Showing posts with label willem dafoe. Show all posts
Showing posts with label willem dafoe. Show all posts

Friday, July 24, 2020

SONIC THE HEDGEHOG


A 38 year old childless man (like myself) has no business having any kind of strong/strong-ish opinions on Sonic The Hedgehog. Sure anyone can have an opinion on any movie but when a family-less adult has an overly emotional response to child/family-friendly movie, it is a little weird to me. But that's just me. 
Sonic The Hedgehog is a family movie (which is often code for being a kids movie that parents can "tolerate"/sit through). But people my age (with or without families) have a history with sonic just as much as the kids of today. We had sonic first long for before today’s youth (I was a Nintendo kid but my next door neighbor/friend had sega so I have my fair share of memories with sonic & chaos emeralds and whatnot). I think some adults have a legitimate case to voice their opinion. Sonic is the kind of character, video game, movie, etc that can bridge generations. Chances are the kids who watch the Sonic movie have parents who played the video game and watched the cartoon when they were young.

Sonic The Hedgehog isn’t that bad for what it is. I’m seeing it catch a lot of flack on my “film twitter” timeline but you can’t compare Sonic to something like Barry Lyndon or The Long Goodbye which is what I think some folks are doing (and I don't even think a lot of them are aware of it but that’s a separate conversation for another time).

Unless you were living under a rock then you know the sonic movie was doomed from the start. The original teaser trailer and initial design of the sonic character was somewhat nightmare-inducing. It brought on comparisons to things like Von Trier’s Antichrist rather things like Toy Story, Wall-E or other family-oriented movies of that ilk (Sonic is nowhere near a Wall-E or a Toy Story but it does deserve to be mentioned along with them)...

Antichrist / Sonic The Hedgehog


Even after the sonic character went through an exhaustive CGI redesign brought on by a social media pushback (...bullying), folks still weren’t really having it. It became a punching bag for memes (I will say that this was one of the few times I agreed with the mass social media pushback/criticism of something as the original sonic design was a bit weird-looking).
After the new rollout there were pockets of campaigns from people trying to guilt folks in to seeing the sonic movie following the hard work from the CGI team who were eventually fired after the redesign. While I’m sorry when anyone loses their job, I’m not going to be pressured in to seeing something (especially when the original design was bad from the beginning). Do it right the first time (and that isn't a criticism of the designers. I'm sure the original sonic concept was green-lit by the higher-ups). I think a lot of people reacted similarly and folded their arms at the pressure of being force-fed a sonic movie that took forever to come out because of post-production issues (there were also pre-production issues going back over a year ago that also added to the negative stigma attached to the film).

Even though Sonic The Hedgehog made a nice chunk of money overall, the general consensus ranged from “Meh” to not that great (there were some overly positive reviews here & there). But in my opinion this was a fun road movie that also “tackled” things like representation without doing it in a pretentious/overly force-fed kind of way.

In the film Sonic has to make it from a small town in Montana all the way to San Francisco (with the help of good-guy sheriff James Marsden) in order to open a portal to get him back to his universe where he’ll be safe. The only problem is the evil Dr Robotnik (played perfectly by Jim Carrey) is on their heels trying to stop them. It’s the same premise as everything from E.T. to Mac & Me (the evil scientists/nameless government entity is trying to capture the friendly Alien before he/she can get back to their planet. So while the plot isn't all that original (how many plots are?), it’s a revisit of a classic science-fiction/adventure trope that hasn’t been done very well in a while with the exception of maybe Midnight Special which hasn’t really stood the rest of time (it’s certainly a solid movie but no one is really talking about it anymore which is a shame because, like Sonic, it’s a family-friendly sci-fi adventure that’s better than it’s given credit for).

Sonic has just enough Jim Carrey before things get obnoxious (he’s used sparingly throughout the movie) and it shares a lot of the same imagery & scenarios as other fun action-adventure movies that folks have enjoyed in recent years...

The Matrix / Sonic 

X-Men /
Sonic


And going back to the representation I spoke about earlier - I like to think my two Afro-Latin goddaughters (and their parents) are the prefect audience for this movie. The racial make-up of the cast of Sonic is multi-racial much like Spider-verse. Organic, non-forced/non-pretentious representation is important in movies (and all art for that matter). My goddaughters (age: 6 & 4) look like half of the important characters in this movie and that does matter. Especially for young people. It’s nice to see a non-segregated major motion picture with characters that look like you in a world where you’re still told that you look “different”. Even on a subconscious level.

On the other end of the age spectrum, my podcast partner Scott also thought the sonic movie was surprisingly good. If both children and adults with different backgrounds & perspectives find enjoyment in a harmless popcorn movie that counts for something in my book.

