Public Transportation Snob

Podcasts Update: Class Action Park, The Imagineering Story, and the Amazing Race Australia

noreply@blogger.com (Dan) — Thu, 04 Mar 2021 07:00:00 +0000

I haven’t posted on this site for a long time, but I’ve still been working on a wide range of other projects. They have included quite a few podcast appearances, including my ongoing role as the master of ceremonies for The Tomorrow Society Podcast. On this audio interview show, I talk with authors, filmmakers, former Disney Imagineers, and other experts about Disney, theme parks, and related subjects. I’ve released 133 episodes so far and had such a great time interacting with so many smart people working in and covering the industry.

I’ve still had the chance to talk about movies and TV, which is always a great time. I recently spoke again with Brian Jay Jones, author of George Lucas: A Life and Jim Henson: The Biography. Our topic this time was Season Two of The Mandalorian, which has reenergized Star Wars through the TV medium. Brian is a passionate fan of the franchise and had a lot of interesting thoughts about the season. We also talked about how Disney is expanding Star Wars into a large group of new series during the next few years.

Earlier in 2020, I also spoke with filmmaker Lesley Iwerks, who directed The Imagineering Story documentary series for Disney Plus. I was surprised by how candid this show was about the challenges for Disney and its Imagineers. This isn’t just a promotional look at the magic of theme parks. Instead, Iwerks covers layoffs and unfortunate creative choices right alongside the classic attractions. It’s a fascinating series that is worth watching even if you aren’t a diehard theme park fan.

The Hilarious and Tragic Story of Action Park

I really enjoyed catching up with the documentary Class Action Park, which presents the ridiculous and sad story of New Jersey’s craziest amusement park. Action Park was the brainchild of Eugene Mulvhill, a wild card who didn’t follow typical rules for building rides and water slides. This led to a notorious park both for its lack of rules and for the accidents and deaths that occurred there. On the Tomorrow Society Podcast, I spoke with Writer and Co-Director Seth Porges about his film. Porges grew up going to Action Park and had so many good stories from making the film.

I’m intrigued by the fact that Action Park existed, though I should not be surprised as a child of the ‘80s. We wandered the city as kids on our bikes (without helmets) and ventured far from our house in St. Louis. Class Action Park depicts a time when kids had great adventures but also risked peril at the same time. I couldn’t imagine letting my girls go to a place like Action Park today. Seth is also a big theme park fan, so we also talked about some recent developments in the industry.

A Different Kind of Competition: Spotlighting the Amazing Race Australia

On a different note, I’ve been a longtime fan of The Amazing Race since its earliest days. This includes international versions like The Amazing Race Canada. I’ve podcasted about that version for Rob Has a Podcast for five years with Jessica Liese. That’s hardly the only example in another country either. A revised version of the Amazing Race Australia returned in 2019 and is back for another installment now. Host Beau Ryan brings a laid-back attitude to the show that fits with this type of competition.

Jess and I were joined by Australian podcaster Sarah Carradine to spotlight this new season for Rob Has a Podcast. We covered the first six episodes and the various twists, including some questionable ones. Tasks this season have included an outhouse race in the Dunny Derby, cutting a lawn with tiny scissors, and recreating a World War II bombing with a carnival game. I appreciate how this show is willing to take chances and try just about anything.

Another difference with the Amazing Race Australia is the large number of episodes and teams. They started with 14 teams and added two more “stowaway” teams during the season. They also air three episodes per week, which can be a challenge to follow. This has led to MANY non-elimination legs, sometimes two in a row. It’s a hard series to cover every week, but we may record another episode in the future. It’s pretty easy to find this season on YouTube, which is known as “Season 5” because of an earlier version. You can also listen to our podcast here. It’s a fun, unwieldy season!

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Dissecting Michael Mann's Heat on the One Heat Minute Podcast

noreply@blogger.com (Dan) — Thu, 25 Apr 2019 02:28:00 +0000

Michael Mann is one of my favorite directors, if not the top choice. His films provide more depth with each repeat viewing, especially his best work. Mann's 1995 crime epic Heat is one of the best examples of a movie that appears simpler on the surface. It's about a lot more than cops and robbers chasing each other around Los Angeles. Its characters offer more than you'd expect, including the supporting players well beyond Robert De Niro's Neil McCauley and Al Pacino's Vincent Hanna. This is one of many reasons why I've enjoyed Blake Howard's podcast project One Heat Minute. Howard and his guests closely explore Heat, one minute at a time.

I was lucky enough to join Blake for Episode #129 of One Heat Minute. We covered Eady's (Amy Brenneman) realization that perhaps Neil isn't the right guy. The gorgeous nighttime shots of the hills of Los Angeles provide the perfect backdrop to her attempts to escape from Neil. Blake and I talked about Neil's real intentions in this relationship and how perhaps we shouldn't root for his success. It was a treat to play a small role in this awesome project. Blake's guests have included NY Times film critic Manohla Dargis, Heat cinematographer Dante Spinotti, author Jordan Harper, and many other film experts. You should definitely check out this podcast, which is inching closer to completion.

Other Podcast Appearances

Back in January, I also joined Todd Liebenow on The Forgotten Filmcast to talk about the silly movie 1990: The Bronx Warriors. Led by the tall and strangely wooden Trash (Mark Gregory) a group of outlaws try to stay alive in a post-apocalyptic version of The Bronx. This low-budget film has some fun moments, including the over-the-top antics of Vic Morrow as Hammer. It was fun to talk with Todd once again about lesser-known movies that are worth checking out for curiosity if nothing else.

Finally, I spoke with author Brian Jay Jones on The Tomorrow Society Podcast about his biographies of Jim Henson and George Lucas. Brian's exhaustive books offer interesting portraits of both men that played such a huge role in television and movies. My podcast focuses on theme parks but sometimes veers towards movies with connections to the parks. Brian and I had fun chatting about Star Wars in particular given some of Lucas' controversial choices to keep changing his films. You can learn more about The Tomorrow Society Podcast and listen to all the interviews through Apple Podcasts.

Talking Movies on The Tomorrow Society Podcast

noreply@blogger.com (Dan) — Mon, 03 Dec 2018 12:00:00 +0000

This site has been quiet lately, with the exception of my detour into Stargate Origins earlier this year. That doesn’t mean I’m not still involved with talking about movies, however. My focus these days is The Tomorrow Society, a blog and podcast focused on the world of theme parks. It’s a different sphere yet still veers into the world of movies periodically.

On The Tomorrow Society Podcast, I speak with authors, filmmakers, and experts that work behind the scenes on theme parks. Two of my recent episodes might interest you because the guests work in the film world. They’re still connected to Disney, but the conversations dive into the process of making movies. Here i a quick summary of each episode; John Walker and Mark Mancina had a lot to say about their careers in movies.

Episode 60: John Walker, Producer of The Iron Giant, The Incredibles, The Incredibles 2, and Tomorrowland

My latest podcast was just released today and focuses on the box-office disappointment Tomorrowland from 2015. I talked with Producer John Walker about making that movie and why it wasn’t a bit hit. I’m a big fan of Tomorrowland and believe it deserves more attention. We also cover John’s work with Brad Bird on The Iron Giant and the two Incredibles films.

Episode 55: Mark Mancina, Composer for Moana, The Lion King, Tarzan, Training Day, and Speed

Back in October, I was thrilled to speak with composer Mark Mancina about his diverse career. The talented musician has brought his interest in progressive rock to scores on popular films like Speed and Training Day. He’s also worked regularly on Disney films, most recently Moana. We talk about Mark’s background plus the music for The Lion King, Tarzan, and a variety of projects.

If you’d like to learn more about everything that I’m doing at The Tomorrow Society, you can go to tomorrowsociety.com or follow me on Twitter or Facebook. You can also subscribe to The Tomorrow Society Podcast on Apple Podcasts.

Stargate Origins: Episodes 8-10 and #StargateRising

noreply@blogger.com (Dan) — Tue, 13 Mar 2018 02:26:00 +0000

We’ve reached the end of Stargate Origins, but it’s hardly a dour time for Stargate fans. There’s a sense of excitement in the fanbase that I haven’t seen in a long time. The TV landscape has changed dramatically since the final days of SGU in 2011; there are a lot more distribution options. Before I get too distracted, let’s dive back into Origins’ last three episodes.

I like the fact that MGM split up the 10 episodes into four weeks instead of dumping them all at once. That choice extended the interest from viewers across a full month, even if they disliked it. On the other hand, Origins probably works better as a feature than in 10-minute episodes. I’ll be curious to see if the events flow more seamlessly as a single narrative. If nothing else, it would remove the silly effect of spinning the camera at the end of each part. Let’s take a look at the last three episodes and how they finished the story.

Episode 8: Testing Her Allies

The Abydonian outpost is the site for a family reunion of sorts, though Dr. Langford and Catherine don’t speak directly. She hides in the tent nearby with Beal while Aset tests her followers. Once again, a large group of characters stand in strangely close quarters while the camera zooms in with too many close-ups. We need to feel the scale of this place! I recognize the budget limitations, but it shouldn’t be so obvious. What should be a tense moment loses steam because it’s such a compact sequence.

On the positive side, I have to take a moment to rave about the costumes for Aset (especially) and Serqet. I think they spent half the show’s budget on these few outfits! They look amazing and over the top, which helps to make the Goa’uld look even more godlike to the tribe. The scenes involving Aset are frequently the best in the show because the stakes seem real. She also makes Origins feel like more than a low-rent adventure serial.

Less inspiring is the disintegration of Brücke, who saves his fellow Nazi Stefan and then shoots him. His descent into madness connects to humans from SG-1 that couldn’t handle a taste of Goa’uld power. Everything just seems too obvious, however. When Eva tells him that “you have no good side”, the point lands with a thud because it’s so on the nose. Connor Trinneer still brings emotion and grace to Dr. Langford, but it’s like he’s acting in a difference series.

Episode 9: Fresh Air

I can’t overstate the importance of stepping outside into the desert in this episode. Too many scenes happen in the same few rooms. It’s a relief when Catherine and her pals venture out and prepare to rescue her father. I also enjoyed the callback to the original Stargate film with the symbols inside the tunnel. There’s even an explanation for why Daniel Jackson couldn’t find the point of origin in that movie. It’s one of the cooler touches in this prequel series.

Another interesting moment has Aset questioning whether to kill Catherine or send her to the mines. Dr. Langford doesn’t translate that part of her statement to Brücke, which reminds us of the limitations of the Nazi’s influence. The final moment with Dr. Langford confronting Brücke feels well-earned mostly because Trinneer makes us care for the guy. We don’t want to see him meekly serve Aset and Brücke without taking a shot at freedom.

This episode also includes Origins’ best scene when Catherine tells Kasuf about the Goa’uld’s true nature. Her efforts don’t convince him, and Ellie Gall’s face makes the scene resonate. There’s real emotion in this scene, and it nearly makes up for her awkward communications with Kasuf at the start. This show needs greater stakes, and moments like this one sell the idea that we’re watching more than just a low-budget adventure story.

Episode 10: Tying Up the Loose Ends

The challenges of Origins’ short running time stand out during the final episode. Ra appears as the great continuity fixer to set the stage for the events in Stargate. Amnesia is the laziest way to fix inconsistencies, but that’s the road we take here. Making Catherine and Dr. Langford forget everything solves the issues but also feels like a cheat. The resolutions for Beal, Wasif, and Motawk arrive so quickly that it’s hard to even comprehend everything.

I did enjoy the idea that Aset planted the seed that led to Ra’s destruction in the future. It took many decades for it to happen, but Catherine eventually contacted Daniel to find Abydos once again. Turning Kasuf into a leader also feels random, but it helped to connect his character with Erick Avari’s older version from the movie and series. Ra moves the gate and kills nearly everyone without a second thought, but his doom will come down the road.

Beal was a frustrating character throughout much of this show; his complaining was set up for laughs yet never really hit home. He was just starting to get interesting in the past few episodes, which makes his death feel tragic. It’s quite a downer of a finale across the board; even the Harsesis child possibly died. We don’t see Aset or the baby perish, so it’s possible they survived for another season. That is also true for Beal, though his death seems more likely.

Another interesting part is Wasif finding love with Motawk, which had received hints in past episodes. I’m sure that some Stargate fans won’t love this story arc given their reactions to SGU. Even so, I appreciate any efforts to show a wider range of relationships on television. Seeing Wasif and Motawk conscripted by Ra as guards is a gut punch, though. They could return in a future season, but it’s hard to watch such a bleak resolution.

The Mission File on Stargate Command also includes a reference to Captain Mitchell, which connects this story to the events of Stargate: Continuum. I like the way that it bridges the two stories, but I would have enjoyed a slightly clearer reference on the show. There’s a risk in veering too far into fan service, but you don’t want to make Easter eggs so hard to find.

Origins: Some Final Words

It’s no coincidence that Joseph Mallozzi chose to begin the push for more Stargate right after Origins premiered. The fans are already engaged in the new show and have greater interest to push for a full series. The huge contrast in budget and scope between Origins and past Stargate series also reminds us of how great they were. If nothing else, this smaller show has brought fans back into the fold and convinced us that we want something better.

I don’t mean to keep criticizing Origins; making a prequel is not easy. When you also consider the miniscule budget, its chances of success were smaller. What bothers me is the time spent on worn-out tropes like Nazis, amnesia, and obvious colonialist topics. Why not cover similar territory but with interesting villains and a more nuanced resolution? Connor Trinneer did great work as Dr. Langford, and his steady presence stood out against the hammy Nazis.

You don’t need a giant budget to make an interesting Stargate series. Two of my favorite episodes from SG-1 are “Abyss” and “Threads”, and both mine great drama from long conversations. Origins can be fun yet still grab us without resorting to obvious story beats.

There’s so much potential in a show set in the ‘30s involving the Stargate. Parts of Origins nearly hit the mark but then got too safe. Did we really need the Nazis at all? Removing them would give Aset and Serqet more time to grow as characters and set up a more exciting main conflict. This is one example of many thoughts that I had as I watched Origins.

The Success of #StargateRising

On Friday and Saturday, Stargate fans and a lot of familiar faces made their presence felt during a tweetstorm that spanned the globe. I participated on Friday and likely earned a few mutes on Twitter with many posts and retweets for #StargateRising. Some of our favorite actors like Amanda Tapping, Jewel Staite, David Hewlett, Brian J. Smith, Michael Shanks, and so many others joined the fun. It was heart-warming to have so many people that love the franchise coming together to push for more.

Beyond the energy of seeing the unified front, I’m hopeful that we have a chance for a real show. I love the idea of pushing for Robert C. Cooper and Brad Wright to return and continue the story. There’s endless potential even if some actors can’t appear due to other commitments. I have a feeling that we’re in store for a lot more great things from Stargate in the next few years. Is it possible that our journey is just beginning?

Reopening the Gate on Stargate Origins
Stargate Origins: Episodes 4 & 5 and #StargateNow
Stargate Origins: Episodes 6 & 7 and a Stargate Tweetstorm
The Reconsidering Stargate Universe Series

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Stargate Origins: Episodes 6 & 7 and the Stargate Tweetstorm

noreply@blogger.com (Dan) — Tue, 06 Mar 2018 04:59:00 +0000

We’re an hour into Stargate Origins, and it feels both too short and strangely long. We don’t have enough time to really dive into the story, but scenes tend to extend beyond what’s needed. This is especially true when the Nazis appear; it’s hard to invest too much into their story. Other moments inch towards becoming interesting and have potential if they offered a bit more depth. That isn’t true with Brücke and his band of goofy villains.

