Posts Tagged ‘movies’
Not to get all Beavis and Butt-head about it, but bad shows suck because, well, they suck, not because they are insufficiently episodic in structure. This is why calls from the critical community, leading many of the fan conversations on these shows, to eschew unified, serialized storytelling in favor of tight arcs and standalone episodes feel like a misdiagnosis. For one thing, they fail to consider that noticeably self-contained installments of series like Game of Thrones and Girls are as memorable as they are precisely because those shows don’t usually work that way.
These claims fall into the same trap of cinematically minded showrunners who insist that “it’s not TV” by agreeing with them, setting up a false dichotomy between what constitutes the proper use of the medium and what doesn’t. In its maturity, television has proven capable of countless things: TV dramas alone can be as densely serialized as The Wire Season 4, as memorably episodic as Mad Men Season 5, as sweeping as Fargo Season 2, and as sensation-driven as Empire Season 1. Sometimes they can be several things at once; Black Mirror, like its groundbreaking antecedent The Twilight Zone, tells a different story with a different set of characters every single episode, making it simultaneously one of the most movie-like and most episodic shows on television. Saying any of these series is closer or farther away from The One True Way to Make TV obscures the fact that there’s no such thing.
In fact, this array of options, this wide-open landscape of different structures and tones and techniques, is the truest indicator that “prestige TV” is not a contradiction in terms. Problems with the execution aside — and problems with the execution is all they really are — television can do whatever you want it to do at this point, and declaring one approach or the other superior is a procrustean blunder — like arguing The Godfather is less great a film because you can break it down like a television series, if you’re feeling particularly perverse (ahem). If that means some showrunners get to declare their series a double-digit-hour movie, so be it. The proof will be in the pudding, or the cannoli. You can have it both ways. Why wouldn’t you want to try?
What was your favorite episode of The Godfather? “Khartoum”? “The Thunderbolt”? The pilot, “I Believe in America”? I presented a modest proposal about a cinematic classic in order to talk about where all the “no, your TV show isn’t a 73-hour movie” structuralist reprimanding gets us for Thrillist.
The teaser sets the tone with its very first image: a twinkling starfield that’s soon revealed to be a patch of dirt on Luke’s remote island hideaway, in which grains of sand and rock catch the light. This is the place where the elder Jedi (Mark Hamill) is training his new protégé, Rey (Daisy Ridley), in the ways of the Force. We see her training with her blue lightsaber. We share her visions of “Light” – a shot of the late Carrie Fisher’s General Leia, her back to the camera in the Resistance command center; “Darkness” – the mask of her nemesis Kylo Ren (Adam Driver), shattered to pieces, with Darth Vader’s trademark heavy breathing in the background; and most intriguingly, “Balance” – a huge treelike chamber that we’ve never seen before, housing an empty platform, and a map with the symbol of the Jedi emblazoned on it. “It’s so much bigger,” Luke tells her, making it sound like the Star Wars Universe’s world-building is about to expand considerably.
While Lynch gets the “Legion”-related headlines, another director named David seems to have left an even deeper mark. That would be David Cronenberg, who made a name for himself with a series of body-horror films that depicted the disturbing interplay between mind and matter, often with a conspiratorial backdrop of sinister secret agencies or killer corporations out to harness psychic power for their own ends.
“Legion” paints in shades of Cronenberg’s “Videodrome,” with its pulsating inanimate objects; “Shivers,” with its parasite imagery; “The Brood,” with its story of a powerful telepath under the care of a manipulative therapist (played by Oliver Reed, who may have lent both his name and his machismo to the guru figure Oliver Bird); and most especially “Scanners,” with its all-out war between rival psychic factions and a protagonist who’s telepathically tormented by the voices in his head. (“Scanners” also features a blink-and-you’ll-miss-it appearance from a very familiar-looking deep sea diver suit).
I wrote about David Cronenberg, David Lynch, and Legion’s other major horror influences for the New York Times. I have my beefs with Legion, but it’s porting its horror references into a whole different genre, as opposed to Stranger Things, which is just reheating them in the microwave and trying to pass of leftovers as a fresh-cooked dish.
