Film Obsessed

Terminator Salvation opens not with a bang, but a whimper.

scswngr — Sat, 23 May 2009 22:08:20 GMT

Is there such a thing as too much Terminator? The 15 year old franchise opened its fourth major film, Terminator Salvation, last night at midnight to limited fanfare. Unlike the first two summer blockbusters, Wolverine and Star Trek, the long lines of rabid fans were absent from the opening showing of the latest Terminator installment. Perhaps it was an early Wednesday midnight opening leading into an extended weekend, the lack of history that Wolverine and Star Trek clearly have, or that disappointing third movie in the series that kept people away. It couldn't have been Christian Bale's now infamous rant could it? Whatever it was, the Bakersfield crowd was much more subdued leading into Salvation.

Even I was not as excited to see this continuation, but I was open-minded. Aside from his tirade and family problems, Christian Bale is quite an exciting actor, one of Hollywood's brightest stars. I would argue that there are not many actors willing to give so much of themselves to a role. Witness 2004's The Machinist and Bale's 62 pound weight loss and just try and question his commitment. That said, this is a Terminator movie, so the special effects alone should make it a worthwhile venture. If Terminator Salvation is anything, it is fun and exciting.

The acting and plot were nothing exceptional, and the plot, not really that unique, but the action and special effects really carried this movie. We join John Connor in the year 2018, now in a full-fledged war with the machines of Skynet. While Connor is widely seen as a pariah, not everyone is quick to follow. The leaders of the human resistance don't all share the belief that Connor is the key to victory (think about the council in The Matrix Reloaded). When John finds out his father Kyle Reese, currently a teenager, is marked as the number one Skynet target, he sets out to find and save him, because if he doesn't he won't be able to travel back in time and impregnate his mother. Wrap your head around that. Of course, he could never do it alone.

Terminator Salvation reiterates that a human alone can't destroy Skynet. It will of course take the help of a Terminator, in this case, Marcus Wright, a part-human part-terminator. As the wobbly plot continues toward its dénouement, we get to see a number of explosions, human bodies and Terminator bodies flying around. Although there are a couple of fun surprises along the way, there isn't much new to this film and no memorable catch phrases. Salvation is not going to save the franchise, but it's certainly leagues ahead of its predecessor, Terminator 3. If you're hungry for more futuristic robot action, great special effects, and a slew of new Terminator vehicles, go see it, it plays well on a big screen, just don't expect too much character development or fresh plot ideas.

Is there such thing as too much Terminator? Probably not. After all, there is a whole planet of Skynet led technology to fight, so it's safe to say, Terminator "will be back".

Difficult & Brilliant

scswngr — Fri, 13 Mar 2009 06:32:22 GMT

I don't feel I am capable of a just expository of this film. It is both difficult and brilliant. At the same moment I found myself asking what the heck just happened, I found myself longing to watch this movie again and again. There are simple truths harbored within this work and complexities that will have you searching and interpreting much like you would a classic painting. Synedoche New York is art in its highest and most challenging form. It is not a film for the casual movie renter, but a revelation for the film connoisseur.

Should Win...Will Win...Missing?...My Oscar Predictions!

scswngr — Sun, 22 Feb 2009 23:39:44 GMT

As I scramble to catch the last couple of films that will complete my Oscar Watch List, I am prematurely making my picks for the statuettes tomorrow night. I will save judgement on the Foreign Language and Documentary Short categories, neither of which I have had the opportunity to get into since I live in a town where you can see 4 screens of Rambo, but you're lucky to get to see an independent or foreign film only months after it comes out on DVD at the local film club. That being said, I have also not had the chance to see 3 of the Documentary Features, but am confident in my decision in that category nonetheless. Otherwise, by tomorrow night's Academy Awards ceremony I will have seen every single movie nominated in every other category.

