Movies

A Reflexive Media

“To write or to speak is almost inevitably to lie a little. It is an attempt to clothe an intangible in a tangible form; to compress an immeasurable into a mold. And in the act of compression, how the Truth is mangled and torn!”

– Anne Murrow Lindbergh

There are many types of documentary films. The most common form of documentary is referred to as Direct Address (aka Voice of God). In such a documentary, the viewer is directly acknowledged, usually through narration and voice-overs. There is very little ambiguity and it is pretty obvious how you’re expected to interpret these types of films. Many television and news programs use this style, to varying degrees of success. Ken Burns’ infamous Civil War and Baseball series use this format eloquently, but most traditional propaganda films also fall into this category (a small caveat: most films are hybrids, rarely falling exclusively into one category). Such films give the illusion of being an invisible witness to certain events and are thus very persuasive and powerful.

The problem with Direct Address documentaries is that they grew out of a belief that Truth is knowable through objective facts. In a recent sermon he posted on the web, Donald Sensing spoke of the difference between facts and the Truth:

Truth and fact are not the same thing. We need only observe the presidential race to discern that. John Kerry and allies say that the results of America’s war against Iraq is mostly a failure while George Bush and allies say they are mostly success. Both sides have the same facts, but both arrive at a different “truth.”

People rarely fight over facts. What they argue about is what the facts mean, what is the Truth the facts indicate.

I’m not sure Sensing chose the best example here, but the concept itself is sound. Any documentary is biased in the Truth that it presents, even if the facts are undisputed. In a sense objectivity is impossible, which is why documentary scholar Bill Nichols admires films which seek to contextualize themselves, exposing their limitations and biases to the audience.

Reflexive Documentaries use many devices to acknowledge the filmmaker’s presence, perspective, and selectivity in constructing the film. It is thought that films like this are much more honest about their subjectivity, and thus provide a much greater service to the audience.

An excellent example of a Reflexive documentary is Errol Morris’ brilliant film, The Thin Blue Line. The film examines the “truth” around the murder of a Dallas policeman. The use of colored lighting throughout the film eventually correlates with who is innocent or guilty, and Morris is also quite manipulative through his use of editing – deconstructing and reconstructing the case to demonstrate just how problematic finding the truth can be. His use of framing calls attention to itself, daring the audience to question the intents of the filmmakers. The use of interviews in conjunction with editing is carefully structured to demonstrate the subjectivity of the film and its subjects. As you watch the movie, it becomes quite clear that Morris is toying with you, the viewer, and that he wants you to be critical of the “truth” he is presenting.

Ironically, a documentary becomes more objective when it acknowledges its own biases and agenda. In other words, a documentary becomes more objective when it admits its own subjectivity. There are many other forms of documentary not covered here (i.e. direct cinema/cinema verité, interview-based, performative, mock-documentaries, etc… most of which mesh together as they did in Morris’ Blue Line to form a hybrid).

In Bill Nichols’ seminal essay, Voice of Documentary (Can’t seem to find a version online), he says:

“Documentary filmmakers have a responsibility not to be objective. Objectivity is a concept borrowed from the natural sciences and from journalism, with little place in the social sciences or documentary film.”

I always found it funny that Nichols equates the natural sciences with journalism, as it seems to me that modern journalism is much more like a documentary than a natural science. As such, I think the lessons of Reflexive documentaries (and its counterparts) should apply to the realm of journalism.

The media emphatically does not acknowledge their biases. By bias, I don’t mean anything as short-sighted as liberal or conservative media bias, I mean structural bias of which political orientation is but a small part (that link contains an excellent essay on the nature of media bias, one that I find presents a more complete picture and is much more useful than the tired old ideological bias we always hear so much about*). Such subjectivity does exist in journalism, yet the media stubbornly persists in their firm belief that they are presenting the objective truth.

The recent CBS scandal, consisting of a story bolstered by what appear to be obviously forged documents, provides us with an immediate example. Terry Teachout makes this observation regarding how few prominent people are willing to admit that they are wrong:

I was thinking today about how so few public figures are willing to admit (for attribution, anyway) that they’ve done something wrong, no matter how minor. But I wasn’t thinking of politicians, or even of Dan Rather. A half-remembered quote had flashed unexpectedly through my mind, and thirty seconds’ worth of Web surfing produced this paragraph from an editorial in a magazine called World War II:

Soon after he had completed his epic 140-mile march with his staff from Wuntho, Burma, to safety in India, an unhappy Lieutenant General Joseph W. Stilwell was asked by a reporter to explain the performance of Allied armies in Burma and give his impressions of the recently concluded campaign. Never one to mince words, the peppery general responded: “I claim we took a hell of a beating. We got run out of Burma and it is as humiliating as hell. I think we ought to find out what caused it, and go back and retake it.”

Stilwell spoke those words sixty-two years ago. When was the last time that such candor was heard in like circumstances? What would happen today if similar words were spoken by some equally well-known person who’d stepped in it up to his eyebrows?

