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News

Film & TV News: May 4

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News

  • May the Fourth be with you! A bunch of Star Wars news dropped this week, including the arrival of the first season of Star Wars Rebels online and the departure of director Josh Trank from the upcoming “anthology” film. Both are good!
  • Collider has the first pictures from David Ayer’s Suicide Squad, which the director tweeted last night. If you’re wondering what in the hell is going on with some of these costumes, you’re not alone. Killer Croc needs a touchup. Badly. But the solo portrait of Will Smith’s Deadshot is promising, even if he’s still a weird choice for the role.
  • CSI, one of the longest-running cable television shows in history, has been officially cancelled by CBS. The question is now whether a farewell season is in order, or whether that last season finale is actually the series finale, or whether anyone actually gives a shit about CSI anymore.

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Featured

Force Majeure (2014)

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Whenever a perfect little family poses for a picture like the one taken in the opening scene of Force Majeure, you pretty much know they’re in for some trouble. It’s an oft-used trope showing how easily people can slip into a display of happiness, showing how perception can sometimes count for everything — we touched on a similar scene in our discussion of Robert Redford’s Ordinary People, a film which is on the whole a good touchstone for the themes of Force Majeure. Though the Swedish film suffers slightly from swaths of introspection that last just a bit too long, Force is still one of the most well-crafted family dramas of the past year.

That family is dad Tomas, mom Ebba, little daughter Vera and littler son Harry. They’re on a weeklong getaway at a beautiful mountainside resort in the French Alps for some skiing and relaxation. It’s family time, which Ebba subtly notes has been a much-needed side effect of Tomas’s busy work schedule. This is precious time, so the family does everything together. They ski together, they brush their teeth together, they sleep together on the big master bed. They eat lunch together. They get engulfed by an avalanche together. Family stuff.

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Director Series: Ron Howard

Gung Ho (1986)

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So…is Gung Ho racist, or what? To be sure, far less sympathetic portraits of the Japanese have cropped up in American cinema over the years. This certainly isn’t the not-so-subtle Neimoidian race of The Phantom Menace or the not-even-attempting-to-be-subtle Mr. Yunioshi of Breakfast at Tiffany’s. At the very least Gung Ho is free of that kind of blatant disregard for cultural sensitivity that makes one wonder, with no shortage of slaps to one’s forehead, how the hell some things get greenlighted at all.

But there is a sneaking suspicion that there’s a cultural illiteracy afoot in Gung Ho, if not a straight-up cultural disregard, and that might be just as bad. Director Ron Howard cast Michael Keaton as the actor rose to fame following Johnny Dangerously and Howard’s own Night Shift, and there’s little blame to place on Keaton here. He’s the lovable doofus that he usually is. Gung Ho sees Keaton’s everyman Hunt Stevenson fighting to save his little Rust Belt town after a Japanese automobile company takes over the local factory. An army of managerial types swoops in from Tokyo and sets about “correcting” the carefree business practices of the American worker. Culture clash certainly ensues — we’re just not sure it’s the kind of clash that Howard and Co. intended.

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Featured

Avengers: Age of Ultron (2015)

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I have a kind of casual self-imposed policy of watching movies from the Marvel Cinematic Universe only once. Sometimes this works out beautifully, as in the case of, say, Thor: The Dark World, which I’m not sure I could sit through again without fast-forwarding to the parts with Tom Hiddleston. Other times I have a temptation to go back and watch a previous entry, usually on the eve of a new entry like Avengers: Age of Ultron. This policy is in effect partly because a good chunk of the MCU films are like The Dark World — sloppy, boring, noncommittal — and a second viewing only highlights these qualities. What do I do, then, if I need me my Thor fix now? I go read a Thor comic.

The real experiment afoot here is one that will fail, but one I hope for anyway: if the longevity of the MCU is the thing the MCU-makers are actually striving for, rather than that rusty and outdated model of making one good movie after another, then can I find a way to emphasize that? Can I enjoy the good and forget the bad and then return to the whole thing as one whole thing, years later, and really feel that longevity in the good and the bad?

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Writer Series: Michael Crichton

The Great Train Robbery (1978)

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If the worth of a film can be measured in the height of the protagonist’s hat, then The Great Train Robbery is one of the finest cinematic endeavors in history. Look at that thing! More than once I thought of this:

Even if we strike that particular criteria, Michael Crichton’s The Great Train Robbery is still one of the most unique and enjoyable entries in his long and storied career. We’ve discussed Crichton’s popular status as a “sci-fi writer” before, positing that although The Andromeda Strain and Coma and Jurassic Park certainly number among his finest works, Crichton also defied the genre to which he’d been assigned by the popular media on more than one occasion. In no single script is this more apparent than in The Great Train Robbery, adapted from his own 1975 novel, and the reason why isn’t simply because there’s no science fiction involved.

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TV Review

True Detective 1.2 – “Seeing Things”

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This review appeared shortly after the initial premiere of True Detective in early 2014 — slight edits have been made since the original posting.

