For Musings, I wrote about Tender Mercies and The Apostle, in an attempt to examine the intangibility of belief and the challenge of convincingly portraying on film something that looks and feels differently for everyone who experiences it.
Category: Film (page 1 of 15)
For Musings, I wrote about Samson Raphaelson, a playwright and screenwriter most notable for his nine-film collaboration with Ernst Lubitsch. I discovered Raphaelson after watching the Criterion release of 1943’s Heaven Can Wait, which featured among its extras a thirty-minute PBS documentary about Raphaelson, who was then in his 80s. He came at the screen a man possessed, shaking his hands and extolling the virtue in screenplays of human characteristics above all else. To say I fell somewhat in love would not be inaccurate. He wrote a book called The Human Nature of Playwriting1, drawn from a course he taught in 1948, that’s just as illuminating.
• When we talk about this movie, we’re really talking about Heath Ledger. He died in January 2008, six months before The Dark Knight came out, and though he also appeared posthumously in 2009’s The Imaginarium of Doctor Parnassus, it’s The Dark Knight that’s considered his true final role.1 His death at such a young age — he was 28 — gave the film’s nihilistic horror an unearthly sheen; it felt, in a sense, like it was his role as the Joker that had taken him away. He’s absolutely stunning in the part, too, in a way that makes everyone else look drab and stilted by comparison. As a character (often historically but especially, and more importantly, within the specific world of The Dark Knight), the Joker is effective because he’s willing to go farther than others to achieve his goals. He has no regard for human life or society’s structures. He murders with glee. Ledger is smart and strong enough to be able to play this insanity as straight as possible. He occasionally bursts into ugly, shrieking laughter, but more often than not he just smacks his lips and blinks a few times and gets on with it. His performance is anchored in a sense of commitment: this Joker, this unnamed and unnameable killer, believes wholeheartedly in the righteousness and purpose of his destructive causes. There’s a look in his eyes as he cavorts around town that says he can’t believe he’s getting away everything, and that he thinks his opponents are laughably dumb. It’s Ledger’s performance that makes the movie, and his acknowledged absence from today’s world that makes it so haunting.
• If Batman Begins spawned imitators who aped that film’s grim tone and heady self-seriousness, The Dark Knight was responsible for popularizing an even more frustrating trend: the villain’s ludicrously complicated plot. Partly this is because The Dark Knight, as a whole, has a much more sprawling plot than the first film. I am writing this the day after rewatching the movie, and honestly I’m still having trouble coming up with a tidy summary. Here’s what I came up with:
Gotham’s mobsters pool their money to avoid it being seized by Batman and the cops, and their accountant — a CEO of a Chinese company — absconds with a money to keep it secure. Batman captures the businessman and puts him in police custody, but the mob wants him, too, so they hire the Joker to get him and reclaim their money. Along the way, the gangsters realize that employing a sociopath of the Joker’s caliber was probably not the wisest course of action, and the Joker starts to consolidate power so that he can provide Gotham City with “a better class of criminal.” Essentially, Batman’s job is to help the cops and D.A. Harvey Dent preserve a semblance of law and order, while the Joker wreaks havoc to his own end.
I think it’s pretty accurate, though I feel like it’s still incorrect on some level I can’t identify. The movie is more of an experience than a story, like a pop version of Malick.
• Now, this is admittedly a little hairier than the plot to Batman Begins, and one far more reliant on the nebulous conflict between opposing points of view than on action motivated by belief. It also features a series of fantastically executed action set pieces that turn out to be part of a plan for the Joker to allow himself to be kidnapped so that he can then break out of the police station with the Chinese businessman he’s been hired to hunt, a plan that sails right past Rube Goldberg and into all-new realms of luck-fueled machinations. The story manages to hang together because of director Christopher Nolan’s energy and sense of pace, but many action movies that followed failed in their attempts to cook up similarly complex plots. Skyfall and Star Trek Into Darkness come to mind: both featured villains who acted out ridiculous, billion-piece plans that made almost no sense.
• The film’s convoluted plot does turn out to hold water, but it also works because it’s a structural reflection of the emotional chaos caused by the Joker. This is, after all, a villain whose m.o. is to destroy social order just to see if he can. Batman Begins took story pieces — a toxic hallucinogen, a conspiracy to poison the water supply, a stolen piece of military equipment — and threaded them together in a loose mystery. It was Batman’s job to solve the mystery and, then, to stop the villains from carrying out their plan. The Dark Knight inverts this: the Joker’s goal is clear from the start, and he even telegraphs his moves by leaving notes in which he names his successive victims. It’s anti-mystery. Batman’s job isn’t to solve the puzzle, but to realize he might not be able to stop it. Indeed, while the first film ends with the death of the villain2, this one ends with the Joker surviving after delivering a speech about how he and Batman are “destined to do this forever.”
• The Dark Knight is demonstrably bigger in scale than Batman Begins — tons of location shooting, multiple scenes filmed in IMAX, a larger plot — but it’s also, in its way, less organized and less believable. Part of what makes Batman Begins so strong is its sense of what it is and what story it wants to tell. The Dark Knight, though, is a moodier meditation on the nature of good and evil, and its a bit shaggier as a result. Still great in many ways, and good in many others. But not quite as finely tuned as its predecessor.