But the most romantic thing about The Love Witch is the existence of the film itself. To call a work of art “a labor of love” is to imply a sort of jejune passion, an amateur’s enthusiasm, but nothing could be further from the case here. Taking the concept of the auteur to a whole new level, Anna Biller not only wrote, edited, scored, produced, and directed this movie — she also served as the production designer, the set decorator, the art director, and the costume designer. She personally built, knit, sewed, collected, or otherwise provided many of the film’s key props, from the witches’ altar to the characters’ jewelry to a rug that took her months to make. If the lengthy and thoughtful essays and interviews on her blog are any indication, she also served as the movie’s on-set philosopher. Short of starring in the movie herself, there’s no way The Love Witch could be more Anna Biller’s vision.
The result is unmistakably familiar. To watch The Love Witch is to enter the headspace and heartspace of another human being as surely as falling in love.
This becomes crystal clear barely five minutes into the film. After an opening driving sequence that’s a loving homage to similar scenes in Hitchock’s Psycho and The Birds, we enter the Billerverse in earnest — a world where every detail is deliberate and delightful. Tucking her cherry-red cigarette case into her cherry-red purse, Elaine emerges from her cherry-red car in her cherry-red dress, then takes her cherry-red suitcase out of the cherry-red trunk to enter an apartment full of occult artwork so colorful it’d make a Crayola 64-pack blush. Next, we’re off to a sumptuously appointed tea room in which every one of the all-female clientele is clad in cotton-candy pink; the matching floral-patterned tea set, hand selected by Biller herself, looks like something made of marzipan in the sugar-spun home of a fairy-tale cannibal witch.
By the time I hit this point in the movie, I was laughing out loud in sheer joyful admiration. Whether working in true independent form like Biller or blessed with the carte blanche freedom afforded to established and acclaimed names like Scorsese, Anderson, Tarantino, or Coen, few filmmakers have anything close to this level of confidence in their own taste and vision. Pulling this off for a single scene would be reason to celebrate. Constructing an entire film from a single intelligent, idiosyncratic worldview is close to a miracle. And from its first scene to its last, from the font choice in its opening titles to the music over the closing credits, that kind of miracle is exactly what The Love Witch delivers. Watch it with some witch you love.
Rebellions are built on hope, and this episode of the Boiled Leather Audio Hour is built on Rogue One: A Star Wars Story! Stefan and Sean continue their exploration of that galaxy far, far away with a look at Gareth Edwards’s stand-alone contribution to the Star Wars cinematic universe. How does it stack up against The Force Awakens? What’s the impact of its countless cameos and Easter eggs on the one hand and its unprecedented-for-the-franchise story structure on the other? How do we feel about Edwards’s handling of action, character, setting, performance, and the all important “toyetic” factor? Hit play and find out!
And remember, if you like what you hear, subscribe to our Patreon to hear more of it via our subscriber-exclusive Boiled Leather Audio Moment mini-podcast!
There is no artist behind Slender Man, not in the panoptic, memetic form in which Morgan and Anissa encountered him. Slender Man’s “author” is the internet and the army of artists and writers and filmmakers and game designers who inhabit it. Only the accident of history, in which the original posts can be tracked down, enables us to put names to the faceless being at all. A few decades ago Slender Man would just be Bloody Mary or the killer with a hook for a hand who disrupts teenagers necking in their cars. A few centuries ago and he’d be the vampire a town feared enough to dig up graves and behead the corpses inside, or the witch who lures wayward children to their doom. With no artist in play, it becomes clear how fallacious it is to pin the blame on artists for the actions of disturbed individuals who consumed their art at all.
This is not to say art never affects society or inspires terrible things. When Jared Kushner crows about targeting ads for his odious father-in-law Donald Trump’s presidential campaign to viewers of The Walking Dead because of their concerns about immigration, he’s recognizing the fascist ideology that underlies both the show and the current administration. But art with an ideological vector connects the reader or viewer to a cohesive worldview, which, right or wrong, helps explain society and prescribe remedies for its ills. Action and reaction are to be expected.
That’s different from a movie about a pair of abused kids who become mass murderers and media superstars, or music by a glam-influenced Satanist, or creepy internet posts about a demon with no face. These merely provide monsters who embody fears and desires, not a political program. Those monsters will always exist in one form or another, and disturbed kids like Morgan and Anissa will always find them and use them as the mold into which they pour their crumbling sanity or mounting bloodlust. In blaming the art or the artist, we commit the exact same error, looking for a boogeyman to help us explain the inexplicable. We’re finding our own Slender Man to serve.