So while this isn’t a masterpiece (or even “GREAT”) it’s still a fun family movie that deserved better. If you haven’t seen it due to all the pre & post-production issues or you’re avoiding it due to bad word of mouth reviews, I’d give it a shot. Don’t expect too much but at the same time, it’s a pretty fun movie.
Throughout the months of April & May I saw an influx of tweets, reviews & thoughts on the films of Michael Haneke. He’s one of my all time favorite filmmakers (easily in my top 10) so I love any attention he gets.
My problem with this newfound fascination & exploration of Haneke is that it took (takes?) place during a very depressing period for a lot of us. In a time when we have covid, ridiculously high unemployment numbers (due to Covid), police brutality (“highlighted” for me with the murder of Elijah McLain), etc - why would you want to watch something like The Seventh Continent, Time Of The Wolf or the The Piano Teacher? It is my belief that Michael Haneke is a masterful filmmaker but you do have to be in a mood to watch his films. 2020 has been a shitty year. It’s a wash. The bad has absolutely outweighed the negative. Why would you want to watch depressing, cold & grim movies in a time like this?
And outside of Haneke, some of the most popular/praised/“critically acclaimed” films of this year are mostly downers. Sorry We Missed You, First Cow, Never Rarely Sometimes Always, Da 5 Bloods, Tommaso, etc.
Most of these movies I just listed are great but they’re absolute downers. I don’t know about you guys but after 4-5 sad, serious, depressing movies in a row - I need a fun, mindless, palette cleanser. That’s what Sonic The Hedgehog is to me. Allow Sonic to cleanse your palette of all the depressing shit going on even if it's for 100 minutes or so.


Friday, September 6, 2019

THE LIGHTHOUSE: TIFF 2019 HIGHLIGHT #1



Much like its predecessor (The Witch), the scary aspects of The Lighthouse are in the ambiance & overall tone of the movie. The traditional horror tropes like “monsters”, creatures and jump-scares are secondary. In my personal opinion - this is a movie about the horrors of loneliness & isolation more than anything else. I’m not saying this like it’s a revelation. If you’ve seen the trailer or know any basic thing about The Lighthouse I’m sure you could’ve grasped that on your own. This is a movie with primarily two characters in the form of “Tom” (Willem Dafoe) & “Winslow” (Robert Pattinson). Another important character (or two) does make an appearance but it’s Dafoe & Pattinson who carry the movie. So it should go without saying that chemistry between the two main actors is key in order for a movie like this to be a success and they certainly have it here. They play off of each other exceptionally well.

In Robert Eggers’ latest we follow two lighthouse workers, one a veteran (Tom/Dafoe), the other a younger novice (Winslow/Pattinson), and their slow ascension in to insanity as they battle extreme cabin fever and the possibility of being stranded on an island during a severe storm. There are a few jumpy moments but it’s their handling or boredom that really drew me in. What some people my consider to be slow & tedious pacing, I like to think is Robert Eggers showing the grueling side of being lost and having nothing to do.
And for a movie that’s mostly “heavy” & pretty serious, there’s a good amount of humor (mostly on Dafoe’s part).

Intentionally or not, Robert Eggers draws inspiration from folks like Charles Laughton (Night Of The Hunter)...


Night Of The Hunter /
The Lighthouse


...to lesser-mentioned yet still highly influential filmmakers like Jean Epstein...

Le Tempestaire /  The Lighthouse


Mor'vran / The Lighthouse

"Hypnose"/The Lighthouse


And while I don’t have any visual examples, Eggers also comes off like a student of Murnau & Dreyer. I hope I’m not overstepping here but certain moments of The Lighthouse look like they take place in the same universe as Vampyr or even Nosferatu. Relax- I’m not saying Robert Eggers is on the same level as Carl Theodor Dreyer or FW Murnau, but he is definitely a student. The very opening shot of Dafoe & Pattinson coming to shore on their boat is reminiscent of the grim reaper sailing in at the beginning of Dreyer’s Vampyr.

Vampyr


I don’t mean to hype up Robert Eggers too much (young 20-something year old cinephiles do that enough on twitter as it is, plus the fact that The Lighthouse is under the A24 umbrella just heightens the hype even more), but this is really impressive for a second feature. I’d even go so far as to say Eggers directs like he’s on his sixth or seventh film.

It’s obviously too early to say where The Lighthouse “ranks” on my list of 2019 movies (it’s barely been 24 hours) but it’s definitely in the top half and something I not only recommend but plan to revisit myself once it hits theaters.

