Friday, August 18, 2017

Against the Crowd Blogathon 2017


Yes, it is time once again for Dell on Movies and KG's Movie Rants's Annual Against the Crowd Blogathon! And I have to say, while I adore this blogathon, it gets harder and harder to do every year, because I generally don't see movies that get bad reviews - life is too short and funds are too scarce to waste on bad movies, y'all.

BUT! I persevere. I do it for you, dear reader. And, I mean, I also do it for me, because I like writing these, but...

This seems to have gotten away from me. ANYWAY. To the business at hand!

In case you somehow don't know what this blogathon is, go here, or read on. The basic idea is to rip apart a movie that "everyone" loves (75% or better on Rotten Tomatoes), and defend a movie that "everyone" hates (35% or worse on Rotten Tomatoes). So here I go, ready to tear to shreds...

TREY EDWARD SHULTS'S IT COMES AT NIGHT


For what it's worth, I didn't hate this completely. For the first three-quarters, it's a masterpiece of escalating tension. We watch a family of three in a post-apocalyptic world euthanize the grandfather of the family unit (surmising that he has succumbed to whatever disease infected most of the world), go about their daily lives trying to just make it to the next day alive, and then deal with a younger man foraging for food and shelter for his wife and young son. They decide to grant this new family shelter, and for a while they get along just fine. But then, the movie so epically shits the bed that I ended up wondering what the whole point was, other than "People Are Awful". It moves from a tension-filled dark fable to an exercise in miserablism in the stroke of a single plot point, and even reading interviews where Shults said he came up with the story after the death of a close family member didn't do anything to make me see the movie in a different light. Why choose to tell THIS story in this way? It doesn't make sense. And neither do the great reviews.

And also, if you call your film It Comes At Night, maybe, I don't know... SOMETHING SHOULD FUCKING COME AT FUCKING NIGHT.

But anyway, if that offended you, prepare yourself, because I'm about to defend...

MORTEN TYLDUM'S PASSENGERS


For what it's worth, I don't think this is some unheralded masterpiece of cinema or anything. I just think it got a lot more flack than it deserved. A lot of people took issue with the fact that movie centers around Chris Pratt's decision to wake up Jennifer Lawrence against her will (because he somehow falls in love with her just by looking at her and reading about her), and then lies to her about it for a long while. But the thing is, he doesn't make that decision lightly, and the movie gives great weight to his decision - and never lets him off the hook for it, either.

Once you're able to put that aside (and I really don't think it takes very much to do so), Passengers is a slick slice of classic Hollywood sci-fi escapism. It's beautiful to look at and listen to, and requires almost no work from your brain. It may not be a GREAT movie, or even a really good one. But it's pretty far from what I would call terrible. The expensive-looking production design and visual effects and combined charisma of Lawrence and Pratt elevate it from merely passable to good. I enjoyed it a whole lot more than I ever thought I was going to based on the reviews, from critics and movie fans alike.

And there you have it! I'm not swimming too hard against the crowd here (I rate both of them 2.5-3 stars out of five), but what can I say? Recently, I've pretty much been with the consensus. These were the two most notable exceptions I could think of.

Thursday, August 17, 2017

Thursday Movie Picks - Rescue

Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Join in the fun and take part yourself by picking three movies that fit the week's theme and writing a bit about them!

This week on Thursday Movie Picks, we're off on a mission to rescue these three movies from obscurity! Or maybe not, since most of them have a pretty decent following, but I couldn't resist that opening.


The Rescuers (Wolfgang Reitherman, 1977) Not exactly a high point in Disney animation, but one of my favorites all the same, because of fond childhood memories and a sterling voice cast including Eva Gabor and Bob Newhart as a pair of intrepid mice on a mission to rescue a young girl from the clutches of Geraldine Page's Madame Medusa, who needs the young girl to retrieve the Devil's Eye, the world's largest diamond. It's standard, silly Disney stuff, but the voice performances really do make it.

The Terminator (James Cameron, 1984) A soldier is sent back in time to save the mother of the man leading him in the resistance against machines, after an invincible cyborg assassin was sent back in time to kill her. I know it sounds ridiculous, but in the hands of action wizard James Cameron and stars Michael Biehn, Linda Hamilton, and of course Arnold Schwarzenegger, it's a breathless rollercoaster ride of a movie, as relentless as its title character.