• The Dark Knight makes a big deal out of Batman’s “one rule,” which is that he refuses to kill. The screenplay hammers this pretty hard, in more than few lines of clumsy dialogue that make the subtext into just plain old text. Yet Batman Begins ends with Batman essentially murdering Ra’s al Ghul. They’re locked in a fistfight aboard a runaway elevated train when Ra’s al Ghul realizes that he’s been had and that the train is about to go flying off the track. Batman looks at him and says, “I won’t kill you, but I don’t have to save you,” then opens his cape and flies away. Boom, train careens into the ground, Ra’s al Ghul is presumably crushed to a thin paste. Pretending this somehow qualifies as not killing someone is a cheap move. One of the points of the movie was about Batman realizing the lengths he would need to go to win against a truly committed opponent. His finishing move here is like saying, “I’m gonna hand you this lit stick of dynamite and let you try to extinguish the fuse.” Maybe the guy has a chance to survive, but who are we kidding?
• The dialogue is often weak here. Characters tend to speak in the kind of aphoristic non sequiturs that litter modern action movies. It’s English, but it’s not dialogue, and rarely recognizable as a conversation. The scene in which the Joker visits a disfigured Harvey Dent and tells him to just go out there and start killing people makes almost zero sense on any level: narrative, emotional, linguistic, you name it. Rather, it feels like one of those things that had to happen to let Dent fully transform into Two-Face and go on a brief murder rampage before being subdued by Batman.3 Some of the actors are better at handling these lines than others. Michael Caine is king — Alfred’s story about the crazy bandit who just wanted “to watch the world burn” is perfect — and Maggie Gyllenhaal is good at it, too. But it’s much more a film of visuals and ideas than Batman Begins, which seemed to have a better handle on actual character.
• This is also when Bale’s voice, when in costume as Batman, was amplified with much more rumble and bass than was present in Batman Begins. In the first film, he speaks with a bit more of a growl, sometimes whispered, to disguise his voice and appear intimidating. Here, though, the postproduction manipulation of his voice is unmistakable, and often overdone. Watching the first and second films back to back really highlights the oddness of the change.
• Some of the visuals, though: damn. There are some fantastic compositions here, and they’re paired with smart soundtrack choices that highlight a few spare instruments or sometimes drop the music altogether. Some of the most memorable things about the movie are what feel like stolen moments — Ledger sticking his head out the window of a cop car as it careens down the street is one of those perfect bits of movie poetry.
• The sequences shot in IMAX are, as would be expected with a filmmaker as skilled as Nolan, stunning. He and d.p. Wally Pfister make expert use of the altered aspect ratio to emphasize the verticality of the frame, packing the images with tall buildings and steep drops. They’re the rare visual gimmick that live up to the hype.
• The opening sequence, in which the Joker and his (soon-to-be-executed) crew commit a bank heist, remains one of the most exciting things Nolan has ever done. It is relentless, energetic, captivating, terrifying, and the perfect way to set the tone of the film to follow. It’s also a clear indication that, whatever the film’s location shoots and visual attempts at reality might attest, we’re in a land of high fantasy. The Joker’s getaway vehicle is a school bus that drives through a bank wall and merges with a line of other buses going past, while cop cars speed in the opposite direction. It’s a great visual punch line, but it also requires ignoring the questions that such an event would raise. Why didn’t the guy driving the bus behind the Joker’s say anything when a bus drove out of a bank and joined their queue? Did he just not notice the hole in the side of the building? (And what kind of gas was in the grenade that the Joker shoved into the mouth of the bank manager?) Tonally, though, it is flawless. Ledger’s introduction when he removes his mask, coupled with the way his dialogue is amplified on lower registers over the film’s soundtrack, is staggering.
• One of the ways in which Batman Begins made its story feel somewhat more organic was the way it downplayed the use of character nicknames. Batman was often called “the Batman,” a reference to character history and a way to turn him into an object: the vigilante, the freak, the Batman. It was as much an identifier as a name. Ditto the way that “Scarecrow” was not used much, and certainly not as a way to address Dr. Crane, even when he donned his burlap mask. Yet The Dark Knight reaches a little harder for these names, notably with the way it makes Dent’s “Two-Face” a nickname referring to his battered reputation among cops he’d investigated for corruption. When he loses half the skin on his face, the name becomes a kind of sick joke. It just feels forced. The Dark Knight Rises backed off a little in this area: Selina Kyle was a cat burglar, and her goggles, when propped upon her head, looked like cat ears, but “Catwoman” wasn’t getting bandied about.
• The Dark Knight is a pitch-perfect continuation of the tone and style Nolan started refining in Batman Begins, and its effect on the superhero movies that followed is impossible to ignore. But many of those movies — your Marvel sequels, your YA adaptations — have imitated the film’s dark tone without being able to replicate any of the other elements that made it work. This is a grim film, but it’s also about redemption. It’s about heroes, but also about the inevitability of losing. It’s bulky, but it makes room for character development. It employs tragedy, but never falsely manipulates. And it has at its center one of the best and most vivid performances ever done in a superhero movie, one so good that it makes everyone else look poorer by comparison. The movie might not be perfect, but Ledger is perfect in it, and that’s ultimately what makes the film.
