11 years ago, amid what society at large (including The Hollywood Sphere™) had for years deemed the “movie calendar’s graveyard shift,” a comic book movie burst onto the screen.
There were no superheroes in it. Six-packs, absolutely, but no genetically altered physiques housing superior, moral objectivity or superhuman wit. In other words, it would be another year before the birth of the Marvel Cinematic Universe. The character of Iron Man was about as familiar to the mainstream moviegoer as a contemporary Oscar contender released before March — aka, not very familiar. But, more on that later.
The movie I’m referring to is the uberviolent, uberlubricated “300.” The only still-relevant aspect a decade later is its (over)reliance on CGI as an innovated form of box office-busting, audience-driving weaponry.
(And no, I won’t hear your argument that Gerard “Sure I’ll Sign Up For Your Generic B-Movie Action Flick That Won’t Make More Than $30+ Mil Opening Weekend” Butler has remained relevant.)
(Lena Headey makes a strong case, though.)
Virtually transplanted for the screen from its comic book roots in a way that somehow didn’t constitute plagiarism, “300” transported audiences in a way few films had up to that point. More importantly, it transported them at a time when virtually any film of its kind didn’t dare to.
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With a few weeks left before what has quite loudly morphed into the most unpredictable Oscars in years, it’s finally time to take stock of what we had in 2017 at the cinema.
In brevi: It was an astounding dichotomy of auteurs operating – or continuing to operate – at the height of their powers (Guillermo Del Toro, Paul Thomas Anderson, Denis Villeneuve) and first-time directors yielding surprise gems and excitement for the future of film (Greta Gerwig, Jordan Peele).
In a year that ended with Hollywood beginning to form a new identity – the result of which may not be evident on the big screen until at least 2019 – it also gave us much to cry, scream and ponder about in the theater.
Perhaps it’s no coincidence that in the months following an incredibly epic and incredibly awkward Best Picture win by “Moonlight” – itself a eulogy to identity and the winding road it can personify itself as – some of 2017’s best movies featured heroes, villains and everyday characters grappling with theirs.
Sometimes it involved busting out a move at an impromptu dance party in Italy, other times it was shedding your identity for the entertainment of others.
And, at other times still, it involved fish sex. 2017 truly had it all.
Adding to the sea of similar pieces that represent closing a chapter and opening a new one more than anything of actual substance, here is this film critic’s top 10 films of the year. Continue reading →
First things first, and believe me, based on some of the reactions I’ve gotten in the past, it bears importance starting out with this: I don’t consider myself a film expert.
If I did, I wouldn’t be writing about movies. I’d be trying my hand at making them. And potentially making a hell of a lot more money than I do now writing reviews (which amounts to exactly zilch. What’s up, Rolling Stone?).
But I don’t. I watch a lot of movies (some people might think too many. Sorry, Mom), and I feel like with each one I’ve seen – even the stinkers – I’ve learned something new about the medium. But through nearly 22 years and four months of life, never has that led to a particular desire to create a movie, no matter how much I respect the hell out of people who do, on any level. Continue reading →
Welcome to (almost) August.
Well, ok, in the real world. But in the parallel cinematic universe that mirrors our own, it’s probably more accurate to say we’re coming up on the end of April as far as the movie year goes, what with most of the year’s best films to come as the weather gets cooler.
Nonetheless, 2017 has been supremely interesting for movies so far.
We got a 2018 Best Picture dark horse contender almost a full year early in Jordan Peele’s Get Out. Following a series of misfires, DC finally gave us a film that is both a critical darling and box office smash in Wonder Woman. After La La Land invigorated the musical last year, Edgar Wright reinvented it with Baby Driver. And, of course, Marvel Studios keeps doing Marvel Studios things. Continue reading →