With the launch of the Criterion Channel this past April, I was finally able to achieve that which humankind has been trying to accomplish since we first emerged from the Garden of Eden: watching every Akira Kurosawa movie back-to-back-to-back-to-back-to-back. Before you ask, Kurosawa directed 31 feature films spanning 1943-1993, and as most of them clock in over two hours (and a few approach four), we’re talking almost 100 total consumption hours of Kurosawaness. And before you ask, yes, that’s going on my résumé.
Bottled retrospectives like this are typically undertaken in order to then distill all of that beautiful creative magic into a ranked list ascending from “worst” to “best.” I’ll spare you that, except to say that the five Kurosawa films that stuck with me most are (in loose order):
We’ve already gushed a bit over Mindhunter, which returned to Netflix for a second season a few weeks back, but the work of David Fincher and Co. on that series really can’t be undervalued. There are two scenes in the first three episodes of the new season — all directed by Fincher — that are particular standouts. The opening of the season is just masterful tension achieved with so little: a rope tied to a doorknob, a slight rattling of the door on the other side, a trembling hand reaching out to open it. Fincher holds this almost to the point of hilarity before letting it all break open. The second scene in question is set in a car, with Agent Tench interviewing a subject who’s had his face mutilated by the BTK Killer. Without giving away the device, the camera placements and shot choices make for an utterly gripping sequence that happens to take place in a parked car.
Both recalled Panic Room, Fincher’s most claustrophobic effort and possibly his most overlooked. It’s about as simple as a plot can be: Meg (Jodie Foster) and her daughter (Kristin Stewart) lock themselves in a well-equipped panic room when three burglars (Forest Whitaker, Jared Leto and Dwight Yoakam) invade their new home. Coming off the comparatively bonkers Fight Club, Fincher still managed to turn this single-location shoot into a consistently twisty thriller.
Pretty much everyone knows Indiana Jones. He’s a popular guy! The hat, the jacket, the bullwhip. If you’ve met him, these facets of his character ensure that you’ll remember him; if you haven’t, these facets still get thrown around in rumor and legend and make it feel like you’ve met him. I’m not talking about you and I, of course, or the world in which we happen to live, although pretty much everyone does know Indiana Jones. But Indy’s own world, in-movie, isn’t so dissimilar in that regard, and in fact his popularity might even be greater amongst the countless supporting characters who’ve seen him in action, experienced his -ness, or simply caught wind of his legendary adventures.
We talked about the much-feared superheroification of Indiana Jones in our review of Raiders of the Lost Ark, and thankfully that hasn’t happened yet (although we came pretty damn close in 2008). The hat, the jacket, the bullwhip — memorable, yes, but not actually the things that make Indy Indy, any more than the Walther PPK and the martini make Bond Bond. Still, they are the non-lingual facets of his character that have universal appeal, building a mythology such that you could sketch the character’s outline and have it be recognizable to anyone.
Each Motion State Face Off pits two films, franchises, or television series against each another for no reason other than because we can.
The second season of Netflix’s Mindhunter is the best single season of television the streaming giant has ever produced. I’d entertain an argument for the best series overall being something else — Stranger Things, Narcos — though with a five-season plan Mindhunter might someday change that. And the show’s not without problems, of course. Still, pound-for-pound, on a season-by-season basis, the second chunk of the David Fincher-led serial killer show is the most finely-tuned and commanding character study you’re going to find. Fincher’s cold camera has never been more sinister than in the first three episodes of this season, and that mood is carried throughout. It’s almost a disappointment when a larger-than-life figure like Charles Manson, babbling and bombastic, intrudes on the otherwise grim and brooding proceedings.
Much of what makes the show so compelling, of course, is that the verifiable truth — some would call it “historical accuracy” — is often one and the same with the most disturbing shit ever undertaken by a multiple murderer in America. Mindhunter makes plenty of stuff up, with Holden Ford, Bill Tench and Wendy Carr serving as fictional versions of actual investigators; a huge subplot of the second season involving Tench’s son was (likely) pulled from an actual San Francisco case in 1971, but didn’t have anything to do with the real people on which the show is based. Yet the depictions of the killers and their crimes are horrifyingly accurate, and the sadistic evil you really wish was fabricated is often the tragic truth.
