they sell to kids. So, today I’m starting a new series in which I’ll chronologically go through every major animated Disney movie and try to analyze it closely. I’m not the first one to do this, but I hope I have something new to say anyway. I have seen most of them already in the past, but I will watch them again with different eyes now.
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Nightcrawler is a brilliantly intelligent movie, centered around an amazing performance by Jake Gyllenhaal following a very focused and clever screenplay and direction by Dan Gilroy. The movie knows exactly what it wants to do and what it wants to talk about. Every aspect of the movie caters to that goal, the captivating nighttime images by Robert Elswit, the beautiful score by James Newton Howard and John Gilroy’s editing. It’s an exceptional movie in the way it presents its story, its tone and in its protagonist. It warrants a deep analysis and while this will be long, it doesn't even come close to everything the movie offers.
Read MoreThree months have passed again, so it’s time for another survey. And because I’ve been doing this for a year now, it’s also time for one year of “3 Months of Movies” (which actually is not 12 but 15 months of movies, but let’s ignore that for now). So, get ready for many numbers!
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Revolutionary Road is the adaptation of a great novel by Richard Yates that I read many years ago and dearly loved as an amazingly early criticism of our culture. The movie achieves to portray the problems from the novel in a very effective way. I don’t want to compare both of them too much, because I think the movie is its own thing that works well. It features great performances, especially by Kate Winslet and Michael Shannon, but really, all the actors are great. It’s beautifully directed and shot, with a great Thomas Newman score. Director Sam Mendes treads very similar territory as in his American Beauty, but the movies are very different in their tone.
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Inside Llewyn Davis is a somewhat perfect movie for what it is doing. It stars Oscar Isaac in an amazing performance as Llewyn Davis, a musician, and his struggles. The Coen brother turn this story into something so bigger than this, with their talented eye for interesting and weird characters, their skill for filmmaking and, maybe most of all, their ability as great writers. Their dialogue is so brilliant here, so thought-out, the structure of the story seems so random but makes perfect sense if you think about for a little bit and that alone, their knack for activating your brain, is what makes a good Coen movie like this one so special. And Oscar Isaac is so very good, incredibly good. And Carey Mulligan in her unusual but too short role. Oh well, and everyone else.
Read MoreLemony Snicket’s A Series of Unfortunate Events is awkward, but not in the way it wants to be. It wants to be Tim Burton-awkward, with strange characters in a weird world full of unusual locations, visual effects and props. And it has all of those ingredients, but its tone is what is really strange about it. It’s supposed to be a comedy, but I personally didn’t think it was very funny. Jim Carrey is so over-the-top and so much of the movie focuses on him that it’s almost distracting, like a one-man-show. I can’t really put my finger on it, but the movie didn’t work for me. I’m not even sure what its intended audience is as many jokes are not for kids but overall the movie isn’t all that appealing to adults either.
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Man on Fire is a standard vigilante/revenge movie wrapped up in a redemption story coupled with a little girl likes killer story. Because it’s a Tony Scott film, all of it is mixed with nervous editing, shaky camera, color filters and a best of music cues from this and other movies (seriously, if you know film music, it’s really weird to see a big studio movie that simply uses music from other movies). It has a great and large cast and some interesting individual scenes, but overall it’s a bit of a mess. It seems unfair to say that because so much of it is simply Scott’s late-year style, but it works more for some movies than for others (Domino, for example, was slightly better). My main issue (besides the revenge aspect I’ll discuss in a second), is that the film is so off structurally. It’s too long and divided into two uneven halves. If you like these kinds of movies, it’s certainly okay, but the imbalance in tone and story really bothered me.
Read MoreSaw is a movie that started another horror franchise that, in the spirit of these things, simply repeated the most basic concept over and over again. Looking at the original movie, you can only barely see the appeal of continuing it, which mostly comes from the fact that not much is explained in the end and that there is one central element that producers thought was worth repeating, which, again, as in other franchises, is mostly creative ways of killing victims. That’s what drove other series, like A Nightmare on Elm Street, Final Destination or Friday the 13th. The movie itself is nothing really special, it’s not well-made, its plot and structure is a mess and the acting is serviceable at best. Its central story, two guys trapped in a room, trying to find out what’s going on, is effective, but once the flashbacks starts and the connections are overflowing the movie loses a lot of momentum. There are some nice moments, but overall I wasn’t really interested in watching more of these movies, let alone six more of them.
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An Education is a strangely unconventional film that feels more conventional than it is. It acts like a romance between two people that have to fight against conventions but turns out to be a bildungsfilm, the story of a girl growing up and becoming more mature than the adults around her. That makes it a much more powerful movie than it would have been as a tragic romance. Carey Mulligan is absolutely brilliant in the lead and after seeing her in six different movies in six wildly different roles in the last year, I believe she could play anyone. The movie is very entertaining, maybe a little slow in the middle, but especially the ending is powerful and effective.
Read MoreSuperman Returns is a disaster I didn’t see coming. I read about the movie of course and I know people were disappointed. And after Man of Steel, I thought, well, I should watch this one too because even if it’s not great, it can’t be that bad. And it wasn’t, but only in the most objective perspective I can imagine. I hated Man of Steel, but it wasn’t boring and it had an emotional impact on me. True, that impact was mostly negative because it made me so angry for its content. But Superman Returns made me angry because it was such a waste of a movie, of talent, of ideas. It is one of the most boring movies I’ve seen in a long time, where absolutely nothing happens for the first thirty minutes and where even the action set pieces seem off, like it’s an accident if they actually excite you. The main problem is that it is almost impossible to care about any of the characters. This is also one of the most bland movies I have ever seen, a word I rarely use, but the only word I could think of (beside ‘boring’). None of the characters seem to be interested in anything, no real stakes are ever raised. How a great actor like Kevin Spacey can make a fascinating character like Lex Luthor so uninspired is beyond me. The attempts at recreating a feel for the original Superman movie made me cringe because it just didn’t work. Nothing really worked me. It just made me more angry the longer I had to suffer through all its incredible 154 minutes in which not much happens for 80% of the running time and the main character barely speaks.