So, onto my picks:

Screenplay, Original
Should Win: Milk
Will Win: Milk
Missing: The Wrestler

Screenplay, Adapted
Should Win: Doubt or The Reader
Will Win: Slumdog Millionaire

Visual Effects
Should Win: Iron Man
Will Win: The Curious Case of Benjamin Button
Missing: Speed Racer

Sound Mixing
Should Win: WALL-E
Will Win: The Dark Knight

Sound Editing
Should Win: The Dark Knight
Will Win: The Dark Knight

Short Film, Live Action
Should Win: Grisen (The Pig)
Will Win: Spielzeugland (Toyland)

Short Film, Animated
Should Win: Presto
Will Win: Presto

Original Song
Should Win: "Jai Ho" from Slumdog Millionaire
Will Win: "Jai Ho" from Slumdog Millionaire
Missing: "The Wrestler" by Bruce Springsteen from The Wrestler

Original Score
Should Win: Slumdog Millionaire
Will Win: Slumdog Millionaire

Makeup
Should Win: Hellboy II
Will Win: The Curious Case of Benjamin Button

Film Editing
Should Win: Slumdog Millionaire
Will Win: Slumdog Millionaire

Documentary Feature
Should Win: Man on Wire
Will Win: Man on Wire

Costume Design
Should Win: The Duchess
Will Win: The Duchess

Cinematography
Should Win: The Curious Case of Benjamin Button
Will Win: Slumdog Millionaire
Missing: Brideshead Revisited

Art Direction
Should Win: The Curious Case of Benjamin Button
Will Win: The Curious Case of Benjamin Button

Animated Feature
Should Win: WALL-E
Will Win: WALL-E

Directing
Should Win: David Fincher for The Curious Case of Benjamin Button
Will Win: Danny Boyle for Slumdog Millionaire
Missing: Darren Aronofsky for The Wrestler

Actress, Supporting
Should Win: Penelope Cruz in Vicky Cristina Barcelona
Will Win: Viola Davis in Doubt

Actor, Supporting
Should Win: Heath Ledger in The Dark Knight
Will Win: Heath Ledger in The Dark Knight

Actor, Leading
Should Win: Mickey Rourke in The Wrestler
Will Win: Sean Penn in Milk
Missing: Leonardo Dicaprio in Revolutionary Road

Actress, Leading
Should Win: Anne Hathaway in Rachel Getting Married or Meryl Streep in Doubt
Will Win: Kate Winslet in The Reader
Missing: Kate Winslet in Revolutionary Road

Best Picture
Should Win: Milk
Will Win: Slumdog Millionaire
Missing: The Wrestler, Doubt, and The Dark Knight

Should Win...Will Win...Missing?...My Oscar Predictions!

scswngr — Sun, 22 Feb 2009 05:31:41 GMT

Screenplay, Original
Should Win: Milk
Will Win: Milk
Missing: The Wrestler

Screenplay, Adapted
Should Win: Doubt or The Reader
Will Win: Slumdog Millionaire

Visual Effects
Should Win: Iron Man
Will Win: The Curious Case of Benjamin Button
Missing: Speed Racer

Sound Mixing
Should Win: WALL-E
Will Win: The Dark Knight

Sound Editing
Should Win: The Dark Knight
Will Win: The Dark Knight

Short Film, Live Action
Should Win: Grisen (The Pig)
Will Win: Spielzeugland (Toyland)

Short Film, Animated
Should Win: Presto
Will Win: Presto

Original Song
Should Win: "Jai Ho" from Slumdog Millionaire
Will Win: "Jai Ho" from Slumdog Millionaire
Missing: "The Wrestler" by Bruce Springsteen from The Wrestler

Original Score
Should Win: Slumdog Millionaire
Will Win: Slumdog Millionaire

Makeup
Should Win: Hellboy II
Will Win: The Curious Case of Benjamin Button

Film Editing
Should Win: Slumdog Millionaire
Will Win: Slumdog Millionaire

Documentary Feature
Should Win: Man on Wire
Will Win: Man on Wire
Missing: Gonzo

Costume Design
Should Win: The Duchess
Will Win: The Duchess

Cinematography
Should Win: The Curious Case of Benjamin Button
Will Win: Slumdog Millionaire
Missing: Brideshead Revisited

Art Direction
Should Win: The Curious Case of Benjamin Button
Will Win: The Curious Case of Benjamin Button