Argo (Ben Affleck, 2012) The true story of a CIA rescue mission to save six Americans caught in the middle of the Iranian Revolution in 1979. How'd they do it? By saying they were filming a sci-fi film and disguising the escapees as the crew. A fine winner of the Best Picture Oscar, Affleck's film is entertaining throughout, but the best part is the escape from the country - even though I knew the ending to the story (because, you know, history), I was on the edge of my seat (which was in the front row of a sold out theater, which I never do because I HATE IT, but it was worth it to see this opening night) the whole time. Truly suspenseful, thrilling stuff, anchored by such a terrific cast of character actors that it doesn't much matter that Affleck is a bit of a dud in the central role of the agent leading the rescue mission.

Thursday, August 10, 2017

Thursday Movie Picks - Summer Blockbusters

Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Join our motley crew each week by picking three movies that fit the week's theme and writing a bit about them!

Let's face it: Summer blockbusters are now just mostly recycled crap, franchise films that are at best enjoyable but almost never exciting. In the 1990s, though, they were something else entirely - visual effects-driven dramas with surprising casts that were more often than not completely original stories. There was no need to create a "cinematic universe" or set up a potential sequel, because the movie itself was enough, and next year audiences would move on to the next thing.

To my mind, these three movies are the Holy Trinity of Summer Blockbusterse: well-made, entertaining films that actually engage you in their fantastical situations with grounded characters.

Independence Day (Roland Emmerich, 1996) You simply could not escape this movie when it came out on July 4, 1996 - or for that entire year, really. This is the movie that blew up the white House, killed an alien horde with a computer virus, and made Will Smith the King of Summer Movies. the special effects are fantastic, but the thing most people remember this movie for (other than Will Smith, that is) is President Bill Pullman's climactic speech to the troops. Has there been a summer blockbuster recently where the writing has been this memorable?

Twister (Jan de Bont, 1996) Released a mere month and a half before ID4, Twister isn't as fondly remembered today, but if you ask me it's the better movie. Helen Hunt and Bill Paxton are ideal leads as a pair of exes and rival storm chasers, and the title storms are still awe-inspiring, as they should be. Again, this is a popcorn movie where SCIENCE is placed on a pedestal. But it still has enough of a sense of humor to send a few cows flying towards the screen.

Armageddon (Michael Bay, 1998) Easily the worst of these three, Armageddon is still a great time, mostly because of the absolutely absurd premise, wherein Bruce Willis and Ben Affleck lead a team of oil drillers into space to break up a massive asteroid hurtling towards Earth. It's ridiculous, but it has its moments. No one who's seen it has been able to look at animal crackers the same way since, I guarantee that. Also includes Aerosmith's "I Don't Wanna Miss A Thing", one of the greatest movie songs ever.

Thursday, August 3, 2017

Thursday Movie Picks - Crime Family

Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Come join our lovely little TMP family by picking three movies that fit the week's theme and telling everyone a bit about them!

So, I know there's one crime family that rules them all, but.... I haven't seen those movies. I KNOW I KNOW BAD DANIEL! But, I mean... there ARE other cinematic crime families, right?

...right?

Let's find out!

Animal Kingdom (David Michôd, 2010) J's mother just died from a drug overdose. So he calls the only family he has left, his aunt Janine. In staying with her and her brood of boys, he comes to learn there was a reason for his mother's estrangement from them: They're criminals, and Janine is the Don. Jacki Weaver got a WELL-deserved Oscar nomination for her sublimely pitched performance, but the entire cast (which includes Sullivan Stapleton, Ben Mendelsohn, Joel Edgerton, and Guy Pearce) is fantastic. Director Michôd takes the tension up past the breaking point nearly the whole way through, making for one intense, thrilling movie. Recently adapted into a TV show with Ellen Barkin as Janine.

Eastern Promises (David Cronenberg, 2007) Anna, a British-Russian nurse delivers a baby from a 14 year-old girl who then dies, leaving behind only a diary written in Russian. Through translating the diary, Anna comes to learn that the young woman was part of a sex-trafficking ring organized by a Russian mafia family. Unfortunately for her, said Russian mafia family knows that she knows, and is now threatening her life in the form of Nikolai (smokin' hot and Oscar-nominated Viggo Mortensen), the family's "cleaner" and pseudo-babysitter for the don's unstable son. Cronenberg takes to the mafia genre shockingly well, orchestrating some terrifically tense stand-offs between characters and winding a slightly sprawling story tight around his finger.

Goodfellas (Martin Scorsese, 1990) Based on the real-life story of Henry Hill, Martin Scorsese's magnum opus tracks Hill's life from his youth under the wing of local mafia don Paulie Cicero to his cocaine-fueled descent to the witness protection program three decades later. There's not a single false note in the whole thing, not one bad beat or wonky line reading. Every single scene sings. It's a classic - and one of my All-Time Favorites - for good reason.