Ledger died during production of Parnassus, which resulted in a rewrite that saw Ledger’s character played by multiple actors, including Johnny Depp, Colin Farrell, and Jude Law.↩
Eleven-year-old spoiler alert, I guess, but if you’ve read this far into a blog post about Batman movies and didn’t know what happened in them, you have only yourself to blame.↩
Not just subdued, either: killed! Two-Face falls to his death as Batman saves Gordon’s kid. Batman can rig a variety of life-saving ropes and wires when facing off against the cops, and he can fall from a skyscraper and land on a taxi and survive, but he can’t toss a line around Two-Face? Come on.↩
• This is the movie where what we think of as Christopher Nolan’s style began to solidify itself. It was his third time working with director of photography Wally Pfister, and his first time working with editor Lee Smith and composer Hans Zimmer. All three would provide crucial elements of Nolan’s work. It’s easier to see like this:
|Wally Pfister (cinematographer)||Lee Smith (editor)||Hans Zimmer (composer)|
|The Dark Knight||✓||✓||✓|
|The Dark Knight Rises||✓||✓||✓|
Filmmaking is, ultimately, a collaborative enterprise, and Nolan’s major movies are defined by the efforts of this core team. Batman Begins has a beautiful, burnished look, with amber-soaked visuals that rely on narrow depth-of-field and crisp edges. It’s also cut incredibly fast: with more than 2,800 shots, its average shot length is just 2.8 seconds. These rapid cuts start right at the beginning, too. It’s Nolan’s way of cramming the maximum amount of information into a cinematic moment, relying as much on intimation and vibe as on actual depiction. And all those visuals are set against the thrumming, chord-hammering score. Zimmer’s composition is markedly different from, say, Danny Elfman’s rousing theme from Tim Burton’s 1989 version. It’s not about melody, but atmosphere. The “Batman theme” here, such as it is, is just a minor chord held in a crescendo, then a shift to major as the crescendo peaks. Quick, sharp, moody: this is Nolan finding his pop voice.
• The script’s structure has grown on me over the years. When I first saw it, it felt too clumsily tripartite: staring with Bruce Wayne and Ra’s al Ghul, then making it about Dr. Crane/Scarecrow, then shifting back to Ra’s al Ghul seemed off in some way. Clunky, like grinding a transmission to find the right gear. But I realize now that I was bringing too much expectation and outside knowledge into the film. To a certain degree, I was expecting both a clear announcement of the villain and a typical kind of superhero movie. What’s more, since this was Nolan’s first time working with this kind of structure, it was my first time learning how he makes movies. It feels much smoother now in part because I’m more used to Nolan’s approach. Memento‘s approach to storytelling helped put Nolan on the map, but that film is still fairly straightforward: scenes playing in alternate order, one timeline moving forward and the other moving backward, until they meet in the middle. Batman Begins, though, is much more temporally fluid: it starts with Bruce Wayne as a child, then jumps forward to reveal we were watching an adult Bruce dream about himself, then weaves in more flashbacks as Bruce leaves prison and begins his training with Ra’s al Ghul. The first time I saw it, the first third of the film felt so much like an extended prologue that I was a little jarred by later developments. Now, though, its easier to see how assured Nolan is of how he wants to tell the story. The high points even broadcast the plot in a neon that my eyes didn’t notice a decade ago: Bruce’s training is about being forced to confront his fears by powerful, ruthless men who traffic in psychotropic hallucinogens. When Dr. Crane shows up using the same methods and referring grimly to his unnamed employer, who else could he be talking about but Ra’s al Ghul?
• The script also has some shameless moments of blockbuster pandering. A civilian, dazed by the sight of the tank-like Batmobile scrambling by, actually does a double-take at his coffee cup. This is a cartoon-level gag, one step above cutting to a reaction shot of a dog covering its eyes. Jim Gordon is also impressed by the Batmobile, saying, “I’ve gotta get me one of those!” These are the kinds of moments that can’t feel authentic because they exist outside the movie’s reality. They reference a specific kind of historical gag and reference, and they’re meant to act as winks to the audience to remind them how much fun they’re having. It’s like the “woman inherits the earth” riff in Jurassic Park. It exists for no other reason than to remind people they’re watching a movie.
• One of the film’s strengths, though, is the degree to which it manages to stand on its own while also realizing — and acting accordingly — that it cannot help but be the latest link in a pop culture chain stretching back to the 1930s. It does a good job at establishing Bruce Wayne’s trauma, obsession, and general emotional instability, all of which are necessary to make the leap from “sad orphan” to “man willing to design and wear a bat costume to fight crime as a ninja.” This is why it takes so much screen time for Batman to appear (and why, in Bruce’s first outings as a nighttime vigilante, he’s dressed in a balaclava and rappelling gear). By the time Batman shows up, we’re invested.
