Category Archives: Movies

Movie Review: Joker

There has been a lot of buzz surrounding the film Joker, there has been talk of awards and Oscars, there has been praise and adoration as well as criticism and sharp commented dislikes. With an open and mind and trying to set aside all expectations and since I had today off from the day-job I attended a late screening.

Joker  is a possible origin story for the iconic nemesis of that caped crusader Batman. I say possible because the cannon for the comic book character stretches back many decades and as with all comic book histories that ancient it is filled with revisions, reboots, and flat out contradictions in the character’s backstory.

Joaquin Phoenix plays Arthur Fleck a troubled young man living with his mother in the decaying crime infested city of Gotham during the turbulent 1980s. Arthur makes his living as a clown, working promoting dying businesses as they hoist one final sale and providing mediocre entertainment to children in hospitals. Suffering from an unnamed neurological disorder that causes uncontrollable fits of laughter whenever Arthur is emotionally stressed Arthur dreams of success as a comic, living out detailed delusions of what he life might be as his mother sends endless letters to Thomas Wayne lost in her own delusions. As economic, physical, and mental stress takes their toll of Arthur his losses the frail support network he barely possesses and soon confronts terrible truths about himself and truth of his life. Caught between fantasy and reality and unable to tell the two apart he loses his identity and discovers a new one.

My opinion on this film is somewhere between the two extremes that are common on the Internet; the film is interesting and had a decidedly pointed theme it is trying to express. This film is a commentary on the result of a society that ignores the under-privileged, the unreal world of the wealthy and the pressures that explode from that dangerous combination. Yet this film is also flawed. Nearly all of the film is from Arthur’s point of view and that is on point, it is his story we are experiencing, and yet there are sequences where the story steps away from Arthur solely for the purpose and nudging the audience in the side with reminders that this take place in DC’s continuity. These excursion weaken the story, undercut the theme and serve no purpose but fan service. This film also felt like it didn’t quite know how it wanted to end. Twice before it actually ended the director services up visions that would have made for a powerful final image, only to continue the film with unrequired wrap-up.

Some of the criticism I have read and heard about this film I think say more about the critics than the film. Much like Star Wars: The Last Jedi  it seems a number of people came into their screenings with preconceived notions of the film and its subject matter and those pre-judgments formed the core of their critique, however unlike The Last Jedi  these critics hail from the liberal side of the political spectrum and betray their biases just as much of the right’s criticism betrayed theirs.

Over all this film was well made and interesting, a little editing would improve it punch, but it achieves neither the heights or the lows so many are ascribing to it.

 

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Does Gemini Man Herald the End of Acting?

In a recent article over at VOX an author expressed the fear that the near perfect digital recreation of an actor’s younger version is merely the camel’s nose in the tent that will lead to the replacement of actors with entirely digital creations. This is not a new concern and formed the one central question in Connie Willis’ novel Remake and then as now I do not foresee that as a concern for the near future.

Acting is not just walking from mark to mark and parroting the words from the script. If it were there would be a far large number of great actors entertaining us and it would not b so plainly evident when a talented actor was simply ‘phoning in’ their performance. Acting is an art and like all art is requires a conscious creative act. There are numerous choices an actor makes in their performance that go far beyond simply repeating the words.  There will not fully digital actors entire there are self-aware computers capable of making those emotional choices.

A second often expressed fear is that there will be endless films using recreations of stars that have passed and while there will the occasional use of a dead actor to recreate a famous role, for example Peter Cushing’s double in Rogue One: A Star Wars Story  it will never become a vehicle for a star powered film. Firstly there is still the creative aspect that will fail to double the original actor’s unique vision but more importantly is that younger generations will never simply adopt their parent’s stars. Even an eternally young John Wayne would not have continued to be the massive star of his earlier days as the country and culture changed around him.

Change is coming but actors are not about be wholly replaced by bits and bytes.

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Streaming Review: The Corpse of Anna Fritz

Premiering in 2015 at the South X Southwest  festival The Corpse of Anna Fritz  is a Spanish Language thriller/horror film about  morgue attendant Pau (Albert Carbo) who finds himself alone with the body of a young and extremely popular actor Anna Fritz (Alba Ribas.) Pau texts photos of Anna’s corpse to his friends Ivan (Cristian Valencia) and Javi (Bernat Saumell) who join Pau in the morgue to ogle the actor’s corpse. Being men of low character and with their inhibitions eradicated by cocaine the word of the day becomes necrophilia. A bad and immoral idea turns disastrous when Anna awakens from her unexplained comatose state and the three young men are faced with the serious criminal charges but lack the moral fortitude to do anything approaching what is right.