As he points out later in his post, I don’t think we’re going to be seeing such admissions any time soon. Again, CBS provides a good example. Rather than admit the possibility that they may be wrong, their response to the criticisms of their sources has been vague, dismissive, and entirely reliant on their reputation as a trustworthy staple of journalism. They have not yet comprehensively responded to any of the numerous questions about the documents; questions which range from “conflicting military terminology to different word-processing techniques”. It appears their strategy is to escape the kill zone by focusing on the “truth” of their story, that Bush’s service in the Air National Guard was less than satisfactory. They won’t admit that the documents are forgeries, and by focusing on the arguably important story, they seek to distract the issue away from their any discussion of their own wrongdoing – in effect claiming that the documents aren’t important because the story is “true” anyway.

Should they admit they were wrong? Of course they should, but they probably won’t. If they won’t, it will not be because they think the story is right, and not because they think the documents are genuine. They won’t admit wrongdoing and they won’t correct their methodologies or policies because to do so would be to acknowledge to the public that they are less than just an objective purveyor of truth.

Yet I would argue that they should do so, that it is their duty to do so just as it is the documentarian’s responsibility to acknowledge their limitations and agenda to their audience.

It is also interesting to note that weblogs contrast the media by doing just that. Glenn Reynolds notes that the internet is a low-trust medium, which paradoxically indicates that it is more trustworthy than the media (because blogs and the like acknowledge their bias and agenda, admit when they’re wrong, and correct their mistakes):

The Internet, on the other hand, is a low-trust environment. Ironically, that probably makes it more trustworthy.

That’s because, while arguments from authority are hard on the Internet, substantiating arguments is easy, thanks to the miracle of hyperlinks. And, where things aren’t linkable, you can post actual images. You can spell out your thinking, and you can back it up with lots of facts, which people then (thanks to Google, et al.) find it easy to check. And the links mean that you can do that without cluttering up your narrative too much, usually, something that’s impossible on TV and nearly so in a newspaper.

(This is actually a lot like the world lawyers live in — nobody trusts us enough to take our word for, well, much of anything, so we back things up with lots of footnotes, citations, and exhibits. Legal citation systems are even like a primitive form of hypertext, really, one that’s been around for six or eight hundred years. But I digress — except that this perhaps explains why so many lawyers take naturally to blogging).

You can also refine your arguments, updating — and even abandoning them — in realtime as new facts or arguments appear. It’s part of the deal.

This also means admitting when you’re wrong. And that’s another difference. When you’re a blogger, you present ideas and arguments, and see how they do. You have a reputation, and it matters, but the reputation is for playing it straight with the facts you present, not necessarily the conclusions you reach.

The mainstream media as we know it is on the decline. They will no longer be able to get by on their brand or their reputations alone. The collective intelligence of the internet, combined with the natural reflexiveness of its environment, has already provided a challenge to the underpinnings of journalism. On the internet, the dominance of the media is constantly challenged by individuals who question the “truth” presented to them in the media. I do not think that blogs have the power to eclipse the media, but their influence is unmistakable. The only question that remains is if the media will rise to the challenge. If the way CBS has reacted is any indication, then, sadly, we still have a long way to go.

* Yes, I do realize the irony of posting this just after I posted about liberal and conservative tendencies in online debating, and I hinted at that with my “Update” in that post.


Thanks to Jay Manifold for the excellent Structural Bias of Journalism link.

Letting Art Be Art

Sometimes a movie reviewer doesn’t really review the movie they saw. Instead they review the movie they wish they saw, and then berate the thing they saw because it wasn’t as good. There is a certain way to read reviews, and this is one of the things you need to keep in mind.

A good example is this review for The Village(Spoilers ahead):

The problem — and it’s a big one, folks — is that The Village should have never been approached as a horror/suspense movie in the first place. It is not a scary movie because it never should have been a scary movie. …

…the story was actually told backwards: this would have been a much more compelling movie had it begun with all of these broken people in the counselling center deciding they’d had enough of society’s violence, and then following them as they took steps to make the life in the village and raise their children to be fearful of the outside world, and ending with the creation of “the monsters.”

It’s one thing to criticize the movie for not being scary, or to complain that the surprise ending could be seen a mile a way, but it’s another thing to judge the movie according to a standard that doesn’t apply. Good filmmakers make the films they want to make. The Village isn’t meant to be anything but a creepy suspense film, with an unexpectedly engaging romance thrown into the picture (obviously you can read more into it than just that, but I think that was the main goal of the movie).

In my reviews of The Sixth Sense and Unbreakable, I noted that M. Night Shyamalan has a frustrating modus operandi. He sets his story within a special world; a world with a lot of potential (like someone having the ability to see dead people, someone who is “unbreakable”, or a town being terrorized by monsters in the surrounding woods). But this potential is merely touched upon or used as a catalyst of events. As I say, frustrating, but what you end up with is generally engaging. Not especially brilliant or groundbreaking (as I have noted about all of Shyamalan’s films), but good nonetheless.

To be sure, the movie that the reviewer wants to see certainly sounds like an interesting one. It doesn’t really bother me that he even suggests that it would be a good story to tell, but it does bother me that he proclaims The Village is a bad movie because it’s not the movie he wanted to see. You can’t judge a movie by comparing it to something it’s not.

