Despite my best intentions, I’ve always treated black people differently than whites. I’ve never had a close black friend, and while my racism tends to reveal itself in an obnoxiously patronizing amiability opposed to a violent bigotry or snide superiority, my presence here isn’t bringing us any closer to a post-racial America. Maybe that makes me the perfect audience for Fruitvale Station, a film that endeavors only to tell the dreadfully true story of Oscar Grant in all its agonizing detail, and ends up carving a portrait of a man whose humanity is what makes his story so compellingly universal.
Tag Archives: Opinion
There is a great Superman film out there somewhere. There’s nothing inherently challenging about telling this story, other than the powerful ownership so many fans have over it. And I suppose there’s an argument that Zack Snyder has gotten closer to it than anyone else; Man of Steel paints its main character’s neurosis and isolation in wide swaths, and these elements are necessary for any modern rehash. But, as is often the case with mega, ultra, super blockbusters, they’ve put the horse before the cart with this latest iteration of the world’s first superhero, building a flashy skyscraper on the rickety foundation of a David S. Goyer-penned screenplay.
Way back in 1982, Vertigo debuted on BFI’s Sight & Sound Poll of Best Films at number 7. Since then it has slowly ascended, finally summiting the list in 2012, displacing the oft-thought irreplaceable Citizen Kane. No list is gospel, but the collaborative nature of the Sight & Sound, along with its tenure and visibility within the world of film lend the list a weight that few can counter. Which makes Vertigo a legitimate contender for the throne—the protean, elusive, much debated Best Film of All Time. Except, here’s the thing: it’s not.
Only recently has the bond between war and honor begun to fray. For millenia men have treated that most basic equation as gospel, but we’ve reached a point where the anti-war proselytizing, the media exposure, and the blurred lines between right and wrong have engineered a far more nuanced view. The realities of war have been planted deep into the fiber of our consciousness, allowing us to ponder the ways that it can adversely alter a man, even degrade him, without the interference of combat’s putative virtues. T.E. Lawrence is a man changed by war, and this volatile metamorphosis from intellectual dandy to merciless leader of desert warriors lies at the center of David Lean‘s arresting classic, Lawrence of Arabia.
2012 was a year to remember.
An exceptional and exceptionally diverse collection of film makers put together an array of movies that were, more often than not, pretty damn good. It’s years like this that remind a guy why he fell in love with film in the first place.
And with another year comes another Wertzies.
For this, my 3rd annual collection of the year’s Best Movie Stuff, I’ve added a few categories: Part One will include my picks for Best Visual Effects, and Part Three will feature a list of the year’s 10 Best Moments. Otherwise you can expect to see my favorite Screenplays, Directors, Actors & Actresses, the Most Overrated, and of course, the Best Movies of the Year*.
We tell ourselves that we deserve to know everything. That we can manage the truth, however burdensome it may be. The reality is that we want to hear a great story, and if the truth is part of it than all the better. Zero Dark Thirty is eager to give us both, revealing the epic tale behind the decade-long hunt for Osama bin Laden, and uncovering just enough gory detail to establish the film’s verisimilitude without melodramatics. Director Kathryn Bigelow and Writer Mark Boal aren’t interested in the mythology of this already mythologized tale, and their composure results in a deeply enthralling story. A story about a woman who spent the better part of her life hunting a man, and the considerable toll that process took.
Drawing comparisons between a David O. Russell film and the film of another, more boilerplate Oscar-season director is kind of like comparing the X Games to the Olympics, the latter more prepared to sweep us up in its comforting and controlled familiarity, the former astonishing with its mercurial brilliance. This is not a compliment or critique, but a comment on the thrilling messiness David O. Russell brings as a storyteller. Silver Linings Playbook–Russell’s follow up to the Academy-nominated The Fighter–thrives in this mess, bringing its sundry characters together in a collection of manic fits and starts–appropriate for a film so preoccupied with mental health issues. Playbook is a film with the heart of a romantic comedy and the head of a black comedy, and of this collision is born a visceral, cerebral story about a family with a lot to fix.
We like to imagine that we’ve cleared the orbit of the circle of life. That we’ve achieved a degree of self-awareness far greater than that of our savage forbears, and a good distance from the antiquated notion of hunters and prey. The reality is that we’ve created a new circle of life, one in which we are the sole patrons, and the money is the mission. This is the world according to Writer/Director Andrew Dominik‘s latest, Killing Them Softly, a film as well-made and intriguing as it is heavy-handed and bleak. Softly is a gritty crime allegory, allowing a hierarchy of gangsters to stand in for our nation’s government and its people, and as the film unfolds it expends loads of energy conveying this connection, asking blood and gore to serve as a proxy for dollars and cents.