Sunday, January 1, 2017

THE CINEMA OF KATHRYN BIGELOW TOLD THROUGH IMAGES & STILLS




Kathryn Bigelow has dabbled in almost every cinematic genre & sub-genre there is. She's been considered a cult movie director at one point in her career only to transform in to one of the most critically acclaimed/mainstream award-winning filmmakers working today. The transition from her on-going association with her ex-husband James Cameron to etching out her own place in film is pretty remarkable and cinematic in itself (she would go on to beat Cameron out for best director in 2009).
Like a few other directors we've explored in this series (Andrea Arnold, Xavier Dolan, etc), Kathryn Bigelow isn't a personal favorite of mine but her work is so unique (and sometimes overlooked) that it deserves a PINNLAND EMPIRE-style retrospective. There are plenty of over-thought pieces/essays/reviews on Point Break concerning gender & sexuality (we get it - Keanu & Swayze had some homoerotic tension. Say something new please). But beyond Point Break, Hurt Locker & Zero Dark Thirty, you'd be hard-pressed to find folks who have the same appreciation for The Loveless, Near Dark, Strange Days or her more head-scratching directing choices like K-19 The Widowmaker or The Weight Of Water (say what you want about those last two films but as you scroll through this piece you'll see those films tie in with all the other films in Bigelow's cinematic universe no matter how forgotten/ignored they are).
I'm willing to bet that at some point while reading this piece a good chunk of you are bound to go; "oh yeah- She did direct that."


Enjoy...


COMPLICATED RELATIONSHIPS
The characters in Kathryn Bigelow's films are often at odds with each other but they still have some kind of warped mutual love and/or respect for one another. The minute Bodhi (Patrick Swayze) meets Johnny Utah (Keanu Reeves) in Point Break they have an immediate magnetic bromantic connection. Even after discovering Utah is an undercover FBI agent they still maintain a cordial cat & mouse relationship (highlighted in the chase sequence where Johnny has a clear shot at Bodhi but doesn't take it, along with the very ending where Johnny lets Bodhi go in order to chase his ultimate wave).
Mae (Near Dark) knows she can't get involved romantically with someone who isn't a vampire yet she still falls for Caleb.
For the majority of Blue Steel, Megan is unaware that she's fallen for the serial killer that murdered her best friend. Even when they're trying to kill each other Eugene still has a childlike fascination/attraction to her.
Near Dark
Point Break
Blue Steel
Strange Days




AN APPRECIATION FOR SHORT HAIRED WOMEN
I'm sorry but even when you put my own super-strong personal preference for short-haired women aside, I don't think it can be denied that when short hair is worn/styled correctly it trumps any & all feminine hairstyles (sorry if I've offended anyone that this doesn't apply to or is offended by my use of the word feminine). There's a reason why everyone from Louise Brooks to Amber Rose & Halle Berri have been considered to be some of the sexiest women ever. Even Scarlett Johansson often keeps her hair on the short side.
Any time men claim to find short hair unattractive on women they're either lying (they're scared to admit something other than long hair is sexy because long hair is the standard quality associated with female beauty in their minds), or they just haven't been exposed to the right short haircut. Kathryn Bigelow knows this because most of the leading ladies and romantic interests in the first half of her career have all had short hair. What's one of the most memorable characteristics we will all remember about Lori Petty in Point Break? Short hair. Why is Mae slightly more exotic-looking in Near Dark? Her short haircut.

When hair is short it covers the face less (something men want to see) and doesn't drape over/cover the sexy parts of the upper body (shoulders, breasts & nipples).
The Loveless
Strange Days

Near Dark
Blue Steel
Point Break

Seriously tho - what made Jamie Lee Curtis stand out from all the other long-haired mostly blonde leading ladies of the 80's & 90's? Her short hair. Sure she was slightly goofy and had a talent for comedy (something a lot of her peers didn't have), but it was her short hair in the era of Daryl Hannah & Daryl Hannah knock-offs that made Curtis stand out from the pack...

Blue Steel-era Jamie Lee Curtis



but I don't want to sum up the women in Kathryn Bigelow's films to just short-haired sexual objects... 