After a strong, stimulating pilot episode last week, True Detective returned with a second episode that further steeped us in the characters of Rust Cohle and Martin Hart. Headway is made on the murder investigation, but True Detective continues to emphasize the characters over the plot. Spoilers follow for the second episode “Seeing Things”.

Last week, the 1995 murder of Dora Lange brought State Police Detectives Cohle (Matthew McConaughey) and Hart (Woody Harrelson) together for the investigation while their disproportionate attitudes kept them distanced outside of work. A connection was made between the Lange murder and the shady disappearance of the young Fontenot girl years earlier, but other than that very few pieces of the puzzle can be placed by the young detectives. The pilot episode also introduced a part of the story unfolding seventeen years after the Dora Lange murder, and in 2012 Cohle and Hart are seemingly estranged, definitely changed from the men they used to be, but somehow definitely still the same.

Continue reading True Detective 1.2 – “Seeing Things” →

Featured

The Punisher (1989)

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I was one of those kids who only had a dozen or so comic books to my name but still read them constantly anyway. We’re talking constantly. Most of them were Batman titles, a few were Spider-Man or Darkhawk, one was an old Justice League issue featuring Eclipso. One was an issue of Weird War Tales with a soldier kneeling at a grave on the front cover and exclaiming to the soldier behind him “Hey! According to this…you DIED three weeks ago!”, and for some reason that shit freaked me out. Outside of the occasional Saturday morning cartoon, these precious issues were my sole window into the superhero world.

My favorite of the batch might have been a 64-page Annual issue of The Punisher, featuring a few different Punisher yarns and Part One of the mini-crossover The System Bytes. I read that thing until the cover and inside pages wore out and started to fall away and I had to cradle it like a fragile science project on the bus ride to school every time I wanted to read it. Punisher wasn’t my favorite superhero — I’d probably have told you he’s not a superhero at all, and that my Punisher issue was more similar to the Weird War Tales issue than to the guys-in-costume stuff. Spidey was the coolest and Batman was for some reason automatically my favorite, but I still went back to that Punisher comic over and over.

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News

Film & TV News: April 27

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News

  • It’s Marvel Week here at Motion State! In preparation for Avengers: Age of Ultron, we’ll be giving the comic book movie giant more attention than it deserves usually receives.
  • Daniel Bruhl confirmed this morning that he’ll be playing Baron Zemo in the upcoming Captain America: Civil War, a film which is rightly being dubbed Avengers 2.5 due to the burgeoning cast.
  • The shortlist for the new, younger, quippier, Marvelier (more Marvelous?) Spider-Man includes Tom Holland, Timothee Chalamet, Asa Buterfield, Nat Wolff, and Liam James. Our pick is Holland, but we likely won’t have to wait long for the official announcement.
  • David Ayer released the first picture of Jared Leto’s nu-punk Joker from next year’s Suicide Squad film. Our humble opinion on the look is…sorry, what? Squad is a DC film, not Marvel, you say? You can’t defile Marvel Week so willingly, you say? Fair enough. Thankfully, the other 51 weeks of the year are pretty much DC Weeks.

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Writer Series: Michael Crichton

Coma (1978)

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Michael Douglas famously referred to Coma as the first time he was a part of something with a good story, a good cast, and a good director. The latter of those compliments, while true, was at that point based only on Crichton’s debut feature Westworld and his earlier made-for-TV flick Pursuit. The middle statement, about the cast, seems oddly self-serving considering Douglas is in the cast. The actor’s career was likewise young, and oddly enough Mike Crichton and his brother Douglas once published a story under a pseudonym that combined their first names: Michael Douglas.

Whatever conspiracy the Michaels and the Douglases have cooked up here, it probably isn’t as sinister as the conspiracy afoot in Coma. Based on the highly popular novel of the same name by Robin Cook (a friend and contemporary of Crichton’s), the story of Coma is as well thought-out as Douglas claimed. The pairing of Cook and Crichton is a match made in medical thriller heaven, and Crichton’s script treatment of the novel is accurate and respectful of the source material. Slight changes were made, but the overall sense of paranoia that pervades the book is very much intact in Crichton’s screen treatment.

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TV Review

The Red Road 2.4 – “A Cure”

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While portions of “A Cure” provided promising angles on The Red Road‘s second season, the feeling persists that the direction and drive of the first season have largely evaporated. The set-up for this season was Mac’s death, with Kopus somewhat framed and thus determined to find the real killer. While threads of that are still hanging loose, “A Cure” tied off enough that Mac’s death no longer feels like the unifying catalyst for this six-episode arc.

On the plus side, Kopus and Harold find their worlds converging yet again after following disparate threads for the first three episodes of the season. The cat-and-mouse tensions of their collective past have given way to a strange kind of mutual respect that neither are comfortable with. In the season opener “Gifts“, Kopus remarks on their lying, cheating and stealing eventually resulting in a promotion for Harold and prison for Kopus. “A Cure” follows up on last week’s “Intruders” with an even more explicit version of this societal unbalance: Harold kills a suspect and gets made Captain of the force, while Kopus has as much of a hand in solving that same case and ends up with a bullet in his shoulder this week.

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