Serenity (2005)

Watched Serenity for the second time. Last I saw it was... 7 years ago (?) when it came out on DVD. Liked it better this time around, maybe cause I was more invested having watched part of the series now. I always liked Wash and Jayne, probably because Tudyk and Baldwin are two of my favorite character actors. But I appreciated Mal much more this time around knowing more of his backstory. I still hold that Nathan Fillion is too likable a person to convincingly play the tough as nails take no shit captain he did through most of the series without coming off like an irredeemably dislikable character. He just doesn't have it in him to convincingly be that kind of character. But I think he and Whedon found the right balance in Serenity to pull off the gruff captain with the heart of gold. And Chiwetel Ejiofor is awesome as always. Quite enjoyable outing this time around. 7/10.

One thing though. What is Joss Whedon's fetish with killer-tough bad girls all about? Buffy, River, Echo, Akima, it's like I can hear his eyes rolling into the back of his head writing these chicks. lol.

More DC Comics Animated One-offs

All-Star Superman (2011) starts with Superman trapped into being poisoned by Lex Luthor. His final days involve super-battles with a number of super-foes, finally revealing himself to Lois, and Luthor gaining Superman's powers for a day. Good animation and quality voice work in this one. The relationship with Lois was fleshed out nicely, but I really liked the scenes between Luthor and Clark Kent where Lex discusses his antagonism with Sups. 8/10.

Superman/Doomsday (2007) was just OK nothing more. I remember getting the graphic novel of this story back in the 90's when it first came out, and newspapers were running articles titled "The Death Of Superman". It ended up being a weak comic writing wise, and this movie is even weaker. Choppy, relatively cheap looking animation, with the storyline thinned out to the point of being melodramatic and anti-climactic. 5/10.

Justice League: The New Frontier (2008). This was a pretty fascinating concept. Basically a Watchmen like origin story of the League set at the height of the Cold War circa 1960, with an H.P. Lovecraftian enemy bringing the heroes and the world together. Neat animation style with character designs following the golden age comics' look and feel. Unfortunately it included the jingoism of the era. Not to mention a horribly miscast Jeremy Sisto as a gravelly Batman. All in all a pretty neat concept, but not done as well as it could have been. 6/10.

Justice League: Crisis On Two Earths (2010) has the Justice League going to a parallel dimension to battle evil versions of themselves alongside a good Lex Luthor. It felt kind of long, but the battles were above average. Some nice character touches on Bats and J'onn J'onnz, with the latter even getting his Martian freak-on with the parallel president's daughter. Having the parallel superbeings "Crime Syindicate" being modeled after and talking like the New York mob was a nice touch too. However, the voice casting was abhorrent. William Baldwin as a wispy voiced Batman? Mark Harmon as a stiff throated, slightly nasally Superman? Ugh! Good thing there were quality fights where not much talking was done. Plus the whole parallel Superwoman trying to make Bats her boy-toy thing was pretty cute. I liked it as a whole, but would've rated it higher with better voice work. 7/10.

DC Comics Animated One-offs

Last week I watched five of Warner Brothers Animation Studio's releases of DC Comics based stand-alone films, that is, storylines independant of any WB/DC television series.

Batman: Under The Red Hood (2010), based on the Batman comics storyline of the same name, was about as good as any live action movie. Well animated with a killer script, with top notch voice acting to boot. I remember when Batman: The Animated Series changed the game of cartoons. Nice to see the franchise still hasn't lost it's touch. 9/10.

Justice League: Doom (2012) was enjoyable as well. Batman is one wary dude. Also, Batman is correct. When Superman says "Maybe I can move the Earth's orbit out of the path of the flare." The right reply is "Even if I had a week I couldn't explain all the reasons that wouldn't work." 7/10.

Superman Batman: Apocalypse (2010). I ended up quite liking this in spite of Kara Zor-El's annoying affect in the first half. Character introduction and development, cartoon babes, Batman being a cold badass. Plus, it had some of the best animated fight choreography I've seen in an American release. 7/10.

Superman vs. The Elite (2012). Was worth watching for the sole purpose of witnessing Superman's defense of why he never kills anyone. His illustrative example at the climax of the movie is well worth beholding. As a friend of mine said, "It... it's somethin'!" 6/10.

Batman: Year One (2011). The animated version of Frank Miller's graphic novel of the same name was top notch. Briskly paced, fabulously voice-acted, and an animation style that remained true to the source. However, as an aside, I kept comparing it to the Nolan films, to which there's really no equal. In my opinion Nolan took the best parts from all of the Batman storylines and added his own genius touches and ideas to make The Dark Knight trilogy the ultimate Batman story. Regardless, as a stand alone or in that context, I happily give Batman: Year One 8/10.

The Three Burials Of Melquiades Estrada (2005)

Tommy Lee Jones' directorial pacing was a little terse, and the non-linear narrative of the first half was pointless. But he sure coached some damn fine performances out of his cast. Barry Pepper was phenomenal, and even the usually dead January Jones emoted well. 7/10.