TOUGH (YET VULNERBLE) FEMALE CHARACTERS
Her films feature quite a few tough (sometimes long haired) female characters like Angela Bassett in Strange Days or Jessica Chastain in Zero Dark Thirty. Even some of the aforementioned short haired women are just as tough as they are cute and/or sexy (Lori Petty in Point Break & Telena in The Loveless)
Point Break
Strange Days
Near Dark
Blue Steel
Zero Dark Thirty





SENSUALITY/SEXUAL TENSION/EROTICISM
The first half Kathryn Bigelow's career is quietly drenched in sexual tension, innuendos and just overall sexual ambiguity. We're all aware of the (possibly accidental) homo-erotic undertones between Swayze & Keanu in Point Break but it goes a lot a deeper than that. Besides the aforementioned deep sexual tension between Vance & Telena in The Loveless, Blue Steel, The Weight Of Water and even Strange Days have some highly sexualized moments (a large majority of The Weight Of Water is Elizabeth Hurley openly flirting with Sean Penn).
The Weight Of Water
Blue Steel
Point Break
Strange Days
The Loveless




SURROGATE FAMILIES
Blood relatives aren't very common in Bigelow's work. Her characters are either strays who make their own families/packs (The Loveless & Near Dark), or they're in the military (K-19 The Widowmaker, Zero Dark Thirty & Hurt Locker) which brings about a bond/brotherhood unlike any other group of non-blood relatives.
The Loveless
Near Dark
Point Break
K-19 The Widowmaker
Zero Dark Thirty






(POSSIBLE) INFLUENCES ON BIGELOW...
Point Break
Strange Dyas

Strange Days

Blue Steel

Point Break
The Loveless/Scorpio Rising
Near Dark/Kagemusha
Blue Steel/Taxi Driver
Strange Days/Blade Runner





BIGELOW'S (POSSIBLE) INFLUENCE ON OTHERS
The Loveless/Cry Baby
Near Dark/Mulholland Drive (it should be noted that Monty Montgomery - the actor who plays "The Cowboy" - co-directed The Loveless with Bigelow)
Near Dark/Lost Highway
Point Break/Mad Max: Fury Road
Point Break/Mister Lonely
Point Break/Star Trek
Zero Dark Thirty/Sicario




RECURRING SHOTS
Blue Steel
Strange Days



The Weight Of Water
Near Dark
Blue Steel

Near Dark
The Hurt Locker






IDENTITY/SELF REFLECTION
From the characters in Point Break being masked bank robbers & undercover FBI agents, to the characters in Strange Days trying to escape reality through virtual reality, the people in Bigelow's films are sometimes dissatisfied with their real lives and need something more. This takes a darker turn in films like Blue Steel when we see a repressed yuppie take on the new identity of a serial killer when he comes across a gun.
Strange Days
Point Break
Point Break
Blue Steel
Zero Dark Thirty
Detroit





"THIS IS A (WO)MAN'S WORLD"
It is my belief that the casual/non-director oriented movie fan would make the (unfortunate) assumption that a male director is responsible for half of the movies in Bigelow's filmography. Science-fiction, Horror, Action & Military-themed movies are mostly associated with men because those worlds are usually "boys clubs" (in front of and behind the camera). I remember feeling stupid in my very early teens for assuming that a man was responsible for Point Break & Near Dark (I wasn't the director-oriented guy that I am now in my 30's and I just assumed movies with car chases, shootouts & action sequences belonged to men. I never payed too much attention to credits and never took the time to read the credits on the back of the VHS boxes).
When you take a tally, more than half of her movies are action adventure (Point Break), violent (Blue Steel), military-based (K-19, Hurt Locker & Zero Dark Thirty) or sci-fi and/or horror (Strange Days & Near Dark).
There's also a lot of central male characters and a decent amount of bro/male-centric relationships in her films (Point Break, K-19 The Widowmaker, The Hurt Locker, Zero Dark Thirty)
The Loveless
Blue Steel
Detroit
The Hurt Locker
Zero Dark Thirty
Point Break 
K-19 The Widowmaker



VIOLENCE & ACTION SEQUENCES
In the last decade, Bigelow's most memorable/acclaimed scenes have been action sequences (Hurt Locker & Zero Dark Thirty) which, unfortunately, is rare for female filmmakers these days...
Near Dark
Blue Steel 
Point Break
Strange Days
The Hurt Locker
Zero Dark Thirty
Detroit


And a nice chunk of her films feature a very male-heavy police/authoritative presence (even Blue Steel, which is about a female cop, features mostly men)...

Point Break
Blue Steel
Strange Days
Near Dark
Detroit




GENRE HOPPING
Not to repeat what I already said at the start of this piece but Kathryn Bigelow's work cant be categorized or summed up in to one or two genres. As we've seen throughout this piece, she's dabbled in almost every genre & sub-genre there is (psychological thriller, action-adventure, drama, cop drama, noir, neo-noir, science fiction, army/military-based, arthouse, horror, etc).
I usually like when filmmakers stay in their designated lanes but we need filmmakers like Bigelow to try new things from time to time.
Blue Steel (Noir)
Zero Dark Thirty (Military/War Drama)
Point Break (Action-Adventure)
The Weight Of Water (Thriller)
Near Dark (Horror/Western)
Strange Days (Science-Fiction)


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