Listen to me talk about the Golden Globes on On The Town with Michael Riedel this morning! My segment starts around the 44-minute mark.
I’ll be talking about the Golden Globes with theater critic Michael Riedel on his On the Town radio show tomorrow morning at 9am on 970AM in the New York area. The show will be posted here shortly thereafter. Enjoy!
My heart goes out to John Carpenter, a thoughtful, talented, humane artist whose contributions to our culture dwarf those of every single one of these wannabe Goebbelses combined. I can’t imagine how infuriating it must be to see your art—let alone a work of outright anti-capitalist agitprop like They Live—twisted into its ideological opposite by bigots and charlatans. I’d almost certainly have spoken out, too.
But I’m not convinced it will do any good. I’m not convinced it won’t outright hurt, in fact. Like Hillary Clinton’s “alt-right” speech during the campaign, this has now elevated the neo-Nazi smears and lies into the realm of debatable topics, the stuff of “meet the dashing new face of the extreme right” puff pieces.
“They Live is about International Jewry” is something that had never occurred to non-piece-of-shit people before this week. Now it’s a sick, sad footnote in the film’s history, a slug in its Wikipedia entry, a scratch on the lens of the sunglasses that help us see reality for what it is. That’s the goal of the racists and fascists, after all: Distort our vision until everything is as ugly as they are.
Best TV Series (Drama)
Game of Thrones
This Is Us
WILL WIN: The Globes’ TV patterns are difficult to predict, but it’s rare to award a series with its first trophy deep into its run. So while it’s possible that Game of Thrones‘ historic “Battle of the Bastards” season could snag an outlier win, our money is on the HFPA giving the nod to rookie (and network) domestic drama This Is Us.
SHOULD WIN: With enough Emmy gold under its belt to ransom the Iron Throne itself, and deservedly so, Game of Thrones‘ epic recent run easily defeats the competition.
ROBBED: Where do we begin? The Affair, The Americans, Better Call Saul, Empire, Halt and Catch Fire, Horace and Pete, House of Cards, Mr. Robot, Narcos – all of these past nominees or worthy applicants got the cold shoulder. Of the group, Mr. Robot arguably had the boldest and best season.
Over at Rolling Stone I predicted the winners, losers, shoulda-beens, also-rans, and snubs of this year’s Golden Globes. As is always the case when I do prediction pieces, I am right and I will be proved right. Don’t @ me.
This New Year’s Eve, ring in the coming year the old-fashioned way: Listen to Sean and Stefan talk about George Lucas’s Star Wars prequel trilogy for 80 minutes! For the final BLAH of 2016, we’re tackling one of our most frequently requested topics and going long on Episodes I, II, and III of the blockbuster franchise: 1999’s The Phantom Menace, 2002’s Attack of the Clones, and 2005’s Revenge of the Sith. An all but universally accepted punching bag for much of the decade since it brought the curtain down on the early adventures of Obi-Wan Kenobi, Anakin Skywalker et al, the prequel trilogy has seen something of a change of critical fortune at since dawn of the Disney era and its crowd-pleasing kick-off The Force Awakens. With another prequel, Rogue One, now in theaters (though Stefan hasn’t seen it, so shhhhh no spoilers), we thought it would be the perfect time to discuss Lucas’s uneven but ambitious auteurist prequel saga in depth, movie by movie. Are they the Fall of the Republic–level disasters they’re made out to be, or do they have an artistic Force worth reckoning with? Listen in and find out!
PLUS! With this episode of BLAH, our 14th this year, we’re pleased to announce the start of a new series of subscriber-only mini-episodes beginning this January! For the low low price of a monthly $1 contribution to the Boiled Leather Audio Hour Patreon, you’ll receive exclusive monthly podcasts focused squarely on A Song of Ice and Fire (with a bit of Game of Thrones mixed in, we suspect, but mostly the books) and derived from listener questions. It’s our way of saying thank you to those of you who’ve subscribed this year and thus made recording these so much easier for us—and, we hope, a tempting offer for those of you who haven’t yet taken the plunge. Visit our Patreon page, pitch in, and get in on the ground floor! And now back to your regularly scheduled BLAH. Happy Holidays!
