Tag Archives: film

The Dig – New Short Film & Review

A new short film directed by Joseph Kosinski, the filmmaker behind Tron: Legacy and Oblivion. It’s the first footage shot on the new CineAlta VENICE Full Frame Camera and, as one would expect, it looks fantastic. It doesn’t hurt that they hired Kosinski, who has been criticized for being too focused on creating brilliant, symmetrical imagery and not enough focus on narrative and character. He’s a technical artist, not a traditional storyteller.

I saw Oblivion in IMAX and was pretty blown away by the precision behind each individual shot. He creates sequences like he’s building a high-speed bullet train, not a slower, more bumpy train with twists and turns. It can be temporarily awe-inspiring, but I’ve never had the urge to go back and re-watch Oblivion. It’s an empty shell of a story.

The plot of “The Dig” is somewhat ludicrous. It features two janitors who look like LA models dressing up like janitors. They look totally out of place and their employers should be skeptical of their motives. They look like the type of people who wouldn’t even put on a janitors uniform, let alone actually work as one. As it turns out, they are performing an inside job to steal the new Sony camera (clever!).

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It’s fun to watch, though, as it’s basically just an excuse to show off the mighty prowess of the new Sony camera. Their are plenty of gliding, omniscient aerial shots, and some typical but beautiful helicopter shots of skyscrapers at night. You could count the cop car on the side of the road as one moment of decent tension, but the film is mainly a mystery involving two suspect janitors, not a Hitchcockian slow-burner.

Directed by Joseph Kosinski

Cinematography by Claudio Miranda, ASC.

Starring Taylor Kitsch and Lily Collins

 

 

 

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Baby Driver (2017) – Film Review

The opening to Edgar Wright’s “Baby Driver” feels a bit braggadocios, a bit indulgent, and a bit too similar to a recent Apple commercial. All in one take, the opening tracking shot follows our main character, Baby, played by Ansel Elgort, as he walks freely through the streets, crossing roads, passing murals, and avoiding bystanders. Each set piece he walks by correlates with the words in the song he’s listening to with his signature earbuds, always at hand and usually blaring full volume.

It’s a clever opening, though very self-referential: “Shaun of the Dead” featured one of the greatest one take tracking shots ever with Simon Pegg’s character bumbling through his town, ignorant of the blood and zombies surrounding him as he yawns his way through the vacant streets. The movie slows down a bit after the opening street dance/music video, getting into the reality of Baby’s life as a getaway driver for low-life, high-stake criminals.

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The leader of the operation is Doc, played smugly by Kevin Spacey. Jamie Foxx plays the confrontational character, even having a line in the movie commenting about the crazy position being filled already, by him. Jon Hamm plays a more sedated role as Buddy, another member of the crew; he wants to get the job done and get out of town with his girlfriend as soon as possible.

Baby drives as a result of a traumatic childhood experience involving a car wreck and the death of his mother. He has permanent ringing issues in his ears as a result of the accident, hence the constant music. The soundtrack is the lifeblood of the movie: the characters question it constantly, but when the music starts, Baby switches gears and turns into an 11th grade version of Ryan Gosling in “Drive”. He’s slick and intelligent, knowing the routes by heart, able to intuitively escape from seemingly inescapable scenarios.

Lily James plays Deborah, a young girl that works as a waitress at the diner where Baby’s mother used to wait tables. He’s a regular at the diner and soon garners her attention with a few of his songs and some friendly conversation. They have a runaway vibe throughout, though their relationship can’t be entirely filled out due to his responsibilities to Doc as the whiz-kid driver.

The movie has a lot of heart and clearly a lot of passion for the art of fast-speed driving. The coordination that had to happen to clear the roads and perform the spinning, sliding car donuts must have been exhausting. “Baby Driver” is an exhilarating chase movie made by one of the most inventive action directors of the decade.

The Magnificent Seven – Film Review

The greatest moments of “The Magnificent Seven” aren’t the scenes where all the magnificent’s are sitting around, talking about their magnificent adventures. Movies should show, not tell, and I agree. But if you aren’t willing to show a characters journey, their past, their present state in the world, then you’ve got to try to tell us a little bit about them.