Animated Feature
Should Win: WALL-E
Will Win: WALL-E

Directing
Should Win: David Fincher for The Curious Case of Benjamin Button
Will Win: Danny Boyle for Slumdog Millionaire
Missing: Darren Aronofsky for The Wrestler

What You Probably Missed: The Best Short Film, Live Action Nominees for 2008

scswngr — Thu, 19 Feb 2009 08:24:00 GMT

A couple of weeks ago, for the second year in a row, I had the pleasure of traveling a scant 110 miles to the south to view The Best Short Film nominees for this year's Oscars. Unless you live in either a well-cultured or big city, you probably didn't get this opportunity, but do not fear; I am here to break down all the nominees and give you something to think about when the category gets mentioned this Sunday.

Although there are a limited number of screenings, you can catch most of the films on iTunes now for a mere $1.99 each, for those of you less concerned, wait a couple of months after the Oscars, and you should be able to rent a DVD collection of the shorts at your local Blockbuster or via your online rental service.

Last year, I felt the decision was easy, Le Mozart des Pickpockets, was far and away the best film in the category. The decision this year will not be as clear. Each film was engaging and enjoyable, unlike last year's painfully long Om Natten (At Night), which practically put me to sleep.

Auf der Strecke (On the Line), a film about a voyeuristic security guard named Rolf who becomes enamored with Sara, a bookstore clerk in the mall he oversees opened the screening. Rolf goes out of his way to get close to Sara by rushing to ride the train home with her each night, but never seems to have the nerve to approach her romantically. It is not until a tragedy occurs on the subway which touches both characters personally, that Rolf finally gets his chance with Sara. Unfortunately, Rolf may have been in a position to prevent the tragedy from happening, and his regret threatens to destroy what he has found with Sara. On the Line is a well-constructed morality play with a brilliant closing shot.

The French short, Manon on the Asphalt, follows a woman’s interpretation of what will occur upon her death in a traffic accident. As Manon lies in the street after being struck on her bike, it is not her life that flashes before her eyes, but the unfolding story of how her loved ones will learn the news. We are treated to quick scenes of Manon’s life with each person and their reactions when they get the call. Manon on the Asphalt is a unique and often endearing vision of a person’s perspective while close to death.

The lone English language offering in the bunch is the Irish short, New Boy. When Joseph, a nine-year old African boy becomes the new kid in an Irish classroom, he is immediately tormented by the class trouble-maker. Through flashbacks we learn of Joseph’s difficult past as he draws upon his experience to resist the bully sitting behind him. Joseph’s stoic nature gives way to a defensive maneuver that gets both boys in hot water with the teacher. It is only then that the two learn just how alike they really are. New Boy is a rewarding story that will take you back a few years, when you occupied a desk in a room full of students.

Grisen (The Pig) had to be the most enjoyable film of the bunch. When a man is admitted to a hospital for a colonoscopy he finds comfort in a painting of a pig which hangs on the wall of his room. After the procedure when the man wakes in his hospital room, he finds the painting missing. A comic obsession with a picture quickly turns into a heated dispute with his Muslim roommate’s family. The battle ignites a debate between his individual rights and the family’s need for religious tolerance. Although the subject is serious, the man’s obsession will keep you laughing through the film’s ironic ending.

It will likely be Spielzeugland (Toyland) that grabs the Oscar on Sunday, according to a number of so called experts. Its Holocaust subject matter is one the Academy Award voters have identified with before. Heinrich, a German boy getting Piano lessons from the Jewish family downstairs begins to question his mother about the biased treatment the Silbersteins are receiving. Trying to protect him from the truth, Heinrich’s mother tells him that the Silbersteins will soon be moving to Toyland. Heinrich, of course, wants to go with the Jewish family to Toyland. The story leads to a climax when both the Silbersteins and Heinrich disappear one day. Will the mother’s lie destroy her, or will she find a way to save her son? Spielzeugland is a great film, but it feels an awful lot like Life is Beautiful and I think a vote for another Holocaust movie will be more of the same for the Academy.

