Shooter (Antoine Fuqua, 2007) - B-
Holy crap! Mostly, I wish this worked better as a straight-ahead genre film, but I'm willing to forgive a movie a lot for being so angry, and political, and -- yes -- brave. No, I don't actually believe, as this film blatantly suggests, that Donald Rumsfeld ought to be shot in the head, but the fact that a big-budget shoot-'em-up has the balls to come out and say it is significant. This is an incendiary blend of '80s-style one-man-against-the-world action (think Commando) and modern political paranoia, existing in a world where every facet, nook and cranny of the state is corrupt to the core and merits absolute distrust. There's a scene late in the film where our falsely-accused protagonist enters a DOJ boardroom to plead his case, and five years ago that would have been that -- he would have presented his evidence, justice would have prevailed, and Danny Glover's sneering villain would have gotten his richly deserved comeuppance. But here the DOJ honchos can only throw up their hands, leaving Mark Wahlberg to, predictably enough, take matters into his own. The film is, sadly, kind of incompetent -- the second act sags; there are some bizarro edits and time-jumps I'm still trying to figure out; Fuqua never really seems comfortable with the action set-pieces -- but that may have worked in its favor, since were it actually good, it may have bought Fuqua and Co. more controversy than they bargained for. The last lines of Shooter are simply stunning, and the last shot suggests that the only viable option is for sensible people to leave civilization and retreat to the mountains, preferably after we hire Mark Wahlberg -- excuse me, "Bob Lee Swagger" -- to take most of the inside-the-Beltway population the fuck out.
Saturday, March 31, 2007
Saturday, March 24, 2007
The Host
The Host (Joon-Ho Bong, 2007) - B+
The first real appearance of the Creature -- not the brief glimpse of it hanging under the bridge, but immediately after that -- has to be the best genre film moment since... when? I don't know. Maybe ever. The way Bong lets us glimpse it -- following an ominous shot of the horrified protagonist, we see it galloping almost merrily toward him along the bank of a river, bowling over the hapless humans who don't catch on and run for their lives fast enough -- makes for a moment that's so big and so subtle at the same time that it took my breath away. Bong gets a lot of mileage of how matter-of-factly he shoots the creature -- no hide-the-ball set-up, no portentous reveals; the camera seems placed almost casually, affording unassuming, sometimes straight-up, sometimes partially-obstructed views. It's a monster movie liberated of the genre's stylistic trappings, and it's wonderful to see. As much as I hate to denigrate ambition, I do think that the film gets carried away with the political allegory that comes to dominate the second and third acts, if only because it winds up stretched a bit too thin; still, this is surely the year's best genre film to date.
The first real appearance of the Creature -- not the brief glimpse of it hanging under the bridge, but immediately after that -- has to be the best genre film moment since... when? I don't know. Maybe ever. The way Bong lets us glimpse it -- following an ominous shot of the horrified protagonist, we see it galloping almost merrily toward him along the bank of a river, bowling over the hapless humans who don't catch on and run for their lives fast enough -- makes for a moment that's so big and so subtle at the same time that it took my breath away. Bong gets a lot of mileage of how matter-of-factly he shoots the creature -- no hide-the-ball set-up, no portentous reveals; the camera seems placed almost casually, affording unassuming, sometimes straight-up, sometimes partially-obstructed views. It's a monster movie liberated of the genre's stylistic trappings, and it's wonderful to see. As much as I hate to denigrate ambition, I do think that the film gets carried away with the political allegory that comes to dominate the second and third acts, if only because it winds up stretched a bit too thin; still, this is surely the year's best genre film to date.
Friday, March 23, 2007
I Think I Love My Wife
I Think I Love My Wife (Chris Rock, 2007) - C+
Nope, still don't like Chris Rock -- that ever-present smirk makes me want to deck him, and I wish he would stop yelling every line; he's like the live equivalent of someone who TYPES IN ALL CAPS. As a writer and director he shows more promise: his humor is unsophisticated, relying a lot on tonal contrast, repetition, and tried-and-true gags, but he can be genuinely clever, and for all his goofiness, he takes his stories seriously. My Wife is interesting for a while, mostly because of Rock's sneaky recognition of the way people perceive any interaction between a married man and an attractive woman; it's too bad that he moves away from this notion in the third act, preferring to veer toward more traditional themes of temptation and redemption. Ultimately, there's a little too much in the way of Viagra jokes and Chris Rock smugness for this to really work (the gimmicky ending, while it sounds good on paper, bombs simply because Rock is so freakin' annoying), but there are also enough laughs and surprising nuance to keep the proceedings respectable. In particular, Kerry Washington is great in a role she could have played as mindless seductress.
Nope, still don't like Chris Rock -- that ever-present smirk makes me want to deck him, and I wish he would stop yelling every line; he's like the live equivalent of someone who TYPES IN ALL CAPS. As a writer and director he shows more promise: his humor is unsophisticated, relying a lot on tonal contrast, repetition, and tried-and-true gags, but he can be genuinely clever, and for all his goofiness, he takes his stories seriously. My Wife is interesting for a while, mostly because of Rock's sneaky recognition of the way people perceive any interaction between a married man and an attractive woman; it's too bad that he moves away from this notion in the third act, preferring to veer toward more traditional themes of temptation and redemption. Ultimately, there's a little too much in the way of Viagra jokes and Chris Rock smugness for this to really work (the gimmicky ending, while it sounds good on paper, bombs simply because Rock is so freakin' annoying), but there are also enough laughs and surprising nuance to keep the proceedings respectable. In particular, Kerry Washington is great in a role she could have played as mindless seductress.
Sunday, March 4, 2007
Zodiac, Black Snake Moan
Zodiac (David Fincher, 2007) - B+
Different interpretations abound; I think it's about the way we try to process evil, subject it to rules and regulations, then prefer to forget about it, push it aside, with the inevitable result that our hands close on air. People have complained about the last scene providing an unsolicited solution to the whodunit, but all I could think was, why couldn't they bust out that photo line-up years earlier? Answer, I take it: because of petty jurisdictional bullshit, cops fighting over territory and struggling to consolidate information, hampered at every step by egos, red tape, and the Fourth Amendment. The implication is that we set up this framework to avoid dealing with evil face-to-face, something Gyllenhaal's Robert Graysmith finally does in the film's most powerful scene; everyone else who gets uncomfortably close bails out for the sake of their lives and families. Fincher loads the 2:40 film with detail -- it's the most intricate police procedural in years -- but our knowledge that the Zodiac was never caught makes everything seem sadly quixotic. Meanwhile, what lurks behind curiously ungrammatical letters and cryptic ciphers -- the killer we never meet (or do we?) -- is genuinely scary.
Black Snake Moan (Craig Brewer, 2007) - B+
I'm tempted to accuse Brewer of being too willing to ditch his daring conceit for more conventional redemption story elements, but the whole thing winds up working so well that it's hard to complain: the final scene, in particular, is a rare movie moment, striking such a powerful chord of hope and sadness, regret and determination... it's just perfect. Amazingly, the story functions on its own terms, lest you think that a black man chaining a white woman to a radiator in Tennessee is only good for metaphor or commentary; the film gets a surprising amount of mileage out of its characters' sparse backstories, even while Samuel L. Jackson is literally dragging Christina Ricci back into his house, hand over hand. Noodles around too much in the second act, but rallies big time in the third; Jackson and Ricci are extraordinary.
Different interpretations abound; I think it's about the way we try to process evil, subject it to rules and regulations, then prefer to forget about it, push it aside, with the inevitable result that our hands close on air. People have complained about the last scene providing an unsolicited solution to the whodunit, but all I could think was, why couldn't they bust out that photo line-up years earlier? Answer, I take it: because of petty jurisdictional bullshit, cops fighting over territory and struggling to consolidate information, hampered at every step by egos, red tape, and the Fourth Amendment. The implication is that we set up this framework to avoid dealing with evil face-to-face, something Gyllenhaal's Robert Graysmith finally does in the film's most powerful scene; everyone else who gets uncomfortably close bails out for the sake of their lives and families. Fincher loads the 2:40 film with detail -- it's the most intricate police procedural in years -- but our knowledge that the Zodiac was never caught makes everything seem sadly quixotic. Meanwhile, what lurks behind curiously ungrammatical letters and cryptic ciphers -- the killer we never meet (or do we?) -- is genuinely scary.
Black Snake Moan (Craig Brewer, 2007) - B+
I'm tempted to accuse Brewer of being too willing to ditch his daring conceit for more conventional redemption story elements, but the whole thing winds up working so well that it's hard to complain: the final scene, in particular, is a rare movie moment, striking such a powerful chord of hope and sadness, regret and determination... it's just perfect. Amazingly, the story functions on its own terms, lest you think that a black man chaining a white woman to a radiator in Tennessee is only good for metaphor or commentary; the film gets a surprising amount of mileage out of its characters' sparse backstories, even while Samuel L. Jackson is literally dragging Christina Ricci back into his house, hand over hand. Noodles around too much in the second act, but rallies big time in the third; Jackson and Ricci are extraordinary.
Saturday, March 3, 2007
Raising Arizona
Raising Arizona (Joel Coen, 1987) - A-
The Coens do wonders with the English language ("We got a name for people like you. That name's called 'recidivism.'") and with comedy -- they revel in contradictions, making their characters quintessential white trash bumpkins who exhibit unexpected but consistent bursts of erudition and eloquence, alternating obstinate applications of logic to the absurd (questioning the coherence of "Freeze! Get down on the ground!"; H.I. trying to reassure Ed by telling her that she resigned as a police officer before setting off to steal the baby, and thus need not worry about breaking her oath to uphold the Constitution) with non sequiturs ("They say he's a decent man, so maybe his advisors are confused."). They are masters of tone -- it is so easy for this sort of idiosyncracy to become irritating -- and even wrap up all the silliness with an epilogue that's genuinely lovely, giving substance to what had seemed like perfectly selfish characters living in a perfectly amoral universe. It's not amoral, we realize, just unfair: the Arizonas have "more than they can handle," after all, while everyone else in the film has nothing. But that's beyond the call of duty: if you haven't seen this, rent it for the Coens' effortless command of everything they do.
The Coens do wonders with the English language ("We got a name for people like you. That name's called 'recidivism.'") and with comedy -- they revel in contradictions, making their characters quintessential white trash bumpkins who exhibit unexpected but consistent bursts of erudition and eloquence, alternating obstinate applications of logic to the absurd (questioning the coherence of "Freeze! Get down on the ground!"; H.I. trying to reassure Ed by telling her that she resigned as a police officer before setting off to steal the baby, and thus need not worry about breaking her oath to uphold the Constitution) with non sequiturs ("They say he's a decent man, so maybe his advisors are confused."). They are masters of tone -- it is so easy for this sort of idiosyncracy to become irritating -- and even wrap up all the silliness with an epilogue that's genuinely lovely, giving substance to what had seemed like perfectly selfish characters living in a perfectly amoral universe. It's not amoral, we realize, just unfair: the Arizonas have "more than they can handle," after all, while everyone else in the film has nothing. But that's beyond the call of duty: if you haven't seen this, rent it for the Coens' effortless command of everything they do.
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