Read MoreIrréversible is a movie that hits you over the head like a, well, I guess I have to say it, like a fire extinguisher. I read all about this movie when it came out 13 years ago and always was too afraid to watch it, but now I finally did (thanks for the push, Lara) and I don’t regret it for a second. It is strange for a movie that has such a strong impact on me and made me think about so many things for days, to not give it a higher rating, but it is a good movie with some, let’s not call them flaws, but issues. The structure is so much more than a gimmick and puts a new perspective on a wide range of concepts, the camerawork is daring and challenging, but awesome, the use of (seemingly) long takes is essential to the effect it has on the viewer, the music is extreme and beautiful, the acting is phenomenal. The movie is haunting, shocking, confusing, thought-provoking, troubling, unbearable and addictive at the same time and above all very intense. It might be the most intense movie I’ve ever seen (pushing Requiem for a Dream of its throne). It is hard to recommend it because it is so obviously not for everyone, but if you are ready for it, it will be strangely rewarding.
Read MoreAt Close Range is a strangely conventional film made in an unconventional way and suffering at bit from its 80s heritage. It stars a young Sean Penn following his father’s criminal life for a while before moving away from it again. It both feels like an indie movie and a Brat Pack movie at the same time, due to its unusual filmmaking choices and the cast of young actors that were or would become famous. It is a bit long and not very exciting most of the time, but it has a certain appeal that gets stronger as the movie progresses. It doesn’t feel like a typical crime movie, more like a meditation exercise, many scenes of people staring and being silent, but it’s not necessarily boring. It is not a bad movie at all, even if I make it sound this way, it’s well filmed with an interesting use of light and shadows. I didn’t like the overly tropy opening scene, in which we learn just how cool of a character Sean Penn is and how fast the right girl falls for him. But it gets much better after that, apart from the ending (see below). The music is as 80s-synthie-bad as possible, though. The way it switches between fascinating and contrived is very symptomatic for James Foley’s future career as a director (who would follow this movie with the Madonna-vehicle Who's That Girl? and some years later would direct the classic Glengarry Glen Ross).
Read MoreMad Max: Fury Road is such a force of a movie, it’s hard to not be blown away completely by it. It’s a movie I didn’t really have on my radar until the reviews came in and I had to go and see for myself. So, my expectations were high, but I didn’t really expect to be this amazed, this enchanted, this astonished by a movie like that. The acting is amazing as Charlize Theron and Tom Hardy have their roles down to perfection. The direction by (70-year-old!) George Miller is so flawless and confident, it should bring most other directors to shame. The screenplay is a brilliant mix of pathos and feminist propaganda. The production design, make-up, hair, costumes, the whole world that is created here in intricate detail is worth the ticket alone. I could go on and on about the breathtaking cinematography (72-year-old John Seale!), the relentless score, the brutal editing, the great mix of practical and computer effects, the action, the perfectly planted tiny bits of humor. This movie just has it all. I don’t know if you’ll like this movie, if you’re not really into dystopias or stunts, but I’d assure you that you’d still find enough to at least enjoy parts of it, because even if the movie is basically four giant action set pieces tied together, it still has more heart and brain than most movies coming out all year. It is a miracle it even got made by a major studio. This is an early contender for one of the best films I’ve seen this year.
Read MoreAvengers: Age of Ultron is basically what you want it to be: an entertaining movie based on comic books that has exciting action and fun Joss Whedon dialogue. The movie delivers on all those promises and that’s enough for an enjoyable comic book movie for me. It doesn’t go that extra step that Guardians of the Galaxy went, but on the other hand it has a much more fascinating villain and a more coherent plot overall. The character interactions are fun and this, unlike the first movie, every character gets enough opportunities to shine. It is amazing to see how many actors these movies are able to gather. It’s hard for me to tell how much fun such a movie is without having the background knowledge of the comics, but as a comic reader it is hard to deny how much fun it is to see those characters come alive and do their thing. Not everything makes complete sense and, just to be clear, this is no masterpiece of moviemaking (despite some great shots). It’s a fun movie, a million times better than the dreadful Man of Steel, proving (likes Guardians) that comic book movies are not all alike. It was mostly what I wanted it to be.
Read MoreNotes on a Scandal is fascinating right from the start. I had the big fortune of not knowing what the movie was about at all. In fact, I was under the impression I was watching Veronica Guerin and was waiting for Cate Blanchett to become involved in politics and spies. This way, the movie surprised me several times because if you really have no clue, you don’t expect many things that happen. The main drive comes from the incredible performances by Judi Dench and Cate Blanchett who are really as good as any review says. In a way, it doesn’t matter what they are talking about because they inhabit their characters so perfectly that anything they do would be interesting to watch. The direction by Richard Eyre is also excellent and Philip Glass’ score is breathtaking (again). It is a captivating movie that forces you to keep watching the disaster unfolding.
Read MoreA blog about saving the world by looking at movies, music, comics, books, school and anything else connected to society.
Who is this?
David Turgay, teacher and writer from Germany, writing about things he thinks about too much, mostly movies, comics, books and school. And now this podcast.
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