If I had my vote, Grisen would probably get it, but I could easily understand if any of the films won. This is truly a group of gems that you should try and see. I only wish the short films could garner more attention from the movie theaters and the public. Although they are becoming more accessible, they will never be the money makers big budget films are, but they are a way to discover new talent, and you might have a chance to say I knew about that director or writer back when…

Tomorrow I will post my thoughts on the nominees for Best Short Film, Animated.

Slumdog-Millionaire a 2nd Coming of Crash?

scswngr — Mon, 12 Jan 2009 09:28:19 GMT

After watching the Golden Globes tonight I have an eerily similar feeling as I did in early 2006 when I watched Crash gaining undeserved steam as it rocketed toward an eventual Best Picture win at the Academy Awards. This year, I am beginning to resent multiple-Golden Globe winner Slumdog Millionaire in much the same way.

Don't get me wrong, I liked the movie a lot, I just feel like its getting all the notice because its so different than the normal Hollywood award fare. Slumdog is definitely worthy of a top 10 listing this year, the same as I felt for Crash in 2006, but I truly don't believe it is the best picture of the year. Certain elements of Slumdog definitely deserve recognition, including editing, direction, and score, but I don't think they should be a lock in any of those categories either. I haven't even made my way through half of the nominees for this year's Golden Globes, and I have already seen 3 other great films in the last week alone (Milk, Brideshead Revisited, and The Wrestler), each of which I would rank above Slumdog.

I just hope all this momentum doesn't translate into Slumdog winning the Academy Award for Best Picture because of its popularity with all the other voters. But then again, I often think the Academy gets it wrong, with a noted exception for Departed in 2007.

The Dark Knight: Everything You Thought Those Spider-Man Sequels Were Going to Be

scswngr — Sat, 19 Jul 2008 12:41:12 GMT

The Dark Knight is everything it has been advertised to be: exciting, captivating, and enthralling. It is the first major category Oscar worthy movie I have seen in 2008, and not just for the gripping and chilling final performance of Heath Ledger, who certainly deserves a Best Supporting Actor nod. This Batman movie bests all of its predecessors. It is the best Super-Hero sequel movie i have ever seen, and may just be worthy of a Best Picture nomination come January 2009.

Sequel success is not a new thing in Hollywood, but more often then not Super-Hero follow ups fall short of their first chapters. Not only does The Dark Knight up the ante, it takes the whole pot, which is a relief considering one of the last Super-Hero franchises, Spider-Man, which showed early success, has trailed off into mediocrity. Heath Ledger's turn as the Joker is everything Alfred Molina's Doctor Octopus could only dream of being in Spider-Man 2. Maniacal, sadistic, and calculating, Ledger's Joker even makes Jack Nicholson's 1989 Batman performance seem like Bozo the Clown.

Even my fear of Batman falling into the same trap as Spider-man 3, by writing in too many villains (and therefore too many plotlines), were quelled by Christopher Nolan and brother John's brilliant script. Aaron Eckhart's Harvey Dent/Two-Face was fresh and unexpected, adding more depth and emotion to The Dark Knight. The Nolan's succeeded where the Spider-man 3 writers failed with Sandman, Venom, and Green Goblin II, not by keeping it simple, but by creating a truly intertwined story-line for their villians.

This film certainly has it all, doing everything right for both the die-hard comic book fanboy and the pedestrian blockbuster movie-goer. The casting for every character is dead-on, including the replacement of love interest Rachel Dawes with actress Maggie Gyllenhaal who provides a much more believable peformance than her predecessor Katie Holmes. Many people will come to the theater to see Ledger at his absolute best, and he certainly is, but they will also leave the theater raving about the amazing action sequences and the engaging story-line. They will leave thirsting for more, and wondering how in the world another Super-Hero sequel, let alone another Batman sequel could possibly top this.

Wong Kar-Wai I still love you.

scswngr — Thu, 26 Jun 2008 06:45:27 GMT

About 13 or 14 years ago I fell in love with Wong Kar-Wai and foreign film when I saw Chungking Express. my blueberry nights had me reminiscing and remember why I love this director even more than many of his intervening films have over the past decade. Although I could have done without the closing line in the film (I really though the visual spoke for itself), my blueberry nights is a worthy english language addition to Wong's already phenomenal repertoire. I even watched with the subtitles on, and felt like I was a teenager again, beginning to truly recognize the beauty of film.

