Archive for The Box

Mars Needs Work

Posted in FILM with tags , , , , , , , , , , , , , , on May 18, 2018 by dcairns

De Palma’s MISSION TO MARS is the nearest thing to a De Palma film De Palma doesn’t like in DE PALMA. De Palma De Palma De Palma. But it’s not clear that he doesn’t think it’s a masterpiece along with all his other films, he just didn’t enjoy making it. All those special effects, taking forever.

The stuff on Earth is very recognizably De Palmaesque, with long Steadicam shots and so on. The stuff in space is more anonymous, I suspect because effects weren’t quite at the stage where he could rove about as he liked. There’s one very good spacewalking suspense bit, subsequently borrowed and improved upon in GRAVITY, and there’s a weirdly counterproductive Morricone score, and too many scenes where actors slowly, casually do things they should be doing in a desperate hurry. I can’t quite account for that. De Palma does talk about how he likes slow set-pieces with few sound effects, to make room for the music, but this is the only film of his where whole scenes are dragged out that really NEED to be played fast.There’s a certain class of actor who play astronauts, isn’t there? THE RIGHT STUFF established Ed Wood Harris (WTF?) in particular as NASA’s representative on Earth, so he turns up in APOLLO 13 and as the voice of Ground Control in GRAVITY. APOLLO 13 then brought Gary Sinise into the fold, and here he is again. Matt Damon is a space guy in INTERSTELLAR and a different one in THE MARTIAN. If you’re making ALIEN or something you can cast anyone, but for realistic or near-future spacey shows there’s this limited pool.

Sinise is his old reliable self here, Connie Nielsen is lovely — you’d want somebody who smiles like that on a space mission — Tim Robbins and Don Cheadle add character, There’s this guy, Jerry O’Connell, who’s like the comedy relief astronaut — you expect him to whip out a harmonica. I didn’t enjoy him much but by the end I kind of dug him. There’s an unbelievable exchange where they’re looking down from space at the Martian base they’ve lost contact with, and he gets excited because there’s only three graves, so one guy must be alive, right? Then it’s pointed out that the guy probably couldn’t bury HIMSELF.But it’s quite diverting — of course the effects have dated curiously (I haven’t looked at TITANIC lately, but those seas NEVER looked real) but not offensively. And then it all goes to shit at the end when the CGI alien shows up. “We just ran out of money,” De Palma hints, though he doesn’t specifically list the ET as a casualty of this. It’s one cheap-ass-looking alien. The decision to do a bunch of things that could only be done with CGI — which seems to make sense, on the face of it — results in something that looks like nothing else but CGI. It should have been played by a human in prosthetics, maybe a tall African like in ALIEN, but I guess this was too soon for CGI enhancements to actors — they could just about erase Sinise’s legs in FORREST GUMP but Frank Langella’s subtractive scar in THE BOX was a ways away. Was a ways aways away.

There’s just not enough of De Palma’s bravura technique and obnoxious personality in this. BLACK DAHLIA looks kind of anonymous too — but I recently acquired REDACTED and PASSION so I’m curiously about those. Maybe it’s time for a De Palma Week, or would my skepticism get wearying?

Stupidity of the First Order

Posted in FILM with tags , , , , , , , , , , , on December 23, 2017 by dcairns

Fiona dragged me to see… no, I’ve got to stop saying that. I was curious to see the new Rian Johnson film too — big fan of BRICK, LOOPER, and THE BROTHERS BLOOM may be a misfire but it’s the kind of misfire I’d welcome more of. I wasn’t absolutely sure I wanted to see the film RIGHT AWAY, but what the heck, it is a big screen spectacular…

There are spoilers ahead, but I’ll try to be discreet.

And some of the reviews were very good — though Peter Bradshaw bemoaned a major section of the plot being essentially a pointless side-trip. But that side-trip may be the most Johnsonian section of the narrative, a decadent art deco gambling world milieu. It inspires him to replay a shot from Wellman’s WINGS, soaring over the tables and between the customers. And it looks very much like it’s setting stuff up for the next film: the entrancing child actors from this sequence are coming back, it seems. But yeah, there’s too much of this film, and whole planets exist just to get the heroes captured so they can escape so they can get captured again. This is what happens when you don’t have enough real story.

Actors! Daisy Ridley seemed fine in the J.J. Abrams opener, but she has some very poor moments here, notably her first big speech. She’s cursed with a flat voice and an inexpressive face. That tiny cute scar on her cheek is her claim to interest. Though she’s not as bad as early Keira Knightley so maybe she’ll get there. John Boyega is fine in the non-eggy moments, Oscar Isaac is good but we know he can be better. Laura Dern continues her bold hair colouring from Twin Peaks. Hamill is good and Carrie Fisher’s valedictory turn is touching. Benicio Del Toro is the one bringing the real entertainment though I think giving him a stammer was over-egging it. He’s a natural eccentric already. Kelly Marie Tran is an unusual and charming presence and I was really interested in Veronica Ngo who has all too brief a role but gets to do the most affecting heroic stuff in the movie.

Andy Serkis is a CGI creation AGAIN, and I really don’t know why. The icky subtractive scar effect modelled by Frank Langella in the otherwise stultifying THE BOX is much more disturbing on a real actor than it is on a thing of pure pixels. Look at Voldemort in the HARRY POTTERs (there’s some quite Potterish stuff in this one) — a real actor rendered digitally noseless. As a voice performance, Serkis’ is a very generic baddie, and as a physical performance, he sits in a chair. And Adam Driver still feels too peevish and adolescent to be our boss villain, especially in a plot that basically has him outsmarted a lot.