Cowboys talk in gravely, deep-voiced mumbles, I understand. But not all of them. Josh Faraday, the alcoholic magician played by Chris Pratt (or is it just Chris Pratt played by Chris Pratt?), has a lot to say. The quiet one, Chisolm, played by Denzel Washington, talks and acts as if he were living in an entirely different cinematic universe, a slow-burn, darkly-lit drama photographed by Roger Deakins.

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Luckily for Chisolm, he isn’t required to interact a whole lot with this ensemble, other than the obligatory assembling and introductions of the squad. We’ve got 7 here? One, two, three…I count six. Never mind, the seventh is standing over there, as Pratt’s character says in the beginning of the film, “Oh, good, we’ve got a Mexican!”

On-screen diversity is a hot topic in Hollywood and they’ve responded, if not in any dramatic way. They’re learning that people don’t just want diverse characters, they want actual characters. You know, a person with a motive other than revenge or a skill unrelated to their culture.

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The Chinese cowboy, Billy Rocks, played by Lee Byung-hun, is very skilled at throwing all sorts of sharp, metallic weapons, even his own hair-pin. It’s typical to cast a Chinese man as the prototypical knife-thrower (with a twist, albeit), but at least his stereotype isn’t dull. Billy actually rocks. He’s a quiet character but arguably the most entertaining of them all.

The second most engaging character arc would have to be Ethan Hawke as Goodnight Robicheaux, a PTSD-ridden sharpshooter who uses Billy as a circus entertainer for the locals, splitting the dividends between them. Their relationship seems very complex: Billy feels bad for Goodnight’s war-torn suffering, while Goodnight takes advantage of a foreign mans abilities for his own gain.

The film doesn’t come close to replecating the greatness of the original film, or even close to The Seven Samurai, Kurosawa’s original telling of the tale. But beyond the sketchy, loosely-plotted characters, there is a thirty-minute plus action sequence that’s very entertaining. If anything, you can be assured that director Antoine Fuqua hasn’t lost his interest or his touch in direction large scale, dynamite-driven action sequences.

Whiplash (2014) – Film Review

 

“Whiplash”, a deservedly praised, knockout hit, is the first feature film of Damien Chazelle, a clearly talented young director. It follows a college-aged drummer, Andrew, played by Miles Teller, as he struggles to achieve his highly ambitious musical goals.

Young and consumed by equal parts doubt and confidence, Andrew ends up in the crazed hands of a vulgar, extremely intense composer and instructor, Terrence Fletcher, brilliantly played by a wide-eyed, spit yelling J.K. Simmons.

The film explores the pressures put upon those who participate in elite, highly-competitive orchestras. The writer/director, Damien Chazelle, has had direct experiences within the field of musical performance.

The movie has a very specific idea that it poses to us on an even narrative strand throughout its running time. And that is: how far should a person be pushed and pressured towards absolute perfection? Is there such a thing as too far? Is  being healthy but lesser better than being great but maniacal?

These aren’t easy questions to answer, and that’s what makes them compelling to both ask and watch unfold, as Andrew is humiliated and berated by his teacher in order to come out the other side as the best drummer he can possibly be (which he would never know, the film asserts, if he wasn’t pushed in the first place).

The screaming dialogue fiercely performed by J.K. Simmons must have been a riot to sit down and actually write. It seems like such a contradiction to see a man teaching beautiful and archaic symphonies one minute, and then violently screaming imaginatively-worded obscenities the other.

Andrew walks into a bar late one night after recognizing his old instructors name plastered on the marquee outside. We witness Terrence actually performing, his face calm, his eyes closing slightly in an unusually serene expression of peace.

The feisty former instructor seems very much at ease as he plays the melodic piano music. But what does the man love the most? The literal sound of the music or the sense of perfection felt from hitting all the right keys? Does he cherish his abilities in contrast to all of the cues his students fail to hit?