Quit Hating on George and Steven

scswngr — Fri, 23 May 2008 15:57:49 GMT

I listened to Us Weekly staff writer Daniel Holloway's review on Indiana Jones and the Kindgom of the Crystal Skull this morning which was titled 'Indiana': Great Name, Nice Guy, Bad Movie. Daniel and Bryant Park continue to poke fun at the film and trash talk George Lucas and Steven Spielberg. Trash talking Lucas isn't a new thing, there was plenty of that going on when he helmed the new Star Wars trilogy, especially the often annoying Phantom Menace. Daniel compares Shia Lebouf's character Mutt to Jar Jar Binks and the two agree that while Lucas's original trilogies are great, he seems to lose inspiration and fall short when he makes a 4th movie.

First of all, stepping back from my distaste of Jar Jar Binks (the kids seem to like him, he's an Ewok for a new generation), The Phantom Menace really wasn't all that bad. Recapturing greatness is very difficult, what that film does that Kingdom of the Crystal Skull does is bring you back to the familiar. The opening scenes of both films reintroduce us to our beloved heroes and show us exactly what they are still capable of doing, exciting us. The two critics also throw in a slight stab at Spielberg, by questioning his re-editing of E. T. The Extra-Terrestrial, which I didn't like, but I can certain understand his good intentions of taking the guns out of the film. I saw E.T. when I was five years old in the theater, and if I had a five year old I could certainly undersand the desire to not subject your child to an image of violence.

What it comes down to is fun, this is what Star Wars, E.T., and Indiana Jones all have in common. They are captivating movies that stimulate the audience, they don't need to be critical successes. If you want critical success, go watch Citizen Kane, but if you want adventure and excitement, go watch Indiana Jones and the Kingdom of the Crystal Skull. It's exactly what every nostalgic person needs, a little of the familiar. As for George and Steven, give them a break, they've earned the right to make whatever movie they want to, their films don't always have to be genius, but they are always fun.

An excavated series, still fun after 19 years.

scswngr — Fri, 23 May 2008 01:59:02 GMT

Everywhere, a little after midnight this morning George Lucas & Steven Spielberg fanboys rejoiced aloud as the Lucasfilm trademark graced the screen and Indiana Jones and the Kingdom of the Crystal Skull officially launched its opening weekend. Through the mass of fedora's crowding the theater, the year 1957 emerged onscreen, exactly 19 years after the last Indiana Jones adventure, and the audience sat quiet waiting to see a screen legend brought back to life. This summer, and possibly the year's most anticipated movie was set to deliver one incredible experience.

Much like the previous three movies, Indy jumps into action, delivering a tense and dangerous opening chase scene only a few minutes into the movie. The 1957 Indy has been kidnapped by the Russians, the Cold War enemy, and daringly escapes his captors only to find himself being questioned about his political allegiances by a newly formed FBI. We soon find out that Indy has been busy over the last 19 years working for the government, teaching, "part-time", and expresses his disgust for his government's McCarthyism.

Following the Indiana Jones formula, we launch into the plot when Indy gets a mysterious message delivered to him by a young misfit named Mutt, (Shia Lebouf). Mutt and Indy are soon on their way to save a fellow friend in South America and search for the lost City of Gold. Villianess Irina Spalko (Cate Blanchett) is waiting with her Communist cohorts for Indy and his newfound accompliss, and the regular Indy plot unfolds. Sure its a familiar plot, Indy has to save the world from evil, there are more surprises along the way, including an appearance from old flame Marion Ravenwood (Karen Allen) from Raiders of the Lost Ark.

Despite its familiarity, Kingdom of the Crystal Skulls delivers punch after punch of teeth gritting action. Indiana Jones is synonymous with Adventure and this time we are wowed by the special effects that seemed so hokey in the original trilogy. Kingdom is a more than worthy successor to a franchise that has already captivated us and hopefully will continue to. Nineteen years later I am still happy to follow Indy...maybe into the sixties.