Christopher Nolan

(Syndicated from In the Wake of Poseidon)

It takes the right team to make an action film. Action movies are churned out left and right every Friday. Movies like Crank or Transformers come along and they are fine as slices of entertainment. Then every once in a rare while an "Action Film" comes along. The kind of movie that goes beyond the explosions and digs deep into the heart of the psyche. Christopher Nolan, the director of The Dark Knight, gets this. He has made a truly fantastic Action Film. While The Dark Knight doesn't dig ultra-deep philosophically or morally, it offers enough social commentary to raise its intense action scenes well above that of a standard summer blockbuster. It gives meaning to the chaos, as much as anarchy can have meaning. I'm not going to go into storyline here. It's nothing new story wise. The true genius behind this movie is the combination of the acting and the directing that made it a dance of visual brilliance and subtlety. The way Nolan was able to get the performances he did from a stellar cast of leads and supporting is a true triumph. The four major leads--Bale, Ledger, Eckhart & Oldman--take talent to the next level.

Christian Bale's triumph of playing a "freak...like me!" is wholly invigorating. He is a hero who knows his limits and his flaws and realizes exactly what he has brought upon Gotham. Heath Ledger is so outstandingly creepy that when people laughed in the cinema at his part, I almost cringed. There wasn't a single thing funny about his joker. Yes he had some genius one-liners, but even those were calculated and malicious enough to make your skin crawl in fear and horror. A scene where the Joker is being interrogated is such filthy brilliance on Ledger's part that you can't help but wonder how taxing it must have been to emerse yourself into that psychopathic mind. Aaron Eckhart plays Harvey Dent, the white knight of Gotham City, and although his part is understated at first, you see the mind of a man on the edge brewing behind his eyes. He may have been the shining light in Gotham's most tumoltuos time, but as in many of Nolan's films, even the good have a touch of evil somewhere tucked away that can come forth if pushed to the limits. Lastly, Gary Oldman, an actor who can never go wrong, also understates and slow plays his Detective turned Commisioner role. He's a true police officer, not entirely liked by all, but he wants one thing and that's the peace that Gotham City deserves.

The reason I still call this an "Action Film" is because beyond all the psychology is a truly riveting stunt filled spectacle. Unlike past Batman films, The Dark Knight is almost 100% location filming. A scene where a policemen's parade for slain officers erupts into chaos thanks to the Joker is utterly breathtaking. The main chase sequence through Gotham's underground, ending in the most glorious truck stunt you will ever see on film, just explodes with brilliance. And the reason why? Very minimal CGI and real stunts. When you see the Joker's Truck do a front flip, that's not a computer altered truck. That's an 18-wheeler hurtling through the air. It's something you don't see very often anymore. Another mind boggling thing of chaotic beauty is when the Joker walks non-chalantly out of a hospital as it slowly explodes. This wasn't shot in Chicago like most of the film, but it was a set piece built for the sole purpose of succumbing to the Joker's crazy rampage.

The film may be a tad bit long in the tooth, but it's a tooth that sinks right into your neck and feels good. It's the kind of two and a half hours that you never want to end. A lot of it is intense and in your face; it gets your adreneline pumping and your suspense sensors flairing on overdrive. It offers commentary on terrorism and "heroes vs. villains" as a topic so rich in grey area that you'll question both sides of the arguement for Homeland Security. It doesn't shove anything down you're throat, but it's all there and really works. This is a must see film on the big screen and probably will be one of the best films you will see all year.

Film MiniViews w/ Justin Leo

(syndicated from I Like To Watch)


FORGETTING SARAH MARSHALL - 2008 (in theaters) -Just like most Apatow projects, this is a relaxed comedy with romantic tinges; a relationship story with some great gags. Jason Segal is a lovable lunk, and Mila Kunis steps it up as his new love interest. The comedy comes in moments here and there, and it's good but not overwhelming. I just love Segel, Kristen Bell, Jack McBrayer, and Paul Rudd too much to give it a bad name. It's decent comedy without much fanfare.