The biggest hurdle for Director Mercedes Bryce Morgan and the writers is the small budget. It’s easy to criticize the limited sets and less effective CGI in Origins. I don’t mind an indie version of Stargate, but it’s harder to overlook the basic shots. In particular, the room with Dr. Langford and the imprisoned Nazis is quite dull. The camera sits back and gives us a medium shot that only exacerbates the limited sets. There are ways to reveal the horror of what Aset could accomplish with Hitler’s army. Instead, we remain at a distance from the events on screen.

It feels like we’re just playing out the string with Origins, but there’s still great excitement for the franchise. Building on the #StargateNow movement that I discussed last week, Joseph Mallozzi is rounding up the troops for an event to prove there’s still life in the fan base. Before I dive into that exciting day, let’s take a closer look at last week’s two Origins episodes.

Episode 6: Showing Their Hand

Beginning with a close-up of a film camera, Episode 6 contains a lot of exposition. Aset needs allies (or slaves), and Brücke is willing to provide them. While Dr. Langford stews, the Nazis give Aset the perfect opportunity to gain power on Earth. Like I mentioned above, the shots are so flat here. It’s claustrophobic but not in a way that induces fear of a dangerous villain. The scene just sits there, and not even a clever jump cut between Dr. Langford and Catherine both wiping their brow can save it.

There’s more energy to Catherine’s scenes with the Abydonians, but it’s lessened with bickering. It’s hard to care much for Beal, who keeps disregarding Catherine’s justifiable concerns for her dad. The show also makes Kasuf appear dumb, which adds to the standard colonialist narrative. It’s designed for laughs, but it’s mostly just cringe-inducing. When the Seal of Ra switches to a Nazi symbol, it’s also less effective because of the earlier jump cut of wiping the brow.

I don’t mean to be too harsh about Origins. There are interesting conflicts lurking beneath the surface, and the idea of a Goa’uld working with Hitler has a lot of potential. I also loved the close-up of Aset holding the machine gun in front of the screen. It’s the best shot of the series thus far and sells her as a cool enemy. More of this in the future, please.

Episode 7: The Power of Naquadah

I’m intrigued by this episode’s opening scene where Aset displays the power of even the small rock that she presents to Brücke. Naquadah is no joke and powers all of the Goa’uld’s key weapons. Despite the over-the-top acting from Aylam Orian as Brücke, this scene feels like it belongs in a Stargate show. There’s a power-hungry Goa’uld enticing a less sophisticated human with the chance to dominate his world. It’s a cool opening but only lasts for a short time.

Back at the outpost, we’ve reached the next stage of the typical colonialist story. Seeing the necklace with Ra’s symbols, the natives assume that Catherine and her companions are important emissaries of the powerful being. We also have the weird native food and a drug that the humans fail to understand. This drug brings Catherine and Beal closer together despite her awful behavior. Their kiss at the end feels unfortunate because he’s just not a nice person at all.

The most interesting part of this episode appears in the Mission File on the Stargate Command website. That article clarifies that Aset is actually a clone of Isis, which solves one of the continuity issues spotted by fans. The problem is that we don’t learn this information in the actual episode. The theater show gives hints at the Ra/Aset relationship, but it’s a simpler picture than the reality. I hope we learn more in future episodes on Aset’s back story, but time is growing short.

March 9, 2018: Stargate Will Rise Again!

Let’s get to the real fun this week. If you want to see another Stargate TV series with a real budget and full episodes, set your calendars for March 9 at 9 p.m. Eastern Time. International fans should mark down March 10 at 7 p.m. GMT. Both slots will involve a one-hour tweetstorm that will help to reveal our Stargate dedication to MGM. Mallozzi explains the event in his February 26 blog post.

If you haven’t done so already, you should follow @Stargatenow on Twitter so you’re ready for the big event. They’ll reveal the hashtag 15 minutes before the tweetstorm; we should only use this one hastag to maximize trending for the topic. I know it seems a little silly to expect much from this event, but we’ve seen other examples of fan causes succeeding. Mallozzi believes that MGM wants to restart the franchise, so anything we can do to encourage them is essential. Let’s take this project to the next level!

Reopening the Gate on Stargate Origins
Stargate Origins: Episodes 4 & 5 and #StargateNow
The Reconsidering Stargate Universe Series
Stargate Universe: The Complete Final Season
Stargate SG-1’s Moebius: The True Series Finale
Stargate SG-1: Children of the Gods

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Stargate Origins: Episodes 4 & 5 and #StargateNow

noreply@blogger.com (Dan) — Sat, 24 Feb 2018 03:22:00 +0000

We’re now halfway through the 10 episodes of Stargate Origins, so the structure is a lot clearer. All of the main characters (beyond one dim-witted Nazi) are on Abydos in various states of danger. We’ve met the two Goa’uld characters, Aset and Serqet, who are generally more interesting than the flimsy heroes. The Nazis and Dr. Langford remain captured by Aset and can only wait for the next steps. They’ll need Catherine and her pals to step up and save the day. The stage is set for the big conflict between the various parties, but our time is short.

Only about 50 minutes remain in the entire show, and you can only accomplish so much in 10-minute episodes. Despite some fun moments, the limitations on money and time make it hard for Origins to really thrive. A lot has changed since I wrote about the first three episodes, however. Longtime Stargate writer and producer Joseph Mallozzi has initiated the quest for a new full series to extend the franchise. His presence has rejuvenated the fan base and made Origins’ success seem less essential for its future. Before diving into those efforts, let’s take a quick look at the two new episodes, which premiered yesterday at Stargate Command.

Episode 4: A Formidable Enemy

I love a good sci-fi adventure, and the classic premise of discovering an unknown world via the Stargate can work brilliantly. It’s a relief when Catherine, Beal, and Wasif leave the main structure and venture into the desert. That moment happens in Episode 5, however. They first battle with the Goa’uld warrior Serqet and have little chance against her. She’s played by Michelle Jubilee Gonzalez, whose career includes a lot of stunt work in TV and movies. Gonzalez is an imposing enemy, though the fight isn’t very thrilling.

I did enjoy seeing Serqet’s different type of staff weapon that worked for hand-to-hand combat. The large hook at the end makes for an effective tool in close fights. It’s cool to see a little action on Origins, but this scene feels a bit awkward. The staging appears off, and the room’s tight quarters make for a limited fight. The appearance of the transportation rings is an exciting callback, especially to the movie and early SG-1 seasons.

Before encountering Serqet, the confused trio exits the Stargate and arrives on Abydos. I like the small touch of the ice on Catherine’s face, which is a callback to the early days. Less exciting is the over-the-top reaction from Beal, who’s just a painful character. He veers between obnoxious and cheesy behavior, and I don’t see any chemistry between him and Catherine. Beal is mostly around to set up Catherine as the stronger character. Exchanges like this are a good example:

Beal: “Stay put.”
Catherine: “You wish!”

While her reply made me chuckle, it’s hard to care much about Beal. Yelling “Boo!” at the Abydonian tribe member they discover is such a jerk move. Ellie also slaps him when he suggests that Dr. Langford is dead, and it’s well-deserved for a lot of reasons. Wasif mostly seems like an afterthought to the pair, despite his cool discovery of the world outside. The attractive shot of the three moons and the dunes mostly sells the off-world location. I can’t wait to get a chance to explore a little bit of this outside world.

Episode 5: Aset’s Plans

While Episode 4 mostly involves the fight with Serqet, its follow-up involves all the characters in some fashion. We check in with the Nazis, Goa’uld, and Catherine’s group within a packed 10-minute story. It seems fitting to have so much as we reach Origins’ midpoint. The most interesting part of Episode 5 is the conversation between Aset and Serqet. There’s a revelation that the baby is a harsesis, which is the show’s first big surprise. We learned on SG-1 (particularly in season four's “Absolute Power”) that this child of two Goa’uld is extremely powerful. While it’s unclear who the father is right now, Ra is a possible candidate.

We also learn that Aset plans to use the humans to ferment a revolution against Ra. I’m not sure how this can go well, but it presents her more as an opportunist than a generic enemy. The idea of Aset using the Nazis for her own devious plans intrigues me. We also learn of her mysterious resurrection, which might help to explain fans’ continuity questions. There’s a lot of plot to uncover in limited time, so I’m unsure how much we’ll learn down the road.

Less inspiring is the scene with the Nazis, who remain weird caricatures. My reaction is similar to Dr. Langford, who’s just over the entire situation. His only solace is that Catherine is back on Earth, and a split-screen shot reminds us of how wrong he is. She’s busy having a painful conversation with Kasuf (Daniel Rashid), the Abydonian tribe member. Catherine’s attempts to teach Kasuf her name feel straight out of an old colonial narrative. Her frustrating approach treats him as dumb simply because Kasuf doesn’t understand English. It’s bad news.

Kasuf is a familiar name to Stargate fans; an older version of him encounters O’Neill and Jackson on Abydos in their first trip. Erick Avari played Kasuf in both the movie and SG-1, but that character seemed unfamiliar with Earth in that film. It will be interesting to see how that is presented in upcoming episodes, if it’s addressed at all. His character is mostly around to draw comedy out of their cultural differences, and those jokes fall flat.

On a positive note, Wasif’s stabbing by a frightened tribe member is a shock. Seeing all that blood (and a possibly mortal wound) brings weight to a show that has felt very light so far. I did not expect Wasif to die, and the quick resolution with the Wand of Horus ends any speculation. Even so, it’s refreshing to bring actual stakes to this story. The battle with Serqet included limited tension despite her skills. The stabbing is the first moment that convincingly sells the danger of going through the Stargate, and I hope to see more in the future.

#StargateNow

The most exciting news of the week was Mallozzi’s surprise announcement of a strategy to strongly encourage MGM to revive Stargate completely. In a blog post titled “Stargate – the next step!”, Mallozzi outlines his feelings about the future of the franchise. He clarifies that a reboot or remake won’t serve the best needs of fans or the series. We’ve seen the challenges in Origins with shoehorning a story into Stargate’s past. Mallozzi pitches the idea of going back to the guys that helmed the ship for many years – Brad Wright and Robert C. Cooper.

What I love about the idea is how much it makes sense and isn’t just a pipe dream. It also unites the fans with a single objective – support the creation of a new series that continues the ongoing story. The possibilities for this show are endless; it could involve beloved characters from all three series plus new roles that expand the storytelling universe. I’d love to see more of Stargate Universe (SGU), but why stop there? You could explain what happened to The Destiny and involve Atlantis, Earth, and more all within a single package. Why not build on past success instead of recreating it?

If you’re a fan of any part of the Stargate world and want to help this cause, your first task is easy. Follow @StargateNow on Twitter and tweet out support with hashtags like #StargateNow and #DrivetoRevive. I’d also suggest following Mallozzi @barondestructo; he posts regular updates about the project. If you aren’t on Twitter, there’s also a Facebook page open for Stargate Now. This is just the beginning of the initiative, but the response has already been so positive. Fans may disagree on SGU or Origins, but few can argue with the push for a full Stargate rebirth. Let’s make this happen!

Reopening the Gate on Stargate Origins
The Reconsidering Stargate Universe Series
Stargate Universe: The Complete Final Season
Stargate SG-1’s Moebius: The True Series Finale
Stargate SG-1: Children of the Gods

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Reopening the Gate on Stargate Origins

noreply@blogger.com (Dan) — Fri, 16 Feb 2018 05:00:00 +0000

Ever since the abrupt cancellation of Stargate Universe (SGU) in 2011, fans of the long-running franchise have wondered if Stargate is gone for good. The three series were basically an institution on the cable airwaves for nearly 15 years and provided 17 seasons of sci-fi adventures. The TV landscape has changed dramatically, however; the syndicated model and popularity of DVDs that helped Stargate SG-1 thrive are gone. When the SyFy network moved away from space-driven shows (for a time), Stargate was the prime casualty. Financial struggles for MGM killed a chance for straight-to-DVD movies, and that loss placed the franchise into limbo.

Hope arose in the form of a planned reboot on the big screen from Roland Emmerich and Dean Devlin. They created the film Stargate back in 1994 and had always wanted to revisit the franchise. This wasn’t the ideal scenario for devoted fans of the TV series, but a popular movie might re-ignite the chance to continue the stories of SGU and Stargate Atlantis (SGA). With plans of a movie on hold or dead, MGM decided on a small-scale approach. The result is a new prequel series Stargate Origins, which premiered this week. There’s a big catch, however.

The old-school adventure is only available through MGM’s new streaming service — Stargate Command. Available for a one-time fee of $20, the site gives viewers a chance to watch both Origins and the original three shows, plus the movies. While most of us already have DVD copies, it’s cool to have everything available in a single place online. Stargate Command also includes bonus interviews and other content to make it a better value. The first three episodes of Origins dropped on Valentine’s Day, and more will arrive next Thursday.

The pivotal question is whether the new show will be enough of a draw to expand the audience beyond completists like me. I even watched the terrible animated series Stargate Infinity, so my bar is very low. The downside for MGM is that only hardcore fans likely know about Origins, and some of them won’t pay. Casual viewers that might check out a network show won’t buy a service with just Stargate. It’s an uphill battle to sell the value, even without a monthly fee.

What Really Matters

MGM’s distribution model is important, but it’s secondary to the larger question: Is Origins any good? If the show is thrilling, viewers will find it. It’s easier than ever to spread the word through social media and positive word of mouth. There’s a flipside to this landscape, though. If a show doesn’t grab audiences immediately, it will die quickly. There is too much competition on many different platforms, and sci-fi fans have plenty of worthy options to see each month. Can a show with a shoestring budget and no stars stand out from the fray?

The most recognizable actor is Connor Trinneer, who played Michael on SGA and Trip on Star Trek: Enterprise. He’s a familiar face to sci-fi fans and portrayed one of the more notable villains from SGA’s run. Despite being stuck behind a silly mustache as Professor Paul Langford, he’s the most convincing character in Origins. The lead is Ellie Gall, who plays the iconic Stargate character of Catherine Langford as a young adult. The 20-year-old Australian actress has a decent collection of TV roles but is not well-known in this genre. She’s actually the sixth person to play this character, though Elizabeth Hoffman from SG-1 was the most frequent.

The good news for Gall is that we’ve only seen a few moments with Catherine near her age in 1939. She can basically do anything with the character and not seem out of place. Catherine must be a smart and effective force based on what we know from previous shows. The first three episodes make sure to highlight her capabilities, and they overdo it a bit. The guys are comically inept and stand little chance against her, especially the Nazis. I expect that trend to continue as the story continues. I’ll cover the other actors as we go, but few leave a major impression thus far compared to the two leads.

A Diminished Scope

One aspect that has always stood out in Stargate is its epic storytelling. The 1994 movie has issues, but it still includes stunning physical sets and action scenes. Despite having a TV budget, the series found ways to maintain that giant scale. They conveyed epic battles for the survival of Earth and the galaxy. The creators were experts at re-using spaces to fit any location. Beautiful exteriors in British Columbia also allowed for location shooting that expanded the scope.

Origins must convey a feeling of grand adventure despite having a razor-thin budget. I have no information on the cost, but you can tell it’s fairly small. An early conversation between Dr. Langford and Catherine obviously happens in front of a green screen, and it lasts for quite a while. The planet (which I assume is Abydos) that Dr. Langford and the Nazis visit in episode 3 is a small room that feels like a movie set. There are a limited number of characters and few extras to create a believable world. Origins resembles a stage play more than a typical series.