“This is our most desperate hour.” If you have to sum up the mood of the moment, look no further than the words of Princess Leia herself. In her most famous performance – one in which she’d anchor the first three films in the blockbuster Star Wars series, than reprise to rapturous acclaim decades later in The Force Awakens – Carrie Fisher embodied hope in the face of seemingly insurmountable odds. Whether she was playing it cool in one of Leia’s more regal moments, slinging insults and shooting stormtroopers as a Rebel leader or chronicling her real-life battles with addiction and mental illness in her fearlessly funny writing, Fisher was one of film’s great heroines, on screen and off. The 10 moments below are our tribute to the great woman’s greatest creation. We loved her; she knew.
On Christmas, before I found out about George Michael’s death and before Carrie Fisher died, I was already telling my cousins about the week a few years ago when The Sopranos’ James Gandolfini, muckraking young journalist Michael Hastings, and Fantagraphics co-founder Kim Thompson all died; 2016, I said, was that week stretched out over a year. And it wasn’t even done with us yet.
Think back to Force‘s major settings and story beats. The three planets on which the bulk of the action take place – Jakku, Takodana and Starkiller Base – evoke the desert, forest, and arctic landscapes of the original trilogy’s Tattooine, Endor and Hoth, respectively. The story centers on a young adult stranded in a sandy world, awakening to their Force-dictated potential in the face of opposition from a black-masked wielder of the Dark Side, with Rey and Kylo Ren taking the place of Luke Skywalker and Darth Vader. Tentacled menaces threaten our heroes, with Han Solo’s captured Rathtars standing in for A New Hope‘s dianoga and Return of the Jedi‘s Sarlacc. Dangerous dogfights and narrow escapes dominate the action sequences, as they did in The Empire Strikes Back and A New Hope. Good guys attempt to blow up a superweapon by finding its secret weakness, a plot point so familiar that Solo himself cracks a joke about it. The hugely entertaining performances of relative newcomers Daisy Ridley and John Boyega, best-of-their-generation contenders Oscar Isaac and Adam Driver, and even lions-in-winter Harrison Ford and Carrie Fisher may disguise it, but in artistic terms, this is a very conservative film.
By contrast, Rogue One looks like an alien life form. No snow. No forest. Some sand, but mostly as the surroundings for Jedha, as teeming a city as the series has shown us since the prequels’ skyscraping metropolis of Coruscant. No edge-of-your-seat dogfights and “yahoo!” escape sequences – the only thing these characters escape is death, and then only briefly. There’s a tentacled monster, but it’s used as a method of “enhanced interrogation” rather than presented as an apex predator. The goal of the final fleet-on-fleet battle isn’t to destroy a superweapon, but simply to run interference so the method to destroy said superweapon can be smuggled out of storage and preserved until the time comes. Most importantly, none of the major new characters – whether they are one with the Force or in the service of its Dark Side – are men and women of destiny … because none of them, literally none of them, survive the end of the film. As far as survival and celebration are concerned, this thing makes Empire look like Jedi. It’s doing something no other Star Wars film has ever done: depicting the life and death of everyone who sacrificed so the Skywalkers, their friends and their foes could decide the fate of the galaxy.
Rogue One crammed in so much Star Wars fanservice—how did it still feel fresher than The Force Awakens? I tried to answer this question for Rolling Stone. I note in the piece that this is not to argue Rogue One is necessarily a successful film, just that it’s its own film in a way The Force Awakens isn’t.
57. Dude, where’s my theme music? (Rogue One: A Star Wars Story)
A long time ago, in a galaxy far, far away … nothing! Just a wide-vista shot of an unknown planet’s rim, a slightly off-brand variant of the first few notes of John Williams’s classic score by Lost composer Michael Giacchino, the words “ROGUE ONE,” and that’s it. Disney honchos had already indicated that director Gareth Edwards’s stand-alone “Star Wars Story” would jettison the traditional opening sequence as a way to set it apart from films set within the main saga’s trilogy framework, but hearing about it and witnessing it firsthand are two different things. After a lifetime of watching Star Wars movies, what didn’t happen in Rogue One’s opening seconds was nearly as striking as anything that did happen afteward.