This often applies to comedies – their goal is generally to make the audience laugh, and nothing more. That may not be lofty or ambitious, but to claim that such movies are bad because they don’t achieve some sort of transcendant philosophical end doesn’t make much sense to me. A movie like Happy Gilmore isn’t trying to do anything other than make you laugh, and it should be viewed in that light. That doesn’t make it a great four-star movie, but it does make it worthwhile (if you’re in the mood for a laugh). In a recent issue of Entertainment Weekly, Stephen King wrote an article on summer movies:

…I’m from an unsophisticated school of thought that believes a movie (always a movie and never a film, even if it comes with subtitles) should be fun befor it’s anything else: an ice cream cone for the brain…

There’s nothing wrong with having fun, and I sneer at people who sneer at summer movies–in fact, I sneer at people who sneer at entertainment for entertainment’s sake. I feel sorry for them, too. Riding that high horse has got to be uncomfortable, especially with that stick up your butt.

There is something to be said for lofty and ambitious films (I’m not like King, I like to call them films too), especially when they hit their mark. Low brow movies like Happy Gilmore don’t deserve to be placed in the same critical category as classics like The Godfather or Citizen Kane, but there is some value in it for people who like to laugh.

My general philosophy when reviewing a movie is to try and figure out what it’s goal is, and then judge whether or not it achieved its goal. Sometimes a goal isn’t very sophisticated or admirable, and such things should play a role in the judgement, but that’s not all there is to it. I think it’s best to let art be art, and judge it on its own merits.

Recent Viewings

I’ve had the pleasure of viewing quite a few movies lately, so I figured I share my impressions. One note before I start, Comcast (my cable company) has this thing called “On Demand” in which you can “rent” movies right over the cable box. You can pause, rewind, etc… It’s not as feature rich as Tivo or a regular DVD and the browsing/program guide service of Comcast is attrocious, but it’s a fantastic idea and addictive to someone like myself. There’s a section for pay movies, but if you have any premium channels, you get a special section filled with movies for free. Anyways, let’s get started:

  • Collateral (2004): Another solid effort from director Michael Mann. It’s about a hit man named Vincent (Tom Cruise) who hires a cab (driven by Max, played by Jamie Foxx) to drive him around L.A. for 5 jobs. Naturally, things don’t go according to plan. Hijinks ensue. It has some interesting casting which has, yet again, paid off for Mann, as Cruise and Foxx have a good back and forth throughout the entire movie. The premise and story are somewhat conventional, but the film is elevated by excellent direction and performances all around. Three Stars (***)
  • Buffalo Soldiers (2001): Boy, was this released at the wrong time, or what? It’s a dark comedy about drugs, theft, sex, and other scheming by U.S. troops stationed in Germany towards the end of the Cold War and it was released a few days before 9/11. Talk about the wrong movie at the the wrong time. Oddly, I’m not sure we’re really supposed to like any of the characters in this movie. The main character is a crafty clerk named Ray Elwood (Joaquin Phoenix), who manages to hustle everything from cleaning supplies to missiles, not to mention his skills as a drug processer. Phoenix does his best and for the most part succeeds at making the audience root for him, if only because he’s the least unlikeable character in the lot. It’s an interesting film and it held my attention, even if it was a bit uneven. If you can deal with seeing our troops handled in this light (it is fiction, after all) check it out. Two and a half stars (**1/2)
  • Cowboy Bebop: The Movie (2001): This movie is based on an anime series of the same name. It follows a band of bounty hunters as they track down a terrorist who controls a deadly biological weapon. I have to admit, the name “Cowboy Bebop” always turned me off, but once I started watching I found myself really enjoying it. It’s a fun movie, filled with complex action sequences, fantastic music, and great animation. As animated scifi-action-comedies go, it was pretty good. I haven’t seen the series, but I’ve heard it’s better than the movie, so I’ll probably check it out at some point. Three Stars (***)
  • Swimming Pool(2003): This cryptic, plodding pseudo-thriller is about an English mystery writer (expertly played by Charlotte Rampling) who visits her publisher’s home in France in the hopes that a change of scenery will provide inspiration for her latest novel. Things seem to be going well, until her publisher’s sexpot daughter (and her spectactular boobs) shows up and breaks the writer’s concentration. An odd relationship builds between the two, leading to a pseudo-Hitchcockian plot point and a bewildering ending. Truth be told, not a whole lot happens in the film. It’s slowly paced and has some odd plot points that don’t quite ring true, but the ending shifts the perspective of the entire movie. You have to pay attention, and it makes for interesting viewing, though I could see how some would be very disappointed in the film. Two and a half stars (**1/2)
  • Men With Guns(1997): John Sayles’ impeccable film about a wealthy doctor in an unspecified Central American country who makes a trek through the country searching for doctors he had trained to help out Indian villages. The more he searches, the more he is shocked by what he finds. Outside of the Capital (where the doctor lives), poverty, violence, and lawlessness reign. It is quite an ambitious film, tackling a wide set of issues from diverse angles. This is thoughtful, if a little bleak, filmmaking. Three and a half stars (***1/2)

That’s it for now. Since these are little capsule reviews, I’ve no doubt forgotten some things, so I may add a bit here or there during the week…

A Village of Expectation

It’s funny how much your expectations influence how much you like or dislike a movie. I’m often disappointed by long awaited films, Star Wars: Episode I being the typical example. Decades of waiting and an unprecidented pre-release hype served only to elevate expectations for the film to unreachable heights. So when the time came, meesa not so impressed. I enjoyed the film and I don’t think it was that bad, but my expecations far outweighed the experience.