There’s nothing wrong in theory with a smaller version of Stargate. Plenty of indie films have succeeded with small budgets and limited casts. SGU had its epic moments, but it also delivered gripping drama within a confined space. The challenge is when a show falls below expectations for its genre. Origins is a prequel to Stargate the movie, and it’s going back to 1939. Viewers expect some period details plus solid visual effects. It’s hard to do either on a small budget.

A Tricky Start

Unlike the other three series, Origins doesn’t have the luxury of a two-hour pilot to build a foundation. The running time of this entire show is similar to SG-1’s premiere “Children of the Gods”. The 10 webisodes last about 10 minutes each, and the first three entries move quickly. After a short time at Giza in 1928 for the original reveal of the Stargate, we jump ahead 10 years and meet Dr. Langford and Catherine inside a facility. Her boyfriend James (Phillip Alexander) appears for a cute scene and dinner with her dad, and the Nazis arrive quickly.

I appreciate the lack of an extended introduction; we don’t spend the first half hour just meeting each character. On the other hand, the stakes are lower without a better connection. If viewers don’t know the Langfords’ importance to the franchise, they may not care as much about their survival. It’s hard to get too attached to anyone in five minutes, even with likable actors. The Nazis are less winning and fall way into obvious B-movie stereotypes. Their salutes reminded me more of the Disney propaganda short Der Fuehrer’s Face than anything sinister.

We’re definitely in old-school serials territory with these Nazis. Even the odd way that Gall yells “Let go of me!” at her captor feels more out of a classic adventure than a modern series. I like the goofy vibe of this show, which has more in common with the Richard Chamberlain comedy King Solomon’s Mines than Raiders of the Lost Ark. It’s an easy viewing, particularly in such small doses. The spinning camera effect at the end of each episode goes a step too far, however. It did make me laugh, but it takes you right out of the drama that’s happening on screen.

That’s One Powerful Jeep!

By the second episode, we’ve already seen the Stargate activated by those pesky Germans. Who knew it was so easy? Power from a revved up jeep engine (and maybe some lights) is enough to create a stable wormhole. What makes this episode less painful is the hammy performance from Aylam Orian as Dr. Wilhelm Brücke. He keeps trying to give speeches about his great discovery, and few really care. His fellow Nazi Eva Reinhardt (Sarah Navratil) tries to document everything on film with a camera, but she’s not very successful. These are hardly evil villains with brilliant plans; they seem to have stumbled upon the Stargate discovery by accident.

What’s missing from this episode is a sense of wonder for the Stargate. It feels secondary towards Dr. Langford being forced to walk through it. We know that he’ll be fine, and there’s no tension about his survival. When Catherine vows that Brücke is a dead man, we figure that she’s probably right. Origins is so light that even when I enjoyed it, I was never on the edge of my seat. It’s an easy show to watch late at night before you go to bed, which goes back to the franchise’s syndicated origins. I just hope there’s more to it than what we see at the start.

Episode 3 is the most fun because we finally escape that drab facility. The room where they arrive has a few cool effects, including some floating gems that aren’t explained. It’s refreshing to see a DHD, which will certainly come into play down the road. I also enjoyed Dr. Langford’s amazed response to reaching this new world. Yes, the Stargate is not like the Rosetta Stone. Less inspiring are the scenes back on Earth, where a dim-witted Nazi is easily outsmarted by Catherine. Sadly, the post-credit scene implies that he’ll also venture through the gate.

The big reveal of the Goa’uld arrives so suddenly for Dr. Langford and the Nazis. They walk into one room and stumble upon the powerful enemy holding a baby. I loved seeing the old-school hand device, which recalls the classic days on SG-1. Moments like that give me hope that perhaps Origins could deliver a fun adventure. Catherine’s trip through the Stargate has a similar vibe and is easily the highlight so far. The extended visual effects sequence sells the grandeur of venturing into the great unknown. The shot of her face partially covered by the event horizon is gorgeous. We need more of this and fewer lame Nazis; I suspect we’ll see both in the future.

Stargate Canon Questions

The obvious challenge with a prequel is how it will connect to stories created in past material. We don’t know everything about Catherine’s past, but there are some basic points from the movie and SG-1. She didn’t know how to complete the dialing sequence until Daniel Jackson discovered how the seventh chevron worked. Catherine also never used the Stargate until she joined SG-1 to visit Heliopolis in “The Torment of Tantalus”. Her fiancé Ernest Littlefield disappeared in 1945 after walking through the Stargate, and he worked with Dr. Langford.

Based on what we’ve seen thus far, all three of those items don’t mesh with Origins. Catherine figured out how to dial the gate with few issues in episode 3. She also used the Stargate to follow her father at the end of the episode. It’s possible that Catherine still met Ernest and that he was her fiancé. However, would Dr. Langford be testing the gate the way he did if he already knew how it worked? My last point veers towards speculation, but the first two are pretty concrete.

There are two ways to escape the corner the writers have entered. The first is to convince us that Catherine held back knowledge of the gate from Daniel and acted like her trip with SG-1 was the first. That would be retconning and change her character significantly, but it wouldn’t be impossible. The other move would be to induce amnesia and make Catherine forget about this experience. That’s a cheap tactic, and I would rather see Origins veer away from canon that go that obvious route.

How much should Origins stick to the Stargate canon? Plenty of origins stories have gone back and changed things. Just look at the Star Wars prequels, which aren’t a great model obviously. The difficulty here is that MGM is almost solely targeting Stargate fans. If this was airing on SyFy, you could argue that it was a separate entity for general sci-fi viewers. That’s a harder sell here because MGM knows that avid fans will poke holes in this story. I suspect that a future episode will address this dilemma somehow. Whether it will work is the big question.

An Uncertain Future

I’ve only seen 30% of Origins, so I’m not ready to give it a full assessment. I’ll save that for a future article once all the episodes have been released. What concerns me is that the show won’t find an audience beyond fans that need to see everything. MGM could use this fact as a reason to shut down future plans for the property. I may be over thinking it, but this feels like a test of whether Stargate has legs. A low-budget prequel already faces major obstacles, and I may be placing too large a burden on Origins. Even so, I’m glad to have a Stargate series back on my screen and hope this isn’t the last hurrah for one of my favorite franchises.

The Reconsidering Stargate Universe Series
Stargate Universe: The Complete Final Season
Stargate SG-1’s Moebius: The True Series Finale
Stargate SG-1: Children of the Gods

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Star Wars: The Last Jedi (Rian Johnson)

noreply@blogger.com (Dan) — Thu, 28 Dec 2017 02:15:00 +0000

It's a fascinating time for the Star Wars franchise. Despite huge box-office receipts for Star Wars: The Last Jedi, some naysayers are questioning its long-term future. Critical and audience response has been very positive, but a vocal group of fans has spewed vitriol about certain story choices. In particular, the depiction of Mark Hamill's Luke Skywalker and some new Jedi powers have drawn scrutiny. A lot of the anger is silly because it's so hyperbolic. On the other hand, that doesn't mean all of the issues should be tossed aside. Rian Johnson (Brick, Looper) has crafted a film that's brilliant, daring, and quite divisive. I love the fact that fans are having tough discussions about this new chapter.

I was a little behind the curve and caught up with The Last Jedi this past Friday. I managed to avoid spoilers and entered the theater mostly cold beyond the basic elements. This led to a fun and surprising experience that kept me on my toes. I really liked the movie overall, though a few choices didn't stick as strongly. A big selling point for Johnson's film is the fact that I want to see it again as soon as possible. So much happens within the 152-minute running time, so I need more time to digest it on a rewatch. Hamill, Daisy Ridley, and Adam Driver are all excellent, and the two young actors shine in developing their characters beyond The Force Awakens.

My full review of The Last Jedi was just posted tonight on my other blog at The Tomorrow Society. That site focuses on theme parks, especially Disney, so it made sense to write about that studio's blockbuster film on that blog instead of here. If you're a fan of Disney World and other theme parks, you should also check out my other blogs and podcasts on that topic. Regardless, I'd love to hear what you think of my reactions to The Last Jedi. You can check out that review by clicking here.

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Rogue One Review (Gareth Edwards)
Can Star Wars Still Be Original?

Anthony Desiato’s My Comic Shop Country

noreply@blogger.com (Dan) — Thu, 21 Sep 2017 11:00:00 +0000

Back in 2011, I covered my hometown St. Louis International Film Festival for the now-defunct Sound on Sight and also published the reviews on this blog. One of the surprises was My Comic Shop DocumentARy, an up-close look at the Alternate Realities store in Scarsdale, New York. What made the documentary charming was the close perspective on both customers and employees of this comic shop. It was directed by Anthony Desiato, who worked at Alternate Realities for more than 10 years. His personal experience with the shop and owner Steve Oto made the film more engaging than I expected. Desiato did a Q&A at the festival, and it was clear how much the store meant to him.

Since that time, Desiato has directed several other documentaries on the interesting people that he’s met along the way. By Spoon! The Jay Meisel Story focused on the eccentric guy we first met in My Comic Shop DocumentARy, and Wacky Man: The Rise of the Puppeteer covered an idealistic puppeteer. Desiato also created the podcast My Comic History to chronicle the sad closing of Alternate Realities. In the third season of that show, he traveled to comic shops around the country to uncover the business side of running a store. I’m not a comics expert, but it’s still intriguing to learn more about what happens behind the scenes.

Desiato’s next project is a feature film called My Comic Shop Country, which will continue the work from the podcast. He’ll visit comic shops around the nation to explore how local stores function and the communities around them. Desiato has set up a Kickstarter campaign to help fund this new film. Judging by his other work, this documentary should have plenty to offer for anyone interested in the industry or even how small businesses thrive. To give a better idea of Desiato’s style, I caught up with other films that he’s created in recent years.

By Spoon! The Jay Meisel Story (2014)

The first line of By Spoon! The Jay Meisel Story is the title guy saying “fuck technology!” into the camera. It’s a sad time for parts of the industry that have been forced to change to survive. Meisel isn’t exactly a technologically advanced guy, so moving to the digital realm is unlikely. The big character spends his life in a tight spot among the comic books in the Empire State Flea Market. He’s a fiery, old-school New York guy that grumbles at customers. Of course, this doc shows how his gruff demeanor hides an endearing soul beneath the surface.

It’s the small touches of Meisel’s personality that make him engaging. He buys movie posters that aren’t particularly memorable and rarely sells them. He’s doesn’t seem that forward-thinking when it comes to other cultures, though he’s hardly that simple. The sad cloud hanging over the film is the impending closure of the flea market. It’s not like Meisel has done anything else for decades. He refuses to go on eBay and instead uses his garage. The whole thing is unfortunate.

Desiato clearly likes Meisel, and the loss of his shop feels tragic. Watching him trying to sell products out of the garage is sad. His former spot is empty and won’t be the same even when new tenants buy the space. A montage of happy interactions between Meisel and various customers pinpoint what’s now missing. It was more about the human connections than the individual comic books. This sweet film shows how many people a guy like Meisel charmed during the numerous years in his shop. Like My Comic Shop DocumentARy, it reveals wonderful characters that we often don’t see on our screens.

Wacky Man: The Rise of a Puppeteer (2016)

How does a person become a puppeteer? Zach Woliner has that dream and created the character Wally Wackiman to make that happen. Jim Henson set the standard with The Muppets and related projects, but there are still limited professional roles for puppeteers. Can Zach do it? That quest is the subject of Wacky Man: The Rise of a Puppeteer. Recording videos at home with his wife Veronica, Woliner is idealistic but recognizes that challenges he faces with this dream. Balancing it with a full-time office job makes his goals even harder to fulfill.

Woliner’s brother and parents give some background on the life that inspired him. It’s clear that this passion for puppetry has been central since an early age. You don’t get the sense that anyone pressured him to give up the dream, and that’s important. The chances of success are slim, but Woliner makes an impression at a puppeteers’ workshop. There’s something inside him that might click with others if luck goes in Woliner’s favor.

Wally Wackiman is a self-aware puppet, which opens up a new realm of comedy for Woliner. It’s sometimes tricky to separate Woliner’s persona from the puppet. The segment on that separation is one of the most interesting parts of the movie. We also see the possible limits of this character in YouTube videos. Woliner is a talented guy, but there are so many entertainers competing for our time. Observing the DIY approach of the videos shows the hard work that’s involved with online production. Parties are no easy feat either.

What rings true in the ups and downs of Wacky Man is Woliner’s heart. This isn’t a callous guy with an obsessive dream. The strong relationships with Veronica and his brother keep Woliner grounded in a challenging field. Sesame Street is the dream job, and the moment when Wally hits the stage with Oscar the Grouch is charming. But can he break through and reach that level? The commitment is there in spades, though it may take a lot more to achieve his dream.

Interview with Anthony Desiato

Desiato was kind enough to answer some questions about My Comic Shop Country, the Kickstarter campaign, and why he’s so interested in making this project happen.

1. What initially attracted you to comics and working at a comic shop when you were younger?
The character of Superman drew me in initially when I was five, but as I got older and my reading selections expanded, I came to appreciate everything the medium can do. Comics invite the reader to engage with the material like prose books, but they also offer the visual dimension like films and television (albeit with unlimited budgets). As a medium, you really get the best of both worlds. As far as working at a comic shop, if you're a comic fan looking for an after-school job, there's really nothing better.

2. You’ve visited stores across the country for the My Comic History podcast. What inspires you to dig further and produce the documentary?
The styles of storytelling in a podcast vs. a documentary film are distinct enough that each project will stand on its own. For example, if there's a story that takes five minutes to recount, that's perfect podcast fodder, but it would be an eternity on film. At the same time, podcasts are an auditory medium, so I'm tremendously excited to SHOW these stores in the documentary. I've discovered some terrific stores with eye-catching layouts, merchandise, and displays, and I can’t wait for viewers to see them.

3. Your podcast often delves into the business side of running a comic shop. What interests you about exploring that aspect of running a store?
Maybe I secretly wish I had gotten my MBA instead of my law degree? It's funny — I'm not entirely sure why the business of comics retail appeals to me the way it does. I think it has to do with the fact that most retailers (it seems) start as fans and collectors first who decide to pursue comics as a career. The process of turning your passion into a business can be a tricky proposition, and I’m always curious to hear how people navigate that. I’m also keenly aware of the challenges retailers face on multiple fronts. However, rather than take a doom-and-gloom approach, I love to hear HOW retailers are responding to these challenges.

4. In both the feature My Comic Shop DocumentARy and your short film By Spoon!, we see the ways the industry has changed and even left some people behind. Why have some comic shops been able to thrive in this evolving world?
There are a lot of ways to answer that, but I think your question gets at a critical point. The industry has changed and continues to change, and the stores that recognize that and are willing to innovate are the ones that may just make it.

5. What continues to interest you about comic shops today?
Well, for the longest time I thought it was only MY comic shop that interested me, but when Alternate Realities closed, I re-examined that proposition and realized that the local comic shop as an institution held great appeal to me. I had captured the community of AR on film and in podcast form, and I wanted to try to capture the larger comic shop community as well.

6. How did you choose the comic shops to be featured on the podcast and the upcoming documentary?
It was a combination of factors both creative and practical. I knew I wanted a cross-section of stores in terms of geography and history. There were stores I already knew; I solicited recommendations; and I looked at trips I was already taking (for work, weddings, etc.) to see where I could tie in shop visits.

7. You’ll basically travel the country as a one-man crew for this film. How challenging with the production be for you to shoot all the footage?
These days, I have my wife traveling with me, which has been a huge help. I’d also think about bringing in a crew person if possible. But as far as shooting everything myself, it's all I know! That's how I've made all three of my previous docs.