I COULD NEVER BE YOUR WOMAN - 2007? (just out on DVD) -Speaking of Paul Rudd, he carries this film to a sweet level. You might have loved him before, but in the rare case you didn't, you will now. He's a struggling actor and the love interest of TV producer Michelle Pfeiffer, who is in charge of a Degrassi- type teen show. She leans on him as her new star (yes, he's playing an actor, who is playing a high schooler, when he's almost 40 in real life, which is part of the fun). She also leans on her daughter, Saoirse Ronan, better known as the young girl in Atonement, for hip new ideas and high school slang. This is a pretty funny satire of Hollywood, a charming rom com, and a warm family story all at once. Amy Heckerling, who directed Clueless and Fast Times at Ridgemont High, scores again with a fun look at life in SoCal that has heart. In fact, I'd say it's a lot like Clueless: cute, but also much funnier and more interesting than you expected. So why, you may be wondering, haven't you heard of it? Well, basically, Heckerling got the shaft from studios. They bounced it around and never gave it a theatrical release, even though it's very deserving of one. Unbelievable. The only thing I can find wrong with it is a strange character played by Tracey Ullman, who acts like Pfeiffer's conscience. She's annoying, but that's about it. This is a really likable film, and you'd think they capitalize on Rudd's growing popularity. See it for him (and sweet cameos from Jon Lovitz, Fred Willard, Wallace Shawn, and the Fonz) and love the Rudd like never before.

DOGVILLE - 2003 -I'll be honest. I have no idea what to make of it. I wanted to see this for years and I finally got around to it and, well, let's just say that Lars von Trier is an intriguing director. This looks like a play, but it's a film: an original concept, shot on a stage, but with no audience, and with some of the set fixtures missing.... like, I don't know, WALLS! Yeah.... very strange way of filming, mixing theater standards with film and leaving that out. I think it could be comparable to dark stage plays like Ibsen. I also thought of William Faulkner, not that this is the same class as those great writers, but that's kind of the dark tone. It goes in weird directions, but the cast is amazing. Lauren Bacall jumped in and Nicole Kidman had just won an Oscar when she did this. I'm torn because I think he could've done well if he shot it normally, but of course he won't, because he started that whole Dogma 95 movement and he has to be different. I found that a lot of people think it's anti-American, but it seems more to me like a dark examination of human nature, especially regarding the myth of small towns making good people. If you like indie or foreign pieces, it's def worth a look, but know that it's three hours long and a trip.

LUST, CAUTION - 2007 (just out on DVD) -Ang Lee's erotic thriller is a strong period piece. In 1930's China, a woman caught up in rebellion tries to get close to a powerful government man. This starts a little slow, but picks up dramatically towards the end. Beautiful, intense, and emotional, this might have lost audiences because of its rough sexual scenes, but it's a very good drama.
THE BRAVE ONE - 2007 (just out on DVD) -I skipped this Jodie Foster drama last year, skeptical of vigilante films, and it most certainly is that. But then I saw that it's also directed by Neil Jordan, who does a lot of sensitive and gender-confusing fare (The Crying Game, Breakfast on Pluto), so it shouldn't be totally macho. Foster, a popular NPR-type radio host in New York, goes into full revenge mode when some thugs kill her husband (Sayid from Lost). She also befriends a detective, Terence Howard, who starts to wonder about her intentions, while unknowingly steering her towards a crime boss he can't convict. This is emotional and pretty dark, and I'm not sure if the message is deeper than I want it to be. I can't imagine Jordan ever wanting to remake Death Wish with a female lead, but I get that feeling here. Maybe there's more than I see, and I suggest taking a look. It's gripping, but does it take sides too easily?

