Movies

The Dark Knight Rises: Unfortunately, over 2 hours when Catwoman is not on the screen

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Well, there’s 2 hours and 44 minutes that I’ll never get back. First, the good news about The Dark Knight Rises.  Anne Hathaway excels as the best Catwoman ever, and the banter between her and Batman crackles.  There are some exceptional CGI effects of Manhattan’s partial destruction. There’s a cool personal hovercraft, the Bat, and an equally cool combo motorcycle/cannon, the Batpod.

Unfortunately, that’s all the good stuff in director Christopher Nolan’s newest chapter of the Batman saga.  The problem is the screenplay, dotted with the corniest of dialogue and laden with pretentious Batman mythology.  When Catwoman tells him “you don’t owe these people any more! You’ve given them everything!”, Batman solemnly replies, “Not everything. Not yet.”

The plot simply exists to transition from action set piece to action set piece.  There are too many times, when a good guy is in peril, that another good guy pops up utterly randomly and just in the nick of time – too many even for a comic book movie.

With her bright wit and lithe sexiness, Hathaway fares far better than her colleagues.   Christian Bale continues his odd husky growl as Batman.   As the villain, an uber buffed Tom Hardy glowers from behind a fearsome mask.  The hackneyed screenplay wastes the rest of the extremely talented cast:  Joseph Gordon-Levitt, Marion Cotillard, Michael Caine, Gary Oldman and Morgan Freeman.  We barely glimpse Liam Neeson.  The captivating Juno Temple is apparently dropped into the story just enough to set her up for the sequel with Gordon-Levitt.

I saw The Dark Knight Rises in IMAX, which worked well for the long shots of NYC and made the fight scenes more chaotic.

DVD/Stream of the Week: Woody Allen: A Documentary

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Woody Allen’s To Rome with Love is a pleasant enough trifle, but I’d rather focus on Woody’s masterpieces like Annie Hall, Manhattan, Hannah and Her Sisters, Crimes and Misdemeanors and last year’s Midnight in Paris.  In fact, combining his great films with his really good ones reveals an astounding track record: Play It Again Sam (1972), Annie Hall (1977), Manhattan (1979), Hannah and Her Sisters (1986), Another Woman (1988), Crimes and Misdemeanors (1989) , Husbands and Wives (1992), Mighty Aphrodite (1995), Deconstructing Harry (1997), Match Point (2005), Vicky Christina Barcelona (2008) and Midnight in Paris (2011).

What American filmmaker has created twelve films of this quality?  Woody is up there in Billy Wilder and John Ford territory.  The fact that Woody is so prolific may work against him – cranking out a movie each year means that there are some stinkers (Small Time Crooks, Curse of the Jade Scorpion) that dilute his reputation.  And then there was the scandal…

Cinephiles and Woody’s fans will appreciate Woody Allen: A Documentary, which traces Woody’s life and work, providing key insights into his creative process.  Robert Weide followed Woody for eighteen months and filmed interviews with over thirty associates and critics – many from Woody’s earliest days.  These include Woody himself, his mother (in footage shot by Woody in the 80s)), his sister and producer Letty Aronson and his longtime casting director Juliet Taylor.  We also hear from ex-wife and co-star Louise Lasser and ex-girlfriend and co-star Diane Keaton.

Weide uncovers slew of nuggets.  We see how Woody keeps ideas for potential movies on scraps of paper, which he revisits when he needs to think up another movie.  We see how he uses an old typewriter and lo tech cut-and-staple to construct his screenplays.  We hear how his screenwriting experience on What’s New Pussycat taught him to insist on total artistic control of his films.   He explains how he learned a woman’s point of view from Diane Keaton, which changed his perspective for Hannah and Her Sisters.

The documentary also addresses, but does not dwell on, the Soon-Yi scandal that blew up as he and Mia Farrow were finishing the shooting of Husbands and Wives.

Woody Allen: A Documentary has two parts – the whole thing clocks in a shade under 3 1/2 hours.  It’s available on DVD and on Netflix streaming.

In the Family: debut of a brilliant director

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6-year-old Chip has two daddies, Cody and Joey.  When his biological father Cody is killed in an auto accident, Cody’s sister takes custody of Chip, and Joey fights to get his son back.  Writer-director Patrick Wang stars as Joey, and what makes In the Family more than just another social issue picture is Wang’s authenticity as a writer and brilliance as a director.

Wang uses long scenes shot by a static camera and an almost silent soundtrack to draw in the audience.   We watch Joey being told of Cody’s death through a hospital window and we only hear the passing truck traffic.  We see the kitchen when Joey and Chip come home after the funeral – Joey sits stunned, fingering the mail, and Chip, yearning for some normalcy, sets up beverages.  The film climaxes with Joey’s testimony at a deposition, mostly shot from the end of a conference table.  These are some of the most compelling scenes that I’ve seen this year.