Anna Fritz is a horror film that presents no supernatural elements existing in the continuum of thriller and thrillers turns on their characters and their acting. This film does an admirable job at both of these factors. The young men with their limited intellect and obsession with partying are sadly not outside of the bounds of reality and their divergent reactions to Anna’s living state drive the dramatic conflict at the heart of their relationship. Alba Ribas as Anna is phenomenal, her character at times is paralyzed leaving the actor with only her eyes to express her terror and shock and she is terrific at it. The most empathetic character in the small film Alba’s Anna is the emotional heart that beats the movie’s lifeblood of tension.

With a brief running time of just 74 minutes Anna Fritz  does not overstay it welcome, moving directly into the tense plot and telling its story with economy.  Currently streaming on Shudder  Anna Fritz  is not a film to everyone’s tastes but it successfully captures the terror, tension and idiocy of its character without devolving, despite prominent nudity, into titillation with the real horror always centered in Anna’s experiences.

 

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Movie Review: Ad Astra

In Ad Astra  Brad Pitt plays Roy McBride an astronaut whose father, Clifford McBride also a revered astronaut, vanished on a mission beyond Neptune in the outer solar system to survey extra-solar planets for signs of intelligent life. Sudden intense burst of gamma radiation from outer solar system now threaten human on Earth, the Moon, and Mars, burst of radiation that appear to be coming from Clifford’s list mission. Roy is dispatched to send a message to his father and hopefully end the threat the humanity.

Sharing some thematic elements with Conrad’s Heart of Darkness  this film is a slow mediation on the shadows they live within the human spirit and the dangerous of isolation and disconnection that can happen even when we are surrounded by people. However while those are the themes of the screenplay, and the film is filled with talented veteran actors Ad Astra  fails to fully engage on a character level leaving the audience to experience repeated long sequences of Brad Pitt stealing Ryan Gosling’s thunder of staring expressionless in the middle distance.

Now, I love good slow cinema. The Remains of the Day  a film about one man’s repressed emotions set in the sedate world of less English nobility is one of my favorites but Ad Astra  fails to find the character at the center of the story and never forces the character to engage in a meaningful choice. A much better science-fiction film on these same themes and also with a careful slow pacing is the US version of Solaris. These films are possible but ad Astra  simply isn’t it.

The science in Ad Astra  is bad, but I have come to expect that from Hollywood science-fiction but without a good character story to catch the viewer that allows the bad science to become that much more noticeable.

The film is tonally inconsistent. It tries to balance quiet character contemplation with scenes of intense action and fails at both. There are two major set pieces of action that simply have no story reason for existing: a sequence with lunar pirates and an unmotivated attack on Roy McBride as he transits between lunar locales and a rescue mission to space station that apparently orbits between Earth and Mars solely for animal research.

All in all Ad Astra  was a dull plodding affair that thought is had much more profound things to say than it really did.

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Streaming Review: Crystal Lake Memories: The Complete History of Friday The 13th

I love a good documentary and that is only amplified if it is a documentary about films or filmmaking. After all two Christmases ago my sweetie-wife got for me the 13 hours documentary The Story of Film  and I was thrilled. So discovering that the streaming services Shudder  is offering the massive 6 hour and 40 minute Crystal Lake Memories: The Complete History of Friday the 13th  was exciting news.

Crystal Lake Memories  covers every installment in the successful franchise from the first film in 1980 through the most recent re-boot and including the 90s television series and the monster match-up movie Freddy vs. Jason.

Each installment gets it’s own chapter in the documentary, part of the reason why it is so massive in its extended running time, with cast and crew interviews and a history of the writing and production decisions surrounding the films. This makes it very easy to watch the documentary over several viewing. Full disclosure I am not the most engaged fan of this franchise. I have not seen every entry; I did enjoy the series though it had nothing to do with the main storyline of Jason and killed campers. I still enjoyed this documentary quite a bit and for people who are fans this is a rare glimpse into the decisions that shaped the franchise and why some of the most controversial calls were made in the manner they were.

Shudder  has become one of my favorite streaming services and gives in my opinion fantastic value for the low monthly cost.

 

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Secret Morgue 2: Alien Autopsy Edition

This past Saturday was the second Secret Morgue a marathon of horror film presented at the theater in the ComicCon Museum by Film Geeks San Diego. Last year the theme of the marathon was VHS horror, films of the 70s and 80s that you may have discovered at your local video rental store back when that was a thing. This year’s theme was SF horror with an emphasis on aliens. As has become the tradition the selection is film presented is kept secret with the schedule providing a chronology that gives the starts and stop films of each film and the breaks for snacks but no titles. (The running times did allow me to eliminate the possibility that one of the films would be Mario Bava’s Planet of the Vampires.)