Yet the film can also only make sense if you go in knowing who or what Batman is, or at the very least have an understanding of the basics: Bruce Wayne is orphaned rich boy turned crimefighter, his enemies are usually insane people like the Joker, it all takes place in Gotham City, etc. Batman is one of the oldest and most enduring comic book heroes in pop culture, and even a film like Batman Begins that retells the origin story in its own manner is going to rely on that collective cultural history in ways it might not even realize. If you had never heard of Batman at all, the film would mostly work, though some of the narrative and aesthetic choices would be odd. E.g., when young Bruce’s parents are killed, he’s comforted at the police station by a mustachioed young officer for a surprising amount of time. The officer’s captain enters and addresses him by name — “Gordon” — as the soundtrack briefly swells to highlight the moment. For this to make any cinematic sense, you have to know that Batman works closely with an older Gordon when he’s police commissioner in comic books, TV series, and other movies. That is the only way this scene, the way it’s done here, can matter. And that’s not necessarily a bad thing, either. It’s just a sign of how hard it is to make “fresh” movies when you’re working with a story that, at the time of the film’s release, had been part of American entertainment for more than 65 years.
• Katie Holmes is a lot better in this movie than people probably give her credit for being. Rachel Dawes has plenty to do: Bruce Wayne’s childhood friend, a crusading lawyer determined to take on organized crime, and a motivating force for Bruce to examine his own life and motivations. She’s the one who shames Bruce when he admits to planning to kill the man who shot his parents, and she’s the one who tells him that actions speak loudest when it comes to social change. Holmes is good, too: sharp, engaging, a nice physical and emotional counterpoint to Christian Bale. 1 But Holmes got engaged to Tom Cruise the same month Batman Begins hit theaters, and that was pretty much it from her, in a serious way, for years. She didn’t reprise the Rachel role in The Dark Knight, instead appearing in that year in Mad Money, which tanked. She was in a couple more movies, but she didn’t divorce Cruise until 2012. Watching Batman Begins is like watching an old home movie of someone who would later be kidnapped, blithely going about their day, with no idea of what lies in store.
• The soundtrack and sound design are so crucial here (and in all of Nolan’s movies) at making small moments feel unsettling and packed with possible horror. When Crane visits Falcone in prison, he asks him rhetorically, “Have you seen my mask?” Falcone narrows his eyes as the soundtrack hums with a low pulse — quiet, gut-level — and it’s more than enough to make whatever’s about to come feel like it will be terrible. Cf. the sound design of any scene in The Dark Knight where the Joker interrogates someone.
• Batman Begins — and Nolan’s Batman trilogy in toto — changed the shape of superhero movies. It was grayer and more serious than, say, Spider-Man or Fantastic Four, and its success led to legions of imitators that aped its grim tone but didn’t have the story or directorial skill to match it. Modern Marvel movies are now basically just plodding ripoffs of Nolan: thundering, laborious, complicated, not much fun. And for all the trauma on display here, it’s still a movie that knows how to have fun. The Batmobile chase scene is undeniably fun, and there’s a prickly thrill in watching Bruce Wayne learn how to outfit himself and become a dark warrior.
• The film is packed with the kind of stunning images that still feel surprising in a superhero movie, and were that much more startling when the film was released. The awful monster Crane sees in Batman’s face when he hallucinates; the red-eyed demon Batman appears to be when he flies over a crowd of people infected by the hallucinogenic toxin; the scene in which Batman interrogates the crooked cop by hanging him by an ankle and raising and lowering him several stories at a time. No other hero movie looks like Nolan’s do.
She was good in some of her earlier work, too, including Go and Wonder Boys, as well as Thank You For Smoking, which came out the same year as The Dark Knight.↩
For Musings, I take a look at Sunshine, a sweeping historical drama that stars Ralph Fiennes in three lead roles across three generations: grandfather, father, son.
Before rewatching the film for this piece, I’d only seen it once. I rented it on a whim in the fall of 2000, when I was a freshman at college. The video store down the street1 offered one free catalog rental every day in a different genre: comedy, drama, horror, family, etc. I went all the time, always on the lookout. I hadn’t heard of Sunshine or its writer-director, István Szabó, before then, and I’d only seen Ralph Fiennes a few years earlier in Quiz Show.2 But the film rocked me back and stayed with me, and I would find myself thinking of it regularly for years. I wanted to revisit it with older eyes, and I was happy to find it’s still beautiful, sad, operatic, and ultimately big-hearted.
I don’t watch as many movies as I used to. It’s not that I love them any less: I still think film is one of our best and most powerful art forms, capable of saying so much more about us than we even realize or intend. But for the past couple years, I’ve felt less interested in staying current with new releases, and with the inevitable pop-cultural #hottakes that accompany them, and more focused on watching what I really want to watch. I went weeks in 2015 only watching one or two movies, and spent whole months just working through classics. In general, I didn’t catch up with most 2015 releases until the end of the year, and before mid-November, I’d seen almost no 2015 releases.
My tally of first-time viewings reflects the change. Beyond that, though, I also spent more time this year revisiting films I hadn’t seen in a while, seeing how they’ve changed in the intervening years, or seeing how I’ve changed. My new-to-me tallies for the past few years:
I used to think I needed to hit a certain number, or a certain kind of number, but now I realize that the natural ebb and flow is more comfortable. Gorge and break, skim and stop; explore as a result of your own drive.
Whiplash (2014): Writer-director Damien Chazelle focuses on the physical tools needed to bring music to life: the sticks, the horns, the stands, the folders, the sweat. It’s shot and cut within an inch of its life, and it almost shakes with energy.