The problem with In the Family is that it is 2 hours and 47 minutes long.  There are long films that need to be long (e.g., Once Upon a Time in Anatolia), but this isn’t one of them.  There’s probably a 130 minute indie hit somewhere inside In the Family.

It’s clear that Patrick Wang is a fine actor and an unusually talented writer-director (who needs to find an equally talented editor).  I’m certainly looking forward to his next work.

As yet without a distributor, Wang is self-releasing In the Family in various cities.

Neil Young Journeys: see it if you already like him

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Neil Young Journeys documents Neil Young’s return to Ontario for a 2011 concert at Toronto’s Massey Hall.  It’s about 85% Neil Young music and about 15% Neil Young’s guided driving tour around his old haunts (“there is a town in north Ontario…all my changes were there”).  Young plays four of his songs from 2010 and several more from 1969-79.  He is alone on stage with boxes of equipment and a cigar store Indian, and accompanies himself with electric guitar, harmonica, piano and, on Down By the River, a stentorian pipe organ.  Ohio is intercut with video of the Kent State massacre and pictures of the victims.

It’s the third Neil Young film by director Jonathan Demme (Silence of the Lambs, Rachel Getting Married).  Demme shows the good sense to simply show Neil and then his music unadorned.   He does get arty with one camera that zooms on to Young’s mouth and grizzled chin.  Sitting in the third row, I felt like I’d need to duck spittle at any moment.

If you don’t love Neil Young, skip this movie.  If you do love Neil Young, see the movie in a theater or in a home theater with a good sound system.  Turn it up.

Magic Mike: male strippers, no magic

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MAGIC MIKE

Magic Mike is about watching male strippers, period.  There are a couple lame plot threads, but it’s about the stripping.  The star, Channing Tatum, is winning and impressively athletic.  Matthew McConaughey helps re-brand his career with a funny performance as a sleazeball strip club owner – and shows off his body, too.

Director Steven Soderbergh is known for his prestige pictures but still relishes making B movies.  Good for him – he brought something special to the B picture Haywire last year (which co-starred Tatum).  But there’s no magic in Magic Mike.  And, at 110 minutes, it’s too long.

DVD/Stream of the Week: This Is Not a Robbery

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After 87 years of abiding the law, J.L. “Red” Rountree robbed a bank in 1998.  In fact, he became a serial bank robber, robbing banks until his final incarceration at age 92.  The documentary This Is Not a Robbery explores how this could have happened.  Spoiler: nonagenarians do not excel at the art of the getaway.

Cleverly structured, This Is Not a Robbery intersperses the modern robberies with biographical segments that finally reveal the arc of Rountree’s singular journey.  We get to see Rountree explaining himself. He’s a kick, but the most revealing comments are from his friends, who relate the pivotal points in his business career and family life.

At only 70 minutes long, it’s a good watch.  This Is Not a Robbery is available on DVD, on Netflix streaming and sometimes plays on the Sundance Channel.

Coming up on TV: Night and the City

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Richard Widmark running out of luck in THE NIGHT AND THE CITY

On July 15, Turner Classic Movies is showing the under appreciated film noir classic Night in the City (1950). Richard Widmark is superb as a loser who tries to corner the pro wrestling business in post-war London – and, as in any noir classic, it doesn’t end well for the sap.

The American director Jules Dassin had just made the noir classics The Naked City and Thieves’ Highway when he shot Night and the City in the UK. He was blackballed in the McCarthy Era and never moved back to the US.

At the request of a studio exec, Dassin created a role in Night and the City for the stunningly beautiful but emotionally fragile Gene Tierney. The cast also includes real life wrestlers Stanislaus Zbyszko and Mike Mazurki.

Night in the City (along with The Wrestler) represents wrestling on my list of Best Sports Movies, and there’s a clip of an extended wrestling scene from the movie on that page. (Also, Dassin’s Brute Force makes my list of Best Prison Movies.)

I Am a Ghost: a smart genre-bender, not for everybody

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I Am a Ghost is a singular ghost story about a young woman who has haunted her Victorian home since her death a century ago.  First she ambles about the house, repeating the most ordinary chores – sweeping the hall, frying eggs and the like.  Then she communicates with a medium hired to rid the house of the ghost; neither can see the other.  The medium is having a tough time because, in her life, the young woman suffered from Multiple Personality Disorder (so there are multiple personalities to guide to the Other Side).   The movie climaxes with some jolting scares.

