You’d certainly be forgiven for thinking Alita: Battle Angel to be a new movie by James Cameron. It gives off his scent in more ways than one, but primarily in the union of completely gangbusters special effects and a completely lackluster script. Cameron’s credited as a producer, though, not that the title of “producer” can actually ever have one single definition. Based on the manga series Battle Angel Alita, the film adaptation is in actuality directed by Mexico Trilogy and Sin City helmer Robert Rodriguez, the guy who once claimed his approach as “Mariachi-style” — in which “creativity, not money, is used to solve problems.” There’s an immediate discordance between that approach and the mere notion of James “Titanic” Cameron, and Alita very clearly exhibits the latter’s big-budget sensibility at the expense of an underdog’s incumbent creativity.
Which is a shame, because that’s ostensibly what Alita is about. The title character (played by Rosa Salazar) is a spunky cyborg with a mysterious past, brought back to life by kindhearted scientist Ido (Christoph Waltz) in a war-torn world all but discarded by the elite who reside on a giant floating city in the sky. “Lower” and “upper” class are literalized, and promise of ascension to that higher world is enough leverage to get anyone to do anything. The setup is nearly verbatim to that of Elysium, with an impending reckoning between the rough-and-tumble Earth-dwellers and those nasty domineers above. But the reckoning never happens, despite a colossal amount of exposition pointing in that direction, and apart from a useless cameo (more on that in a second) we never even glimpse one of those nasty domineers.
Continue reading Alita: Battle Angel (2019)
- Both the New York Film Festival and the New York Comic Con concluded this weekend. From the former, I’d like to give a sarcastic shout-out to the idiot who talks through the Closing Night premiere and is inevitably seated right next to me; from the latter, I’d like to give an actual shout-out to the girl dressed as Harley Quinn that I saw zipping through Grand Central. Nice mallet.
- Quentin Tarantino is cutting two versions of The Hateful Eight (rather than, you know, eight versions), one for 70mm and one for the rest of the peons to check out in digital. I really cannot for the life of me think of a good reason for this, other than because he’s Tarantino.
- Jeff Goldblum, Bryan Cranston, Bob Balaban and Edward Norton will be voicing a pack of dogs for Wes Anderson’s next stop-motion animation film. Even if you’re not a huge Wes fan, that’s a pretty top-tier voice cast.
Continue reading Film & TV News: October 13
Edward Norton wowed audiences this past year with his supporting role in Birdman, one that earned him an Oscar nomination for Best Supporting Actor and, at times in the movie, stole the show, even from lead actor nominee Michael Keaton. It was an impressive, but not necessarily unexpected, performance from Norton. He has established himself over the past two decades as a great actor. But how did he get to this point? Where did he start? Two words: Primal Fear.
Truth be told, Norton’s start and end points in his journey have had identical impacts on audiences. On both ends of his career—in his first movie and his most recent one—he has absolutely captivated audiences with his performance. It is his first performance that seems more impressive, though, for the sheer fact that no one saw it coming. Continue reading Primal Fear (1996)
Birdman is not your typical Alejandro Gonzalez Iñárritu film. Correction: Birdman is not your typical anyone film — which is part of what makes it so good. Iñárritu’s inventive cinematography combined with exceptional dialogue between intriguing, fantastically-acted characters make Birdman a masterpiece, and one that deserves all of the praise it is receiving in terms of Academy Award nominations.
The film follows Michael Keaton’s Riggan Thomson, a past-his-prime actor who was once famous for playing the titular superhero Birdman (Keaton himself knows a thing or two about formerly playing a superhero). Riggan’s past character haunts him throughout the film as he tries to become relevant as an actor outside of just the superhero role. He attempts to shake loose of Birdman by directing and starring in Raymond Carver’s play “What We Talk About When We Talk About Love”. Carver’s play provides an appropriate backdrop for Riggan’s attempt at a career revival. Carver, himself, is quoted to start the movie in what reveals a central theme of the movie: “And did you get what you wanted from this life, even so? I did. And what did you want? To call myself beloved, to feel myself beloved on the earth”.
Continue reading Birdman (2014)
Director Tony Kaye has certainly not been afraid of being too graphic in his limited body of work. In his 1998 movie American History X, starring Edward Norton and Edward Furlong, Kaye doesn’t shy away from explicit detail in showing both the past and present of Derek Vinyard (Norton), a young founder of the white supremacist group D.O.C. and his influence on his younger brother (Furlong). The graphic depiction in this movie, despite making it difficult to watch at times, is what makes it so great, along with the performances by Norton and Furlong. Through these two important aspects of the film, the viewer gets a real look at racism in this country; but more than that, the viewer is confronted with the immense influence — either positive or negative — that either a father or an older brother can have on a young boy.
The movie takes place between two time periods. The present day spans a mere 24 hours with flashbacks to the past that show several years. Each of the flashbacks is presented in black and white, a nice directorial touch to not only make it evident that what is occurring is in fact the past but also to show the ignorance and narrow-mindedness in Derek’s views. Once Derek is released from prison, marking the present day, the scene shifts from black and white to color. At that moment, we find that Derek no longer sees the world in black and white. During his time in prison, due to the help of his unlikely friend Lamont (Guy Torry) and former teacher Dr. Sweeney, as well as a falling out with the Aryan Brotherhood in jail (which culminates in a graphic rape scene), Derek is able to see the world in all its colors and look beyond race and bigotry.
Continue reading American History X (1998)