4. The Yub-Nub Song (Episode VI: Return of the Jedi)
Accept no substitutions: The original Ewok song of celebration that ends the first trilogy is the only Ewok song that matters. For reasons beyond comprehension, George Lucas and John Williams replaced this charming, percussive, gibberish-based hoedown with corny pan-flute New Age–isms when Lucas re-released the trilogy decades later. But no viewing of Jedi in my house was complete without dancing around the living room to those gleeful “yub-nubs,” the xylophone made of captured Imperial helmets, and that final choral sweep into the closing theme. For me, this was Star Wars.
With Rogue One hitting theaters, I ranked the 50 greatest moments in first seven Star Wars films for Vulture. I had a lot of fun, boy oh boy.
A shape-shifter, a baby-killer, a forest predator who communes with the Devil himself – the title character of Robert Eggers’ Puritan “folk tale” is a Satanic hag of the first order. And when this monster gets her claws into a 17th-century New England family excommunicated by their righteous religious neighbors, it feels less like a cathartic comeuppance for old-world bible-thumpers and more like a vicious assault on people trying their best to live and love in an unforgiving world.
9. The Descent (2005)
Years before he redefined TV action with his work on Game of Thrones, British director Neil Marshall earned his place in the horror pantheon with this merciless survival-horror story. One year after a car accident shatters their bonds, a group of women go spelunking in a remote Appalachian cavern and unearth far more than they bargained for. The claustrophobic setting is intense and the creature effects genuinely disturbing, but the film’s greatness lies in its use of its main character’s raw, red grief as emotional kindling for the catastrophe that follows. Few of even the greatest genre movies dare to go places this deep.
Alongside a murderers’ row of critics, I wrote about some of the best horror films of the new millennium for Rolling Stone. (For the record, I was on the “Mulholland Drive IS a horror movie” side of the argument referenced in the intro.)
Hey, anyone order a full-fledged Kill Bill homage? ‘Cuz in “Regrets Only,” the sixth episode of Daredevil’s second season, that’s what you’re getting. The ep opens with a crew of yakuza assassins in suits and ties zipping through Manhattan on motorcycles. Sure, they lack the Kato masks of the Crazy 88, and the Yeah Yeah Yeah’s “Date With the Night” provides the soundtrack instead of Al Hirt’s “Green Hornet” theme, but I mean, c’mon. Then there’s the first of two different fights in which Daredevil and Elektra wind up silhouetted against some kind of strikingly lit backdrop and/or behind some strikingly lit screen. “Showdown at the House of Blue Leaves,” baby!
Best Actor, 1967
Warren Beatty (Bonnie and Clyde), Dustin Hoffman (The Graduate), Paul Newman (Cool Hand Luke), Rod Steiger (In the Heat of the Night – winner), Spencer Tracy (Guess Who’s Coming to Dinner?)
Meet the New Hollywood — most definitely not the same as the Old Hollywood. With Warren Beatty’s nomination for a celebrity criminal and Dustin Hoffman’s arrival as a new kind of leading man, the kids were taking over. Even Paul Newman’s nod came for playing a consummate rebel. Of course, the nominations for Tracy (posthumously; he died days after completing the role) and eventual winner Steiger, both portraying fiery but ultimately wise patriarchs in movies about the hot-button issue of race, were the dream factory’s way of showing the olds were alright. (Note that their mutual costar, Sidney Poitier, went shamefully unacknowledged even in the Supporting Actor category.)
A long time ago, in a galaxy far, far away, Sean and Stefan discuss the new Star Wars movie! Star Wars Episode VII: The Force Awakens Jedi mind tricked us into dedicating this episode of our A Song of Ice and Fire podcast to an entirely different fantasy franchise. How did the film fit in with larger saga? How did J.J. Abrams’s direction differ from George Lucas’s? Is Rey a Mary Sue, and if so, how does that impact the film? What the hell was up with Starkiller Base? We answer all these questions and more, including a discussion of the film’s cinematography, the performances of its actors, the pros and cons of the characters, and even a few connections to the world of Westeros. I’ve got a good feeling about this…