Tag Archives: Movies

The Avengers (2012)

There’s no scenario where Joss Whedon gets the credit he deserves for The Avengers. Certainly he’ll be lauded for the cash this box-office bogart is already piling up, and critics seem impressed enough with the film to plant it firmly in the upper echelon of “comic book” movies. But the success Whedon has achieved is far loftier than that, encompassing years of Marvel canon, hoards of characters beloved to fans, and unparalleled expectations. Put another way: making this movie was an unprecedented challenge. And The Avengers isn’t perfect, though that was never really an option in the first place; there are far too many elements that would have to be handled flawlessly, far too much scrutiny from far too many directions to ever truly be called “perfect.” It is, however, as good as it was ever going to be, and considering the circumstances, that’s pretty damn good.

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The Cabin in the Woods (2012)

Though it has become ubiquitous enough to feel like it’s always existed, self-awareness in film is a relatively fresh condition. Fourth wall breaking, references to other cinema, genre devices, overly archetyped characters; all are commonly used techniques to create self-referential “meta” films. And whether they’re built as an over-the-top spoof, a genre-clipping throwback, or a glorifying homage, these films take advantage of an audience’s pre-existing cinematic knowledge so we can all simply get to the point. The Cabin in the Woods is, perhaps, the most ingeniously-executed example of this trend; winking its way towards an almost assured cult film status. And while my list of superlatives could go from floor to ceiling, what I most admire about The Cabin in the Woods is the fact that, in trying to describe it, I can’t really say anything at all. Because–and here’s the catch–saying anything about it might just ruin everything about it.

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The Hunger Games (2012)

For a first-timer, The Hunger Games requires a lot of unpacking. Certainly there’s the initial/perpetual shock of a story that centers on an event wherein children are literally killing each other for the entertainment of the upper class, but that’s really only the tip, as this powerful central device results in myriad other plot elements worth considering. At any given moment there are themes of politics, propaganda, corruption, class, status, manipulation, public relations, and, oh yeah, life and death. To say this is a story with a lot going on is an understatement, though you can’t really say that all of these themes are fully explored either. The Hunger Games is a balancing act, wherein author (and co-screenwriter) Suzanne Collins‘ first consideration is her characters: children who, having already spent much of their lives in some degree of destitution, are now forced to hunt and kill one another, all in the name of “peace and prosperity.”

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Chronicle (2012)

We’re coming off a decade-plus of a widely collaborative and wildly successful “superhero movie” exploration, which has led to not just an impressive quantity of genre-specific titles, but a remarkable variety of stories and treatments. Which is all just a nice way of saying that the superhero flick has been done to death. Don’t get me wrong, some of the most exciting movie events of all time have been for superhero movies, and more than that, a keystone of the Visual Effects Renaissance has been movies about people with astonishing, life-altering, brightly-colored powers. But as the market goes, so goes Hollywood, and the marketability of comic book stories is in decline. Fortunately, nobody bothered to mention this to newcomer Josh Trank, who has somehow, someway, created a comic book movie that satisfies the craving while remaining (gasp!) wholly original.

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The Help (2011)

There are very few people anymore who can claim authentic, first hand knowledge of the Civil Rights movement. In the same way that I wouldn’t pretend to possess any particular insight into the fall of the Berlin Wall, having been alive during the 60s doesn’t grant you special insight into the race struggle. The only people who can really say that they were a part of things weren’t just alive in the 60s, but were decision-making adults with the self-awareness to adopt a position on one side or the other, and their numbers are dwindling. Which must explain why The Help, a film that simplifies and exploits one of this country’s most strained periods, and does so with broad, stereotypical character types and exchanges, has been nominated for Best Picture. Or it could just be that Viola Davis can make anybody like anything.

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Extremely Loud & Incredibly Close (2011)

There should be a list somewhere of books that should never be adapted to film. While plenty of literature can make the leap from page to screen without much or any alteration, far more often a book is a book for a reason. Because while a book allows you to reach an emotional conclusion on your own, a movie forces you towards one. Which is unquestionably the case with Jonathan Safran Foer‘s 2005 novel; a narrative that, at a glance, is vibrant in the same way as a Little Miss Sunshine, with a host of quirky characters and a comical, yet emotionally-resonant tone. In a host of other ways however, Extremely Loud & Incredibly Close is a story far more inclined towards the written word than the big screen, and has pulled an Oscar nomination mostly on the weight of its dramatically moving and frustratingly manipulative approach.

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Tinker Tailor Soldier Spy (2011)

More and more the template for a spy film is “action first, story later–if at all.” This has mostly to do with the new opportunities provided by technology, but it also says something about contemporary audiences. Old school spy stories are intended to be convoluted, meandering whodunits, and vagueness doesn’t sit well with modern viewers, myself included. That said, anybody who puts Tinker Tailor Soldier Spy next to, for instance, Mission Impossible – Ghost Protocol will quickly come to appreciate the nuanced origins of the spy thriller. Tinker Tailor–Tomas Alfredson‘s follow-up to the critically successful and successfully recycled for American audiences Let the Right One In--is moody and stylish, recalling the lost art of skillful ambiguity.

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The 2011 Wertzies : Part Three

And finally, Part Three of the 2011 Wertzies. This post includes not only my thoughts on the Best Pictures of the year, but a new section looking at the year’s Most Overrated films.

Enjoy.

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The 2011 Wertzies : Part Two

Here then is Part Two of the 2011 Wertzies. My thoughts on the year’s best performances. As a reminder, all Runners Up are featured in ascending order, with the Winner of each category coming at the end.

Enjoy.

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The 2011 Wertzies : Part One

And so, the 2nd Annual Wertzies; my picks for the year’s best of nearly everything. I’m taking a slightly different tack this year, with expanded coverage of my picks and the Awards divided over three posts. Additionally, the format has altered a bit, with Runners Up revealed in ascending order, and each category ending with the Winner.

To be clear, I haven’t seen everything, nor do I consider these awards to be anything more than my humble opinion as an amateur film reviewer. Elaborate and considered these thoughts may be, but they are nonetheless informed as much by individual preference as real objectivity. And with that in mind, I eagerly await your supplemental thoughts and heated contradictions.

Enjoy.

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