Our Take Two column offers second opinions and alternative angles on films and TV series reviewed elsewhere on Motion State. Head here for our Face Off between Fargo and No Country for Old Men.
“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.
Continue reading No Country for Old Men (2007): The Devil Wears Progress
Narcos has a rookie season that moves like a final season. Netflix has been in the TV game for a while now, with their flagships House of Cards and Orange is the New Black both entering fourth seasons soon, and it’s rare that a Netflix series falls wide of the mark — Bloodline, Daredevil, and Sense8 all drew in high-powered acting and directing talent and were almost immediately renewed for second seasons. Narcos, with the pacing and and urgency of a well-established series and character arcs that would normally be stretched over the course of a lesser show, might outdo them all.
A large part of what sets this story apart from the pack is the fact of this story being a true one. Pablo Escobar has been portrayed several times by all the people you might expect — there’s Benicio Del Toro just last year in Paradise Lost, Javier Bardem next year in a new biopic, and then John Leguizamo (okay, so maybe not who you’d expect) in yet another biopic the following year — but the infamous Colombian drug lord has never been viewed under a microscope like this. It’s Wagner Moura who steps into Escobar’s patterned polos here in Narcos, and he’s up to the considerable task.
Continue reading Narcos – Season 1
For such a successful franchise of movies, there is no denying that of the 23 James Bond installments, a handful of the movies are nothing special on their own. That is to say, strip away the Bond allure and you’re left with a lot of movies that probably resemble a 2014 Kevin Costner film (3 Days to Kill, Jack Ryan: Shadow Recruit… you get the picture). But the most recent entry Skyfall certainly does not fit into this category of Bond movies. In many ways, Sam Mendes’ first Bond movie is not a typical Bond film; making it not just a great James Bond movie, but a great movie in general.
Mendes gives the viewer this sense early when Q says to Bond — but really to the audience as a sort of aside — “what did you expect, an exploding pen?” It’s Mendes way of saying, “what did you expect, a typical Bond movie?” In the case of Q, what he gives Bond — a fingerprint encoded gun — is even better. And in the case of Mendes, what he gives the viewer is also far better.
Continue reading Skyfall (2012)
Calling Daniel Day-Lewis the greatest cinematic actor of all time certainly isn’t a stretch, and his performance in Jim Sheridan’s My Left Foot is the reason why. Day-Lewis plays Christy Brown, an Irishman born with cerebral palsy. The only control Brown has over his body is his left foot. However, he uses this one appendage to achieve fame as both an artist and a writer. Throughout the film and in real life, Brown works through the adversity of his condition as well as the poverty of his large family. The movie is set mostly as a flashback; Christy’s life unfolds as his nurse, Mary Carr (Ruth McCabe), reads his autobiography while at a charity event with him.
The decision to set the movie as a flashback was a solid one as it shows the progress Christy makes in so many regards to arrive to the fame that lands him at the charity event. Also, the film does not focus much on the actual writing of the autobiography. Rather, the focus is more on his art. Thus, seeing his life through his own writing highlights his talent as a writer while also providing an appropriate backdrop for his story.
Continue reading My Left Foot (1989)
Netflix has beefed up their foreign language film offerings lately, adding within the past few months a new cache of hundreds of popular films from around the globe. One such movie is The Intouchables (no, not the French re-make of The Untouchables starring a French Kevin Costner) a 2011 French film directed by Olivier Nakache and Eric Toledano. In fact, by sheer numbers The Intouchables is the Mona Lisa of foreign language films, grossing $281 million worldwide, more than any other non-English movie in history.
The movie’s worldwide success raises the question: how did this film about the true story of wealthy quadriplegic Philippe Pozzo di Borgo and his underqualified, rough around the edges, ex-con caretaker Abdel Sellou shine above the rest? For starters, the original story itself is fascinating. An old wealthy man taking a chance on a young criminal as the man responsible for his own wellbeing is intriguing, but, in most cases, would seem too far-fetched. In the case of The Intouchables, the story is practically completely true, even when it seems overblown.
Continue reading The Intouchables (2011)