It’s a change of pace for writer H.P. Mendoza, whose previous films have been contemporary musical comedies, including the hilarious Colma: The Musical (available on Netflix streaming).  At the screening I attended, Mendoza said that I Am a Ghost is neither low-budget, very low-budget or micro-budget – he directed it on no budget (financed on his credit cards).  Yet it looks better than some Hollywood films and is a whole lot smarter.

Besides the creepiness and the frights, the story is about memory.  The ghost thinks she is having new experiences, but she is merely reliving her past experiences, most of which are banal.  Mendoza doesn’t explain this until the audience has endured about 35 minutes of repetitive household tasks.

I Am a Ghost is only 74 minutes long.  If you go with the memory idea, it works.  If you don’t have the patience, you’ll find the first half of the film to be very tedious.

The dialogue between ghost and medium evokes a session between patient and therapist, with both becoming increasingly frustrated.  This interchange is funny and is the highlight of the film.  I Am a Ghost is a good choice for ghost story aficionados who are open to a genre-bender.

Beasts of the Southern Wild: a child’s indomitable spirit, brilliantly depicted

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Here’s a great movie unlike any you have seen before.  A small girl and her dad live off the grid in a tiny hamlet on a Southern Louisiana tidal bayou.  Responsible for their day-by-day survival by fishing and gathering, the dad is stressed, self-medicating and ailing.   Then a killer hurricane threatens to obliterate their home, their way of life and them.

The story is told from the child’s point of view. The audience experiences both her reality as she understands it and, when she switches off reality, her imagination.  In her mind, threats can take the form of prehistoric beasts called aurochs.  Writer-director Benh Zeitlin shot the film from child height with a handheld camera, and used an entirely untrained cast.  The result is a boisterous panoply that celebrates the indomitable human spirit.

In her first role, Quvenzhane Wallis carries the movie. She is on screen at least 70% of the time, and her performance is stirring.  Zeitlin audaciously bet his debut feature on the performance of a six-year-old.  He went all in and won the jackpot.

Beasts of the Southern Wild is a special film, and one of my Best Movies of 2012 – So Far.  Universally critically acclaimed, it won the Grand Jury Prize at Sundance and the first film award at Cannes.  You can find it in some theaters this weekend, but it will be more widely available on July 13.

Take This Waltz: a women’s movie, in the best possible sense

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Take This Waltz is a woman’s movie, but in the best possible way.  It’s not a shallow chick flick and there’s no wedding scene.  Instead, it’s an exploration of attraction and fulfillment from a woman’s perspective.

Margot (Michelle Williams) and Lou (Seth Rogen) have been happily married for five years.  They are affectionate and playful with each other, but they have hit a patch where it’s easy for one to kill the other’s buzz and for a romantic moment to misfire.  But Lou is a fundamentally good guy who loves Margot, and he is definitely not driving her into the arms of another man.

But Margot meets Daniel (Luke Kirby) and is fascinated by him. He is completely attentive – not in a chocolates and flowers kind of way, but by observing her deeply and pointing out things about her personality that she hasn’t recognized herself.  Daniel exhilarates her, and she can’t keep herself from engaging with him.

Michelle Williams is once more transcendent.  She is our best actress.  We know that Rogen can play a goodhearted, ambling guy, but when his character is profoundly hurt, he delivers a tour de force.  Sarah Silverman co-stars as Margot’s sister-in-law, a recovering alcoholic whose relapse sparks a fierce moment of truth telling.

Take This Waltz could not have been made by a man.  In particular, there is a remarkable shower scene in which women of a variety of ages and body types have the type of frank conversation that women share with each other.  Although they are all naked and fully visible, the scene is shot as to be devoid of any eroticism or exploitation.  All that is there is the content of the conversation and the female bonding.

33-year-old Canadian actress Sarah Polley wrote and directed;  Polley’s debut feature was Away From Her, my pick for best movie of 2006.

Take This Waltz is a beautifully shot film, but generally not in a showy way.  The film opens with Williams backlit as she prepares a batch of muffins; it’s a simple kitchen scene, but Polley showcases Williams as Margot reflects on her choices and their consequences.

In one extraordinary scene, the camera swirls with Margot and Daniel on an amusement park ride blaring “Video Killed the Radio Star”.  Their faces show fun, then an urge to kiss, then regret that they can’t kiss, then fun again and, finally, disappointment when the music and the ride end way too harshly.

Later, Polley reprises the muffin baking scene, paired with “Video Killed the Radio Star” in an unexpectedly rich way.  After just two features, Sarah Polley is established as one of today’s top filmmakers. Take This Waltz makes my list of Best Movies of 2012 – So Far.