"RECOUNT" - 2008 - on HBO now -HBO couldn't resist, in this election year, to make a definitive film about the 2000 election nuttiness. Even though it might not be fairly balanced, it's really good. They skip over most of the election to just what happened after Election Day, and though it is a great ensemble cast, the protagonist is clearly Kevin Spacey. Ah, I missed the Spaceman. Really bad. He's excellent as Ron Klain, a guy who helped Gore through the recount even as he was having issues with the VP. On his side are Dennis Leary, John Hurt, and Ed Begley Jr. (natch). The opposing side comes with Tom Wilkinson, who plays James Baker a little
bit too boss-villain-y, and Laura Dern, who makes Katherine Harris look overwhelmed. Bob Balaban is the only nice guy on the GOP side. I mean, I felt it could be real, but I'm biased.Like I said, it's not exactly a balanced story, but they are trying to paint the Dems as underdogs rising up in adversity. They had to push through public outrage and lots of legal difficulties, and they never had the "lead" as reported by media, which hurt. The film touches on the voter discrimination problems, but doesn't accuse too much. The worst facet probably is that the Republicans basically paid for their protesters and then encouraged them to riot in the local voting offices. This claim has been made before, so who knows. It brought back some bad memories for me, and of course, the last 8 years kinda... well, you know.It may not be fair, but it's really good, and it's a great return for Spacey.

by Justin Leo

McSweeney's Mammoth Treasury of Thrilling Tales

Michael Chabon, ed.

From Book IT! GremLindz Style (http://gremlindz.blogspot.com/2008/03/freedom-for-adventures.html)

Thrilling Tales promised to bring me all new, never before seen, original stories. And that, by god, it did. All of my favorite subjects were covered: time travel, the end of the world, cats, revenge, true love… wait a minute.. Seriously though, the stories were delightfully strange and adventurous. “Catskin” was about a boy whose mother turned into a cat after she died, and then she burned down a house with cats in it, and sewed him what was essentially a cat-skin hoodie. Every now and then he decided to put the hoodie on and walk around on all fours like a cat. I’m still trying to figure out any metaphors or ssssssymbolism, although it may have just been a really weird story. And I’m all for that! Because I am weird. Although I don’t think I would ever sew cat hides together to make myself a little cat jacket. That seems a bit too far.

Thrilling Tales marked the first works I have read by Michael Crichton and Stephen King. I know, very hard to believe that I’ve never read Stephen King, but there it is. And they were back-to-back. The rate at which Stephen King pushes out stuff is amazing to me. It makes me wonder if he actually still enjoys writing, or if it has become so commonplace to him that he doesn’t really even have to try anymore. Because that would be sad. But at the same time, should he really have to try anymore? He’s built up such a substantial platform that I think people will buy his books even if they are crap. Does Michael Crichton still write books? To be honest, I was (obviously) never too interested in either, and I’m not really any more interested now. I have to say that my favorite story in the whole collection was Nick Hornby’s “Otherwise Pandemonium.” What is it with me and apocalyptic scenarios? I do enjoy them, although I can’t recall reading a book with such a premise. But “Pandemonium” took apocalypse to a different level by adding in a time-travel-y aspect that is really fun and had me frantically turning the pages so I could find out what happens. Not since High Fidelity have I been that engrossed in Hornby’s stuff, and it was refreshing to experience it again. Please don’t disappoint me with another book like A Long Way Down. Seriously, man. Don’t.

And there are still so many other great stories! One about a detective investigating the death/murder of Hitler’s neice/lover. A stream-of-thought-ish recount of a drug epidemic in NYC that included conspiracy theories and apocalyptic scenarios (this was a jackpot despite the somewhat annoying stream-of-thought-ishness which made me feel like I was on drugs). One weird one about a husband and wife who collected salt and pepper shakers and (spoiler:) ended up killing each other (I’m still not sure why). A tale about a circus elephant that gets hanged (this had some great twists in it that I can’t give away but gave the story have an amazing structure). One war story about a general who escapes and seeks refuge with a girl and her grandmother that I didn’t think I’d enjoy, but did, because it was not only touching but really pissed me off at the end. (Isn’t it great when a book/story really gets an emotion out of you?!) A story about a guy who is working at an archeological dig and the mischief a writer stirs up when she comes to do some research. I could go on and on! They were all great, which I find rare in a short story collection.

by Lindsay Snieder

McSweeney's Mammoth Treasury of Thrilling Tales on:
Amazon
Random House