“The setting is the Texas-Mexico border. The time is our own.”
This is how the synopsis on the back of the first edition of Cormac McCarthy’s novel No Country for Old Men begins. One of these things is inarguable: we’re definitely in the Southwestern U.S. borderlands, weaving along the imaginary line separating Texas from Mexico. But the other bit — “the time is our own” — seems at the very least a strange thing to say about a story set in 1980. Then again, one could sit through the Coen Brothers’ meticulous 2007 adaptation and reasonably assume it to be set in the present day. Maybe the dusty West will always be stuck in time throughout the future of American film, a land pioneered from the 1800s but never truly transformed in the ensuing centuries. One of two hints in No Country comes when Llewelyn Moss (Josh Brolin) references Vietnam explicitly, having served in two tours in 1966 and ’68; the other, of course, comes courtesy of the oracular Anton Chigurh (Javier Bardem), who holds up a quarter from 1958 and muses on the coin’s 22-year journey into his hand.
But the ill-defined nature of time is more than just a peculiar facet of this bloody yarn. We mistake the time period for today, and yet in actuality it’s nearly forty years in the past; if the film centers on the concept of progress, then this curiosity becomes darkly ironic. As is the case with nearly everything by the Coen Brothers (and everything by McCarthy, for that matter), the assertion of numerous interpretations and readings usually leads only to more questions, more ambiguities, more uncertainty. This uncertainty is admittedly fitting of the landscape of the film, and of its inexplicable antagonist. But moreso than “Chigurh as Fate” or “Chigurh as Death” or “Chigurh as Capitalism,” the implication of Anton Chigurh as the living manifestation of Progress seems to make the death knell of No Country for Old Men ring all the louder.
Tarantino’s Once Upon a Time in Hollywood is out this month, and it seems like a culmination of sorts for the film fanatic writer-director. Each of his movies toes the line between self-awareness and immersive cinema, continually winking at the camera and yet lost in a world of its own, packed to the brim with pop culture references but still stylish enough to become a pop culture reference. Tarantino, who worked at a video store as a kid and has been devouring several movies a day ever since, has few rivals when it comes to an encyclopedic knowledge of the art form. To see Once Upon a Time in Hollywood framed around film and television sets in 1950s L.A. is quite the prospect, because that encyclopedic knowledge serves as more than a wink or a reference.
That explicit love of movies, to be fair, is a place that several Tarantino films have ventured before, though never carrying such importance as it must likely carry in Hollywood. The primary one is Inglourious Basterds, which uses the state of German cinema as both a unique backdrop for a World War II adventure and, eventually, as a major climactic catharsis that achieves nothing less than the rewriting of history. Christoph Waltz and Brad Pitt steal top billing (and, in Waltz’s case, the Oscar) as The Bad Guy and The Good Guy. But Basterds becomes a truly great film for the inclusion of Shosanna Dreyfus (Melanie Laurent), theater owner and Lady Vengeance Incarnate, and Frederick Zoller (Daniel Bruhl), young Nazi-turned-propaganda-film-star. These characters are opposed in every way except their love of film, which both brings them together and kills them in the end. Theirs may technically be the subplot, but Tarantino’s passion for cinema sings loudest when his characters share in that passion.
In our year-end Best of 2018 list — an infallible writ if ever there was one — we awarded the animated romp Spider-Man: Into the Spider-Verse the #10 slot, along with the following explainer:
Someone recently said of the late Marvel Comics giant: “When Stan Lee made better comics, he made comics better.” Spider-Man: Into the Spider-Verse is the latest superhero movie in an industry landscape that sometimes feels like it’s traded originality for IP. But Spider-Verse is gleefully, genuinely, finally a better comic book movie — and it might make comic book movies better.
Spider-Verse pushed a boundary that superhero films haven’t been able to push in a long, long time. It was fresh in the way only a non-franchise movie can be, and it was about as original as possible for a story based on existing characters. The goal with most modern superflicks, conversely, is to tie it all together, linking an ever-expanding franchise by deepening character relationships, furthering multi-film arcs, and reviving heroes and villains in such a way that prompts either “oh shit, it’s him!” or “wait…who’s that?”