In order of presentation here are the films that were screened.

 

The Space Children

The Hidden

XTRO

Night of the Comet

Without Warning

I Come in Peace

Galaxy of Terror

 

There was a bonus feature but I simply could not muster the energy for that and left after the end of the seven-feature run. Of the films in the marathon I had previously seen two of them, The Space Children  and Galaxy of Terror  and the rest were known to me but for various reason had remained outside of my personal viewing history. This is a departure from last year’s run when I had seen none of the films screened. Of the film I think Night of the Comet  was likely the best made and the most entertaining while Without Warning  proved to be a chore to endure and I could not recommend it to anyone at all.

The food/snacks this year included a buffet of Indian Food, Pizza, and bakery bread with some green sauce that I did not try.

I adore Film geeks San Diego and everything they do to expand interesting cinema experiences in my town and I am looking forward to next year’s Secret morgue with its theme of ‘The Undead.’

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Streaming Review: The Unknown Soldier

Over the past two nights, my sweetie-wife and me watched the Finnish film The Unknown Soldier  a three-hour epic that follows the operations of a machine gun company from the start to the end to The Continuation War. That was, started in 1941 with Finland invading the Soviet Union in hope of regaining territory lost in 1939’s Winter War when the Soviets invaded Finland. Allied with Nazi Germany the Fins expected a collapse of the communist state and for a ‘greater Finland’ to emerge; history of course tells us that did not come to pass.

The film boasts a large cast of characters as we meet the machine gun company just as they have finished their training and the invasion of the USSR has commenced. Released in 2017 The Unknown Soldier  does not glorify warfare but presents it in a stark unforgiving manner in which death is sudden, violent, and often unexpected. While the characters are devoted to their nation, filled with pride and patriotism, the script never devolves into jingoism and hero worship and instead focuses on the day-to-day reality of warfare in a small unit. Early victories buoy the characters’ moods but do not last as the invasion at first falters, stagnates, and eventually collapses into retreat and route. On the directorial front I particularly liked that Aku Louhimies maintained a line of direction for the invasion itself with motion from left to right indicating Eastward and into the Soviet Union and right to left indicating westward and retreat; fast shots of the company marching quickly established the current state of the war. The filmmakers avoided easy clichés for the characters and kept them complex with something difficult and contradictory motivations; they never ceased to be people  first and soldiers second.

The Unknown Soldier is currently available for rent as a streamed film on Amazon.

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The Delicate Balance of Character Death in Sequels

Over several nights this week, and I am still not finished I have been watching Crystal Lake Memories: The Complete History of Friday the 13th. The documentary covers the entire span of the iconic slasher/horror film franchise and has a running time that is close the seven hours. I am a movie buff and while I have seen a few of the Friday the 13th  installments I am by far not an engaged fan of the series but I adore learning about films and their production.

Adrienne King who played final girl Alice in the initial film spoke about how many fans reacted badly to her characters quick and unceremonious death in the following sequel and my thoughts instantly flashed to Alien 3  and how the characters of Hicks and Newt were also cruelly dispatched simply to make way for the next batch of Purina Alien Chow.

Sequels are already tricky things to manage. People loved the first story and want more, deviate too wildly from the established tone and elements of that instigating tale and people will feel cheated, that they did not get what was promised on the tine, but hew too closely to the original plot and structure and people will be bored as you simply repeat the original with mere cosmetic changes. What Friday the 13th Part 2  and Alien 3 exemplify is the dangers of ignores the audiences emotional investment in the previous episodes. A story, prose or cinematic, succeeds when the audience become emotionally invested in the fate of the characters. This is particularly true in films where the conclusion presents few surviving characters of which horror films excel. Alice in Friday the 13th  is the ‘final girl’ and her survival is the emotional heartbeat of the movie, giving the audience its catharsis and exhilaration with the story climax. People are excited by her survival after attaching their fears to her for the run of the film. Alice matters. But her off-hand death at the start of the next film is an unintentional swipe at the audience. It is calling them suckers for caring about Alice, or Hicks and Newt for that matter, because all of that drama and tension and terror were meaningless. Those cruel and thoughtless character deaths invalidate all of the emotional toil and payoff of the previous franchise installments.

