Mad Max: Beyond Thunderdome

I'm a huge fan of Mad Max and it's even-better sequel, The Road Warrior. I don't like making lists, but if I did, I just might rank The Road Warrior in my top 10. I was a little worried about the third installment, 1985's Mad Max: Beyond Thunderdome, since you just don't hear people say too many good things about it. I was pleasantly surprised. While I think it's the worst of the series, there's a lot of really cool stuff in it anyway, and it's still worth watching if you love Mad Max like I do.

The first act of the movie follows Max Rockatansky as he finds himself in the middle of a (literal) power struggle between Auntie Entity, the leader of Bartertown, a last ditch effort to keep some semblance of civilization in the wake of the apocalypse, and Master-Blaster, the megalomaniacal dwarf-and-giant combo who control Bartertown's electrical supply. These are the movie's best sequences.

It takes a turn for the worse as Max finds himself as a savior to a bunch of child survivors of an age-old plane crash. The kids are sort of smack in the middle between the Ewoks and the Lost Boys from Hook, and just as annoying as both. It's as if the studio said to George Miller, "Hey, people really liked the Feral Kid in Road Warrior. Do more of that."

The third act picks up a bit as it finally delivers the car chase action that Mad Max movies should deliver up front. I think that was my biggest concern with the movie for the first two thirds. Where the hell are those crazy souped-up cars? Well, you just have to wait.

It's really the inclusion of annoying kids that bugs me. And the toned down violence, but I can get past that, I guess. If they all had razor boomerangs that cut the bad guys' fingers off, maybe they'd be fine.

There's a lot to like, too. Mel Gibson is great. Bruce Spence returns as a pilot, though it's unclear if he's actually the Gyro Captain from Road Warrior. It's safe to say he probably is. Like he did with Road Warrior, George Miller shoots Thunderdome to look like a radiation-burned Akira Kurosawa movie. Max is a post-apocalyptic Yojimbo. I love how vivid and detailed the Mad Max universe is at this point. Miller has deepened and expanded it with each movie, and the amount of detail in the production design is insanely impressive. This place looks funky and lived-in. And hey, how many movies can boast Tina Turner in a weird wig? Or a dwarf who rides on a giant's back who consider themselves one unit?

Mad Max: Beyond Thunderdome is an imaginative, watchable sequel, but it seldom reaches the heights of its predecessors. For a great down and dirty, low budget exploitation film, watch the first Mad Max. For a bigger, better, more intense, downright crazy action movie, watch The Road Warrior. Thunderdome is like the family friendly, 80's Steven Spielberg version of those movies.

Grab Bag: Fist of Fury / The Chinese Connection, The Lion in Winter, Alice

Look at me! I'm back! Writing about movies once again, now with an all-new, all-Chicago-y backdrop. I still don't have the internet yet, so updates may still be sporadic, but I haven't stopped watching movies in my absence. I think I have like 30 movies piled up to talk about, including some real-deal classics.

Fist of Fury / The Chinese Connection, by Lo Wei, 1972

Much like Enter the Dragon, I'm pretty sure I watched The Chinese Connection when I was a kid, but I don't really remember it. Bruce Lee plays, well, a Bruce Lee-type who returns to his home town to find his master murdered by Japanese bad guys. Bruce Lee then kicks everybody's ass to avenge his teacher and prove Chinese superiority. I can't think of too much more to say about it right now because I'm a bad writer, but it's good stuff.

The Lion in Winter, by Anthony Harvey, 1968

Well, I didn't have much to say about Fist of Fury, so hopefully I can make up for that with the next two.

I said I watched some true classics, and this is one of them. Peter O'Toole and Katherine Hepburn star as King Henry II and his wife Lady Eleanor in this vicious adaptation of the play of the same name.

The Lion in Winter follows the machinations and maneuverings of an aging Henry and Eleanor, their three children, Richard, Geoffrey, and John, in determining the succession of the British Crown. Henry wants his youngest, the snivelling John on the throne. Eleanor wants the eldest, the kingly Richard (Anthony Hopkins in his first movie role). Geoffrey, the middle child, wants Geoffrey on the throne, but nobody else seems to care. Backstabbing, eavesdropping, and manipulation abounds. It's like watching two hours of the most epic domestic dispute of all time.

The characters are all thoroughly wretched people who care for little outside of themselves, but they're thoroughly wretched interesting people, especially O'Toole's Henry. Hepburn won a well-deserved Oscar for her performance.