Pillow Talk (1959): From a historical standpoint, it’s fascinating and uncomfortable to watch a closeted gay man play a character who at one point makes fun of closeted gay men. This comes with the territory, though. Watching older movies always means experiencing them through your own time, as well as the time in which they were made. (Another example: Pillow Talk came out five years before the Civil Rights Act was passed.) It’s easy to see why the movie was a hit, though. Rock Hudson is staggeringly charismatic, and Doris Day’s energy is perfect.
Black Sea (2015): On paper, it has the elements for pulpy, thrilling entertainment: a submarine, a band of rogues, and a hunt for forgotten Nazi gold. And indeed, the first two-thirds of the movie are tight and propulsive, as greed and fear drive the characters to play off each other in desperate ways. But the home stretch finds certain characters swapping personalities and motivations, and they cease to be people and instead become interchangeable devices for plot mechanics, after which it’s a bumpy ride to the finish line.
— The Critic (selected episodes): The first season is better than the second — the animation is a little tighter, and the stories have a little more bite — but it’s still an enjoyable series to revisit. It’s also supremely weird to rewatch as an adult who has worked in a freelance capacity as a film critic for more than ten years. Jay’s struggles to reconcile his tastes with others’, and his general insecurity, are arrows that hit somewhat close to the center of the target.
— Singin’ in the Rain: The older I get, the fonder I grow of musicals. They’re such a pure cinematic form, blending fantasy and reality in ways that no other genre can. There’s so much beauty here, too, in what has to be one of the best musicals and one of the best movies ever made. The energy, the love story, the Hollywood satire, the music and movement: every bit of it is gorgeous.
— L.A. Confidential: It’s fitting that Curtis Hanson’s period piece about Hollywood crime is itself a throwback to big, brassy Hollywood movies. What really popped for me this time around was the score: bombastic, moody, driving, exactly the kind of thing you don’t get much these days. And even with so many good performances on screen, Guy Pearce’s always stands out. Ed Exley has to be power-hungry but also uneasy with himself, cocky but insecure; he imagines that he’s holding it together, even though he knows that people can probably see through his act. He has to carry himself with a certain confidence even as he knows he’s acting. There are wonderful layers to the character that Pearce brings out, and he’s so good and subtle that it’s easy to overlook him in favor of the equally impressive but flashier work of Kevin Spacey and Russell Crowe. Hanson never lets the energy falter, either, especially as the movie gathers speed and enters the home stretch.
— Casino: It takes a lot of work and skill to make something this big feel so breezy. Editor Thelma Schoonmaker cuts this thing within an inch of its life: the movements are rapid but never dislocating. What they are is a kind of purposeful disorientation, so that watching the movie starts to mimic the queasy feeling of being in an actual casino, surrounded by vice and unable to find the exit. Scorsese’s second collaboration with Nicholas Pileggi is probably bound to forever live in the shadow of their first one, Goodfellas, but Casino is still stunning all on its own. What makes the film so charged is the way Ace and Nicky are fated to come into conflict, driven to overreach by their own hubris (Ace picks fights with the local government, Nicky crosses the bosses).
Hairspray (1988): I came to this after seeing the musical, which made for some interesting dissonance. Although this is the original film, I find myself almost unwittingly thinking of it as an “alternate” story to the musical’s “true” one. I also just enjoyed the musical more, thanks largely to the cast. (Divine has presence, but still seemed too aware of the camera.)
The China Syndrome (1979): One of the standout thrillers reflecting the bleak 1970s back on itself, anchored by a typically memorable and multi-faceted performance from Jack Lemmon. He has to walk so many wires with his character here: smart enough to do his job, but also smart enough to realize when things are going bad; canny enough to reach out to the reporter (Jane Fonda), but also honest enough to try and flirt with her. He’s tangible in a way few actors are.
The One I Love (2014): It’s amazing the depth and distance that quality writing, directing, and acting can create in a movie that only has three characters.
Godzilla (2014) (half-finished): Laughably inept. As the lead, Aaron Taylor-Johnson seems unable to express any single recognizable emotion. His own father dies right in front of him, and he resorts to running his hands through his hair; five minutes later, it’s as if it never happened. A clumsy, overplotted blockbuster that uses effects as an excuse to string together boring plot points, with no consideration of acting, writing, or narrative thrust. I turned it off around the one-hour mark because I didn’t want to waste a second hour of my life on it.
The Two Faces of January (2014): I could probably watch Oscar Isaac do anything.
Going Clear: Scientology and the Prison of Belief (2015): Never underestimate the power of evil to manipulate the desperate.
— The Hunt for Red October
— Get Shorty: One of the more enjoyable movies about the movies, in part because its idea of “the movies” resides in a pleasant alternate universe that broke from ours sometime in the 1960s. Shlocky monster horror is mainstream, superheroes are unseen, and YA franchises don’t even exist.
Life Itself (2014): The best moments were those that touched on Roger Ebert as a man at war with himself: aware of his limitations and vices, working to live with them.
Sinatra: All or Nothing at All (2015): This Alex Gibney doc doesn’t hit nearly as hard as his Going Clear did, but that’s the price you pay for access to estate materials. Nicely structured, though, weaving through Sinatra’s “farewell” concert and looping out to different parts of his life.