8. How long do you anticipate it will take to shoot and complete the film?
The plan is to shoot and edit next spring and summer, with an eye toward completing the film in Fall 2018.

9. One of the highlights of My Comic Shop DocumentARy was spending time with all the unique figures that inhabit the world of Alternate Realities. Do you hope to connect with similar characters around the country in your new film?
Absolutely. With everything I’ve done, it's always about the people above all else. Comic shops are perhaps the best place to find colorful personalities — on both sides of the counter.

10. The Kickstarter rewards include some pretty cool incentives for backers, including a cooking class with you and your wife, a portfolio review, and a superhero photo shoot. How did you go about putting together the rewards?
When I turned my attention toward designing the reward structure, I wanted to make sure there was variety in both the prices as well as the rewards themselves. Whether you're looking to contribute $5 or $5,000 — or anywhere in between — there's something for you to choose. I thought about what might appeal to someone who's followed my past work (hence rewards like exclusive podcast episodes and the My Comic Shop DocumentARy Blu-ray), but I also considered the folks coming into this cold, who might be interested in the original art, custom toy, or portfolio review rewards. There are essentially five reward categories: digital, physical, one-of-a-kind, experiential, and sponsorships.

Van Johnson Blogathon: The Caine Mutiny

noreply@blogger.com (Dan) — Fri, 25 Aug 2017 11:00:00 +0000

It’s easy to look at The Caine Mutiny as an actors’ showcase. Humphrey Bogart chews up the scenery and gives an iconic courtroom speech that stands alongside Nicholson’s work in A Few Good Men. Fred MacMurray excels at playing a morally flexible soldier, and a quiet Van Johnson struggles with the burden of removing his superior. Even the bland Robert Francis gets a lot of time on screen as the idealistic young newbie. We recall these guys playing off each other, but that focus pushes aside the other predominant theme on the destructive power of war.

Adapted from a Pulitzer Prize-winning novel by Herman Wouk, this film doesn’t glamorize life at sea during World War II. The Caine is a beaten-down vessel that needs an extended stay at dry dock. Instead, it’s given a new captain and pushed to the front once again. We spend limited time in battle with this crew, but the impact of war stands out on the face of guys like Bogart’s Captain Queeg. His obsessive ticks help cope with the horrors that play constantly in his mind. He desires control over every detail yet has little ability to secure his own impulses.

A cynicism about institutions and authority permeates the story, even when it’s patriotic on the surface. It was directed by Edward Dmytryk, a member of the Hollywood 10 that eventually testified in front of the House Un-American Activities Committee. Dmytryk did not write the adaptation, but it’s fairly easy to connect his experiences to this tale. When the government prosecutors grill Francis’ Willie Keith and Johnson’s Steve Maryk about their involvement in the mutiny, it easily connects to the anti-communist investigations.

Maryk spends the final act with a pained look that reveals the turmoil beneath his choice to mutiny against Queeg. It’s like he’s carrying a giant weight on his shoulders, and even ultimate vindication won’t remove that burden. The real scar on Johnson’s face seems fitting given the emotional scars he’s carrying for this choice. The stoic Johnson is the right choice to play a well-meaning guy thrust into an unenviable position. He gets no joy out of removing the unfit leader from his position. Johnson remains in the background while we stick with Keith for the first half, but he’s a lot more interesting once the plot kicks into gear.

The mystifying part of The Caine Mutiny is how much time we spend with Keith and his story away from the ship. The conflict between his devotion to his mom (Katherine Warren) and love for singer May Wynn comes from a lesser story. Francis’ flat vocal delivery stands out next to pros like MacMurray and Bogart. He’s a young guy with the right look but is in over his head. That sense actually works for his time on the ship because Keith is new to war. The problems appear when he’s separated from the army. Wynn (who took the character’s name as her stage name) has charm but can’t do much with Keith and the predictable domestic material.

Disregarding the lesser parts, this story clicks as a tight drama. Queeg’s presence keeps everyone on edge, even a smooth guy like MacMurray’s Tom Keefer. Queeg disrupts the ecosystem of The Caine with more than just careless orders. The courtroom scenes are gripping, particularly due to a knowing performance from Jose Ferrer as defense attorney Barney Greenwald. The way he rips apart Queeg’s façade is frighteningly precise. He takes no joy in it and knows it will destroy a man’s career. It’s eerily similar to the way Chuck disintegrated in Better Call Saul this year. Once the house of cards breaks, the fall is swift and destructive.

There’s a gripping 90-minute courtroom drama trying to break out of the two-hour film. On the other hand, it could work as a three-hour epic with more back stories for the other characters. Instead, The Caine Mutiny straddles the middle and provides great scenes and lost moments. Led by Bogart’s stunning performance, the actors keep us invested through all the ups and downs. Regardless of screen time, the cagey veterans rarely miss a beat.

This article is a contribution to the Van Johnson Blogathon hosted by Michaela at Love Letters to Old Hollywood. Check out all the great articles from this blogathon here.

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Nicholas Ray Retrospective: Johnny Guitar (1954)

noreply@blogger.com (Dan) — Sat, 15 Jul 2017 12:00:00 +0000

It’s rare to have a Western with a female lead, particularly in the 1950s. Joan Crawford’s Vienna is hardly just eye candy either. She owns the screen with a look and refuses to tread in the confines of her civilization. For that reason, Vienna is a threat to everyone in the local town. Accepting her claim to valuable real estate near the railroad makes Vienna an equal to the guys, and perhaps even superior to them. It’s a clever shift in gender dynamics, though Johnny Guitar doesn’t completely bypass those norms. The title reminds us that men still try to remain front and center. The love story must drive the plot, even if it’s the least interesting part of the story.

Sterling Hayden plays the title character, who exists mostly to protect Vienna from the blood-thirsty townspeople. In a similar fashion to Steve Trevor (Chris Pine) in this year’s Wonder Woman, Guitar (whose real name is Johnny Logan) clearly plays second fiddle to the main character. He’s a past love that once lived a life of crime, but now his attention is all on Vienna. There’s an odd conflict between romance and self-determination in Vienna’s heart, and that fight exists within the film’s themes. Crawford’s Vienna is so focused that she hardly blinks, but then she falls into Logan’s arms multiple times. The script from Ben Maddow indicts McCarthyism yet can’t help but give the characters something beyond the ideological fight.

The standout among the forces of civilization is Emma Small (Mercedes McCambridge), who hates Vienna with all of her being. She’s jealous of Vienna’s relationship with “The Dancin’ Kid” (Scott Brady), who’s hardly a kid and doesn’t dance. Brady was 30 when Johnny Guitar was released and looks even older. McCambridge and Crawford reportedly did not get along on the set, and that hatred emanates from the screen. It’s easy to believe that the characters want to kill each other, particularly Small. The look on McCambridge’s face when she burns down Vienna’s place is chilling. It’s a vision of evil from a villain technically on the side of the law.

Ward Bond’s John McIvers may believe he’s running the show, but it’s Small that’s driving the furor against Vienna and the Dancin’ Kid’s gang. It’s the crowd mentality that drives the push to not only drive them from the town, but to hang them. The dark middle act reveals how far bloodlust can take even normal people. It’s only after the first killing that it subsides, at least for most of them. It’s easy to draw parallels between the falsehoods that drive this mission and the evils of McCarthyism. Maddow had to use Phillip Yordan’s name on the script due to his past issues with the House Un-American Activities Committee.

The final showdown is the only place where Johnny Guitar slips a bit. The shootout has power yet seems too conventional given the earlier scenes. It does include a quick stop that reminds me of the brief cease fire during Children of Men. Bond’s haunted face shows how quickly a quest for justice can get out of control. On the other hand, the last shot indicates that the love story is the driving narrative. That feels like an over-simplification given what we’ve witnessed up to that point. Vienna has lost her home and livelihood, but at least she has love. This moment ends the story on a hollow note; we root for Vienna but not in this way.

It’s easy to view Johnny Guitar as a revisionist western, but there are still parts that are genre norms. Its primary conflict is between the forces of civilization and the wilderness, order and freedom. Vienna wants the chance to go her own way, but the crowd wants to stop her because she’s an outsider. Her bright red lipstick and colorful outfits aren’t the typical garb for a woman in the “civilized” world. Crawford’s intensity sells the idea that Vienna is a singular individual that won’t cater to any societal norms. She falls for gunslingers and refuses to indict them for the behavior. It’s an entertaining twist on the conventional structure, though the end result doesn’t completely upend the typical narrative.

Johnny Guitar is currently streaming on Amazon Prime.

Updated Nicholas Ray Rankings

1. In a Lonely Place
2. Johnny Guitar
3. They Live by Night
4. Rebel Without a Cause
5. On Dangerous Ground

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The Fourth Kingdom and the American Myth

noreply@blogger.com (Dan) — Wed, 21 Jun 2017 03:30:00 +0000

Amid today’s onslaught of claims about illegal aliens and dangers to a blurry concept of traditional “America”, it’s easy to bypass the human side. We can hate the fearmongering by power-hungry leaders, but what about the people it impacts? Taking a breath and looking closer is hard to do sometimes. In their short film The Fourth Kingdom, Adán Aliaga and Àlex Lora accomplish that by depicting a small group of people at the Sure We Can recycling and community center in New York. They depict individuals of different races and backgrounds, and each one has a unique story.

It’s easy to tie everything to a discussion of Trump’s policies, but there’s no need to make it blatant. With the exception of a brief shot of the President on TV (before the channel changes), there’s no direct mention of him. Even so, his presence hangs over each scene. When a man speaks about the difference between labeling people as “illegal aliens” instead of “immigrants”, it brings us right back to the hate speech. Hearing him speak about walking to the border without any planning is striking. A later shot of the guy going to bed in extremely cramped quarters says plenty. He came looking for the “American Dream”, but what he found instead was something less inspiring.

I shouldn’t focus too much on the political aspects; that’s more of a backdrop than the focus. The residents of this center largely seem content and aspire for a better life. One man spends his time chatting with a friend and wondering about theories like God's involvement in The Big Bang. It’s the type of conversation that you’d expect to hear among friends at a park or coffee shop. Another guy has a personal goal of acquiring 2,000 bottles, and the process makes him happy. He spent 3-4 years at one point living in the streets, so finding a purpose is so important.

Aliaga and Lora find inventive ways to avoid using just a fly-on-the-wall style. One slow-motion shot of a beer bottle opening is beautiful in its simplicity. They also use audio from a vintage promo about plastics throughout the film. That overly positive look at the artificial substance mirrors the way the dream has been diminished for some residents. Plastics took hold of our culture during the post-war era of the ‘50s and connect to the rise of the American myth. The bags of plastic have their own charms, but they also reveal the leftovers of a wasteful society.

While the narrator describes the “dream of the future”, shots of heaping bags of bottles and cans tell a different tale. Stories about alcoholism and homelessness drive home the point that we’re a long way from that idyllic dream. This kingdom of plastics offers respite for people that are barely hanging onto hope. They’re just living day to day and working tirelessly to stay afloat. The Fourth Kingdom finds peace in their efforts, despite the difficulties of each day. It’s a brief glimpse at a world on a separate plane from the grand claims of politicians. Those leaders are stuck in the fantasy described by the deceptive narrator while life continues in the world around them.

The Fourth Kingdom is currently playing the festival circuit, including the Palm Springs Film Festival on June 21. It also recently won the Best Short Documentary award at the Brooklyn Film Festival. Learn more at the official website.

Nicholas Ray Retrospective: On Dangerous Ground (1951)

noreply@blogger.com (Dan) — Mon, 19 Jun 2017 10:00:00 +0000

For his seventh feature, Nicholas Ray ventured into the crime world that served him well in his debut They Live By Night. Released in 1951, On Dangerous Ground depicts a cynical cop that’s lost his way in the dark city. It’s the type of character that we still see today, particularly on prestige TV series. Jim Wilson (Robert Ryan) is a grim anti-hero with no interest in playing by the rules. There are even Dirty Harry-like moments where the Chief tells Wilson that he must tone down his behavior or risk losing his badge. He’s a loose cannon that must be controlled!

Robert Ryan (The Naked Spur, Bad Day at Black Rock) is the perfect choice to play this unhinged guy. His expressive face says plenty with limited dialogue. When Wilson mercilessly beats a suspect, the camera stays on Ryan’s face. It’s a frightening look inside a cop that has seen far too much. Screaming “You know you’re gonna talk! I’m gonna make you talk! I always make you punks talk!”, Ryan is quite believable. There is no doubt that Wilson is going to gather the info he needs no matter what it takes. The line between cop and criminal is razor thin, and Wilson might be worse because he’s acting with the arm of the law.

An effective opening sequence presents a series of nighttime calls to cops for an extensive search for suspects. The emphasis on the procedural aspects is surprising from a director like Ray, who often seems more interested in a story’s emotional context (that comes later). During the first act, there’s little sense that we aren’t going to stick with the cops. I knew little about the plot going into this viewing, and the fast-paced opening works well. Ray puts the camera inside the cars and gives us obstructed looks at the action in the city’s back alleys. This helps set the mood of a depressing crime world, and even the audience is likely on board to escape it.

What makes On Dangerous Ground stand out is its odd left turn during its second half. Sending a city cop to the country to investigate a murder isn’t that surprising. What makes the shift different is how little Ray and Co-writer A.I. Bezzerides seem to care about the case. It’s really just a set-up to bring Wilson into contact with Mary Malden (Ida Lupino). She’s blind and living mostly alone in the snowy wilderness. Lupino’s glassy stare helps make sure we get the point, even if Walter Brent (Ward Bond) can’t see that she’s blind for a while. His revenge-minded father of the victim is so blinded by rage that he almost clumsily burns down the cabin. The hard edges of the first act disappear, and we’ve shifted into a family melodrama and love story.

Before Wilson and Brent meet Malden, they join a town-wide manhunt for the killer. It’s the film’s most epic sequence and has a strange town mania for the chase. It’s the most exciting thing to happen in the town for quite a while! In this revenge-fueled setting, Wilson doesn’t seem like he’s out of line. In fact, his measured approach in the new setting is a contrast to the townspeople’s. Bond is dialed up to 11 as Brent, and Wilson seems eerily composed by comparison. Part of the change is this wide-open landscape plus an interest in Malden. The change of scenery pulls the darkness away from Wilson, and he’s comfortable here.

Lupino and Ryan do their best with the material, but the story grinds to a halt in the third act. It’s a surprising move to slow down so much in what’s essentially the movie’s climax. Even when Brent and Wilson chase down the suspect, the result seems more inevitable than thrilling. An exception is the one-on-one meeting between Wilson and the killer, which works because of the cop’s internal conflict. His interest in both Malden and this small-town life means more than catching the bad guy. The conflict appears mostly in Ryan’s facial expressions, which shift as his demeanor softens with Malden. Taking care of her gives him a much-needed mission.

Despite some awkward moments, On Dangerous Ground is a worthy noir because of Ray’s direction. He finds inventive places to put the camera, especially in driving sequences. One crash gives the sense that you’re inside the car as it tumbles over in the icy snow. This film also runs a brisk 82 minutes. A two-hour version of this film would be tedious. A slow Bernard Hermann score adds to the sleepy tone of the scenes inside the house. Wilson needs this quiet life to push back his demons, but it’s less inspiring to us. What clicks is the way his demeanor shifts back to depression when he drives back into the city. That world would eventually kill Wilson’s soul, and he must escape or risk falling prey to the worst parts of himself.