I didn't know what this movie was going to be like when I started it, and I did not expect it to be so dark and filled with such acidic dialogue. I assume it's a fairly straight adaptation of the play. The family kind of reminded me of the Lannisters in A Game of Thrones. The Lion in Winter is thoroughly engrossing. The writing and the performances pull you in and don't let go for the entire 2 hour plus running time.

Alice, by Woody Allen, 1990

When I was 21 or so, I discovered the films of Woody Allen and never looked back. Like most comedy guys, I prefer the early, zany stuff, but I still appreciate a lot of his later work, all the while yearning for the Woody Allen of old. I've seen the majority of his films, though I've fallen off in recent years. Every once in a while, I look into one of the movies I've overlooked. Alice is one of those movies.

Alice is one of his whimsical fantasy comedies, along the lines of The Purple Rose of Cairo or Midnight in Paris, two of my favorite post-Manhattan Allen films. It is the story of Alice, (Mia Farrow) an unhappy rich housewife who lives a boring, struggle-free life. When she is recommended to a Chinese holistic healer, he gives her all sorts of magic herbs that allow her to fly around the city, speak to ghosts, turn invisible, and so on. Through these she is able to see herself and others in a new light and can make the changes that will allow her to live the life she had intended for herself.

Alice was a decent enough movie, but I wouldn't even put it in my top 10 Allen films. I guess it was said to be a riff on Alice in Wonderland, but really, the only similarity is that she ingests things that give her powers. I also found Allen's take on the mystical Chinese healer to be pretty outdated and borderline racist, in that way where grandpas are racist even when they don't realize it. Still, it has some really fun and funny moments, and it's better than some of his films. I would say check out Alice, but only if you have already seen all the really great Woody Allen films and feel the need to watch more.

-------------------------------------------

I was hoping to have time for more reviews but this entry alone has taken me days to put together! Things will be calming down in the next week or so, and hopefully I can get back to a regular schedule by then. See you soon!

Ace Attorney (Gyakuten Saiban)

Extremely prolific director Takashi Miike's recent film, Ace Attorney looked to be right up my alley: It's an adaptation of one of my favorite video game series (I own all five games that were released in the U.S.), and it's a quirky and weird Japanese comedy. I'm obsessed with quirky and weird Japanese movies. After having an opportunity to see Ace Attorney, I'm torn. It's a film with many problems, and I don't think most casual viewers will like it. But, with a theatrical audience filled with even bigger fans of the games than me, I found myself laughing with and enjoying it.

The games and movie follow Phoenix Wright (Hiroki Narimiya, a rookie defense attorney thrust into the big time when the murder of his mentor, Mia Fey, leads to a much deeper conspiracy. Phoenix, along with Mia's little sister, a spirit medium named Maya (Mirei Kiritani), his no-good buddy Larry Butz (Akiyoshi Nakao), and his rival prosecutor and childhood friend Miles Edgeworth (Takumi Saito), must dig deeper to crack the case. The courtroom rules in the world of the game and movie work much differently than in real life. A trial must be completed in three days no matter what. It makes little sense, but it adds a ticking clock element.

Much of the movie's action takes place in the courtroom, as Phoenix stumbles his way through cross examining the often crooked witnesses, trying to pick apart their testimonies and find where they're lying. They also go to the crime scenes to investigate. It's all very faithful to the games (the first one, specifically), and is very silly.

There were some very big laughs in the movie, but I think they were just because of our familiarity with the games. My wife had fun and she's never played them, but she has a similar sensibility to me, so I don't know. Part of the fun is that it's just set in such a ridiculous world.

Between the laughs, however, the movie feels just kind of stagnant and dramatically inert. I think it might be that director Takashi Miike was trying to stay true to a video game that is comprised of a few static shots and lots and lots (and lots) of talking. There's little to no movement in the games, and unfortunately, the cameras play pretty still in the movie too. The characters are dead-on matches to their game counterparts, all the way down to their ludicrous, gravity-defying haircuts. There's just not enough energy to keep this looney world afloat.

The games are much better at building the energy of the courtroom scenes by heightening the intensity of the music and dialogue. If Miike had used more music in that way and made the dialogue banter faster and build to a crescendo as Wright approached the truth, the movie would have felt a lot more alive.

Still, I liked the characters, and the world the movie is set in, and some of the gags were awesome. Ace Attorney could have been a lot more fun, but as it stands, it feels like an honest and sincere attempt to translate the game to the big screen, that just didn't quite work out.

Fans of the game will get something out of it, though. The audience ate it up.

Grab Bag: Diary of a Lost Girl, Transatlantic Tunnel, Series 7: The Contenders

Hey, sorry I haven't updated in a while. I'm in the midst of a big cross-country move. I'll still post reviews whenever I can, but I'm guessing they'll be a little less frequent for the time being.