We Own the Night (2007): This was only my second James Gray film (after the stellar The Immigrant), and it was fantastic. It’s a solidly built drama about crime and family, and a blend of classic and modern style.
Showrunners: The Art of Running a TV Show (2014): The inadvertent comedy of the redundant title was the first sign that there wouldn’t be much worth exploring here. Far too pat.
X-Men: Days of Future Past (2014): They’re really determined to keep making these.
Marnie (1964): Sexually bizarre, but a great thriller. That applies to a lot of Hitchcock.
Strangers on a Train (1951): Told you.
— Wag the Dog: A movie this dark was never going to be widely accepted. But its strength comes in part from its willingness to follow through on the awful conceit of its story: that people determined to fabricate a war to save a presidency wouldn’t hesitate to eliminate anyone who would threaten their operation.
— Jerry Maguire: Absolutely holds up.
Elizabethtown (2005): Better than its reputation; weaker than its predecessors.
Ex Machina (2015): Chilling, gripping science fiction with a genuine head on its shoulders. Oscar Isaac has now ascended to the level of treasured national resource.
We Bought a Zoo (2011): Doesn’t even feel like a Cameron Crowe movie. It’s weird and almost unsettling that the same guy who did Say Anything… did this.
The Rundown (2003)
— Wet Hot American Summer: A+ for comedy, Beth.
— Best in Show: Guest’s second best.
An American in Paris (1951): Gene Kelly was superhuman. The plot’s not as memorable as some of his other musicals, but the ballet in the final act is every bit the masterpiece.
— Nightcrawler: Queasy and beautiful. Makes total sense that writer-director Dan Gilroy’s brother Tony did Michael Clayton. That’s an ideal double-bill.
— High Fidelity: Cusack is the perfect hesitant shitheel.
The Way of the Gun (2000): A little overly “gritty” in that late-1990s kind of way, but still engaging.
Black Rock (2013): A great, grim, quick little thriller. It works in part because it starts so innocuously, and twists so suddenly into horror.
Mission: Impossible — Rogue Nation (2015): The ideal summer entertainment. Light, slick, funny, bracing.
— Mission: Impossible: Almost twenty years on, and still a tight, winning action movie. The set pieces feel almost small compared with where the series (and action cinema in general) has gone, but they’ve lost none of their punch.
Hard Boiled (1992): Worth it for some wonderfully choreographed action, especially in the climax.
The End of the Tour (2015): It’s hard to watch a movie like this if you’re a fan of its real-life subject, David Foster Wallace (which I am). Jason Segel does a good job at seeming like a real person, though — quiet, insecure — as opposed to a collection of tics meant to forecast tragedy. Yet that’s ultimately what makes the film so odd and, in its way, unfair. It’d be one thing to tell a fictional story about an aspiring writer worming his way into the life of his more talented idol, and Jesse Eisenberg makes for a perfect Salieri figure. But so much of the film feels predicated upon the viewer’s knowledge of true events, including Wallace’s suicide, that the film skips over characters, plots, and even consequences in the service of a general air of “inspiration” in its final moments. For instance, Eisenberg’s David Lipsky wants to write an article about Wallace, but we never find out if it runs; he wants to grow as a writer, but we never found it if he does; we also don’t even learn the circumstances that led him to publish his book about the days he spent with Wallace. In other words, it feels too falsely manipulative, unwilling to stay loyal to its nature as a story and too eager to trade on the viewer’s knowledge of what would eventually happen to Wallace.
Hurricane of Fun: The Making of Wet Hot (2015): A fun but aimless collection of behind-the-scenes footage. Less a documentary than a loose assemblage of clips.
The Drop (2014): Tom Hardy should always have a dog as a costar.
The Thin Blue Line (1988): Throws you into the deep end and then gets in with you.
Trouble in Paradise (1932): Lighter than air and sexy as hell. Witty, warm, exciting; almost everything you could want in a movie.
— Night Moves
— Inside Man: One of Lee’s best.
— That Thing You Do: A comfort-food mainstay.
— Edge of Tomorrow: I can’t stop watching this movie.
Mad Max: Fury Road (2015): I didn’t see the clothed emperor so many of my colleagues did here. It’s got plenty of energy, sure, but the characters are so empty (especially Max) that the story is meaningless, and the resulting product is essentially an exercise in impressive stuntwork.
Exporting Raymond (2010): There’s a good idea in here somewhere, but the problem is that the film’s subject, Phil Rosenthal, is also its director. As such, the central story (investigating what happens when an American TV show is remade for a foreign audience) is a little shapeless.
One Hour With You (1932): Maurice Chevalier getting away with everything he could in the final days before the Code.
Twilight (1998): The plot turns are telegraphed almost in neon, but it’s still alluring to see Newman, Garner, and Hackman in their latter days.
— Awful Nice: Not as strong as I remember it being from a SXSW screening a couple years back, but not bad.
— Mulholland Dr.: I love this movie.
The Smiling Lieutenant (1931): Another pre-Code Chevalier from Lubitsch, and cute enough, though not as winning as One Hour With You.