Conversely, when I go to watch a movie I think will stink, I’m often pleasantly surprised. Sometimes these movies are bad, but I thought they would be so much worse than they were that I ended up enjoying them. A recent example of this was I, Robot. As an avid Isaac Asimov fan, I was appalled by the previews for the film, which featured legions of apparently rebelling CGI robots, and naturally thought it would be stupifyingly bad as such events were antithetical to Asimov’s nuanced robot stories. Of course, I went to see it, and about halfway through, I was surprised to find that I was enjoying myself. It contains a few mentions to the three laws, positronics, and the name Susan Calvin is used for one of the main characters, but other than those minor details, the story doesn’t even begin to resemble anything out of Asimov, so I was able to disassociate the two and enjoy the film on its own merits. And it was enjoyable.

Of course, I became aware of this phenomenon a long time ago, and have always tried to learn as little as possible about movies before they come out as I can. I used to read up on all the movie news and look forward to tons of movies, but I found that going in with a clean slate is the best way to see a film. So I tend to shy away from reading reviews, though I will glance at the star rating of a few critics I know and respect. (Obviously it is not a perfectly clean slate, but you get the point.)

Earlier this week, I realized that M. Night Shyamalan’s The Village was being released, and made plans to see it. Shyamalan, the writer, director, and producer of such films as The Sixth Sense, Unbreakable, and Signs, has become known for the surprise ending, where some fact is revealed which totally changes the perspective of everything that came before it. This is unfortunate, because the twists and turns of a story are less effective if we’re expecting them. What’s more, if we know it’s coming, we wrack our brains trying to figure out what the surprise will be, hypothesizing several different versions of the story in our head, one of which is bound to be accurate. I’ve never been that impressed with Shyamalan, but he has always produced solid films that were entertaining enough. There are often little absudities or plot holes, but never enough to completely drain my goodwill dry (though Signs came awfully close). I think he’ll mature into a better filmmaker as time goes on.

The Village has it’s share of twists and turns, but of course, we expect them and so they really don’t come as any surprise (and, to be honest, Shyamalan layed on the hints pretty thickly). Fortunately, knowing what is coming doesn’t completely destroy the film, as it would in some of his other films. I’ve tried to avoid spoilers by speaking in generalities, but if you haven’t seen the film, you might want to skip down to the next paragraph (I don’t think I ruined anything, but better safe than sorry). Shyamalan has always relied more on brooding atmosphere and building tension than on gratuitous action and gore, and The Village is no exception. Once again, he does resort to the use of “Boo!” moments, something that has always rubbed me the wrong way in his films, but I’m beginning to come around. He has become quite adept at employing that device, even if it is a cheap thrill. He must realize it, because at one point I think he deliberately eschews the “Boo!” moment in favor of a more meticulous and subtle approach. There are several instances of masterful staging in the film, which is part of why knowing the twists ahead of time doesn’t ruin the film.

Now I was looking forward to this film, but as I mentioned before, I’ve never been blown away by Shyamalan (with the possible exception of Unbreakable, which I still think is the best of his films) so I didn’t have tremendously high expectations. I expected a well done, but not brilliant, film. On Friday, I checked out Ebert’s rating and glanced at Rotten Tomatoes, both of which served to further deflate my expectations. By the time I saw the film, I was expecting a real dud and was pleasantly surprised to find another solid effort from Shyamalan. It’s not for everybody, and those who are expecting another bombshell ending will be disappointed, but that doesn’t matter much in my opinion. The movie is what it is, and I judge it on its own merits, not on inflated expectations of twist endings and shocking revelations.

Would I have enjoyed it as much if I had been expecting something more out of it? Probably not, and there’s the rub. Does it matter? That is a difficult question to answer. No matter how you slice it, what you expect of a film forces a point of reference. When you see the film, you judge it based on that. So now the question becomes, is it right to intentially force the point of reference low, so as to make sure you enjoy the movie? That too is a difficult question to answer. For my money, it is to some extent advisable to keep a check on high expectations, but I suppose you could get carried away with it. In any case, I enjoyed The Village and I look forward to Shyamalan’s next film, albeit with a wary sense of trepidation.

Insultingly Stupid Movie Physics

In a few of my recent posts, I’ve noted that movies often get the physics of space travel and battle entirely wrong:

It sounds like a battle using the weapons and defenses described would be punctuated by long periods of waiting followed by a short burst of activity in which one side was completely disabled. This is, perhaps, the reason so many science fiction movies and books seem to flaunt the rules of physics. As a side note, I think a spectacular film could be made while still obeying the rules of physics, but that is only because we’re so used to the absurd physics defying space battles.