Diary of a Lost Girl, by Georg Wilhelm Pabst, 1929

I challenge you to watch Diary of a Lost Girl and not fall in love with Louise Brooks. Louise Brooks was a silent movie star in the 1920's whose hairstyle became a big fashion thing. When sound movies started happening, she's one of many who didn't make the transition (see: The Artist), but before giving up completely, Brooks went to Germany and starred in three more silent films by director Georg Wilhelm Pabst.

Diary of a Lost Girl is a silent masterpiece, starring Brooks as Thymian, a girl raped and impregnated by her father's associate. When she refuses to marry him because she doesn't love him, her parents give her baby away and places Thymian in a cruel and abusive boarding school. And so on. Lots of tragic, horrible things happen to Thymian, and she stays strong throughout it all, showing love and compassion in the face of a cruel, uncaring society.

I really loved this movie. The storytelling is timeless (except for the no sound thing, I mean, that kind of dates it), and Louise Brooks is great. Totally worth watching. In fact, I think it's essential. I want to see her other films now too, especially the ones with Pabst.

Transatlantic Tunnel, by Maurice Elvey, 1935

"The Tunnel" was a 1935 British science fiction film chronicling the building of an underground tunnel beneath the Atlantic Ocean from London to New York City. Somewhere along the way, they picked up the word "Transatlantic", which was added to the title for the US release.

The movie actually treats the subject matter rather realistically, and spends much time on the difficulty, danger, personal toll, and great expense of such a massive undertaking. The narrative takes place over a period of many years.

Though I did not think it was a very good movie, I found Transatlantic Tunnel's very existence interesting. You don't hear of a lot of science fiction films from the 1930's, and this might be the only one I know of that actually tries to project an accurate future. The idea of building a tunnel between the continents has been proposed and explored in the past as far back as the late 1800s, and found to be physically possible but not worth the time, money, resources, effort, and danger inherent in building it. They use televisions a lot in the movie, which I thought was cool, since they weren't widely available for another 15-20 years.

I probably wouldn't recommend Transatlantic Tunnel, unless you're interested in the history of science fiction. It's more of an interesting artifact than anything else.

Series 7: The Contenders, by Daniel Minahan, 2001

I remember when Series 7: The Contenders came out. I was only 18, and it was the peak of the reality TV boom. I thought the idea of a satirical movie about a reality show where people were given guns and given a legal pass to kill each other was really cool. It IS the kind of idea a teenager would find really cool. I never got to see the movie, though. Until now.

It's pretty corny stuff, man. The story was rather silly and contrived, and the execution was trying to emulate the feel of a reality show, but it just didn't feel slick and polished enough. It could have gone so much further. I'll give it a few points, though. There are a couple of good moments. Some nice bits of irony here and there. A couple of surprising twists and some original ideas. I liked that the people were no-name actors, who just looked like real people. The soundtrack by the alternative band Girls Against Boys was decent, I always kinda liked them. The biggest, most pleasant surprise for me, though, was a brief appearance by a pre-Arrested Development Will Arnett as an MC for the reality show.

It's not worth watching for that, though. He doesn't ride around on a Segway or do an impromptu magic show to the Rocky IV music. Series 7: The Contenders has its moments, but there are better satires about reality TV out there. Just watch The Truman Show. Or if you want a reality TV thing with killing, watch Battle Royale or The Hunger Games.

-----------------------------------------------

Well, this wasn't the greatest bunch of movies. Diary of the Lost Girl was lovely, though. That's the one to watch. More to come as soon as I can!

Grab Bag: Children of Men, Topkapi, Uncle Boonmee Who Can Recall His Past Lives

Children of Men, by Alfonso Cuaron, 2006

OK, everyone! You can all rest easy. I have finally seen Children of Men. Alfonso Cuaron's dystopian masterpiece about a man (Clive Owen) who must find a way to save the first child to be born in eighteen years is every bit as breathtaking as I'd hoped. What I love most about Cuaron's work (Harry Potter and the Prisoner of Azkaban, among others) is his complete commitment to the believability of the worlds he creates. Even his most fantastical worlds are always jammed with small details, often down to the most mundane things, which contribute to making the movie feel utterly real. The war scenes in Children of Men almost feel like a documentary. As the first movie ever to make me cry with the line "Pull my finger", what choice do I but to name Children of Men one of the best movies of the last decade?