Lost Highway (1997): David Lynch scares the hell out of me, and I love it. (See also.)
The Postman Always Rings Twice (1946): A surprisingly twisty noir — it feels like it has seven acts — with great work from John Garfield and the stunning Lana Turner. Bonus: Hume Cronyn almost walks away with the show.
On the Town (1949): Effervescent, beautiful, crackling. One of my favorite viewing experiences of the year.
Laura (1944): “Have you ever been in love?” “A doll in Washington Heights once got a fox fur out of me.” That’s when I knew I’d found something.
Anchors Aweigh (1945): The first Sinatra-Kelly pairing (which would prompt their reunion in On the Town), and while it’s a little flabby, it’s still gorgeous to look at. Kathryn Grayson is about as exciting as a wet sock, and her period-style warbling doesn’t age well, but Sinatra and Kelly are still great.
How to Marry a Millionaire (1953): Fantastic and slick in that 1950s Hollywood way. You can practically smell American empire through the frame.
The Amityville Horror (1979): Could be summarized: “Strange things happen and then everybody gets away just fine.” Weirdly anticlimactic.
— The Departed: DiCaprio is so good here, so on edge, that he walks away with the movie.
— The Prestige: One of Nolan’s absolute best, if not the peak.
The Haunting (1963): Nothing but smart editing and sound design, yet it’s more terrifying than most modern thrillers.
M (1931): Eerie, unnerving, fantastic.
Spy (2015): Melissa McCarthy has settled into a nice groove: she knows what she wants to do, and what she’s good at doing.
The Watcher in the Woods (1980): My wife grew up watching this, and it is bonkers. It starts out as a ghost story but then says “Maybe aliens?”
Carol (2015): Todd Haynes is a methodical filmmaker with a modest output — he’s only made six features in 24 years — and that sense of care and focus are evident here. Carol is a quiet film about repression and fear, relying on glances, body language, and the hope of the unknown to communicate its characters’ longing for love.
Steve Jobs (2015): Aaron Sorkin’s script is effervescent, but the film as a whole doesn’t quite hang together.
Spotlight (2015): Tom McCarthy’s another filmmaker who traditionally focuses on small, interpersonal moments, which makes him a good fit for the journalistic grind of Spotlight. It’s such a solid, strong film that its real skill and power won’t be recognized for a few years.
Trainwreck (2015): Judd Apatow’s films now seem hidebound to follow a formula he stumbled across a decade back: lots of improvised riffs, some stray plots that go nowhere, and running times that are about 30 minutes overweight. (When a potentially breezy rom-com like Trainwreck clocks in at just over two hours, something’s gotta go.) There’s still a good deal to enjoy here, though, especially Bill Hader’s chemistry with Amy Schumer. I was a little late to the party, watching the film a few months after it came out, but even so I was struck by how tone-deaf and immature some critics’ reactions were to the film re: what they viewed as its conservative or regressive bias. Schumer’s character, by the end, decides to grow up a little: she cuts back on the boozing and opts to risk heartbreak for a real relationship. This is a pretty common arc, especially for an Apatow movie, which are all about people deciding to get their acts together. It’s not inherently conservative1 or retrograde for a character to have an awakening of sorts and pursue change in the name of a higher good; that’s most drama. It doesn’t become oppressive just because the protagonist is a woman.
Results (2015): A shaggy, warm, engaging romantic dramedy. The low budget and run-and-gun attitude shine through in the best way.
— Bull Durham: A perfect film.
— It Should Happen to You
Joy (2015): A soupy mess. Jennifer Lawrence, charismatic as she may be, doesn’t have the age or range to play a grown woman with the kind of history David O. Russell wants her to have. Russell’s determination to keep making the same film over and over — a cranked-up version of 1970s histrionics — is old now. I pine for the days of Three Kings and I Heart Huckabees.
The Hateful Eight (2015): A brutal, riveting drawing-room horror story. The first 90 minutes are the tightest, most suspenseful filmmaking Tarantino’s done; the second 90, when all hell breaks loose, is just as rewarding.
Best of Enemies (2015): A well-meaning but small-feeling doc about the rivalry between Vidal and Buckley. Two titans seem weirdly shrunk.
The Big Short (2015): One of the best American movies of the year. Punchy and full-throated, like an angry civics lesson from a history teacher too tired to pretend the world’s worth saving.
Inside Out (2015): A flat-out masterpiece. The characters and story are perfect, and the emotionally nuanced message — about the necessity of sadness and grief, and the way all memories are made of a mix of feelings — is one of Pixar’s most powerful.
Sicario (2015): Great photography. Bad everything else.
The Revenant (2015): See above.
Trumbo (2015): See above.
The Good Dinosaur (2015): See above.
Brooklyn (2015): A wonderful film. Too often the end of the year brings dramas that traffic in the worst of the human condition, and while those stories are worth telling, they can induce a Pavlovian response. More than halfway into Brooklyn, I kept expecting someone to get raped, or have a medically risky abortion, or run over a friend with their car, or contract polio, or who knows what. But this isn’t that film. Rather, it’s a beautiful drama that digs into the life of a young woman who emigrates from Ireland to the U.S. in the 1950s. By focusing on these “small” stakes, the film feels universal in its observations of family. Bonus: my favorite ending scene/shot of the year.