On Dangerous Ground is currently available to rent through Amazon.

Updated Nicholas Ray Rankings

1. In a Lonely Place
2. They Live by Night
3. Rebel Without a Cause
4. On Dangerous Ground

This post contains affiliate links. Making any purchase through those links supports this site. See full disclosure.

Midnight Oil Is Back with a Vengeance

noreply@blogger.com (Dan) — Sat, 17 Jun 2017 03:12:00 +0000

There’s a unique sense of anticipation that comes right before a band hits the stage. You can just feel it in the crowd, especially in a more intimate space. That excited mood was on full display last month in New York minutes before the return of Midnight Oil to the stage. Fans had waited nearly 15 years for the five Aussie guys to reunite after their abrupt end in late 2002. Standing in the throng at Webster Hall, I couldn’t believe this moment was going to happen. My favorite band was back, and they would prove once again why they’re the best live act on the planet.

Way back in 1990, I visited a local record store with my brother as a 14-year-old that was just getting into music. I’m not sure why, but I picked up a cassette copy of Blue Sky Mining from Midnight Oil. Maybe I’d seen the video for the title track on MTV, but the reasons are fuzzy. Regardless of how it happened, I was hooked on the politically charged music of Peter Garrett, Jim Moginie, Rob Hirst, Martin Rotsey, and Bones Hillman. Within the next few years, I’d snatched up their past work and become a devoted fan. I caught them live in 1993 at the Riverport Amphitheatre in St. Louis as part of a local radio station’s festival. They sounded great, but the giant venue (and some unexcited friends) made it a less satisfying night.

During the 1990s, Midnight Oil spent more time in Australia and slipped out of the mainstream here in the States. They kept releasing albums but didn’t return for an extended tour until 2001 and 2002. I caught them at six club shows around the Midwest during that time, and the concerts were so much fun. During the last few concerts in mid-2002, I did notice that the guys weren’t as excited by the experience. I wasn’t shocked when they decided to call it quits later that year. With Garrett immersed in politics, it seemed unlikely they would officially reform again. The guys might play a few benefit concerts in Australia, but a full tour was a pipe dream.

The Announcement

February 17, 2017. Sydney Harbour. Midnight Oil had offered hints about an overseas tour, but we didn’t know if it would be extensive. Sitting on a boat in front of local media, the guys revealed The Great Circle Tour — an ambitious trek around the world that would occupy most of the year. Here in Missouri, I could barely hold back the anticipation as I watched the live online feed on my phone. Where would they play? I knew the guys wouldn’t make it to St. Louis, but would the tour dates work for me? I was determined to attend multiple shows if possible, but I’m not in a phase of life for a long trip. With young kids at home, this would be a quick weekend trip to get as much of the Oils as possible in that short time.

My plans crystalized when the band announced a second show in New York. I could fly there and catch two concerts on back-to-back nights on May 13 and 14. I also have friends in the area that had never seen the Oils live, so it was an easy sell. I bought the tickets just a few months away from the concert dates. Questions were flying around in my mind. Would the Oils still be at the top of their game? Garrett is 64, and the other guys are just a few years younger. What songs would they play? I knew it would be fun, but I was trying to keep expectations in check.

Night 1 – The Power and the Passion

Any doubts about the Oils’ return were gone before they even hit the stage. The female trio BOYTOY opened with a solid 30-minute set, and the anticipation just built during the break. When “Waru” from the legendary Warumpi Band blared through the speakers, the impact of this moment really hit me. Without much fanfare, the guys strolled onto the stage to a huge roar. They blasted into “Sometimes”, the type of song that would normally close a set. This choice set the tone for the night; the Oils were going for broke right from the start. The night’s third song was “Don’t Wanna Be the One”, a fiery anthem from 1981’s Place Without a Postcard album. The oldest tune of the evening, this performance hearkened back to the Oils’ early club days.

After a significant career in politics, Garrett is well into his 60s. Even so, you could barely notice as he lumbered all over the stage throughout the night. There were a lot of smiles from the guys, who clearly enjoyed playing together again. Garrett threw some barbs at Trump (including “dumpster”) as expected, but the general vibe was quite positive. He even took a shot at the difficult range needed on “Somebody’s Trying to Tell Me Something”, which the band hadn’t played live since 1988. Songs like this one built the sense that anything might get a turn in this set.

Hirst grabbed a drum and moved to the front of the stage for an acoustic middle set that lost none of its power. In particular, a stripped-down version of “My Country” made that track from 1993’s Earth and Sun and Moon even more powerful. The bass-heavy “When the Generals Talk” morphed into a dance tune while retaining its cynical look at world leaders. The appearance of B-side “Ships of Freedom” also made an impact with its timely look at the plight of refugees. The Oils have a rare ability to discuss complex, tough issues with catchy rock melodies.

The main set closed with a joyous run through some of the band’s hits. After a refreshing “Arctic World”/”Warakurna” combo, Hirst started hitting the water tank and signified the funky “Power and the Passion”. Easily one of my favorite Oils tunes, the early gem included an incredible solo from Hirst as its centerpiece. By this point, the crowd was full of adults in their 30s and 40s (if not older) bouncing up and down like teenagers. Even critic David Fricke from Rolling Stone was singing along and swaying up in the balcony. It’s hard to beat the massive sing along at the start of “The Dead Heart”, but the guys tried with a closing trio of “Blue Sky Mine”, “Beds are Burning”, and “Dreamworld”.

Standing on the floor in the middle of the action, I loved looking up at the balcony to see people losing their minds and singing along. What could be better? In the encore, the Oils even recalled their 1990 Exxon Protest show in New York by covering John Lennon’s “Instant Karma!”. The night closed with the epic call-and-response of “Best of Both Worlds” from Red Sails in the Sunset. How could they top this show? Heading into night two, I hoped the band could at least match this intensity. Amazingly, this was only the warm-up for an even better concert.

Setlist: Sometimes, Bullroarer, Don’t Wanna Be the One, Bedlam Bridge, Stars of Warburton, Somebody’s Trying to Tell Me Something, Now or Never Land, My Country, When the Generals Talk, Ships of Freedom, Luritja Way, Arctic World, Warakurna, Power and the Passion, The Dead Heart, Blue Sky Mine, Beds Are Burning, Dreamworld. Encore 1: Instant Karma!, Sell My Soul, Forgotten Years. Encore 2: Best of Both Worlds

Night 2 – A Dream Setlist

It’s a challenge for me to write about seeing the Oils live without just saying words like “awesome” and “incredible” over and over. It’s even more difficult when describing the second New York show. The first night included eight songs from Diesel and Dust, the band’s most successful album. Even so, I still loved it because they incorporated a variety of eras. Going into this show, I had a mental list of other songs that I hoped to hear. They played all of them. “Progress” and “Redneck Wonderland” were part of that group, and they opened the night. The former was also a key part of the Exxon Protest, while the latter is a scorching title track from the band’s 1998 album. Both set the stage for a more intense and varied performance in night two.

Amazingly, the Oils began their second concert with nine songs that hadn’t been played during the previous night. A highlight was “No Time for Games”, which occupied the early career spot of the show. That song includes a guitar solo from Jim Moginie that was possibly the pinnacle of the entire show. “Only the Strong” and “Read About It” rank among the band’s most powerful anthems, and both appeared during the early segment. The slower Blue Sky Mining tracks “Shakers and Movers” and “River Runs Red” offered a short break from all the mayhem.

The acoustic set again included “My Country”, but it deserved another play given our current political climate. That song connected well to “US Forces”, a stinging 1983 tune that remains so relevant today. This portion closed with everyone singing together on “Kosciusko”, which shifted back to the full band in the middle. It was another example of how the Oils didn’t take the obvious route with songs that already worked. This didn’t feel like a money grab or stale greatest-hits performance. The power emanating from the stage never slipped, and the many setlist changes just added to the impact. The result smashed my already high expectations.

The final run began with “Put Down That Weapon” and “King of the Mountain”, which weren’t played on the previous night. Both could easily anchor a set and show just how deep the Oils’ catalog extends. The last four songs matched the previous night (in a slightly different order), but the hits seemed even stronger on their second appearance. The encore began with “Whoah”, another deep cut that hadn’t appeared live since 1994. A welcome appearance of the more recent “Say Your Prayers” followed, and the classic anthem “Forgotten Years” closed the first encore. I expected the Oils to return for one more song, and I hoped to hear “Hercules”. Amazingly, the guys played exactly that to close the evening. It was that kind of night.

Setlist: Progress, Redneck Wonderland, Tone Poem, Truganini, No Time for Games, Shakers and Movers, Only the Strong, River Runs Red, Read About It, My Country, US Forces, Kosciusko, Put Down That Weapon, King of the Mountain, The Dead Heart, Beds Are Burning, Blue Sky Mine, Dreamworld. Encore 1: Whoah, Say Your Prayers, Forgotten Years. Encore 2: Hercules

Just Getting Started

During the February press conference, the Oils hinted that a new album might happen down the road. After seeing them live, I have no doubts that it could happen. They seemed thrilled to be together on stage once again. More tour dates keep appearing on their schedule, and the variety in set lists has been astounding. It feels similar to the reunion tour for Bruce Springsteen & the E Street Band in 1999 and 2000. Following that glorious run, they entered the studio and recorded The Rising. I could foresee a similar approach for the Oils, though likely on a smaller scale.

It’s easy to fall into the trap of saying we “need” the Oils because of the awful situation in the Trump era. A recurring theme of their music is the idea that history repeats itself and we must have a short memory, to quote their classic song. The Oils’ message connects in any era where governments and corporations take advantage of people and destroy the environment. I also hesitate to pigeonhole the Oils as a political band. Their songs are powerful statements, but they aren’t just educational pieces.

In simple terms, the Oils are the best live band that I’ve ever seen. The second concert in New York stands at the top of my concert rankings, and I’ve seen hundreds of shows over the years. The power and the passion still rings true 41 years after the band initially formed in Sydney. Four of the five original members remain, and Hillman has been with them since the late ‘80s. The catchy hooks, soulful harmonies, and singalong lyrics come together in a potent mix. Midnight Oil has no equal on the live stage, and there's still more to come very soon. I can't wait.

Blackhat: The Director’s Cut

noreply@blogger.com (Dan) — Tue, 13 Jun 2017 11:00:00 +0000

Released in the January dead zone for movies, Michael Mann’s Blackhat drew little attention from audiences. My theater was basically empty, and I saw it on the opening weekend. Despite its commercial disappointment, this film has its share of devoted fans. This is especially true of cinephiles, who are drawn to Mann’s technical mastery even when the plot falls a little short. I count myself among this group of defenders that will go to the mat for his divisive movies like Miami Vice, Public Enemies, and Ali. Many people love Heat and Collateral, but it takes a certain type of person to love the deeper cuts. Blackhat is a movie for that vocal group.

Mann constantly tinkers with his movies, and his latest project was no exception. In early 2016, he screened the Director’s Cut of Blackhat at the Brooklyn Academy of Music. It seemed like that would be it, so I was stunned to learn that F/X would debut that version on May 9th of this year. While the overall impact is similar to the original, there are some major changes to the film’s structure. I’ve already written twice on this movie — an initial review and a detailed look at five key shots. Therefore, I won’t dive into all the specifics once again. For this post, I’ll stick with the changes in the Director’s Cut. For one last time (I think), let’s talk about Blackhat!

I don’t enjoy watching films with commercials, even when using the DVR. There's a choppiness that you can’t escape no matter how good the material is. I made an exception here, but it does halt the momentum. With that said, I don’t believe F/X needed to make significant cuts to adjust this story for TV. This is not a hard R, and the violence falls in line with modern television standards. Because of the limited availability of this version, catching up with it on the small screen was an easy sell.

A Different Attack

The most substantial change in the Director’s Cut involves the placement of the nuclear meltdown that drives much of Blackhat’s story. It occurred at the film’s opening in the theatrical version but has now moved well into the second act. The Chicago hack to increase soy futures becomes the event that jumpstarts the plot. The opening shot of this version is a quiet scene of papers flying inside the empty Mercantile Trade Exchange. It’s a more effective moment and reveals the danger lurking behind the scenes. The attack happens in a deserted space and from outside of public view. It’s an eerie scene that reinforces the story’s primary themes.

Another positive is removing some confusion from the arrival of Hathaway (Chris Hemsworth) and Chen Dawai (Leehom Wang) at the nuclear facility. It seems like the attack just happened, and that is the case in the Director’s Cut. The original version felt more jumbled, and this scene came out of nowhere. The “stock footage” marker still appears over the disaster scene, but it’s a minor quibble. It’s a more epic attack, so the shift to the introduction in the theatrical version makes sense. However, that move helped support a feeling that the plot was thrown together into an incoherent mix.

Character Beats

On casual glance, you could miss a lot of the other edits to this Director’s Cut. The original love scene offered subtle details on Hathaway’s back story, but that is gone now. The result is a more conventional moment between Chien Lien (Tang Wei) and Hathaway that’s easily forgettable. There’s a recurring theme to most of the edits — less emphasis on Hemsworth’s character. This allows a little more room for Dawai and Agent Barrett (Viola Davis), which is always welcome. One new scene reveals her uneasiness about Hathaway and Dawai’s trust in his buddy. It creates more of an ensemble feeling that adds weight to their fates down the road.

One thing that’s harder to fix is Hathaway’s awkward introduction, set up to be cool but really making him look like a poseur. The longer conversation in the restaurant with Lien also lands with a thud. His claim that the “time isn’t doing me” falls shot because Hemsworth doesn’t sell it. He’s more at home when the action starts, especially in the final act. Mann shares that ability, and a new tense moment with a revolving tail in Hong Kong is quite effective. It reminds us how well Mann can shoot even the most straightforward scene, especially in a crime film.

Blackhat’s Legacy

The Director’s Cut’s best achievement is to shine a clearer light on what already worked in Blackhat. It’s an effective crime film that depicts a believable world of hackers, their henchmen, and the agents that pursue them. There’s a sense of confusion on what’s really driving the villains in the modern world. We’ve come a long way from robbers strolling into banks and stealing the loot. The villain of this film is a nondescript guy hiding out of sight. When we encounter him in person, he seems less imposing and fairly easy to defeat.

Mann still has many supporters, but I wonder if he’ll direct another feature. He is 74 and hasn’t had a commercial hit in a long time. A biopic of Chicago mob bosses Tony Accardo and Sam Giancana may be in the works. More recently, Mann and Michael De Luca purchased the rights to Mark Bowden’s book Hue 1968 to develop a miniseries. I’m hopeful that one of these projects will happen, but Mann isn’t that most prolific. It’s been more than two years since Blackhat’s release, and we’re still a long way from his next work. In the meantime, it’s intriguing to look at a different cut of his last film. Whatever comes next, I’ll be one of the first people in line for Mann’s future projects.

This article is part of the Investigating Michael Mann series, which takes a close look at his remarkable films. Check out all the reviews on this page.

Note: This post contains affiliate links. Making any purchase through those links supports this site. See full disclosure.

The Fun and Importance of Wonder Woman

noreply@blogger.com (Dan) — Tue, 06 Jun 2017 04:41:00 +0000

What more can be said about Wonder Woman? It’s already become a blockbuster hit, which is thrilling given the intense focus on its success. In the world of Trump, an extremely rare superhero movie with a female director takes on much greater meaning. Far-right trolls were just waiting for Wonder Woman to fail. Instead, Patty Jenkins’ new film is closing in on box office records. I took my daughter to see it on Saturday, and it was heart-warming to observe such a diverse audience. She’s eight and maybe a little too young for some parts, but I decided it was worth it because of how uncommon it is to have a female lead in a superhero blockbuster.