Yoda and Maz Katana’s fleeting bits are just fan service. Chewbacca and the droids are barely more.

But there are some nifty set pieces — maybe the best light-saber battle ever, staged on a red set like something out of an MGM musical by way of Kurosawa. The opening dogfight has one very good thing going for it: it’s coherent. I wasn’t bored as I was with ROGUE ONE but I was ready for the movie to be over long before the makers apparently were. Then it would manage to muster my interest again. There’s a bit where the heroes escape on space buses. I was waiting for Princess Leia to say, “What am I, Carrie Fisher, doing playing piano on a bus to the moon?” I’ll be surprised if more than a couple of you get that reference.

If THE FORCE AWAKENS was a slavish remake of STAR WARS (you know, the first one, the film called STAR WARS), which it sure as shit was, Johnson’s opus is THE EMPIRE STRIKES BACK in its broad strokes: the Rebels/Resistance have to flee their base, a young Jedi gets training from a Master while other characters go to a gambling planet but are betrayed; the heroes regroup at the end but face an uncertain future. Concurrent with these familiar beats are callbacks to memorable bits from the first film (Obi-Wan faces his pupil; garbage hatch escape; parental revelations; a hero disconnects his comms link while gunning for the weak spot of a huge weapon…), some deliberate, some maybe more desperate or resulting from the filmmakers running out of new situations.

But there’s stuff we haven’t seen before: super-fast dissolves as characters in different scenes exchange telepathic glances. A visual rebuttal of Lucas’s midichlorians bullshit, showing the force connecting all things with a nature montage suggesting the welcome influence of King Hu and A TOUCH OF ZEN. And I have to be cheered by so much of the film being set in Ireland, even if it’s meant to be Space Ireland.

There is some uncertainty of tone: is the movie duty-bound to feel like the old STAR WARS? Giving women and people of colour stuff to do is a welcome departure from Lucas’ films, but otherwise? One of the (innumerable) things that seemed wrong about Lucas’ own prequels was the stuff that just didn’t belong in the universe he’d created: fart jokes, the comedy sports announcer, that kind of stuff. There’s more of that here — a gag with what’s set up as a spacecraft but turns out to be a robotic iron pressing First Order uniforms seems more like a Richard Lester joke, and isn’t really connected to anything else the film attempts. There’s a relentless barrage of quips and many of them are not good. Though at least they don’t tend to paint the heroes as sadistic Man With No Name/James Bond thugs, as the quips in ROGUE ONE do: Poe Dameron doesn’t make mocking remarks to random stormtroopers as he’s killing them.

So it’s a mixed bag of Jedi mind tricks. Entertaining enough — if I had kids I would feel I was poisoning them if I let them watch the prequels, but this would get a pass. Not an exact clone,  for all its harking back, so that counts for something. But then, not as emotional as FORCE AWAKENS was. Watch this space, but I think I’m done with seeing this series on the big screen. But I’d like to see Johnson build a universe of his own.

Three-Quarter-Face

Posted in FILM, literature, Television with tags , , , , , on September 4, 2010 by dcairns

THE BOX wasn’t as bad as I’d heard, but it wasn’t exactly great. Richard Kelly’s run-for-cover response to the catastrophic reception to SOUTHLAND TALES sees him repeat the CGI fluids and pointless period setting of DONNIE DARKO, but unfortunately following the over-explained approach of the director’s cut. I *love* DONNIE DARKO, but only the original, more mysterious version.

This one comes from a six-page Richard (INCREDIBLE SHRINKING MAN) Matheson story, a story with a powerful premise and a lot of mystery. In the DVD extras, Kelly talks about wanting to know the answers to the questions the story raised. Which is fine, you’re supposed to want to know the answers. What you’re NOT supposed to do is make a $30,000,000 Cameron Diaz movie that answers them all.

I say Cameron Diaz movie, but Frank Langella is really the whole show here. His mellifluous voice, easy-going-delivery, and steely eyes make him perfect to play the guy with the improbable facial injuries (his missing cheek looks like an open wound — wouldn’t the surgeons have given him some kind of skin covering for that thing? Never mind, any unanswered questions should be welcome here).

He has a nice, open face.

In the process of complicating Matheson’s yarn up to feature film running time (I haven’t seen the Twiulight Zone episode but I imagine it’s closer to the right length), Kelly does add some intriguing elements which play out in some nice, mildly spooky sequences. The extras are well cast for their staring eyes and uncanny looks. But at the point where the big “but” gets dropped by Langella, and we immediately grasp roughly what’s going to happen to the leading characters, the film seems to slow way down — a subjective feeling, because in fact the whole movie is rather slow. In fact, the slowness becomes more intensely felt because we know approximately where the film’s got to get to now, and instead it’s dawdling around with some NASA stuff that doesn’t seem that relevant.

I might have enjoyed it all more if I hadn’t recently seen KNOWING, which it has too much in common with. And KNOWING has a big problem in feeling very familiar too. The widescreen, glossy cinematography; the monied middle-class interiors (we might sympathise with THE BOX’s central couple more if they seemed genuinely poor); the baffling aliens typed as beneficent yet behaving in abhorrent ways; making a major character a teacher so we can drop in some subtext in the most heavy-handed way possible…