Star Wars: The Force Awakens (2015): It took 35 years, but somebody finally made an entertaining Star Wars movie again.
The Martian (2015): Entertaining, meat-and-potatoes adventure. The book is a mess, but that makes it perfect fodder for a movie adaptation. There’s no style or insight to be shed in the process of translating it to the screen.
— Sunshine: Not the Danny Boyle film, but the 1999 drama by Istvan Szabo. I rented it from the video store in the fall of 2000, on a whim, and it stayed with me. I revisited it for the first time since then, and I found it even more moving.
— The Godfather: What’s left to say? The American dream as operatic tragedy.
— White Christmas: My father and sister loved this movie when I was young, but it took me years to appreciate it.
— Star Wars: I was born in 1982, and am therefore of the generation that still refers to the first film simply as “Star Wars.”
— The Empire Strikes Back: The best, most beautiful, most impressive film in the series.
By the Numbers
Total films seen: 642
Animated films: 2
Foreign (non-U.S.) films: 13
Movies released in 2015: 26
Movies released before 2015: 38
Movies released before 2000: 22
Movies released before 1950: 8
Of the ten highest grossers of the year (as of Dec. 31), I saw: 3
Favorites (in no particular order): Brooklyn, Laura, On the Town, Trouble in Paradise, Star Wars: The Force Awakens, The Drop, The Rundown, The Big Short, Carol, Spotlight, Ex Machina
For Musings, I take a look at It Should Happen to You, a bittersweet dramedy from 1954 that pretty much predicted Kim Kardashian:
My latest piece for Musings is about movies set in Hollywood, and how everything gets weirder from there.
When Paul Thomas Anderson sat down for an interview with Marc Maron in January, he said of his 1999 film Magnolia that, if he were making it today, it would be a great deal shorter. The film runs just over three hours, and though Anderson didn’t disown the film at all, he did talk about what drove him to make it the way he did. His father — actor, announcer, and radio personality Ernie Anderson — died in February 1997, a few months before the release of Anderson’s Boogie Nights, and Anderson spoke to Maron about the degree to which Magnolia was a way for him to process his grief. It’s very much a film of and about mourning: Anderson, not yet 30, was wrestling with the death of his father, and the film that came out of that is wounded, frenetic, and restless with emotion. There’s very little release in the film. Rather, initial set-ups will build to emotional intensity and hold it, often cutting between multiple story lines caught at similarly fraught moments, scored to swirling music that never lets up. It’s raw, is what it is: uncomfortable, yearning, rocking back and forth. It’s the work of a young man working through something big. It’s no surprise that he’d tell that story differently now. More than fifteen years have passed, and Anderson’s evolved both as a filmmaker and as a person. But that’s precisely why Magnolia is so important the way it is.
Art is many things, but among them it’s a snapshot of the artist at that moment in time. Here is how they decide to tell the story; here is what they value; here is what they revere or disdain. Of course Anderson at 45 wouldn’t make the same Magnolia as Anderson at 30. That’s the whole point. It’s a work by a gifted artist at that instant in their life. A year on either side, and the final product would be different. Magnolia is the howl over a hospital bed, the thump of the first clod of dirt hitting the coffin lid, the sweat on the pallbearer’s palms. It’s a reckoning, and it’s made from inside the pain. A film made with the benefit of distance provided by time wouldn’t necessarily be bad (Anderson hasn’t made a bad film yet), but it would necessarily be different. The monologue about regret still has blood on the page:
The film runs thick with the themes of parent-child relationships, forgiveness, loneliness, and reconciliation. There are two elderly, cancer-ridden fathers who have destroyed their relationships with their children; a third abusive father who exploits his son; a has-been pining after an unrequited love; a divorced cop struggling to do what’s right; and adult children, stunted by abuse, who have to learn how to live. When Anderson talked to Maron, he said there are parts of the film, possibly entire plots, he’d do away with now, and the film does indeed sprawl. But that sprawl is part of what makes the film rewarding. It’s a movie made by a guy trying to feel everything at once, then trying to understand it and get it down on paper. It’s obsessed with coincidence and chance, with the intersection of mercy and grace, with the way we can make mistake after mistake but still find the opportunity to make up for it. The performances are uniformly stellar, the individual stories land with weight and power, and the film still has the power to stir in the viewer the same awe and fear it evoked all those years ago. Watching it fifteen years later, you’re struck not by how long it is, but by how short; not by how much is in it, but by the shadows of the world just outside the frame.
For Musings: a look at Junebug, redemption, and the South:
My latest piece for Musings is about Croupier. I feel lucky to have actually caught this in the theater when it was released. It was my introduction to Clive Owen, and for years after, I thought first of Croupier whenever I saw him. He’s fantastic in it.
My latest piece for Musings is about Night Moves, a fantastic neo-noir from 1975 that dives deep into the moral uncertainty of the era.
At Oscilloscope’s Musings, I talk about Zero Effect, a sharp-edged mystery-dramedy from 1998 that deserves a wider audience.
My first piece for Oscilloscope’s Musings is about a standout scene in Clean and Sober, one of those great little dramas that can be too easily forgotten. (Good news: you can rent it for a couple bucks.)