Here's Round 2
It has been about a week, which means it's high time for my newest installment of My Journal. Although I'm not watching a film every day, I am making up for it when I can. These are films 5-13, so I think that puts me ahead of the count by about one. Keep on keeping on.
****WARNING****SPOILERS****
5.) Captain America: The First Avenger (2011) 11/12/12
6.) Hellboy (2004)
11/13/12
Staring Ron Perlman, Slema Blair,
and John Hurt and directed by the always interesting Guillermo del Toro. In
contrast to Captain America, Hellboy is a much more well-rounded
film. The major difference being: character development. This is something that
del Toro as a director is good at doing while blending his uniquely Gothic style of filmmaking. The special effects, like in his more critically adored
film Pan’s Labyrinth, are not all
CGI, and they add a more substantial and gritty texture to the action. Hellboy
as a character is complex and so is his love-interest, they are well written
and have a telling past. Hellboy obviously has been locked up and branded an
outcast by the media and even the government. Liz (Blair) has been hazed for
her unique ability to set herself a blaze and has coping issues with it. You
get the sense of this conflict in the characters from the very beginning. This is
something that isn’t often seen in action/super hero flicks (ie Captian America) very often. Also the
action sequences didn’t over shadow the story.
7.) Thor
(2011) 11/13/12
Staring Chris Hemsworth, Anthony Hopkins and the always lovely but unpredictably inconsistent Natalie Portman. Directed by Kenneth Branagh. I watched this film to finish of the superhero/comic book kick that I was on, seeing that it was available streaming. I was also intrigued by two elements: Kenneth Branagh and Natalie Portman. Branagh has had a sketchy career as a director and should probably stick to acting, preferably as Sir Lawrence Olivier in My Week with Marilyn (2011) where acted as a director better than he directed. For instance, he and cinematographer chose so many unsavory dutch-tilts throughout the film, particularly at the beginning of action sequences, that the typically useful and jarring camera angle just became annoying and predictable. Branagh’s interest in theatrical or Shakespearean-esque dramas is obvious, but his delve into this superhero/comic book/whatever-you-want-to-call-it genre that is taking over movie screens just seems formulaic. And Portman’s involvement must have been the result of some sort of Entourage-type contract arrangement, but as my roommate recently pointed out to me, she has a track record of inconsistent roles (i.e. the Star Wars prequels). She’s beautiful in this film, but she slips into an over acted performance, making me roll my eyes with how cheesy and predictable the lines delivered when she first “runs into” Thor and how she oogles over him in her trailer because of his big muscles and his arrogance. Fortunately I’m done with the film.
Staring Chris Hemsworth, Anthony Hopkins and the always lovely but unpredictably inconsistent Natalie Portman. Directed by Kenneth Branagh. I watched this film to finish of the superhero/comic book kick that I was on, seeing that it was available streaming. I was also intrigued by two elements: Kenneth Branagh and Natalie Portman. Branagh has had a sketchy career as a director and should probably stick to acting, preferably as Sir Lawrence Olivier in My Week with Marilyn (2011) where acted as a director better than he directed. For instance, he and cinematographer chose so many unsavory dutch-tilts throughout the film, particularly at the beginning of action sequences, that the typically useful and jarring camera angle just became annoying and predictable. Branagh’s interest in theatrical or Shakespearean-esque dramas is obvious, but his delve into this superhero/comic book/whatever-you-want-to-call-it genre that is taking over movie screens just seems formulaic. And Portman’s involvement must have been the result of some sort of Entourage-type contract arrangement, but as my roommate recently pointed out to me, she has a track record of inconsistent roles (i.e. the Star Wars prequels). She’s beautiful in this film, but she slips into an over acted performance, making me roll my eyes with how cheesy and predictable the lines delivered when she first “runs into” Thor and how she oogles over him in her trailer because of his big muscles and his arrogance. Fortunately I’m done with the film.
8.) The
Walking Dead (2010-2012) 11/14/12 – 11/17/12
( I know this is not a movie, but it’s the same basic concept and I spent a lot of hours committed to the series so here it is.)