Cosmopolis (2012)

Based on a novel by Don Delillo concerning a billionaire businessman's trek through New York City in a limousine, this David Cronenberg adaptation was very good. I liked what I could grasp of it. However, all the existential stream-of-consciousness metaphors would have been easier to take with more Cronenbergian body horror involved. I guess he's graduated from that side of his filmmaking. Too bad, as it was my favorite aspect of his auterism.

I could decipher some of the dialogue and actions of the characters, but I'm afraid I'm too often lost with these kinds of writings. As far as film adaptations of idealistic novels go, I prefer non-figurative styles like Cloud Atlas. Nothing preachy, just a series of events and interactions that have higher related meaning. Too often novels/films like Cosmopolis simply seem pretentiously didactic. However I did finish the film feeling mentally stimulated.

Robert Pattinson surprised me by proving he's not a totally awful actor. He managed to not look completely out of his league with the other heavy hitters, though he still seemed to struggle on occasion.

Overall I liked it, which I primarily credit to Cronenberg.

 7/10.

Skyfall (2012)

Sam Mendes came pretty close to ruining the newest James Bond outing a couple times. It seemed as if there might have been some kind of battle behind the scenes to make it either a classic superficial Bond film, or one of his characteristic weirdo/twisted character study dramas. The combination was barely pulled off in this case. Javier Bardem's Mendes-esque bizarreness and the long takes during his scenes were pluses as they made him an even more personally threatening and creepy villain. However, exposing Bond's bout with age and weakness was a kind of disheartening turn. In the last two he was such a steely killer that exposing his frailties felt like a betrayal. I understand they've been trying to take a different approach to the franchise since Craig's casting, but this time around they may have taken it a bit too far. Things did manage to slowly grow back to normal by the end though, with Bond's cool veneer shining again.

I'm also adding a full point to my rating because of Roger Deakins' amazing cinematography. I was in complete awe of the Shanghai tower scene, not to mention all the quality dusk/night shots. The Cohen brothers are fortunate to have him on call for their films.

Altogether it was an enjoyable Bond film, but for different reasons than the last two. 7/10.

The Turning Point (1952)

7/10. William Holden shines in this run of the mill fifties noir.

Edmond O'Brien heads up a city wide crime commission set to take down syndicate boss Ed Begley. William Holden is the cynical crime desk reporter who reluctantly joins the cause.

In all honesty this is a pretty forgettable story. a film that would have stood out a decade earlier, but was past it's prime on it's release. Aside from the well written dialogue, William Holden is this films saving grace.

Caught between his performances in Billy Wilder's Sunset Boulevard and Stalag 17, Holden outdoes everyone in this relatively unheard of noir. It's easy to see why, it's basically a rehash of early noirs, only with conservative camera work, and not-so-special art direction. The other players are well known but fail to offer anything exceptional. Maybe I'm prejudiced, as Holden is my favorite actor of his time, but he really earns the top billing he receives. I would have loved to see what could have been accomplished without what appeared to be director William Dieterle holding him back. I'm not badmouthing Dieterle, but he seemed to be running things like it was still the thirties or forties. It really took a modern innovator like Billy Wilder to let Holden cut loose and show his chops.

Oh and criminal standby Neville Brand makes a brief appearance as a hitman. Love that guy too.

So if you're a Holden fan like me, you should check this one out. If you're just looking for a good noir to watch, there's better stuff out there.

Sucker Punch (2011)

7/10. Thoroughly enjoyable comic-book-slash-video-game styled movie that every teenage boy will love.

Abbie Cornish plays Sweet Pea, an abused young girl who recruits some friends to help her escape from a mental institution before she is lobotomized. Fantasy action ensues.

This was a pleasant surprise of a movie, probably because I went in with such low expectations. No real acting heroics, no breathtaking screenplay, just alot of stylized action performed by girls in skimpy outfits. If this film were a comic it would be written by J.Scott Campbell as opposed to Alan Moore. No depth, just style.

Excellent soundtrack choices really propel the film along, and the visuals are amazing which is par for director Zak Snyder. You could tell this was his baby as the action takes center stage, and he executes it perfectly.

Lots of homages to the Matrix movies early on which obviously influenced Snyder. Though it produces a similar feel, it's definitely funner and more lighthearted than those.

So next time you can't get a date, check this out, the junior high schoolboy in you will appreciate it.

Transformers: Dark Of The Moon (2011)

7/10. Sam Witwicky (Shia Lebouf) helps the Autobots save mankind once more, this time from a robot technology that has been hidden for decades.

First off let me say this is the best use of 3D I've seen since Avatar, which makes sense as it was shot with the same PACE3D cameras that were used in that film.

The effects of course are mind boggling, which is on par for a Michael Bay film. There are some exceptionally mind blowing shots however during the climactic battles in Chicago.

Sam's new love interest (Rosie Huntington-Whiteley) is annoying, but not as much as Megan Fox was, so that's a plus. Patrick Dempsey plays a baddie, which is quite a turn for him. Leonard Nemoy voices one of the new Autobots, even throwing out some Wrath Of Khan dialogue before the climax. And all the old characters from the other movies make return appearances (save Megan Fox of course).