Does this mean you can’t kill surviving characters in the following sequels? No, of course not. What it means is that a sequel needs to be very careful in which characters fall and the manner in which they fall. Off-handedly removing character simply to make room for new ones is disrespectful to the audiences and their deep emotional attachments. If a character that survived an earlier episode must appear and die in a sequel then that death must be important to the plot and development of the story and it must be driven by the character’s choices. It need not be a ‘heroic’ death, though that is a clear option but it must not be a death that could have been filled by a stand in. Remember that sequel have a carry over emotional effect, the audience are in a heightened state filled with the memories of beloved characters in dramatic tension do not disrespect them.

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Scriptnotes and Thoughts on my Career Path

I adore HBO’s limited series Chernobyl  and its associated podcast of the same name with the writer and show runner Craig Mazin explores the crafting of the show and where it deviates from the historical record. That podcast led me to Mazin’s other Podcast Scriptnotes  where he co-hosts where fellow screen scribe John August about screen writing and things interesting to screenwriters.

There had been a time in my life where I really wanted to be a screenwriter and director. Movies are a passion of mine and I adore all the aspect of cinema. This weekend I will spend 13 hours watching a marathon of SF themed horror film as part of a local cinema group’s annual celebration. My novel coming out in March 2020 Vulcan’s Forge  is not only a celebration of film noir  in prose but stuffed to its hairline with references to some of my favorite films. However, listening to Scriptnotes  I think I have learned that being a professional screenwriter may not have been for me.

Where there are lots of books about how to write screenplays and what the form of the material is like there are few recourses that can give you a real look at what the life of a screenwriter is really like, Scriptnotes  is one of those rare resources. In addition to excellent advise on character, conflict, and constructing scenes, John and Craig climb down into the muddy trenches of dealing with contracts, producers, the Guild, studios, and set realistic expectations for aspiring talent just what the business is going to expect of them. What dismayed me was the amount of work a professional screenwriter does that is being a ‘gun for hire.’ How often a person will work on projects that they did not start, did not conceive, and are expected to create and polish into gem stones as glittering as their own projects. Certainly spec scripts, that is a project that was written without a contract and without the writer being hired to writer it, get produced but more often these scripts are used to open doors and gain employment as those hired guns and the films those scripts were written for never come into existence.

That has to be heartbreaking.

As a novelist I write a manuscript with every expectation that it will be a novel. For my preferences the ideal outcome is a traditionally published novel where a publisher pays me an advance and I get the benefit of their entire production, advertising, and distribution enterprise but if need be in this digital age I can publish the book myself. I do not need to produce well-polished dreams that are likely to be discarded so I can chase work on material I did not create.

Perhaps one of my novels will eventually be sold and made into a film and then I may writer the screenplay. I think I have a real talent for that form, but as a career, I think that screenwriter would have been a poor fit.

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Spider-Man, Macbeth, & Responsibilities

It is interesting to think about how characters are or are not responsible for the ills of their fictional world.

Central to Spider-Man’s character is the guilt he feels over the death of his beloved Uncle Ben. After Peter Parker had gained his powers that allow him to become a super hero but before he accepted to corresponding responsibilities, he sought enrichment and glory by using those magical abilities in entertainment. And when he stood by refusing to become involved in a robbery allowing the culprit to escape, he set into motion a chain of events that resulted in the same culprit robbing, shooting, and murdering Peter’s Uncle’s Ben. In the second motion picture directed by Sam Rami Peter confesses to his aunt that he, Peter, is responsible for Ben murder and that is something that has always rankled me.

Yes, Peter should have done something. Yes, Peter’s inaction set up the conditions that allowed the criminal to escape and thus the conditions that eventually allowed the criminal to be in the wrong place at the wrong time with the wrong motivations that resulted in Ben murder.

However, Peter is not responsible for that murder. Peter did not pull that trigger; Peter did not make the decision to shoot. Only the gunman is responsible  for shooting. My feelings on the matter have always been settled ground to me.

Yet, things feel different when I contemplate my favorite play Macbeth.

It is Macbeth’s hand to wields the dagger, it is Macbeth’s choice to murder his King and Kin, it is Macbeth uses the throne of Scotland to ignite a reign of terror that sparks open rebellion and invasion and still I can’t shake the sensation that responsibility somehow lies with the unnamed witches.

Without the supernatural meddling by the witches, making pronouncement of the future that are accurate of ultimately misleading, would have Macbeth ever taken any action against his royal cousin? If the witches can know which grain will grow and which will not then must they also know that speaking that future to Macbeth that place him on the path that ultimately leads to his doom? Are they the inversion of Avengers: Endgame knowing that if they speak the future to Macbeth that unlike Strange certain that his prediction will destroy its possibilities their will ensure it? If that is the case how do you divide responsibility between the Witches and their future meddling and Macbeth free will to choice his destructive path?

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