Looking beyond the cultural significance, this isn’t the most impressive summer slate for big-budget movies. Logan was a surprise hit back in March, and Guardians of the Galaxy Vol. 2 did monster business. Plenty of other wide releases have failed, and there are candidates for a similar fate on the way. Wonder Woman was hardly a surefire hit, but positive word of mouth and the lack of much competition helped its cause. It’s also an entertaining movie that doesn’t take itself too seriously. It’s a welcome change to see a movie that doesn’t feel loaded by its franchise. There are no extra scenes in the credits that tie in to other films. With the exception of brief references to Bruce Wayne, there’s little mention of other parts of this comics universe.

The highlight is a glorious action scene that reminds me of why I love movies. The sequence begins with a gloomy look at the horrors of trench warfare, but that’s really just a set-up to let Diana take matters into her own hands. When she stands up and fights, the stark difference between this moment and other gloomy DC superheroes is remarkable. She’s facing down a storm of bullets and actively changing the narrative. Without malice or anger, Diana blazes across the battlefield and inspires the troops behind her. This scene culminates in a nearby village with Diana using a makeshift trampoline and blasting through a tower to stop a sniper. It’s such a fist-pumping moment that it’s hard for anything to match it the rest of the way.

This sequence epitomizes the difference in direction and tone for this movie. The stakes are still high yet they never weigh down the audience. The main reason is Diana herself, who can’t help but be a hero. Gal Gadot perfectly embodies the self-motivated, powerful force that no one can stop. She’s graceful in the action scenes in a way that doesn’t feel like a CGI trick. There’s also a glint in Gadot’s eyes that reminds us that what we’re watching should be fun. This tone carries over into the quieter scenes, which offer laughs and heart that were definitely missing from Batman v. Superman. Jenkins’ direction rarely pummels us, and the screenplay from TV vet Allan Heinberg doesn’t hammer the obvious themes.

This fresh take is evident in the “fish out of water” scenes in London after Diana leaves her island home of Themyscira. She arrives in a man’s world, but we don’t see too many one-note caricatures of sexist villains. A subtle comment from Diana comparing secretaries to slaves is a lot more effective than boorish enemies. The men in Parliament are bewildered by her arrival, and that says plenty. Diana’s lack of decorum is played for laughs but not at her expense. She’s the extraordinary person in a world that has a long way to go. We still do.

This restrained approach works because it’s unexpected in a big-budget superhero movie. It’s also fun to just spend time with the characters, particularly Diana and Steve Trevor (Chris Pine). There’s also a fun turn from a nearly unrecognizable Lucy Davis (Dawn from the British version of The Office) as Steve’s assistant Etta. The scenes in London complement the action and keep it grounded. There are plenty of fireworks to come, but that means little if we don’t want to join the trip. Taking a breath and then starting the next journey is so important. The deft pacing is what helps the story avoid losing steam after its opening act on the island. There’s still a little too much of the kitchen sink in the final act, but it takes a long while before we reach that point.

The opening act could easily fall prey to exposition syndrome, but it never falls into that trap. It helps to have Robin Wright as the fierce military leader Antlope and Connie Nielsen as Diana’s mom Hippolyta. Both sell dialogue that could be silly in lesser hands. It’s easy to see what Diana is giving up by leaving this paradise. The film’s 141-minute running time is a little bloated, but the cuts shouldn’t come from this section. It’s necessary to understand Diana’s world and why she’s initially confused by the different culture. It’s also a gorgeous place that doesn’t seem like just a CGI creation. A director like George Lucas would have piled on over-the-top scenery and creatures and lost the reality. Jenkins doesn’t fall into that trap and creates a believable location.

Ludendorff (Danny Huston) and Dr. Maru (Elena Anaya) are less thrilling as the two main villains. They’re the typical one-note characters (especially Ludendorff) who mainly exist to give the hero someone to battle. The saving grace is that we don’t spend that much time with them, but that makes their defeat seem less uncertain. The final battle includes a surprise twist, though it’s telegraphed due to Roger Ebert’s Law of Economy of Characters. That moment adds some depth to the conflict, yet it starts to fall apart when the scene keeps going and going. It’s a minor quibble in a very entertaining movie but dulls the final impact just a bit.

What sticks with me about Wonder Woman is the excitement in seeing a modern blockbuster that works as a classic adventure. Gadot and Pine have good chemistry as a pair, and their connection does not distract from the plot’s forward movement. The World War I setting builds a sense of place in a similar way to Captain America: The First Avenger. Both don’t have to create fake countries or grim cities to sell their narrative. The war also makes the horrible acts of the villains feel more natural. It’s not that much of a stretch from the trench warfare that actually occurred. Diana’s powers stand out but don’t overwhelm the other characters’ struggles.

I’m thrilled to see great success for Wonder Woman, which does more than validate an entertaining film. I can’t overstate its importance to the larger struggle, especially with Jenkins as the director. There’s still a long way to go in multiple realms, but this is a major step in the right direction. Trolls can gripe about all-woman screenings and spew hate, but they look even more ridiculous now. It’s sometimes hard to stay positive with a madman leading the country and terrible news each day. The achievements of a blockbuster film might seem trivial, but they make a difference. Young girls like my daughters will see a role model like Diana on the big screen and believe they can be heroes.

Nicholas Ray Retrospective: They Live By Night (1948)

noreply@blogger.com (Dan) — Fri, 02 Jun 2017 03:02:00 +0000

We’ve reached a saturation point when it comes to new content, particularly with movies and television. My backlog of films and shows to catch up with from even the past year is massive, and it keeps growing. Finding the time to look back at past greats is harder than ever. It’s also much easier, though.

A perfect example is the work of Nicholas Ray, who directed nearly 30 films during a lengthy career. I’ve only seen two of his pictures — In a Lonely Place and Rebel Without a Cause. While those movies represent his best-known work, there’s a lot more to uncover. During this series, I’ll dive much further into Ray’s output and write about each film on this site. I’m starting back at the beginning with his debut feature They Live by Night. If this experience gives any indication, I’m in store for plenty of interesting material during the upcoming weeks.

In his first project, Ray displays a confidence that makes it easy to stick with the action. The striking helicopter shots of the escaped prisoners bring an epic feel that’s rare for the time period. It’s a grand way to introduce what’s essentially a pretty small story. Reportedly the first use of a helicopter to shoot an action scene, the sequence helps distinguish this movie from the typical crime film. Ray incorporates several other helicopter shots into the mix, and it also makes the camera feel like an ominous watcher. We’re observing the characters from afar and aren’t on their level.

Not Part of Our World

This gloomy atmosphere stems from a strange introduction that precedes the helicopter footage. We see Bowie (Farley Granger) and Keechie (Cathy O’Donnell) in love while title cards explain that “This boy...and this girl…were never properly introduced to the world we live in…” Throughout the film, characters talk about being real people and finding regular life. Because of the prologue (and our knowledge of the genre), we know it’s a fool’s errand. Even with the best of intentions, there’s little chance for the young couple in this rotten world.

Circling back to the escape, our vantage point above the convicts builds a distance at the start. It’s also just a cool shot. When the getaway car fails, we quickly see what kind of guys we’ve joined. They don’t murder the innocent driver but do beat him convincingly. These aren’t vicious killers but are hardly innocents either. T-Dub (Jay C. Flippen) and Chickamaw (Howard Da Silva) are veteran bank robbers, and Granger’s Bowie is their young understudy. Those guys are too far gone to reform, but Bowie still believes there’s a chance for a normal life.

Bowie and Keechie share a meet cute while he’s recovering from an injury at her father’s house. Both have an innocence that the older characters are missing. Her dad is a drunk that can do little without grabbing the bottle. It’s the naïve innocence that draws Bowie and Keechie together, and Granger and O’Donnell are the right choices for these characters. Even when he’s acting tough, it’s hard for Bowie not to seem like a kid. Keechie is upbeat but has seen the rough edges of people through his father’s experience. Her eyes convey more reality than what she says.

A Bad Influence

This world’s rough edges appear in the form of Chickamaw, a one-eyed and angry guy with few social graces. Whatever you do, don’t mention his eye. He takes a strange interest in Keechie, drinks heavily, and smokes cigars. There’s a surprisingly nasty moment with their associate Mattie (Helen Craig) that happens with Chickamaw off-screen. Her behavior in the aftermath strongly implies that Chickamaw tried to rape her. There’s nothing explicit due to the Production Code, but it’s pretty easy to read between the lines.

Da Silva plays Chickamaw like a sexually frustrated subhuman that needs to rob banks for satisfaction. To quote Heat’s Michael Cheritto, the action is the juice for him. Ray makes this explicit later in the film when he faces down Bowie. The crazed look on Chickamaw’s face resembles a monster, especially due to his missing eye. I recognize Da Silva mostly from his goofy turn as Ben Franklin in the musical 1776, so this is quite a different side of the big guy.

His counterpart T-Dub seems like the friendlier associate for Bowie, though he’s really just subtler. Flippen’s hardened face makes T-Dub seem older than the actor’s late 40s age would seem. Bowie looks at him like a father figure, but it’s all business for the long-time criminal. When he reveals his true colors to Bowie, the friendly mask disappears. Bowie is an investment, not a friend of a protégée. There’s no escape from guys like T-Dub and Chickamaw once they’ve entered your life.

I must take a moment to express my love for all the different character names within this movie. Bowie and Keechie seem fitting for the innocent young couple, while Chickamaw and T-Dub match the images of the grizzled criminals. Other names like Mattie, Mobley, and Hagenheimer fit nicely too. If these characters were named John, Sally, and Bob, it wouldn’t have the same effect. Using uncommon names also contributes to the idea that these characters aren’t part of the regular world. They’re on a different plane and won’t connect to everyday society.

Singular Thinking

Bowie is a character type we often see — the idealistic young criminal blinded by love. He can be tough but doesn’t have the grit to overcome life on the run. Keechie is more interesting because of the piercing facial expressions from O’Donnell. Her singular approach is naïve but with some rough edges beneath the surface. She spent her young days working as a mechanic in a cold household. This is a fantasy life for her, and Bowie better not lose it.

One scene that solidifies her worldview is her comparison of women to dogs. It’s a cringe-worthy moment that feels especially prescient in the time of Trump, but it helps explain Keechie’s approach. She’s all about building this life with Bowie and has few aspirations beyond their family. What’s less clear is whether her comments are meant to be cute or as an expression of love. That’s a frightening concept but not outlandish in this late ‘40s noir world.

Keechie is on board to escape to new life with Bowie, and the glowing look on her face when he tries to hold a stranger’s baby reveals other aspirations. It’s all part of the American dream! The trick is that Bowie seems really uncomfortable with the baby and might not fit with family life. Keechie may have chosen the wrong guy, even if he means well. An escaped convict is not usually the right choice to elope with and start a family.

A Fantasy Life

The closest that Bowie and Keechie come to finding that dream is a run-down cabin in the woods. They buy fancy items and convert it into a place that resembles a comfortable home. The cash from the bank robbery makes it easy to slide into this happy dream. They’re married and in love! What can go wrong? Ray shoots the pair with regular close-ups of their smiling faces, and it’s almost possible to believe they’ll be okay. The cracks are still there at each step, however.

There’s something off about the late-night wedding, and it isn’t just its cheap price. Bowie and Keechie are happy in love, but the reaction from the wedding chapel owner Mr. Hawkins (Ian Wolfe) tells a different story. He recognizes that they won’t succeed here and should get out of the country. Presenting his pal in Mexico is a scheme, but Hawkins probably only mentions it when the patrons fit. When a desperate Bowie circles back later to accept his offer, it’s too late. Hawkins drops his fake business persona and tells Bowie there’s no hope. This bitter and honest take is the last straw in destroying the couple's fantasy.

The cabin owner Mr. Lambert (Byron Foulger) also seems friendly, but it’s mostly an act. A suspicion lurks beneath his smiling face, and it’s only a matter of time before they contact the authorities. Each step along the way, an apparently happy moment is undercut but something fake. Bowie and Keechie spend a night on the town and enjoy an energetic performance from a singer played by Marie Hill. Ray also focuses on the way she grabs tips while singing for the audience. There’s always an ulterior motive. The magical night also ends when a drunk stumbles into the couple’s table. There are no happy endings in this realm.

No Daylight

The previous cracks were just the set-up for the ultimate fall during the final act. Chickamaw and T-Dub enter the picture (and quickly fail), and it foretells Bowie’s eventual fate. The normally exciting revelation of Keechie’s pregnancy brings no joy and only nastiness on both sides. Keechie’s “you don’t see me knitting anything!” reveals how even her idealistic self is gone. They’re forced to travel by night however they can, and that’s no way for a pregnant woman (or anyone really) to live.

The film’s title connects to this part of the movie, where traveling during the day is too dangerous. They Live By Night does imply some type of life for this couple. The desperate final scenes make it clear that living anywhere is impossible. Even other criminals want no part of Bowie due to his fame. One hood sees him in the restroom and offers him a gun but also orders him to leave town. Mattie is their last safe haven, and she makes a deal with the cops to save her husband. It’s all over.

They Live by Night is familiar because many more recent films have used a similar formula. Despite that fact, it still retains its charms thanks to interesting techniques from Ray and the way the lead actors (especially O’Donnell) dive into their parts. Ray’s shots from inside the car are quite striking even today. He also creates a subtle feeling that the walls are closing in on the couple. Bowie is frequently shot from behind a fence or bars, and it shows that he’s still in prison even while on the run. There’s plenty to like in this story, which represents a remarkable debut for a talented filmmaker.

The Bone-Crushing Brilliance of Logan

noreply@blogger.com (Dan) — Fri, 19 May 2017 10:00:00 +0000

We’ve spent considerable time with Hugh Jackman’s Wolverine in six X-Men films and two past solo projects, yet there’s still more to mine with this character. In the latest incarnation in Logan, he’s a middle-aged guy slumping through a dreary life. He’s well over 170 years old, but who’s counting? The title character drives a limo and transports partying youngsters and other patrons through an oblivious world. This 2029 resembles our time, and it’s a sad place when seen through Logan’s eyes. Mutants have largely disappeared, which makes him a lost soul.

There’s a definite western vibe to this film, particularly once Logan returns to a dying Charles Xavier (Patrick Stewart) south of the border. This bleak landscape matches the depressed Logan’s outlook on life. He’s basically a weary Tom Doniphon watching civilization take hold. It’s no coincidence that James Mangold uses Johnny Cash over the closing credits. Logan is a true outsider that only sees the danger and violence surrounding him. Most of his friends (and apparently his love Jean Grey) are dead. He’s just moving slowly towards a sad end.

Parts of Logan resemble a post-apocalyptic film, especially the giant abandoned plant where an ailing Charles and his caretaker Caliban (Stephen Merchant) live. It’s easy to view this place as the next step in our ugly Trump-led world. We see working-class people and immigrants struggling while an abusive band of Reavers kills without a second thought. There are superhero elements to this low-key story, but they never overwhelm the connection to present-day life. It’s easy to sympathize with Logan’s emotional disconnect from everything around him.

Making Logan a mentor for the young mutant Laura (Dafne Keen) is a standard plot trope, but the script from Mangold, Scott Frank, and Michael Green dodges the obvious beats. Logan doesn’t magically find meaning in life through his fatherly connection and initially dismisses her. It takes a lot to get him to make the trip to North Dakota with Laura (also known as X-23). He also has little choice once Pierce (Boyd Holbrook) and the vicious Reavers arrive. They’re interested in reclaiming their property and will kill any obstacles along the way.