Because it was only a side note and would have distracted from the point of the post, I neglected to mention 2001: A Space Odyssey, which is, in fact, a spectacular film that was made while obeying the rules of physics. Of course, the film is long, slowly paced, and unglamorous, but that is only because that’s the way things would be in space.

Insultingly Stupid Movie Physics is a website which goes into the details of common mistakes made in movies (presumably to present a more dramatic story). At one point, they speak about how well obeying the rules of physics works for 2001 and they also mention something which leads me to believe that we will be seeing more realistic space travel films in the future:

Arguably, the most dramatic scene in the 1968 movie 2001: A Space Odyssey occurs when the computer HAL locks Dave out of the spaceship and Dave is forced to enter the ship in a dangerously unorthodox manner. Even though Dave sets off explosive bolts, the scene is totally silent because there is no air in outer space. Yet, the scene coveys a sense of utter desperation.

2001 is included in most lists of the top 100 movies of all times (#22 on the AFI list of the top 100 films), has an enduring quality, and cult following because it got the physics of space travel essentially right. It’s not a particularly strong movie in terms of plot, action, or pacing. Its best dialog comes from its most notable character, a computer portrayed as a disembodied voice and unexpressive camera lens. Its ending is almost incomprehensible. Still 2001 demonstrates that silence is strongly emotional.

The 1970 movie Tora Tora Tora was nominated for four Academy Awards including the award for sound. It won the award for Best Visual Effects. The movie was a marvel of special effects for its time and was vastly superior in historical authenticity to the more recent movie Pearl Harbor. Yet to modern viewers it has an annoying audio distraction. The bullets make a fake sounding ricochet noise when they hit. In 1970 this was standard practice but now sounds ridiculous. Movie makers would do well to take note of this fact. Movie history itself shows that the public eventually does reject nonsense.

Bad physics is such a staple of science fiction movies that there has to come a time when good physics will become more interesting, if only for the sake of variety and percieved originality. I think there will always be a place for visable lasers and loud exposions in films set in space, but I think the silent, slow, unglamorous space battle could also become prevalent, if done correctly…

Judging a Movie By Its Cover

It’s conventional wisdom that you’re not supposed to judge books by their cover, that it’s what is inside that counts. In general, this holds true. Appearances can be misleading, and our perception of looks also tends to depend on the characteristics of a subject. Our perception of a person or thing is usually altered after closer inspection and interaction with them. But the first impression does count for something – it is often useful to quickly assess something, and then revise that assessment as new information becomes available. While we shouldn’t judge a book by its cover, the cover is useful in catching our eye and indicating which books call for further investigation.

For example, the other day, I was wandering aimlessly through the video store looking for something to rent when a movie cover caught my eye (see it on the right). The movie was called Samurai Fiction, and the cover featured a striking red and black grid with two silhouetted figures holding swords. I read the description on the back, which read something like this:

Feudal lord Kanzen Inukai receives a precious sword from the Shogun, but it is stolen by the samurai Kazamatsuri. Kanzen’s young son, Heishiro, insists on retrieving the sword himself to protect the family from the shame of losing such a precious gift. Heishiro’s two friends, Shintaro and Tadasuke, accompany him, ostensibly to assist him, but in reality to compete for the glory that will go to the one who defeats Kazamatsuri. After Kazamatsuri wounds Heishiro and kills one of his friends, however, the young lord no longer cares about the sword, only revenge. He recovers from his wounds in the small forest house of a rogue samurai and his daughter. The older swordsman tries to dissuade the youth from fighting, but is himself drawn into the conflict.

It’s a fairly conventional plot, but I rented it anyway. Overall, I’m glad I did. It is a black and white film with a visually stunning artistic flare. Its themes are complex, but it also has a hard-to-place lighthearted silliness to it. There are some nice comic touches, but they’re not going for belly laughs. It makes for an interesting and quirky mix. A great example of this is an old and clumsy ninja who insists on constantly sneaking up on people (his scenes are great, and the closest thing to pure humor in the film). There appear to be a lot of inside jokes and homages as well. For instance, the use of black and white can be seen as an homage to Kurosawa’s Samurai films. Interestingly, this allows the filmmakers to play with style by introducing breaks in the black and white scheme, when the screen suddenly takes on a red tint (to denote an on screen death). It is quite effective. One reviewer notes another homage:

It may or may not have been coincidental, but Fukikoshi bares a certain resemblance to John Belushi and a scene where he raises one eyebrow is a dead on reference to Belushi’s ’70s era samurai parody of Toshiro Mifune on Saturday Night Live.

Also worth mentioning is the soundtrack. It has a very upbeat rock and roll soundtrack (almost jazzy at points) that contrasts sharply with the traditional visual style of the film. I’m not sure it rubbed me the right way, but it was an intriguing choice nonetheless. This is one of the things that contributes to the film’s quirky feel. It’s also worth noting that the composer also did some work on the excellent Kill Bill soundtrack (including the music for the first trailer, entitled “Battle Without Honor or Humanity”), though I think his work better suits Kill Bill than Samurai Fiction.