A Most Violent Year (2014) – Film Review

A Most Violent Year focuses on a few small pixels in a larger, more dangerous canvas of events. Set in New York City in the year 1981, where crime-rates are quickly rising to an epidemic level, the story sets its eye on an immigrant man, Abel, as we follow his bumpy ride up towards his homegrown American dream.

The film stars a stone-faced Oscar Isaac, playing the ambitious immigrant as a mix of quiet intensity and disgruntled vulnerability. It’s hard for him to accept even the most simplest of things. Alongside him is Jessica Chastain as his shady wife. Chastain’s scenes with Isaac’s Abel are absolute dynamite, a constant battle of wits and ego sparking off of each other. Two of the best young actors/actresses working today.

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The films premise is basically a sub-plot from a lot of other sprawling, ensemble mobster flicks. Remember in Goodfellas, when Jimmy Conway holds up a delivery truck, unloads the goods, and drives away? Well, that’s essentially the main problem in A Most Violent Year, only it’s shown from the microcosmic perspective of the driver and the effect such thievery has on that particular company.

There are a few other key distinctions between the two, though. In Goodfellas, the drivers are complicit: they aren’t getting paid enough to risk being shot in the face, and it’s usually made mutually-beneficial for them anyways. In A Most Violent Year, the driver is a young immigrant man whose not complicit, doesn’t want to be robbed.

The face and owner of the company, Abel, doesn’t want his drivers to back down, although he doesn’t want them to be armed, either. So, waxing in an intelligently cyclical manner, he’s essentially explaining to his low-end drivers that they should be willing and prepared for possible injury or death while delivering the many gallons of oil that will one day make him rich; a very morbid pep speech by any standard.

Through the course of the movie, Abel’s character slowly shapes and grows into his true dimensions. With each conversation or argument he has with others, we’re given small chunks of information about his past; the fact that he’d bought the company from his wife’s father, or that he himself used to be a driver.

It’s these small, subtlety placed nuggets that change not only our perception of him as a character, but also the overall tone of the film as well. With each piece of new knowledge, we cast increasing doubt on the legitimacy and honesty of Abel and his business.

With breathtaking cinematography and a handful of brilliantly brooding performances, A Most Violent Year is an unusually intelligent and entertaining mob film.

Peeping Tom (1960) – Film Review

Peeping Tom is a great film as its main character guides us hand-in-hand through his atrocities, a self-conscious first-person technique that creates mountains of tension. As the audience, we’re peeping into Mark Boehl’s life and his strange hobby and obsession with recording people at the cusp of their being victimized by him. The story is pieced together in a literary form in the way that everything we learn of, like the mothers blindness for example, has a cause and an importance later on.

The director, Michael Powell, establishes the time and place very well, almost like a stage-film in which highly-decorative scenes remain static for long periods of time; the layout of the apartment, the ground-floor, the secluded bunk-like upstairs where Mark dwells and develops his celluloid.  Films that are constantly jump-cutting to new places can be uncomfortable to watch; to better understand the character is by their environment, and with a character like Mark, who keeps to himself, it can be troublesome when trying to probe why he does what he does. And essentially, without the necessary information we need to understand him, all we have is the performance of Karlheinz Böhm to attempt to make us feel some tangible form of sympathy for the man.

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The film is a dense, unforgettable character study. Mark Boehl is an obsessive 8mm film recorder. He works for a film company, not yet achieving his goal of becoming a director, and lives a quiet and methodical life, doing photo-shoots for women on the side. When he becomes interested in a woman who lives next door, his secrets begin to unravel, and he must choose between his hobby and the girl he now has come to enjoy; to say, “who he’s come to love” would be unfitting for Marks character, because he’s the sort of person who proclaims that he ‘enjoys your presence’, nothing more, nothing less.

Peeping Tom didn’t do wonders for director Michael Powell’s film career, as its reception was similar to the reaction Kubrick received following the release of A Clockwork Orange. But thanks to Martin Scorsese’s restoration of the film, Powell-fans can see and admire the voyeuristic work of the director even more.