Mangold tackled similar territory in The Wolverine, particularly with Logan struggling to overcome past trauma. I enjoyed the more serious take, particularly during its first hour. This film doubles down on that approach and works even better due to the R rating. There are many brutal stabbings and other grim violence, but it sets the right mood for the material. The fights are visceral and cruel, especially when innocent people end up in the crosshairs.

One lesson to grab from this film is to never help Logan. When Will and Kathryn Munson (Eriq La Salle, Elise Neal) invite him for dinner, they’re doomed to tragic deaths. Next time, Logan might want to warn kind people that he’s being chased by violent enemies. The way that the X-24 wipes out the Munson family (and their teenage son Nate) reminds us of this world’s unflinching cruelty. Created from Logan’s DNA, the X-24 has the skills but not the emotions. He’s basically the Terminator from the first film, not the friendlier Arnold from later projects.

There are quite a few connections between this film and Terminator 2: Judgment Day. There isn’t an impending apocalypse here, but the atmosphere of doom is quite similar. Like John Conner, the mutant children are looking to escape from forces that would seek their destruction. Zander Rice (Richard E. Grant) is technically human, but his face is devoid of emotion. He’s a monster that has no compassion for anyone, particularly mutants. The bleak desert environment also matches James Cameron’s world of T2. Even before the world explodes, people already live off the grid.

I don’t want to undersell the thrills; there are quite a few action scenes, and most are very effective. The violence is right in your face, and Mangold doesn’t cut away before the killing blows occur. Viewers accustomed to the Marvel framework may not be ready for this level of bloodshed. There’s little security for anyone on screen, even our title character. Villains nonchalantly kill innocent bystanders that get in the way while pursuing their top prize. Few will survive unscathed during the ugly, difficult march to freedom.

Logan follows the classic road movie structure and finds room for character drama within the 137-minute running time. Unlike a bloated project like Batman v. Superman, the extra space here is refreshing. Jackman, Stuart, and newcomer Keen all give strong performances within this airy framework. It makes the final act more powerful because of how much time we’ve spent on the road with this trio. This resonance should bring staying power to this film beyond its original release. It’s a fitting end for Wolverine and a perfect swan song for Jackman in the iconic role.

Guardians of the Galaxy Review

Iron Man 3 Review

Bosch: Season Three Review

noreply@blogger.com (Dan) — Thu, 11 May 2017 11:00:00 +0000

The Refreshing Mundanity of Bosch

In this era of peak TV, there’s no way to keep up with every must-see series. Who has the time to follow everything? Netflix and Amazon release new original shows every few weeks, and there’s no end in sight to that trend. Looking beyond obvious studs like The Leftovers and Better Call Saul, there are other solid stalwarts that deserve more recognition. These quiet successes carve out a comfortable niche yet are often lost behind the leaders. A perfect example is Amazon’s cop series Bosch, which keeps churning out effective seasons every year. The show’s willingness to meander helps it avoid the traps of most network police series.

Titus Welliver stars as the title character Detective Harry Bosch, a veteran cop that draws the ire of both criminals and fellow officers. Many of them spend the episodes spitting out a frustrated “BOSCH!” while dealing with the difficult guy. One reason is that he’s a skilled detective who’s rarely wrong. Police leaders and district attorneys don’t like being told they’re idiots by the detectives. Bosch is not a Vic Mackey type that skirts the rules, however. He often gets in trouble because he’s so concerned about doing the right thing. When he bends the rules, it’s usually in the name of catching the bad guys. Bosch may look the other way if it punishes evil.

Bosch is adapted from the long-running series of novels by Michael Connelly starring the title character. Beginning with The Black Echo in 1992, Connelly has written 21 books that feature the hard-nosed homicide detective. I have not read the source novels, so the TV series is all new. Given that each season pulls from multiple books, it’s easier to approach the stories from a fresh perspective. Connelly is directly involved in the show and co-wrote several episodes. I suspect that the tone matches the book, especially given the series’ slow-burn approach.

A Promising Start

The first season does a great job introducing the main character and his world. The L.A. environment feels lived in, even Bosch’s cool apartment overlooking the city. There are cases to solve but also time to enjoy local eateries and spin jazz greats at home. Bosch enjoys a low-key camaraderie with his partner Jerry Edgar (Jamie Hector, Marlo from The Wire), Lieutenant Grace Billets (Amy Aquino), and fellow officers in the Hollywood Division. The sets also seem genuine without drawing too much attention and include subtle details that add to the charm.

The downside of season one is the focus on a serial killer that feels drawn from a lesser show. Jason Gedrick (Iron Eagle) tries his best to make Raynard Waits interesting, but there’s no mystery there. The potential remains because the cast is so good, especially Welliver in the lead role. The silent intensity in Bosch’s face says plenty about the determined officer. He’s still haunted by his past, especially the murder of his mother when he was 11. Bosch controls his emotions to focus on his police work, and it takes a toll on personal relationships. Everything clicks except for the main story, and the much-improved second season fixes those issues.

What makes season two succeed are the greater stakes for everyone involved. It also is less ponderous than the grim first outing. The arrival of Bosch’s daughter Maddie (Madison Lintz) and ex-wife Eleanor (Sarah Clarke, 24) brings levity to everything. Villainous supporting turns from Jeri Ryan and Brent Sexton also give Bosch and Edgar more to play against. Lance Reddick sometimes feels like he’s on another show as Deputy Chief Irving, and he also gets more directly involved here. There’s even a Matthew Lillard sighting as an undercover FBI agent! This season builds on the solid foundation and delivers across the board.

A Confident Third Season

We’ve finally reached the main topic of this article — Bosch’s newly released third offering. Amazon dropped all 10 episodes onto their streaming video service on April 21st. They have already renewed the show for a fourth season, so this won’t be the last time we see Bosch. We ended the previous season with Bosch spitting on the grave of his mother’s killer, and that cynicism remains from our lead detective. He’s berating the DA in public, squabbling with his partner, and performing some questionable detective work. Even so, the moral center remains as part of this quest for justice. Bosch is still trying to be a good father and catch the bad guys.

While this season’s villains lack the flair of the previous one, there’s still plenty to enjoy with the intersecting cases. Armin Vosloo (aka The Mummy) is so obviously evil from the start, and he knows how to play the arrogant henchman. Less effective is film director and murder suspect Andrew Holland, played like a complete fool by John Ales. The real excitement comes from watching the great Paul Calderon pursue Bosch as the relentless Detective Robertson. He seems more dangerous than the ex-military operatives led by Dobbs (Jeffrey Pierce). Robertson correctly senses than Bosch isn’t telling the whole truth, but he’s wrong about the specifics.

By this point in the show, I just enjoy spending time with these characters. Billets’ application for captain doesn’t connect directly to the main plot, but it’s still interesting because we root for her. Irving spends the season finalizing his divorce and deciding whether to take the full-time role as chief. It’s obvious from the start that he’ll accept it, but this thread remains interesting for two reasons. First of all, the quiet sadness on Reddick’s face reminds us of the loss of his son. Irving is gruff and rarely shows emotion, yet he still works as a character. The other reason is the set-up for events in future seasons involving the death of Bosch’s mother. The writers know how to play the long game, especially when it comes to emotional scars from the past.

Spotlighting Everyday Scenes

Bosch was developed for television by Eric Overmyer, who was a producer and writer on Homicide: Life on the Street during its final two seasons. They’re quite different shows, especially due to the Los Angeles and Baltimore settings respectively. What made Homicide so unique was its mundane look at the life of a police detective. No car chases or shootouts occurred, at least in the early years. Bosch has a brighter setting yet also shows the less glamorous side of police life. Characters spend time on stakeouts, doing paper work, and waiting for the right opportunity. Shootouts and chases happen, but they’re still rare.

Beyond the main plots, it’s the low-key moments that stick with me. The writers find time to show Bosch teaching his daughter to drive and watching her play volleyball. There’s also a new romance with the Deputy District Attorney Anita Benitez (Paola Turbay) that mostly works. In a strange way, it’s the lack of a dramatic break-up that makes their scenes click. They just drift away in the midst of an ugly case, and then it’s over. Bosch is a nice guy but not what you’d call a warm person. His reputation in the department also might not be best for her career. The workplace politics grounds this show in reality and keeps it from losing focus.

An important benefit of understanding the characters is the increase in stakes when things go wrong. When a major character is seriously wounded by a sniper, it’s not a cheap trick to enhance the drama. The show has laid the groundwork to make that moment connect. We’ve also seen the skills of the villains, so there’s a true sense of danger when they strike. Despite some dissension between Bosch and other cops this season, that slips away when a threat emerges. Robertson suspects Bosch of not being on the level, but he also has a begrudging respect for his skills. That uneasy alliance comes together in an interesting way.

The Thrills of the Slow Burn

Welliver’s slow gait makes Bosch seem less imposing to suspects that don’t know any better. When the action heats up, his precise moves remind us of his Special Forces training and sharp instincts. The way that he dodges an approaching car and then shifts into attack mode is a perfect example. There’s no wasted effort or over-the-top histrionics. The show essentially functions in the same way. Regular directors Ernest Dickerson and Alex Zakrewski both shot multiple episodes of The Wire, and they understand how to shoot action scenes. Shootouts are brief, brutal affairs that get to the point quickly.

Bosch’s third season concludes with an epic one-on-one pursuit on a gorgeous island that gives Bosch a chance to show his skills. It also extends the case of his mother’s murder into surprising territory. Those revelations should lead to significant conflict in the fourth season. The ominous final shot of Bosch’s face tells us all we need to know about his next target. Each season finale leaves enough threads open to keep us engaged, but they never feel like a cheat. This effective storytelling is consistent throughout the season and makes Bosch worth a serious look.

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Two by Chris Marker – Three Cheers for the Whale and Junkopia

noreply@blogger.com (Dan) — Wed, 03 May 2017 11:00:00 +0000

French director Chris Marker is known primarily for his 1962 sci-fi short La jetée, which inspired the Terry Gilliam film Twelve Monkeys. That film remains quite powerful today, but it only scratches the surface of the work from this prolific filmmaker. Marker worked steadily for more than six decades going back to the early ‘50s. A large portion of his career has included documentaries like 1983’s Sans Soleil, a brilliant look at connections across different cultures.

Marker rarely takes the expected road when approaching a documentary subject. His films often maintain an eerie quiet because they aren’t packed with explanations. He is a skilled thinker who is able to put together an interesting film with limited resources. La jetée is mostly just a series of still images, but its story resonates because of the excellent craftsmanship. For this article, I caught up with two of his documentary shorts that had previously escaped my attention. Each is remarkable in its own way and shows the breadth of Marker’s talent.

Three Cheers for the Whale (1972)

For this 17-minute short film, Marker teamed up with Italian filmmaker Mario Ruspoli to offer a quiet plea for protecting whales. Composed mostly of still photographs and paintings, this piece makes a convincing case against industrial whaling. Leonard Lopate and Emily Hoffman provide the narration for the English version, which was prepared by Marker in 2007. Their words help chronicle the history of whaling from the Eskimos’ utilitarian approach to the factory-like approach of Japan. To the latter group, the whales’ status is now solely for commercial use.

This material hardly feels new today, particularly given the spotlight on films like Blackfish and The Cove plus the TV show Whale Wars. There’s an interesting connection between that series and this film in the form of the Japanese whaling vessel the Nisshin Maru. It appears briefly here and was pursued by the Sea Shepherds on the show. It reminds us of the long history of whaling, which was already a major issue in the ’70s. The message of this film is positive about love for whales yet doesn’t shy away from the dangers posed by humans.

The final section of Three Cheers for the Whale includes harrowing footage of a whale being shot and killed by a harpoon gun. The idea that “nature is no longer neutral” continues today with regular attempts by politicians to gut the environment. It’s too easy to look at countries like Japan and Norway as the lone enemies. We do plenty on our own each day to make wildlife the enemy. Marker and Ruspoli’s work remains poignant in our ugly modern climate.

Junkopia (1981)

Our modern world is constantly moving, particularly for those who live in the cities. It’s rare to experience a moment of calm without cars, machines, and other people infringing on our space. When we see a quiet place, it can feel eerie to escape the madness. Marker captures that sensation in his 1981 film Junkopia. The six-minute short presents a collection of artful contraptions on the beach near San Francisco. Ominous music and ambient sounds just add to the post-apocalyptic atmosphere of this undisturbed spot.

The “junk” in this location includes driftwood sculptures in the shape of a turkey, an airplane, and even a moon lander. The work from the anonymous artists washes away due to the tides, so a few are seen floating out in the water. Although they occupy a tranquil setting, the art can also deliver chills when presented in a different way. Marker shoots the shadow of an old sign that resembles a looming monster when shot from that perspective. He reveals a mastery of creating moods and shifts gears with a single cut.

The illusion of Junkopia is shattered when Marker cuts to a highway and reminds us of the daily grind. There’s an ugly contrast between the cars slowly moving along the freeway and the creative expressions on the beach. It’s a glimpse at a place that no longer exists, and the sense of loss permeates this footage. Marker shot it with a Zoetrope Studios crew during the production of Sans Soleil and captured a moment in time. The final shot of a wooden boat drifting away in the waves says it all. It may seem like junk, but Marker finds plenty to make them worth a look.

Faces of November Review (Robert Drew)

noreply@blogger.com (Dan) — Mon, 01 May 2017 11:00:00 +0000

Back in November, I wrote a short piece about Robert Drew’s documentary short Faces of November with thoughts of putting together a longer piece about his work. It was shortly after Donald Trump’s surprise victory, and I was still in shock about the results. While I’m less freaked out with our situation, the negative impact remains every day. I haven’t decided to dive back into Drew’s films since that point. It wasn’t a conscious decision but probably related to a desire to escape from a very different vision of the presidency.

I decided to post my thoughts on Faces of November now instead of waiting to pull together a longer essay. I did see Primary back in 2011, and I’d like to dive further into his works on Kennedy and others. Perhaps completing this article will inspire me to allot the time to uncover more gems from Drew’s career. Without further introduction, here is my unpublished review from November about his 1964 film.

Faces of November (Robert Drew, 1964)

We’re living in difficult times following an election result that has traumatized many of us. Even so, it’s still hard for me to contemplate the national climate following an assassination. This is particularly true for a popular leader like John F. Kennedy. Faces of November does an excellent job in capturing the outpouring of grief in the faces of onlookers at the funeral.

This Robert Drew documentary doesn’t overdo the importance of the historical event. Instead, he places us with the people as they say goodbye to Kennedy. We see the resolute look on Jacqueline Kennedy’s face as she tries to stay strong. Bobby Kennedy stares into space like he’s seen death itself. No dialogue is needed to feel the grief emanating from their entire bodies.

Faces of November opens with an image of trees while gun shots blare in the background. Rain pelts the Capitol at night and the wind blows strongly the next day. It’s like nature recognizes the blow to a nation’s consciousness. Drew doesn’t cram too much into the 12-minute timeframe. The camera stays with an interesting face and connects with us through the onlookers’ emotions. Soldiers maintain their composure as the camera draws close looking for a crack. Men and women openly cry while “Taps” plays at the funeral.

It’s a quick glimpse at a pivotal U.S. event, yet the people are the story. The lone exception is a grand shot inside the Capitol, and it’s more about beauty than scale. It’s a quick reminder of what we all can do, despite the odds against us.

