Tag Archives: Opinion

TRON: Legacy (2010)

I happen to like the original TRON. It’s nothing if not dated, but the experience of seeing the film in the theaters back in 1982 must have been a special one.  The filmmakers threw themselves earnestly into the creation of this computerized world, and despite the intervening years there’s still something graceful about the look of the film.  And so, despite TRON: Legacy being one of those films you hear about endlessly for two years before it finally arrives in theaters, I remained intrigued.  This type of overwhelming ad campaign is a tenuous scenario for any filmmaker to deal with, the hype certain to both fill seats and raise expectations to nearly unachievable levels.  An Avatar-sized budget, a score by Daft Punk, and the kind of franchise building we haven’t seen from Disney since Pirates, TRON: Legacy is quite evidently a BIG DEAL.  So how is it?  Well, that’s a complex question.  In some ways this is pretty standard stuff, the kind of holiday fare kids and parents can munch popcorn to.  In other ways, this is one of the most remarkable films I’ve ever seen.

Continue reading

True Grit (2010)

I don’t think there’s such a thing as a bad Coen Brothers movie.  Now, I haven’t seen them all, so I can’t say that with all confidence, but as they somehow gain more and more momentum with the passing years, and the veneer on their product keeps getting shinier, it’s hard to imagine them making any really evident mistakes.  Not only is this impressive when considering their startling prolificacy, but also because, frankly, the Coens don’t play it safe.  They’re not churning out standby material with rote characters and tested plots.  They change it up every single time. If I were an aspiring director I wouldn’t even bother trying to emulate them, because there’s just no way you’re going to do the things they’ve done.  True Grit is the latest example of that consistently inconsistent greatness; a cocky and witty western from a pair of legitimate talents in their apparently never ending prime.

Continue reading

The Fighter (2010)

It seems that every year there’s a film like this.  A film that ends up feeling weighted more towards character portrayal than big picture.  A film with at least one performance almost guaranteed to bring home the Oscar.  Last year it was Jeff Bridges in Crazy Heart. Before that Heath Ledger in The Dark Knight. Before that Daniel Day-Lewis in There Will Be Blood.  The list goes on.  It’s not that David O. Russell‘s The Fighter is an incomplete film as much as it’s so entirely driven by its actors.  This based-on-a-true-story is clean and concise, and doesn’t require much sifting to get at a core comprised of an underdog vs. the world and the massive weight of his family.

Continue reading

The Tourist (2010)

What was the last Johnny Depp movie that got you really excited?  Or Angelina Jolie for that matter?  With Ol’ John there’s a glimmer of hope coming in the form of the Hunter S. Thompson adaptation The Rum Diary.  Certainly Depp recalling his Gonzo in any way is good news for us.  Other than that, it’s just a new trio of Pirates movies, yet another Tim Burton thing, and rumors regarding Kathryn Bigelow’s next flick.  Things are even bleaker for Angie, with a reprisal of her Kung Fu Panda Tigress on the horizon, and little else.  My point here isn’t so much to rip into these actors’ future endeavors as it is to call attention to the strange turn their careers have taken.  Towards the beginning of their respective careers, Deep and Jolie both built their legacies on talent.  They may have started out as beautiful faces, but with roles in films like Gia and Girl, Interrupted, Edward Scissorhands and What’s Eating Gilbert Grape? they cemented respect from a critical audience.  And now it’s come to this.  The Tourist. Boringly predictable and occasionally incoherent, The Tourist gives Jolie and Depp the opportunity to spend some time in Venice, dress in overly elegant clothes, and be some mildly different version of their publicly banal selves.

Continue reading

Black Swan (2010)

Preparing for a Darren Aronofsky feature is sort of like preparing for a break up or a funeral.  That’s not to say that every last Aronofsky tale is a saga of desolation or exhausting melancholy, but when you look at the man’s filmography, one of the common elements is a darkness that permeates.  The difference, though, between his earlier works (Pi, Requiem for a Dream) and his more recent (The Fountain, The Wrestler), is a respect for subtlety.  In Requiem, Aronofsky thrust the grotesque into the faces of his audience with an almost mean-spirited bravado.  It’s a film that, despite its high quality, is simply too awful for repeated viewings.  Lately though, Aronofsky has coupled that signature bleakness with a real human beauty.  He has found a balance in his method, and with his last three films, The Fountain, The Wrestler and now Black Swan, he has shown the kind of forward momentum that ensures real longevity.