Unlike others in its genre, it is not a violent film, though there is some swordplay and action sequences, those who are expecting an action packed film would be disappointed. Indeed, the action is mostly top-heavy, giving the impression that the film runs out of steam midway through the movie. My attention was beginning to dwindle a bit towards the end, but there was enough there to leave me with a good impression of the film.

Overall, it is a good film, though it has some flaws. I’m glad I rented it though, and I did so based almost entirely on the cover of the film. Interestingly, I like the cover now more than when I first saw it, indicating that I must have liked the contents of the films enough to alter my perception of the cover… So it seems that judging a movie by its cover did not lead me astray… this time, at least.

Oscarblogging

I didn’t realize the Academy Awards were tonight. Unlike most film aficianados, I actually enjoy the Oscars. I don’t place a particularly high value on them, but I’m usually entertained nonetheless. Since I just realized they were tonight and given that It’s starting in 15 or so minutes, I’m going to cut this introduction here a little short and just give my predictions (which I’ll have all of 5-10 minutes to think about). Perhaps later, I’ll have more updates (no guarantee that they’ll be tied to what’s happening during the show, but maybe).

Note: 2005 Picks and blogging here.

  • Best Picture: Lord of the Rings: Return of the King (more on why later)
  • Best Director: Peter Jackson for Return of the King (again, more on this later)
  • Best Actor: Bill Murray, though Sean Penn is also likely. Johnny Depp is the Dark Horse, but I think that was more of a sympathy nomination…
  • Best Actress: Charlize Theron for Monster, because she “bravely” uglied herself up. Ok, and she apparently gave a great performance too.
  • Best Supporting Actor: It looks like this one will go to Tim Robbins for Mystic River, but I’d love to see Ken Watanabe win it (not likely though)…
  • Best Supporting Actress: Toss up. Renee Zellweger has some buzz, as does Shohreh Aghdashloo. I’d also mention Marcia Gay Harden, but she won a few years ago so I don’t think she’ll win again…
  • Best Original Screenplay: Screenplay awards are where a lot of sympathy votes go, and if Lost in Translation doesn’t get the Best Picture nod, it will probably get this one… but don’t count out Jim Sheridan’s In America either.
  • Best Adapted Screenplay: Another toss up. It’s between Mystic River and Seabiscuit. I wouldn’t mind RotK or even City of God winning, but I don’t think either will…
  • Editing: Not sure at all. RotK better not win this one, but it might. We might see some sympathy votes for Master and Commander or City of God. I really don’t know…
  • Cinematography: RotK is noticeably absent from this one, so I’ll give it to Master and Commander.
  • Visual Effects: Return of the King, all the way. A second place to Pirates of the Caribbean.

There are plenty of other awards and more commentary on why I chose what I chose, but this will have to do for now. Again, more later.

The Intangibles:

Perhaps one of the more frustrating things about the Oscars is that the awards are often based more on the intangibles rather than any pseudo-objective measure of a film’s worth. We’re going to see this tonight when Return of the King wins Best Picture and Peter Jackson wins Best Director. Return of the King has it’s detractors, but it will win anyway because the Academy will think of it as awarding the entire Lord of the Rings trilogy. This sort of thing worked against LotR in the past – the explaination as to why Fellowship of the Ring didn’t win was that there were still two films left and it’s bound to win Best Picture for them, right? Well, I guess we’ll see.

You’ll also notice that I mentioned “sympathy” votes above several times. Members of the Academy often view an actor’s or an actress’s entire body of work as being deserving of an Oscar and will vote for them based on that, rather than by their nominated performance. This is why Johnny Depp might win (not that his performance was bad, per say, just that he’s a very popular actor and might get votes based on that rather than just his performance).

Screenplay awards are also interesting, in that a lot of almost-Best-Picture-worthy-yet-wildly-popular films get the nod here. Again, sometimes this can be a sympathy award, as it was when Pulp Fiction won in 1994.

I haven’t seen a lot of the films that were nominated this year, but the intangibles are what allow me to make predictions because they’re not totally based on the movies themselves. Frustrating, right? Sure, but it’s kinda fun too.

Update 8:36 pm ET: Michael Moore just got stomped on by one of those giant elephants from Return of the King. I’m guess that was done with special effects. Damn. But it’s nice to see he has a sense of humor about himself.

Update 8:52 pm ET: Boy, Tim Robbins is boring, but I chalk me up a point as I did pick him… Also, check out James Berardinelli who is making live updates on his site as well…

Update 8:56 pm ET: Are these commercials made specifically for the Oscars? Kinda like the Super Bowl? Hrm. Scorcese was hilarious.

Update 9:03 pm ET: Michael Douglas, who are you kidding with those sunglasses?

Update 9:11 pm ET: James Berardinelli: “is it just me, or does Benicio Del Toro resemble a Wookie?”

Update 9:14 pm ET: LotR looks like it will be racking up lots of the technical awards, as it has done in years past. Could it be the start of a route? Or will they lose out on Best Picture and Director?