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Bone Tomahawk Review (S. Craig Zahler)

noreply@blogger.com (Dan) — Sat, 29 Apr 2017 03:00:00 +0000

It’s no secret that the Old West is not a hospitable place. Outlaws roam the countryside, and there are constant dangers for “civilized” folk. Even so, movies and TV series have given us a romanticized vision of the frontier. There are villains to face, but there are also the wonders of the open land! I’m speaking in general terms of course. Modern revisionist westerns like John Hillcoat’s The Proposition, Quentin Tarantino’s The Hateful Eight, and Tommy Lee Jones’ The Three Burials of Melquiades Estrada have depicted a much darker side of frontier life.

Joining this established band is S. Craig Zahler’s debut film Bone Tomahawk, a brutal genre mash-up with little optimism in sight. Released in 2015, the grisly story often veers into straight-up horror with a Western backdrop. This grim outlook is evident from the very first shot of a robber cutting his victim’s throat. It’s hardly the quick slice of your typical action film either. This act is vicious, bloody, and seems like it lasts for an eternity. Zahler presents a mission statement for his worldview right at the start. This is an unforgiving, nasty world.

This opening scene also reveals monsters that lurk behind the scenes and overwhelm the typical brigand. They kill without warning and have no regard for who’s on the other end of the arrows they shoot. The change-up in this prologue sets the stage for frequent surprises from Zahler, who rose to prominence as a writer after the success of his novel A Congregation of Jackals. He frequently avoids the expected beats, particularly with the dramatic shift in this film’s third act.

Before we reach those twists, a less confident set-up introduces the main characters in the town. It feels like Zahler just wants to blitz through this section and move back into the wild. We meet the grizzled Sheriff Hunt (Kurt Russell) and his drunk deputy Chicory (a nearly unrecognizable Richard Jenkins). There’s also the cute young couple Arthur (Patrick Wilson) and Samantha O’Dwyer (Lili Simmons). The town’s citizens include head-scratching cameos from Sean Young and Fred Melamed, who disappear once you realize they've arrived. Matthew Fox also shows up as the well-dressed gunslinger Brooder.

These scenes feel like a throwback to classic Westerns, but not always in a good way. We meet the film's lone African-American character, and he’s immediately killed in a brutal fashion. Zahler introduces Samantha as a strong woman with medical knowledge and a confident attitude. Sadly, she’s quickly abducted by the unseen monsters that we saw at the start. A scene where Hunt questions and quickly shoots a suspicious guy plays out strangely and like a rehash of better scenes in other films.

Before continuing, I’d like to take a moment and discuss the two couples in Bone Tomahawk. More specifically, the age gaps between the actors involved are unsettling (though predictable). Russell is 66 years old, and Hunt’s wife Lorna is played by Kathryn Morris (48). She only appears briefly, yet it’s still a noticeable gap. Wilson is 43 and 20 years older than Simmons (23). I’m calling this out because it’s so normal. It would be more surprising if Lorna was actually played by an actress in her 60s.

Thankfully, the early scenes are merely a set-up for the moment when Hunt, Chicory, Arthur, and Brooder set out to rescue Samantha and another settler. Zahler’s direction and writing immediately feel more confident in this setting. The pace remains deliberate, but it’s easy to spend time with these actors. Russell and Jenkins are sharp as expected, and Fox surprises in a role that is more nuanced than I expected. Wilson has a challenging role of hobbling around behind the others, but he injects Arthur with a determination that’s easy to respect.

What sets this story apart from a typical Western is the way Zahler depicts the enemies. They’re often called “savages” and would be Native Americans in a lesser film. Instead, the troglodytes feel like a mix between people and sub-human animals. An eerie whistle signifies their impending arrival, and there’s no way to stop them. This sound plays a larger role because of the lack of a typical score in this film. We’re out there with the characters and helpless to save them. The slow capture of Hunt and Chicory is horrifying because it’s so slow and unstoppable.

Zahler takes a slow-burn approach, which gives us time to understand the characters. It also helps to increase the tension, particularly when intruders unexpectedly appear. There's little of the openness you might expect from a trip into the wilderness. Instead, Zahler builds a claustrophobic feeling that only increases as the guys draw closer to the troglodytes. The payoff is mostly worth the time, though it still feels a little padded at 132 minutes. The long journey obviously recalls John Ford's The Searchers, though the final destination is quite different.

There’s one moment that pushes Bone Tomahawk into a different realm, and no one will forget it. The violence is so over-the-top that it’s nearly laughable, but it doesn’t move into camp. Shot in close-up, Russell’s face reveals a horror that drags us back into reality. The workmanlike way that the cannibalistic troglodytes execute their jobs adds to the queasy feeling. There are no clever quips or mustache twirling to let us off the hook. We’re stuck inside that cage with Hunt. It’s an inconsistent but incisive debut from Zahler, who’s a filmmaker to watch. Working with a limited budget, he creates a vivid world that’s safe for no one, including the audience.

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Black Panthers Review (Agnès Varda)

noreply@blogger.com (Dan) — Sun, 26 Feb 2017 03:53:00 +0000

It’s easy to look back at the Black Panthers as a small piece of history from a chaotic time. Founded in 1966 and active until the early ‘80s, the Black Panther Party took a militant approach to black nationalism. On the other hand, they also promoted education and built social programs that made a difference in the community. Agnès Varda’s 1968 short film Black Panthers gives an up-close look at a group that was hardly one-note. Also known as Huey, this 28-minute documentary offers a human portrait of a complex organization.

The opening shot depicts a sign displaying the words “Black is Honest and Beautiful” in large letters. This statement reminds us that the Black Panthers had an uplifting message. Shots of kids playing and dancing at the outdoor event are quite a contrast from the usual images. Despite the live music and happy children, an unidentified female narrator reminds us that “this is no picnic in Oakland”. It’s part of the “Free Huey” movement to protest the arrest of co-founder Huey P. Newton for the shooting of police officer John Frey. Varda gives a snapshot of the Black Panthers at a specific moment in their history and reveals quite a bit in a short time.

Varda’s camera delivers some remarkable shots within the fly-on-the-wall framework. One stunning image presents an extreme close-up of a serious face in the foreground while a speaker addresses the crowd far in the back. It shows both the commitment and the education from the Black Panthers all in one shot. The speakers include Stokely Carmichael, who makes a convincing case that the U.S. has “declared war on black people”. It’s easy to connect his words to what we’ve seen recently with the killings of Michael Brown, Eric Garner, and many more.

There’s also an interview with Newton, who talks about his poor conditions in prison. He seems optimistic about his case but recognizes that the deck is stacked against him. Newton was only 26 at the time and looks even younger, but he makes valid points. It’s tricky because we only have a small portion of the story. Varda is French and presents the Black Panthers from an outsider’s perspective, but also with respect for their views. This empathy makes it easy to understand their struggle, especially given the forces marshaled against them.

Varda also focuses on positions of power for women in the Black Panthers and their choice to go with natural hair. Kathleen Cleaver is a memorable figure that speaks passionately about her role in the party. She’s now an accomplished lecturer and academic, and that’s no surprise after seeing this film. It’s clear from her brief scenes that she’s intelligent and committed to making a difference.

Black Panthers plays differently in the Trump era as many of us look for ways to resist his policies. A statement that describes the U.S. as “this racist nation” rings true when you consider our current leadership. Militant actions may not be the best choice today, but the commitment that we see from the Black Panthers does connect to the struggle now. An effective mix of activism, greater education, and a convincing message should help to change the tide. It helps to know more of the past, and this film offers a glimpse at a small part of the bigger picture.

The Lobster and Cults of Singular Thinking

noreply@blogger.com (Dan) — Tue, 14 Feb 2017 02:13:00 +0000

It’s become easier with each passing week to understand dystopian films. Elected officials make statements that would seem hilarious if they weren’t so frightening. This is especially true when it comes to basic ideas of identity and respect for differences. When a candidate thrives under a message of bigotry and ignorance, it indicts all of us. This moment also gives close-minded thinkers the belief that they can speak freely with intolerant views. These issues all connect to the absurd world of Yorgos Lanthimos’ The Lobster, particularly ideas on romantic relationships. The strict rules of that society don’t seem as far-fetched when you consider them while under a potentially authoritarian leader.

The Oscar-nominated screenplay from Lanthimos (Dogtooth) and Efthymis Filippou depicts The Hotel — the world’s worst singles retreat. Residents like David (Colin Farrell) have 45 days to find love or will become an animal of their choosing. He chooses a lobster (hence the title), which doesn’t seem like the best idea. There are many rules to follow at The Hotel, including the partner you choose. You can’t just lie and say that you love another person. A specific personality or physical trait has to match the other person. It’s eventually clear that these rules do not just apply to The Hotel. They are a core aspect of The City on the whole. Even the animals must find companions or risk extinction. The entire society thrives on coupling.

This premise is absurd on its surface, and it appears more outlandish because everyone plays it straight. No one but David even gets a character name in the credits. Ben Whishaw’s character is known as Limping Man, though you could also call him “Man Who Smashes His Nose to Get the Girl”. The set-up works as a comedy, and there are plenty of funny moments. It also clicks as an indictment of our culture, and that idea has only grown for me with each passing day. I’m married but can remember the days of probing questions from relatives about girlfriends and marriage. Loners are regarded with suspicion, and relationships that differ from the norm receive scrutiny. Fear of anything out of the ordinary remains a common trend in society.

What makes The Lobster more than a comment on marriage is the way it presents The Loners out in the woods. A lesser film would depict that group as free-thinking rebels like Denis Leary’s gang in Demolition Man. Instead, they also have restricted views and employ brutal punishments to offenders. People who flirt can face the “red kiss”, and I don’t even want to consider what the “red intercourse” punishment would be. Lea Seydoux plays the Loner Leader with a stone-cold detachment, and she enforces the strict rules without compassion. The Loners seem even worse than The Hotel because their choices defy our expectations.

The connective tissue between the Loners and The Hotel is the cult of singular thinking. This lack of nuance hits home when you consider the frustrations of our current political divide. It’s all or nothing, with little in between the sides. When David and the Short Sighted Woman (Rachel Weisz) fall in love, the response from the Loner Leader is quiet but vicious. She can justify the move with the rules, but it’s really just a cruel act. This type of logic is dangerous, particularly when it goes to people in power. Others will fall in line just to avoid a similar fate.

The Lobster works as a comedy and includes wonderfully odd moments, especially at The Hotel. John C. Reilly fits right at home in this setting. The romantic interactions are painfully awkward as characters look for any way they connect. If a couple starts to struggle, you can always give them a kid to change the landscape. It’s such a nihilistic look at relationships! The only true romance happens by chance, but there are few opportunities for long-term happiness. A society built on restrictions will stamp out anything that veers from the model. Lanthimos reminds us to stay vigilant against normalizing these rules; they can only lead to our destruction.

The Lobster is currently available for streaming on Amazon Prime and highly recommended.

Hidden Figures and the Joy of Movies

noreply@blogger.com (Dan) — Tue, 31 Jan 2017 05:13:00 +0000

It’s a scary time with horrible news lurking around every corner. Here in the U.S, the Trump administration is revealing terrible plans on a daily basis. There are many ways to combat these policies, including protests, calls to senators and representatives, and personal interactions. Where does art fall into the mix? It’s easy to dismiss movies as less essential during serious times like our current era. That is true in a certain way; there’s a lot more to do than just watch films. On the other hand, even prominent commercial releases can play an important role. They bring us together and can spotlight voices that are pushed to the background too often.

A perfect example is Hidden Figures, which arrived in theaters as just the right time earlier this month. The crowd-pleasing film tells a story that few of us know about the early days of the space program. It also provides three standout roles for African-American women that are far too rare. This isn’t a case where a white guy dominates the story and becomes the central figure. Instead, it’s the incredible work from Taraji P. Henson, Janelle Monae, and Octavia Spencer that takes center stage. All three give award-worthy performances as strong, intelligent women that worked behind the scenes at NASA during the Mercury program.

Cynics might dismiss this film as a conventional story that just makes audiences feel better about themselves, but that isn’t a fair assessment. Instead, it clicks because we’re on board with the characters from the start. It’s fun to just hang out with this trio even when they aren’t solving problems at NASA. That’s no easy feat. Katherine G. Johnson (Henson), Mary Jackson (Monae), and Dorothy Vaughn (Spencer) aren’t just symbols of overcoming an oppressive system. They come alive on the screen as fully fledged characters with real hopes and dreams. It’s a joy to spend two hours with them and see their ultimate success.

Jackson’s big speech before a Virginia judge (Frank Hoyt Taylor) is a good example. The only way she can enter NASA’s engineer program is to take certain night classes, but they’re only at an all-white school. Jackson’s speech is pure Hollywood, but it still works because Monae injects such feeling into it. The way that she sells the judge on being “first” is brilliant and makes the scene crackle. Director Theodore Melfi brings the camera in close to focus just on the faces of Monae and Taylor; he makes it a personal moment between two people. Monae owns this scene and reveals (along with Moonlight) her impending stardom.

This human connection is at the heart of why Hidden Figures shines for such a wide audience. The crowd in my theater included kids, adults, and grandparents from diverse backgrounds, and there was huge applause at the end. I could tell it was connecting with most of us, including my seven-year-old daughter. The best Hollywood filmmaking feels effortless, and that airy feeling is all over this movie. Henson is the centerpiece as Johnson, and she endures a lot from the condescending white guys in her Space Task Group. It never feels like too much cruelty, however. The script from Melfi and Allison Schroeder strikes the right balance in showing the hardships while still delivering an inspiring story.

Henson delivers what is easily one of my favorite performances of 2016. Johnson is brilliant and knows she’s smarter than her co-workers yet follows the rules of that environment. Her gruff boss Al Harrison (Kevin Costner) understands her value but will only do so much. He fails to recognize her daily strife of running across campus to the bathroom until she breaks down. Costner’s hero moment in tearing down the sign doesn’t feel earned for him, but it draws a fist pump because it’s a victory for Johnson. Henson charms us from the start, and we’re definitely on her side. When a possible romance starts with Colonel Jim Johnson (Mahershala Ali), we won’t accept him until she does.

It's convincing to see the institutional racism that each woman faces every day. The rules are written to keep Jackson from becoming an engineer, and people treat it like a fact of life. Johnson must drink from a separate coffee pot, use a different bathroom, and dodge other hurdles. The sexism from her all-male co-workers on Harrison's team is accepted as normal. Some of them mean well, but that accomplishes little under a rigged system. There's no margin for error for Johnson in this group.

Spencer earned an Oscar nomination last week for Best Supporting Actress, and she deserves the acclaim. She wonderfully underplays Vaughn’s intelligence and understanding of the office landscape. Vaughn recognizes the dangers of the IBM computers to their roles but sees the opportunities in mastering it. Her changing interactions with the stuffy Vivian Mitchell (Kirsten Dunst) reveal her growing power. By using her mind and understanding the technology, Vaughn subverts a system designed to keep her down. Her heroic scene in leading the women of the West Campus to their new jobs is thrilling and quite a change from the cold NASA hallways.

I did not expect Hidden Figures to receive a Best Picture nomination because it’s such a crowd pleaser. There’s joy emanating from the screen, and the audience keys on that excitement. Certain beats are predictable, but that doesn’t mean they fail. Even relaxing moments like watching the three stars dance remain engaging. Each lead gets her chance to shine. With a modest $25 million budget, it’s also the type of film that’s become less common from the big studios. In looking for the big payday, they often miss the importance of telling new stories that connect with a general audience. See this film, and make sure you take your daughters with you.

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