Created by Frank Darabont (director of the excellent adaptation of Stephen King’s The Shawshank Redemption and a film I feel is highly underrated The Mist, both co-incidentally co-starring Jeffrey DeMunn who is Dale in The Walking Dead and delivers and equally excellent performance.) So, I know I’m way too late on The Walking Dead bandwagon; I’m way behind on the “best show on television,” according to many of my friends, but I got to it, started it, and am hooked. The success of other AMC shows aside and done on an incredibly cheap budget especially in the early episodes, the success of this show probably comes from its holding true to original zombie apocalypse films, like Night of the Living Dead. Although in my opinion there is a lot of over acting and cheesy zombie attacks, I respect the choice of the show’s creators to execute it this way, holding true to that original campy-ness, because they establish the strong social commentary based on every decision made by each character and how it affects the rest of each group. Several characters in particular stand out to me. Dale was probably my favorite character, selfless (for the most part), wise and forward thinking; he provided the rest of the group with a moral compass. He of all the other characters tried continually to hold onto that little bit of the past, that little bit of “civilization,” if you will. Although Rick claims to be trying to do so, his decisions are too often influenced by his family and Shane (a hot-headed Neanderthal, in my opinion) who usually forces his hand. The most underrated of the characters is of course Glenn, who has the best intentions, and is absolutely right when he says, “I’m tired of lying. I’m not good at it, and people get killed when you don’t tell the truth.” (That is, of course, paraphrased.) And, to keep this post short, I’ll end by saying that I also approve of Glenn’s decision to start the repopulation of the post-apocalyptic world with that farm girl. You go Glenn.
( I know this is not a movie, but it’s the same basic concept and I spent a lot of hours committed to the series so here it is.)
Created by Frank Darabont (director of the excellent adaptation of Stephen King’s The Shawshank Redemption and a film I feel is highly underrated The Mist, both co-incidentally co-starring Jeffrey DeMunn who is Dale in The Walking Dead and delivers and equally excellent performance.) So, I know I’m way too late on The Walking Dead bandwagon; I’m way behind on the “best show on television,” according to many of my friends, but I got to it, started it, and am hooked. The success of other AMC shows aside and done on an incredibly cheap budget especially in the early episodes, the success of this show probably comes from its holding true to original zombie apocalypse films, like Night of the Living Dead. Although in my opinion there is a lot of over acting and cheesy zombie attacks, I respect the choice of the show’s creators to execute it this way, holding true to that original campy-ness, because they establish the strong social commentary based on every decision made by each character and how it affects the rest of each group. Several characters in particular stand out to me. Dale was probably my favorite character, selfless (for the most part), wise and forward thinking; he provided the rest of the group with a moral compass. He of all the other characters tried continually to hold onto that little bit of the past, that little bit of “civilization,” if you will. Although Rick claims to be trying to do so, his decisions are too often influenced by his family and Shane (a hot-headed Neanderthal, in my opinion) who usually forces his hand. The most underrated of the characters is of course Glenn, who has the best intentions, and is absolutely right when he says, “I’m tired of lying. I’m not good at it, and people get killed when you don’t tell the truth.” (That is, of course, paraphrased.) And, to keep this post short, I’ll end by saying that I also approve of Glenn’s decision to start the repopulation of the post-apocalyptic world with that farm girl. You go Glenn.