Topkapi, by Jules Dassin, 1964

This is one of those cool-as-hell 60's heist movies like The Italian Job or The Thomas Crown Affair, where a bunch of likeable crooks get together to steal something very valuable for the thrill of it all. It's funny, really smartly plotted, and the heist itself is a hoot to watch them pull off. Peter Ustinov won a best supporting actor Oscar for his role as a small time crook brought in as a patsy but later recruited as a full partner in the heist. I'm sure this is one of the movies Steven Soderbergh had in mind when he made Ocean's 11, and there's a wire acrobatics scene that I'm certain inspired the one in Mission: Impossible. Topkapi is definitely worth checking out.

Uncle Boonmee Who Can Recall His Past Lives, by Apichatpong Weerasethakul, 2010

I'll stand by those last two movies, but Uncle Boonmee Who Can Recall His Past Lives is definitely one of those films that falls into the "Not For Everyone" category. Winner of the 2010 Cannes Palme d'Or award, Uncle Boonmee is the story of a terminally ill man in the last few days of his life, looking back at his past lives, and spending time with his family, including the ghost of his wife, and his son who went missing years before and has now returned as a human-ape hybrid creature. See? Not for everyone.

I can't say I loved it, but I found it strange and fascinating and inscrutable, and I would be interested in watching it again to see if I could decipher it a little more. The highlight for me was the scene at the dinner table where Boonmee's entire family is reunited for the first time in 19 years. The movie is rich with Thai, (or rather a specific region of Thailand) folklore and spirituality, with strong themes of death, change, and rebirth at the forefront. Again, I must stress, this movie is probably not for everyone, but if you ever wanted to see a romance between a woman and a catfish, this movie might be the one for you.

--------------------------------------------------------

All three of these movies are worth your time, but Children of Men is essential viewing. I can't believe it took me six years to get around to it. Don't be like me!

Grab Bag Movies that Start with 'The' Edition: The Sci-Fi Boys, The Twilight Samurai, The Baxter

I've been watching a ton of movies lately. Already 20 in July alone! It's because I'm moving in August and I won't have nearly as much time to watch movies once I get there. Anyway, here's another Grab Bag of mini reviews. Stay tuned for even more!

The Sci-Fi Boys, by Paul Davids, 2006

This is a look back at the early days of special effects and science fiction movies, and how a generation of young fans revolutionized the industry. It has interviews with lots of important figures, such as John Landis, Roger Corman, Forrest J. Ackerman, Peter Jackson, Dennis Muren, Ray Harryhausen, and Rick Baker. Lots of neat moments, including footage from old home movies by these creators as young fans.

The Sci-Fi Boys is a very loving and nostalgic look back at the old days of science fiction, B-Movies, and special effects. I liked it, but it's a subject I'm already interested in. It could have been livelier. There are actually some documentaries on B-movies that I liked much better than this. Check out Not Quite Hollywood and Machete Maidens Unleashed by Mark Hartley.

The Twilight Samurai (Tasogari Seibei) by Yoji Yamada, 2002
This movie is sooooo moving! The Twilight Samurai is the story of Seibei Iguchi, a low-ranking samurai with no ambitions to rise in the ranks. His only priority is taking care of his two young daughters (they lost their mother to consumption) and his senile mother, who doesn't even remember him. When his master assigns him with the dangerous task of killing an exiled samurai who refused to commit ritual suicide, Iguchi must obey or face a similar situation for himself.

The Twilight Samurai is a really beautiful movie. It won best picture in Japan and was nominated for the best foreign film Oscar here in America the year it came out. It's a vivid and realistic portrayal of what life must have been like at the end of the age of the samurai. Everybody should watch this movie. Be warned, though: It just might make you cry.

The Baxter, by Michael Showalter, 2005
Wet Hot American Summer is one of my favorite comedies, and I like to check out any and everything by the guys behind it. I had heard mixed things about Michael Showalter's The Baxter, so I've been avoiding it in fear that I might not like it. Well, those fears were unfounded, because it was a decent little movie, with a lot of little laughs.

Showalter plays Elliott Sherman, a nice guy who lives to be what he called a "Baxter", the guy who women settle for when they can't get the guy they really love. He finds himself in that very situation when he meets Caroline (Elizabeth Banks), and gets himself stuck in a romantic entanglement with her, her perfect high school boyfriend (Justin Theroux), and the temp that he falls for (Michelle Williams). It's kind of a deconstruction of the tropes of the Romantic Comedy genre, and it's kind of just being silly.

The Baxter isn't a great movie, it's really just OK, but it has a very good cast, including the above mentioned people, and smaller roles by Paul Rudd, David Wain, Ken Marino, Michael Ian Black, and Peter Dinklage. Showalter is one of those comic actors who can make me laugh just by making a face or delivering a line a certain way, and he got me a lot in this. If you like Wet Hot American Summer, The Baxter might be worth your time, especially since pretty close to everybody involved in that turns up in this too.