Update 9:27 pm ET: Nice, classy, tribute to our wonderful troops and Bob Hope. It’s speaks well of Crystal that he didn’t make some snarky remark during that segment. There’s time enough to make political digs (and some have already been made); best not to sully our fine troops’ tribute. But Crystal is no Bob Hope:)

Update 9:40 pm ET: With the exception of Blame Canada, I can’t think of a single Oscar music peformance that is worthwhile. I’m grabbing a beer, because I can’t take this sober.

Update 10:01 pm ET: Jim Carrey, please wake me up. Thank you. Blake Edwards, thanks for The Pink Panther. You rock.

Update 10:16 pm ET: First American girl to be nominated for Best Director? I didn’t know that. Sofia Coppola, you are that much closer to being forgiven for Godfather III.

Update 10:33 pm ET: Ho hum. Nothing much to say, so I’ll just wonder why Kill Bill: Volume 1 didn’t get nominated for anything. The film certainly has it’s drawbacks, but it is well done and deserving of at least some recognition. Even in something obscure like costume design. Throw Tarantino a bone. Perhaps they’re waiting for Volume 2…

Update 10:44 pm ET: Errol Morris takes home the Oscar. I didn’t realize he was the one who did The Fog of War, but the The Thin Blue Line is one of the best documentaries I have ever seen. He’s just made his political statement, the first of the night and the second in a row by the winner of the documentary Oscar; this one is much more tasteful than the last… At this point, Morris has one of the best thank-yous of the night, but that ain’t saying much (unless Bill Murray wins later).

Update 11:03 pm ET: Come on, how can you give a 3 1/2 hour long movie that ends 5 times the best editing award? I loved the film, and the extended cuts are great, but gimme a break.

Update 11:08 pm ET: Oh great, more Oscar music performances. At least the Triplets of Belleville song was upbeat. But I don’t get Chris Guest movies. I didn’t like A Mighty Wind, nor Best in Show. It just didn’t click with me. Then again, The Princess Bride and This is Spinal Tap are great, so he’s not all that bad…

Update 11:25 pm ET: So far, I’m 3 for 4, with the one miss being RotK for editing(!?) And kudos to Jack Black and Will Ferrell for their “You’re Boring” song. Fantastic! If only the winners would take a hint…

Update 11:35 pm ET: Jeeze, maybe RotK will go 11 for 11?

Update 11:50 pm ET: Maybe Best Makeup should have went to the crew that made Charlize Theron ugly. Not many surprises tonight…

Update 12:07 pm ET: It’s a clean sweep, LotR wins it all. Peter Jackson just mentioned Bad Taste and Meet the Feebles and how the Academy wisely did not recognize those films (heheh). Very nice. Well, I’m exhausted. G’night.

One Final Update: Overall, I was 8.5 for 11 (with the 0.5 being the best actor nod, as I had wanted Bill Murray to win, but recognized that Sean Penn had a very good chance too), which works out to about 77% (well behind James’ 86%, and he made more predictions than I). My thoughts on the other two were that the voters would want to shine some light on one or two of the other films, rather than letting RotK steamroll through the competition. The show ended up being rather banal, thanks mostly to the uninspired acceptance speeches. At least it was only three and half hours long (which I think could still be cut down a bit).

Update: Films I Should Have Seen

Knock two off the list.

The League of Extraordinary Gentlemen was pretty much what I thought it would be, a straightforward and all-around mediocre affair. Which is a shame, because the concept is so compelling. Much of the time is dedicated to action sequences which aren’t bad, but don’t really stand up to comparison with what’s going on in the movie industry today (and the special effects were less than spectacular). What was really missing was characterization. One of the neat things about the League is that they all have skeletons in their closet, so to speak. We’re only given a glimpse of that, just enough to piss me off. I guess I’ll have to check out the comic book to see what can really be done with this concept…

This stands in stark contrast to my other viewing choice this weekend, Owning Mahowny. I originally described it as “Bank clerk played by Philip Seymour Hoffman takes on Vegas,” but that isn’t quite accurate. First, though he makes a few trips to Vegas, he spends most of his time in Atlantic City. Second, I should have said he takes on Atlantic City, and loses. This isn’t what I thought it was going to be, but it was still very good. Rather than exciting gambling scenes where we get the inside scoop on how someone cheats the Casinos, we get a fascinating study of addiction. Such films aren’t very pleasant to watch, in part because a happy ending is something of a cop-out, and Owning Mahowny doesn’t (er, does?) disappoint. Worthy of a mention are the performances by Philip Seymour Hoffman, who plays the gambling addicted Mahowny, and John Hurt, who turns in a great performance as the slimy casino director who schemes to keep Mahowny gambling. A worthwhile movie, if you’re into this sort of thing…

Top 10 Movies I Haven’t Seen This Year

I was reading this New Yorker piece about Top Ten Lists and I thought to myself, I should do a top ten list. Those who know me know I’m awful at this sort of thing, in that I have a hard time choosing favorites – especially when the options are varied and diverse. That said I’m usually able to pull it together for movies, if a little late (best of 2001 coming soon!). This year I find that I’m not sure I could compile a top 10 (possibly even a top 5), but that is at least in part due to the fact that I didn’t see a lot of movies this year. It is also due to the fact that I didn’t love a lot of the supposed “great” films this year. There were several films I considered to be really good and entertaining, but very few blew me away.