Continue reading

The Walking Dead – Days Gone Bye

A year or two ago I was working on a pilot script for a zombie TV show.  Though nothing ever came of it, this was a labor of love born of my longstanding zeal for zombie stories, along with the conspicuous lack of zombie serials in any form, particularly on television.  And so it was with great anticipation that I sat down to watch the pilot episode for AMC’s latest, The Walking Dead. After the series hour and a half premiere episode entitled Days Gone Bye, it’s safe to say the network has added yet another remarkably distinctive show to its cache.

Continue reading

127 Hours (2010)

127 Hours as a film was always going to be harrowing, intense, remarkable, hard to watch and so on.  Aron Ralston’s story is just too astonishing and too simple for it not to be effective.  It absolutely insists on empathy and as the audience filters out of the theater, the first and only question on everyone’s lips will be, “Could you do that?”  If you don’t know what “that” is then you haven’t been paying attention.  Ralston’s story has been all over the news in recent weeks, and before that his bestseller Between a Rock and a Hard Place did well enough to pierce the social consciousness.  However, to avoid from the start any ambiguity, this is a story about a man whose arm gets trapped under a rock, and the choice he makes to cut it off.  With any Top 25 Director and any Top 10 Face behind this story, you’re almost guaranteed serious Oscar contention.  It must be for this reason then that I ended up feeling underwhelmed by Danny Boyle’s latest.  Of course I was moved, because the reality of this situation is moving, but despite how successful this thing was always going to be, Danny Boyle somehow was able to get in his own way.  His style and his choices, so often exciting and strong, end up being frustratingly omnipresent and controlling.  Somehow he ended up over-telling a story that was fully prepared to tell itself.

Continue reading

Due Date (2010)

The average fan of a Todd Phillips movie probably wouldn’t recognize his name or be able to pick him out of a lineup.  This is surprising not only because he’s directed enough solid comedies to rival Judd Apatow (Road Trip, Old School, Starsky & Hutch, The Hangover), but because he’s appeared as some curly-headed oddball character in all of them.  The Hangover is Phillips’ biggest critical and financial success (the sequel is shooting now) and along with that movie’s breakout star Zach Galifianakis the reason Due Date is sure to bring a big Box Office.  In some ways Phillips’ latest feels a bit like the cocky follow up to a surprise hit, banking on names and humor and seeming just a bit too unconcerned with story.  And so, like any number of comedies, Due Date is a Yin and Yang of solid, absurdist comedy and weak, mailed-in plot.  Which way do the scales tip?  Guess.

Continue reading

Top 5 Films of 2010

As the season turns and we move toward the heartiest portion of the filmic year, it seems as good a time as any to take stock of what’s been seen thus far.  Certainly I haven’t made it to the theater for every new release, but 2010 has been for me a year of unrivaled theater going.  There are films on the horizon; Black Swan, The Fighter, True Grit and so on that promise to, at the very least, introduce some interesting characters and concepts, and at best hoist a golden statue at the 83rd Academy Awards.  Still, the year so far, while at times inevitably shallow and frustrating, has still seen some remarkable motion pictures pass into history.

Here are my Top Five…

Continue reading

Kanye West’s Runaway (2010)

Kanye West made a film.  It’s mostly music and clocks in at 34 minutes, but there’s not really anything else to call it.  One can claim all day that MJ originated the massive music video event, with “Thriller” and “Black or White” dominating their respective premieres and inserting themselves into the culture for the days and weeks that followed.  You could even point to 1988’s Moonwalker as a legitimate, feature-length film, though I haven’t watched it in a decade or two and doubt it holds up.  But Kanye West has produced and directed a short musical film.  And you know what?  It’s pretty damn good.

Continue reading