-------------------------------------------------------

That will be all for today. Twilight Samurai is my recommendation this time. Thanks for reading!

The Amazing Spider-Man

I'm about as big a fan as Spider-Man as they come. I've read close to every issue of Spider-Man ever published. Not just The Amazing Spider-Man comic, but also the various other titles, Spectacular Spider-Man, Web of Spider-Man, blah blah blah. As a kid, my mom had my uncle paint a picture of Spider-Man on my bedroom wall. It was awesome.

When Sam Raimi's first Spider-Man movie came out a decade ago, I saw it three times on opening weekend. I know it was a flawed movie, but Sam Raimi got so much right, and even more right the second time around. Well, I guess I feel the same way about Marc Webb's reboot, The Amazing Spider-Man. Despite many plot holes and flaws in the narrative, he got a lot right, including some things that Raimi didn't. And I hope this movie might pave the way to an even better sequel.

The broad strokes of the origin have stayed the same: Peter Parker is a quiet high school kid, who gets bitten by a spider in a science lab that imbues him with spider powers. He is inspired to fight crime when he loses his Uncle Ben through an act of his own negligence. There are some slight alterations, but for the most part, nothing too surprising happens. Now Peter's parents are involved in his origin. His father's work as a scientist is somehow tied to his powers. How, we don't know yet, I suppose it will havve to wait until the sequel.

What I really liked about The Amazing Spider-Man was the cast and their performances. Andrew Garfield's Peter Parker/Spider-Man isn't much like Tobey Maguire's at all. I like aspects of both of them. Garfield's is a little more believable as a high school teen, rather than Maguire's more dweeby, classical geek. He's a lot more angsty and, you know, going through teen things. In fact, he stays a teen all the way through the movie, unlike the Raimi version, who is done with high school within the first hour of the first movie.

Emma Stone plays Peter's love interest, Gwen Stacy. I was worried she would just play the role as Mary Jane with blond hair, but she did great. She was Gwen Stacy. She even looks like an old John Romita drawing. She and Garfield were great together, and by the end of the movie, I was totally into the romance between the two of them. One of my favorite scenes was when Peter fumbles through asking her out on a date.

Martin Sheen and Sally Field play Uncle Ben and Aunt May. They get a lot more screen time this time around, which I thought was nice, because they both do great. Denis Leary is really good as Captain George Stacy, Gwen's father, a cop on Spider-Man's trail. Rhys Ifans' Curt Conners/The Lizard is adequate, but from what I've seen online, his character suffered a lot of cutting and re-editing.

Some things I didn't like as much as Raimi's version. Obviously, the familiar origin scenes didn't feel very fresh the second time around. There's no real sense of awe or excitement in the web swinging, since we've already seen it so much before. I preferred Raimi's bright color scheme and comic booky, more comedic tone. I don't mind the slightly more muted, realistic take on the world, though. They've done it both ways in the comics over the years, and there's room for both in movies too.

There are also too many ticking digital clocks in the movie's finale. That's par for the course for this kind of movies, I guess, but what really bothered me was the lady's voice on the computer telling us how much time is left. The lady announcing how much time is left at the very end seemed especially forced, as it was coming out of some device that The Lizard rigged together. Why would he give it that voice?

During the credits, they try to do the post-movie sequel tease now expected at the end of superhero movies. When done correctly, like all the Avengers teases, they get everybody talking. (OMG THAT'S NICK FURY!) (THOR'S HAMMER!) (THANOS!!!) But this one doesn't work at all. I won't spoil it, but it's nothing very interesting, so, you know, don't get your hopes up for that post credits scene. I guess we'll just have to rely on the actual movie's merits to get us excited for a sequel.

As for the complaint that it's too soon for a reboot, I suppose that's probably true, but they tend to update and retell the origin in the comics every decade or so, too. There have been a lot of different versions and takes on Spider-Man over the years in all kinds of different styles, and this is just one more. I can live with it.

Overall, I thought The Amazing Spider-Man was pretty good, but not as good as the Raimi movies when they were at their heights (half of part 1 and all of part 2). The cast really elevated this movie for me. I'll be happy to watch Andrew Garfield, Emma Stone, and Sally Field in future installments, and I look forward to meeting the new Mary Jane Watson, Norman and Harry Osborn, and maybe J. Jonah Jameson. There's a lot of groundwork in place for them to knock it out of the park next time. I hope they pull it off.