When author Thad Beaumont decides to go public with his pen-name “George Stark” in an effort to get back to meaningful writing after churning out a few commercial bestsellers, strange things start happening. After Stark’s “death”, people — real people — start actually dying, largely in brutal fashion and largely in connection to Thad himself. It’s a conundrum of a case to everyone but Thad himself, who’s slow to give in to what he knows must be the truth: George Stark, his pulp fiction pseudonym, is somehow real, walking around, back from the dead. And he’s not going back to the grave quietly.
It’s an awesome premise, one which gels with Stephen King’s knack for what if…? setups that are mind-bending and yet pretty damn simple. What if an author’s pen-name comes to life and kills people? — that’s the whole pitch for The Dark Half. It also gels with his occasional preoccupation with writing about writers, which typically ends up as a fascinating meta-commentary on the art itself. Sometimes this niche of King’s makes for a great movie, like with Misery. Other times…well, yeah. You know where this is going. And I don’t mean Secret Window, although that one’s a slog, too.
You’re out late on a weekday night at the only bar in the whole dusty town. Been a rough day, not that you want to talk about it. Not that there’s anyone else in the bar even if you did want talk about it, except the bartender. He’s a wiry hipster in skintight plaid and heavy black glasses, like the 3D kind they give out at the movies only with the red and blue lenses removed. The kid perks when you arrive, a lone customer, live in three dimensions. He offers you a berry-infused session ale inspired by some monks somewhere, which you decline in favor of the cheap stuff inspired by simple thirst. “I’m Dylan if you need me,” he says, and you nod as if to confirm this is the perfect name for him. After an hour of drinking in silence the kid can’t help himself and he pours the monk berry ale into what looks like an Erlenmeyer flask and says “on the house” with a wink. You thank him, sip the syrupy purple goo. “Such a unique finish,” Dylan notes. “Anyone joining you tonight?” You shake your head. He recommends an app for meeting new people.
It’s just as aimless out on the street, despite the single sandy road leading only one place. The cinema, glowing like the lure of an anglerfish, is showing a double feature tonight: Jim Jarmusch’s Night on Earth and the Coens’ Ballad of Buster Scruggs. You buy a ticket from the ancient woman at the box office, her spindly witch’s fingers clutching your money and then waving you into the theater. You sit with your popcorn as the first segment of Jarmusch’s film begins. The only other people in the theater are a young couple talking loudly a few rows behind you, a guy and a girl, but their voices sound so similar it’s hard to tell who’s who. One says “Gimme some Skittles, Sammy, willya?” and the other says “Why didn’t you get your own? Jeez. Syd, stop it. Okay. Just put your hand out and I’ll pour them.”
It’d be tough to think about the Deadwood film as that alone, a mere two-hour tour through a corruption-riddled mining town in the waning days of the 19th century. The movie exists very much as a long-awaited finale for the Deadwood series, which was unceremoniously canceled after three seasons at HBO more than a decade ago. To enjoy the film without the context of the show is possible, probably, but it’d also be akin to starting in on the last episode of a television series. It’d be equally tough to refrain from using the f-word multiple times while writing about Deadwood, so consider this a spoiler warning for both series and film and a graphic language warning to fucking boot.
In the ever-expanding slew of reboots and revivals intent on wringing out every droplet of goodwill you might have once had for an old TV show — take Twilight Zone, X-Files, Twin Peaks, the upcoming Amazing Stories or, sure, fine, fucking Roseanne — it’s possible that Deadwood fares well out of necessity, plain and simple. The show never had an ending and the movie gives it an ending. Few truly wanted more Zone, more Files, more Peaks; not a fucking soul wanted more Roseanne, except for maybe the refined Ms. Barr herself. But the clamor for more Deadwood has really only intensified since that fateful cancellation in 2006. Fan-driven revivals aren’t guaranteed to turn out well (see: Anchorman 2) but if you have to watch your favorite characters get dragged out for one last ride, squeezed into their old costumes, it’s more comforting to think you’ve dragged them out yourself for good purpose.