Over all though, the film was just too long. At almost three hours in length, the majority of time is taken up with seemingly endless robot battles of the second half of the film. These could really have been cut in half and no loss would have resulted. It's a fun popcorn movie if you want to spend the three hours on it, but if you go you must see it in 3D, otherwise you might as well wait for it's DVD/Blu-ray release.

On a nitpicky note: At the start of the film, the Apollo 11 crew discover a robot ship on the "dark side of the moon". This is impossible as the dark side of the moon always faces away from the Earth and the Apollo 11 crew landed on the Earthward side. So unless they hiked thousands of miles in 20 minutes to see the ship... the logic just falls apart. This is a constant frustration I have with Michael Bay movies, the ignorance of logic and science. For me this goes all the way back to the impossible logic of Armageddon (fires in space???). But, I'm used to it with him, so I just suspend my disbelief and enjoy the ride.

Also I think Rosie Huntington-Whiteley botoxes her lips.

The Bravados (1958)

7/10. Henry King directs Gregory Peck as a man hunting down four criminals across south Texas for the crime of raping and murdering his wife.

Enjoyable western, even if it was pretty dark in tone. Nice to see Stephen Boyd as the main bad guy. I wonder if this role is what got him the part of Messala in Ben-Hur the next year. I feel he is quite underrated.

Gregory Peck is wooden and cold as usual, but still sympathetic.

Not much else I can say about this film. Pretty much your run of the mill western for the fifties. Not as epic as The Searchers but somewhere in the middle ground. Just a little on the dark side, like I said.

The Trial (1962)

7/10. Modern. Expressionistic. Avant Garde. Absurdist. Dreamlike. Kafkaesque.

In what Orson Welles called his greatest film, we are presented with Josef K. A clerk played by Anthony Perkins who is arrested for a crime, but not told what the crime is. After attempting to navigate through a nightmarish legal system and meeting many interesting characters along the way. He is finally condemned and executed.

This confusing dreamlike movie forced me to scour the internet for explanations as to what it all meant. Here is the best brief I could find on the novel and subsequent film. I will let you discover this one for yourself.

Something to note about The Trial is the feel of the French New Wave that is apparent. Not sure if this is due to it being filmed in Paris during the New Wave, or if Welles was simply a large influence on the New Wave directors, or if they were on him, or some combination of the above, but it's definitely present.

Also, I imagine the Wachowski's were influenced at least by the novel as there are many elements that are present in the Matrix series.

Altogether it was quite a hard film to digest on a Saturday morning, but I enjoyed the ride.

The Crucible (1996)

7/10. This film covers that black eye on the New World known as the Salem witch trials. In the film, the town of Salem, in the colony of Massachusetts is turned upside down over accusations of witchcraft. Many are arrested and some are hanged. The thing is, the accusations all come from a group of young girls who lie to assist their own jealousies, vanities, and fears of reprisal. Once the government steps in everyone is vulnerable to the accusation of witchcraft and the whole town is whipped into mass hysteria And with strict literal puritans running the courtroom you know this won't end well.

The whole subject matter is hard to watch for me being a Christian, as it's always difficult to see your brothers and sisters portrayed as hypocrites, even if it's rightfully so.

I should note that this is based on a screenplay adaptation of Arthur Miller's most famous play, by the playwright himself. He initially wrote the Crucible as a response to having been forced to testify before the House of Representatives' Committee on Un-American Activities, that is, the McCarthy investigations in 1956. You can definitely see why the McCarthy era is now commonly referred to as a witch hunt.

On the production side, Daniel Day-Louis is excellent as always. Winona Ryder is awful as usual. When the two are acting in the same scene together, she just comes off looking like a rank amateur. It's interesting to see the great Paul Scofield on the opposite side of the bar as he was in "A Man For All Seasons". Though there's weight in some of the performances, most of the townspeople and government officials seem like caricatures, even if they have excellent King James style lines to read.

All in all, a parable of the dangers of mass hysteria. Hard to watch, but a good film nonetheless.

The King's Speech (2010)

7/10 stars. Who would have thought that a movie about speech therapy could be so enthralling. I guess if you add in some psychotherapy, family drama, and geopolitical weight you can't help but spin a winning tale. The fact that it was all true makes it that much better. Must mention Danny Cohen in particular. His intriguing camera work and beautiful cinematography made this film that much more enjoyable to watch. And Colin Firth most assuredly deserved his Oscar win.

Super 8 (2011)

7/10 stars. I think the trailers for this movie were a little more exciting than the movie itself. Don't get me wrong, I liked Super 8. It just felt rushed in production. The reviews say Abrams was trying to channel Spielberg, which was pretty blatant, including several Close Encounters homages, it just didn't have all the emotional punch that Spielberg usually manages. It was flashy and fun sure, but don't go in with too high of expectations. I think the best example were the conversations among the kids. Spielberg's handling of such things always felt way natural with multiple ad libbed dialogues going on at once (think Goonies or ET). Abrams just doesn't have that same kind of handle, everything was scripted, from a pretty predictable and emotionally dry script... Still, I liked it.

Here's the misleading trailer that made it seem totally epic: