Michael Mann still owns pacing–he always will. But director Paul Thomas Anderson owns something else. What is it? I have not found the word yet. But when I do, it will describe the way Phantom Thread is not about dresses. It will also convey the way this motion picture about some dressmaker makes me want to wake up early every morning. Oh, and this word will describe how without Mr. Anderson spending any precious time on patronizing summaries, technical explanations, or unambiguous declarations, I felt like I learned something–something that I might have otherwise missed. I wonder, what will you learn?
It’s not a movie. Sure, in the technical sense it is a motion picture, but just now, while at Soopers when I saw the bluray for sale, it hit me. Dunkirk is not a movie. These type of missteps are expected, of course, from the truly creative human, of which Nolan is surely one. But he stepped out of his lane and tried to fool us, rather than just release it at Art House Cinemas or Fine Art Cinemas, the place where it belongs. And that move should cause him to feel some slight twinge of shame. We’re not mindless suckers, Mr. Nolan. We just like stories and are illiterate.
Whew, glad I got that one figured out.
I don’t know what the big fuss is about. H8ers gunna hate, I guess. It’s a perfectly good movie. I’d probably say it was “great” but I don’t want to build it up too much. Just go see it.
To critics: That’s enough alone time. I didn’t mean forever. You can go play with your friends again.
Today my pizza delivery adventures took me (on a delivery) to a hospital with an automated, high-tech, and brisk revolving door. *I think* this sign is supposed to warn parents that the unmanned, potentially lethal object (UPLO) may not “see” children as surely as it does us big people.
But I also couldn’t help notice that this sign looks like the famous scene from the Sistene Chapel–if viewed through the eyes of the pizza-loving, Teenage Mutant Ninja Turtle Michelangelo.
From Star Wars Episode VII until Logan, I had determined, for spiritual reasons, to not watch any movies. That’s fourteen months of no movies. While I do confess that several times during those months, I told folks, “If it gets solid reviews, I’ll go see it,” no solid reviews came in for those films. Finally, my childhood hero, Wolverine, seemed to rise to the occasion. Rated-R Adamantium claws and solid reviews? How could I resist?
Unfortunately, I seem to not be able to fully “escape” anymore–darn you, books!
By my thinking Logan normalized the act of harpooning little girls through the chest on screen and also advocated lying to children if it keeps them hopeful while the world falls to shit. No thank you, Hollywood. As Colonel Nathan R. Jessup once said, “You see Danny, I can deal with the bullets, and the bombs, and the blood. I don’t want money, and I don’t want medals. What I do want is for you to (censored) extend me some courtesy.” Do we really need to see a bloody (red-not-British) harpoon point sticking out of a little girl’s chest to be entertained? Fool-ish-ness.
Then, as if I needed another reason to not visit the cineplex again, I resumed reading some Tolstoy short fiction and came across a story called, “God Sees the Truth, But Waits.” It’s a brief account of a wrongfully convicted man spending his adult life in prison for a crime he didn’t commit. And while in prison he finally meets the real killer, who proceeds to try to escape by digging out, little by little, and dumping the sand from his pockets onto the prison yard. Upon light investigation, sho’ ’nuff the internet tells me I’m not the first to notice that Shawshank Redemption totally ripped off Tolstoy.
So I’m back on the movie fast. Twenty-eight plus years of staring at screens. And for what? What a waste.
These two movies had piqued my interest when I first heard of them, but the mainstream critical reception was off-putting enough that I hadn’t take the time to view them. Finally I had a minute. The critics are wrong.
If you liked Miami Vice and Zero Dark Thirty, then Sicario is for you. My only real problem with Sicario is that it would be ruined if the cartel horrors it depicts were not based in the historical record, but I am too afraid to confirm that they are to do any fact checking. Depressing stuff.
If you have read Moby Dick, then The Heart of the Sea is for you. This one’s reception is especially baffling. Critics can’t say anything good about it, but as far as ocean voyage movies go it is much better than Master and Commander, which wasn’t bad. I loved Moby Dick and so I can’t say how much of that influences my enjoyment of The Heart of the Sea. What I can say is that if you know that Moby Dick is not about a whale, then you’ll like this movie. Conversely, if you are asking yourself, “Moby Dick isn’t about whale?” right now, skip the movie.
From his dissection of the card player’s hands in Rounders, to his dissertation on clubbing baby seals in Good Will Hunting, to his explanation that he knows which vehicle in the parking lot is most likely to have a gun in it in Bourne Identity and more, in just about all of his films Mr. Damon has proven he can memorize and deliver long, dry, and yet convincing speeches that seem like they might trip up other acting professionals. And that’s fine and dandy. I like those movies and I like his characters in those movies. But I don’t know if anyone likes to hear what he has to say after he clocks out, and it seems like the two are beginning to merge. Recently, he’s starred in films that sacrifice entertainment value in favor of agendas, films like the one about fracking. Soooo dramatic. And they’re probably filled with science. Again, whatever.
A year or so ago a couple handed me the book The Martian because they knew I had applied to be an emigrant to Mars. I read it and reviewed it here. This book is now a major motion picture. And all of this is very interesting to me and probably every other independent author, as its author published the book by his own self years before it got picked up by a major publisher and now Hollywood. It looks like Mr. Weir self-published it in 2011, three years before the big boys picked it up in 2014. So it seems that five years after self-publishing a quality book any one of us could watch A-listers act out our story on the big screen. That’s neat. Anyhow, back to the point. The book has nothing to do with making a statement about “every culture” of humans. Anyone that disagrees with this is flat out wrong and I would argue hasn’t read the book. And yet somehow (I picture a lot of whining and temper tantrums and threats to walk out of the room) Matt Damon opens the preview to what looks like a fantastic new space movie with this bogus notion that every culture has a basic instinct to help each other out. I can buy every human does on an individual level. There’s books about that. But the simple fact is there are plenty of cultures who don’t rescue people who find themselves stranded on Mars or mountain tops or the side of the highway. What’s worse is there are plenty of cultures who actively believe in kidnapping people for money or political statements. These cultures are generally those not labeled The West.
I buy and promote the truth that if we’re talking about the level of the soul, then we’re all just people making our way through this world and will more times than not help each other when able. But it is not true that in groups (cultures) we’re all the same and without quantifiable, measurable differences that can be labeled “better” or “worse”–no matter how hard we wish for it.
Click here if you need your memory jogged.
Or read these two snippets.
“You stare at him, and he just stares right back. And that’s when the attack comes. Not from the front, but from the side, from the other two ‘raptors you didn’t even know were there.”
“The point is… you are alive when they start to eat you. So you know… try to show a little respect.”
Do you remember how surprised you were to learn that the ever mysterious and enchanting king of the dinosaurs T-Rex’s visual acuity was based on movement, as “Oh Alan” describes? What an intriguing revelation that was. And then in the time it took for Sam Neill’s index fingers to swing from his side to his front, within that instant, a previously unknown dinosaur severed any remaining connection our minds had with any reality outside the film. From that moment, unlike the annoying kid who has had enough velociraptor for a lifetime, we found ourselves thirsting for them. Like Dana Delany’s head-straightening declaration “I want one” after hearing Billy Zane’s thespianic description of a quintessential cowboy while marveling at a distant, lean-silhouetted Wyatt Earp upon arriving in Tombstone, we wanted velociraptors. And Jurassic Park gave them to us. And to prove how much we wanted them, we set the Memorial Day weekend box office record as we paid to to see the sequel, The Lost World, way back then. Remember that? It’s true.
But the filmmakers failed us in the sequel. They had a little girl gymnastic-kick our beloved.
And then in number three, a velociraptor spoke English.
Last weekend, however, Sam Neill’s speech was back in the forefront as a new box-office record was set by the head-bobbing six-foot turkeys. Why? Why did we rush to see it? Because the previews and movie posters teased us with the idea that we’d get to see what it would be like to have our very own velociraptors. Velociraptors as pets. Awesome.
All because of Sam Neill. Nice work, Sam.
I don’t care if any of you watch Whiplash—I care if filmmakers do.
Sure, it could’ve been better. I have no context for jazz music. I want to like it and know why I like it, but I don’t. Adding a few scenes which dropped subtle hints that answered “why jazz?” would’ve only made it better. But when I grin like a fool, shake my head in disbelief, write when it is past my bedtime, and what’s more, when I only gave half my attention to the film’s last forty minutes because the other half was busy re-budgeting my time and money towards future music instruction, I know someone just made an effing fantastic movie.
Click here to cry.