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| Maria Schell |
9.) The Brothers Karamazov (1958)
11/20/12
Based off of the novel by Dostoevsky which I’ve never read, starring Yul Brenner, Lee J. Cobb (from 12 Angry Men and On the Waterfront amongst others), and ole William Shatner as the priest Alexi Karamazov. To my surprise, this film was directed by Richard Brooks who direct Cat on a Hot Tin Roof and In Cold Blood amongst other notable films that I won’t bore you enumerating. His style in this film at least was a surprise to me. Cat and Cold Blood, although really good movies, are more conventional stylistically. For example the lighting in this film reminds me of German expressionism but with colors. Brooks blends greens and blues and reds in his lighting, which is a far cry from many movies you see today, and after having watched Thor not too long before this film, it was a shocking change of pace from the lighting palate of blue in contrast with orange that seems to be the industry standard in movies nowadays. On a lighter note, Maria Schell plays the foxy temptress who literally dances between the eternally drunk Father Karamazov (Cobb) and the gambling romantic Dmitri (Brenner). She is so elegant and true when responding to Dmitri’s bride-to-be Katya’s pleas as to why she wouldn’t let Dmitri from her attention, Schell sweetly replies something like “If you were ever to experience the pleasure of passion, you would understand why I can’t be without Dmitri. Because there is passion whenever I’m with him.”
Based off of the novel by Dostoevsky which I’ve never read, starring Yul Brenner, Lee J. Cobb (from 12 Angry Men and On the Waterfront amongst others), and ole William Shatner as the priest Alexi Karamazov. To my surprise, this film was directed by Richard Brooks who direct Cat on a Hot Tin Roof and In Cold Blood amongst other notable films that I won’t bore you enumerating. His style in this film at least was a surprise to me. Cat and Cold Blood, although really good movies, are more conventional stylistically. For example the lighting in this film reminds me of German expressionism but with colors. Brooks blends greens and blues and reds in his lighting, which is a far cry from many movies you see today, and after having watched Thor not too long before this film, it was a shocking change of pace from the lighting palate of blue in contrast with orange that seems to be the industry standard in movies nowadays. On a lighter note, Maria Schell plays the foxy temptress who literally dances between the eternally drunk Father Karamazov (Cobb) and the gambling romantic Dmitri (Brenner). She is so elegant and true when responding to Dmitri’s bride-to-be Katya’s pleas as to why she wouldn’t let Dmitri from her attention, Schell sweetly replies something like “If you were ever to experience the pleasure of passion, you would understand why I can’t be without Dmitri. Because there is passion whenever I’m with him.”
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| Robert Young and Eleanor Powell in Honolulu |
10.) Rosalie
(1937) 11/21/12
Directed by the esteemed W. S. Van Dyke (who did Tarzan the Ape Man and The Thin Man films.) Staring Eleanor Powell, Frank Morgan and Ray Bolgar. Now, you may not regognize these actors’ names, if you saw them in this musical from 1937, you would say, “Hey! Isn’t that the wizard! And that’s the scarecrow!” Yes, Morgan played the wizard from The Wizard of Oz, and Bolgar was the scarecrow. The film Rosalie was produced from the same studio as The Wizard of Oz: MGM, which during the 30’s was known for its musicals. Also during this era, actors, actresses, directors, etc. were in contract to certain studios, which meant that often times, actors and actresses would be in many movies together. Thus, MGM gives you this film starring practically half the cast of one of the most timeless film classics. I watched this film on TCM (the best station on cable! No arguments, it’s a fact.) as part of their Eleanor Powell 100th birthday Tribute. This was the first movie of the day that I watched with her in it, and the most striking moment to me came from this tap dance number she does as she’s disguised in a military uniform of some sort. Powell is light on her feet and trying to prove to the rest of the boy that she is one of them, only to reveal herself and her long locks at the end of the number. Typically, I’m not a fan of musicals, but every now and then, TCM reminds me of the magic of movies. One of there old films is playing and at that point in time, I just decide to stop and watch…and watch and watch, and every second is magical. I’m transported into Hollywood’s dreamland. This film wasn't particularly a great film, but it put my mind in that mood that comes about this time every year, when all I want to do is relive the magic of great classic movies.
Directed by the esteemed W. S. Van Dyke (who did Tarzan the Ape Man and The Thin Man films.) Staring Eleanor Powell, Frank Morgan and Ray Bolgar. Now, you may not regognize these actors’ names, if you saw them in this musical from 1937, you would say, “Hey! Isn’t that the wizard! And that’s the scarecrow!” Yes, Morgan played the wizard from The Wizard of Oz, and Bolgar was the scarecrow. The film Rosalie was produced from the same studio as The Wizard of Oz: MGM, which during the 30’s was known for its musicals. Also during this era, actors, actresses, directors, etc. were in contract to certain studios, which meant that often times, actors and actresses would be in many movies together. Thus, MGM gives you this film starring practically half the cast of one of the most timeless film classics. I watched this film on TCM (the best station on cable! No arguments, it’s a fact.) as part of their Eleanor Powell 100th birthday Tribute. This was the first movie of the day that I watched with her in it, and the most striking moment to me came from this tap dance number she does as she’s disguised in a military uniform of some sort. Powell is light on her feet and trying to prove to the rest of the boy that she is one of them, only to reveal herself and her long locks at the end of the number. Typically, I’m not a fan of musicals, but every now and then, TCM reminds me of the magic of movies. One of there old films is playing and at that point in time, I just decide to stop and watch…and watch and watch, and every second is magical. I’m transported into Hollywood’s dreamland. This film wasn't particularly a great film, but it put my mind in that mood that comes about this time every year, when all I want to do is relive the magic of great classic movies.
11.) Honolulu
(1939) 11/21/12
Directed by Edward Buzzell (who directed the latter 2 Thin Man films.) Starring again Eleanor Powell who is indeed quite lovely, and George Burns and Gracie Allen! That’s right folks form The Burns and Allen Show. If many of you don’t know this show, it’s your loss. It was on in the early years of television and unfortunately not a lot of the episodes exist today. Television studios where in the habit those days of filming shows, then reusing the tapes that they recorded TV shows on as a way to save money, so many early television shows are lost. But I digress; the film was really stolen by Gracie Allen. Eleanor Powell although lovely and wonderful in a tap dance number around the pool on the ship to Honolulu, is overshadowed by Allen’s hysterical and witty comic relief. For example, when she meets Robert Young’s character (yes, Robert Young from Father Know’s Best), Allen quips “My name is Millicent De Grasse, but most people just cut De Grasse.” Show stealer! There is also an adorable and funny moment at the end of the film when Burns and Allen share their first scene of the film. Burns and Allen were married for about forty years before Allen’s death in 1964. The scene at the end of the film sort of sums up there school mate kind of crush for each other. Find the film and watch it, because I have difficulty summing a moment that pure. Also, my first exposure to George Burns was from my grandma, who showed me and my siblings the film Oh, God! Burns plays an ornery God, and John Denver plays the helpless, down-on-his-luck protagonist. I need to watch that one again.
Directed by Edward Buzzell (who directed the latter 2 Thin Man films.) Starring again Eleanor Powell who is indeed quite lovely, and George Burns and Gracie Allen! That’s right folks form The Burns and Allen Show. If many of you don’t know this show, it’s your loss. It was on in the early years of television and unfortunately not a lot of the episodes exist today. Television studios where in the habit those days of filming shows, then reusing the tapes that they recorded TV shows on as a way to save money, so many early television shows are lost. But I digress; the film was really stolen by Gracie Allen. Eleanor Powell although lovely and wonderful in a tap dance number around the pool on the ship to Honolulu, is overshadowed by Allen’s hysterical and witty comic relief. For example, when she meets Robert Young’s character (yes, Robert Young from Father Know’s Best), Allen quips “My name is Millicent De Grasse, but most people just cut De Grasse.” Show stealer! There is also an adorable and funny moment at the end of the film when Burns and Allen share their first scene of the film. Burns and Allen were married for about forty years before Allen’s death in 1964. The scene at the end of the film sort of sums up there school mate kind of crush for each other. Find the film and watch it, because I have difficulty summing a moment that pure. Also, my first exposure to George Burns was from my grandma, who showed me and my siblings the film Oh, God! Burns plays an ornery God, and John Denver plays the helpless, down-on-his-luck protagonist. I need to watch that one again.
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| George Burns and Gracie Allen |
12.) The
Girl with the Dragon Tattoo (2011) 11/21/12
Starring Daniel Craig (quickly becoming one of my favorite contemporary actors) and Rooney Mara. Directed by one of my favorite directors David Fincher (with a résumé too long to sum up but some of my favorites are Benjamin Button, The Social Network, and Fight Club.) Fincher does it again. Typically, I’m not a big fan of remakes, but as Rosalie did to me for musicals, Fincher did with remakes. While maintaining a true sense of the novel and the original film, Fincher was able to create his own piece of art, something that is often times lost when films are remade. A good remake of a film or adaptation of a book should stand alone as its own piece of art, and in my opinion, shouldn’t be judged on its commitment to the previous work. Dragon Tattoo does exactly that, beginning with the way Craig is photographed, scruffy, scratched face, a man with wrinkles caused by stresses. The beauty of the art direction when Mikael (Craig) first arrive on the island, the image almost looks as if it is filmed in black and white. The starch snow against the black outlines of the cars and Mikael’s dark clothing. It represents the “facts” of Anita’s death that for so long have seemed black and white. I could go on and on about the Fincher’s photography, but I will be brief concluding with one of the most unique moments in the film. Near the end, when Mikael is tied up by Martin (played by another great actor in the film Stellan Skarsgard). Martin flips in a little tune “Sail Away” as he’s about to cut Mikael up. The scene is reminiscent, to me at least, of the cocaine-purchase-gone-wrong scene near the end of Boogie Nights and Funny Games, oh and American Psycho’s Huey Lewis chop scenes. The light music mixed with the seriousness of murder makes it all the more chilling!
Starring Daniel Craig (quickly becoming one of my favorite contemporary actors) and Rooney Mara. Directed by one of my favorite directors David Fincher (with a résumé too long to sum up but some of my favorites are Benjamin Button, The Social Network, and Fight Club.) Fincher does it again. Typically, I’m not a big fan of remakes, but as Rosalie did to me for musicals, Fincher did with remakes. While maintaining a true sense of the novel and the original film, Fincher was able to create his own piece of art, something that is often times lost when films are remade. A good remake of a film or adaptation of a book should stand alone as its own piece of art, and in my opinion, shouldn’t be judged on its commitment to the previous work. Dragon Tattoo does exactly that, beginning with the way Craig is photographed, scruffy, scratched face, a man with wrinkles caused by stresses. The beauty of the art direction when Mikael (Craig) first arrive on the island, the image almost looks as if it is filmed in black and white. The starch snow against the black outlines of the cars and Mikael’s dark clothing. It represents the “facts” of Anita’s death that for so long have seemed black and white. I could go on and on about the Fincher’s photography, but I will be brief concluding with one of the most unique moments in the film. Near the end, when Mikael is tied up by Martin (played by another great actor in the film Stellan Skarsgard). Martin flips in a little tune “Sail Away” as he’s about to cut Mikael up. The scene is reminiscent, to me at least, of the cocaine-purchase-gone-wrong scene near the end of Boogie Nights and Funny Games, oh and American Psycho’s Huey Lewis chop scenes. The light music mixed with the seriousness of murder makes it all the more chilling!
Directed by William Wyler (Ben-Hur), starring Gregory Peck, Eddie Albert, and the baby-doll faced Audrey Hepburn. I’m a sucker for romantic films, especially older films, and everything that I love about this film is embodied in Audrey Hepburn’s innocence as the princess. Essentially a Cinderella story in flipped from rags to riches to riches to rags (a plot seen a few times since I’m sure), Hepburn is the sweetest in the scene along the river. Yes it is the most iconic scene of the film, but for a reason. It’s the moment that Gregory Peck falls for Hepburn (little did Peck know, that the audience fell for her form the opening scene.) Both soaking form evading the secret service after her, Peck looks into her eyes, water dripping from her short, dark curls, embraces her with a kiss. What a wonderful moment. It is like salt on the wound after watching the exchange between Peck and Hepburn in his room shortly after, where they both realize the complexity and impossibility of their love for each other.
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