So instead of producing a substandard top 10 best films of 2003, I’m going to try something a little different. I tried to emphasize offbeat films in this list, though there are a few mainstream flicks in there as well. This means that several are foreign films, indy pics, or even documentaries. Also keep in mind that I haven’t actually seen any of these films, so they’re not really recommendations… just films I think sound interesting. Make of that what you will, and enjoy:

Top 10 Films I Should Have Seen in 2003

In no particular order*

  • House of Sand and Fog: Well, it sounds a little pretentious, but I still want to see it. Plus, Jennifer Connelly is hot. Score.
  • The Russian Ark: I want to see this movie solely based on the knowledge that it consists of a single shot that lasts for the entire length of the film.
  • The League of Extraordinary Gentlemen: I know it was probably butchered, but I need to watch it anyway, if only to marvel at what could have been. I will note, however, that this attitude usually leads to my enjoying the movie a lot more than I thought…
  • Once Upon a Time in Mexico: The continuing saga of “El Mariachi”, supposedly written and filmed on the fly by director Robert Rodriguez. Sounds fun, but I don’t expect a whole lot.
  • The Cooler: The unluckiest man in Vegas (played by William H. Macy) finds a way to apply his bad luck for the benefit of a casino, but runs into trouble when he falls in love and suddenly finds himself dancing with lady luck… Alec Baldwin apparently turns in a great performance as the nasty casino director (he’s done similar things before). I’m a sucker for gambling movies. Sue me.
  • American Splendor: The comic book related story of everyman Harvey Pekar.
  • Spellbound: The supposedly riveting documentary which follows 8 teenagers during the 1999 National Spelling Bee. We’ll see about that.
  • The Man on the Train: A chance encounter on a train leave a schoolteacher and a crook envious of each other’s lives. Another that I meant to see but missed out on…
  • Lost in Translation: Must. See. Bill. Murray. In. Excellent. Role. Soon…
  • Owning Mahowny: Bank clerk played by Philip Seymour Hoffman takes on Vegas? I’m so there. I meant to see this one in the theaters, but it was only playing at the Ritz and I didn’t get out there in time… I hope to rent it this weekend.

* This is, in fact, only partially true. The films are roughly listed in order from what I want to see least to most, with stress on the “roughly”

Damn, that list filled up quickly. Honorable mention: Irreversible (described by James as “Memento on Heroin”), Capturing the Friedmans, Cold Mountain, Mystic River, The Fog of War, Elephant, Swimming Pool, Cabin Fever, Dirty Pretty Things, and Underworld.

Whew. I probably won’t even get around to seeing all of these films, but they all seem interesting and at least worthy of consideration. Check them out if you’re in the mood for something different… I know I will.

Update: Knock a few off the list…

Update: Oh damn! How could I forget Bubba Ho-Tep! Still not playing in Philly, but it appears to still be making the rounds, so I’m crossing my fingers…

Reflections on LotR II

I had the pleasure of viewing Lord of the Rings: The Return of the King last night, and I must say, I am impressed. Peter Jackson deserves a whole lot more than the Oscar he’ll receive for this. The Return of the King is remarkable in that it is even better than it’s predecessors, which were exceptional movies in themselves. Naturally, we have the source material to thank for that, but it is in no small part due to Jackson’s vision and imagination as well.

My reflections on the Fellowship of the Ring still hold true and apply equally to The Return of the King:

I would describe the film as a sweeping epic, in the true sense of those words (before they were perverted by the use of critics describing the like of, say, Gladiator) and Peter Jackson should be honored for being able to capture the spirit of Tolkien’s work while, at the same time, not shutting out those who are not familiar with the books. This is perhaps one of the most ambitious efforts in film history, and Jackson actually manages to imbue the film with the depth and texture that it demands. From beginning to end, the film showcases the grand beauty of Middle Earth, with graceful vistas, immense landscapes of forbidding snow or rolling greenery, and sweeping shots of terrifying battles, but don’t let that fool you – Jackson was able to temper the pace and suspense of the film so that its scale does not detract from it. This is grand filmmaking, yes, but Jackson also focuses on the human side, letting his wonderful actors do their thing and also showing the details of Middle Earth’s history and architecture… This is an adventurous effort at its best, and its one of the best movies I’ve seen in a long time.

The Return of the King builds on the base created by the first two films, making for an even more grandiose experience – complete with yet another breathtaking battle (the cavalry charge floored me), jawdropping visuals, and genuinely powerful emotional arcs. This being the conclusion of the story, there are several compelling dramatic moments (which elicited cheers from the crowd), and Jackson absolutely nails it. Also, unlike most trilogies, the climax of Lord of the Rings doesn’t dissapoint. I don’t know what it was about this film, everything just seemed better. Bravo!