- The great Alan Rickman passed away last week after a battle with cancer. We’ll be watching Die Hard in his honor, marathoning Harry Potter, and recommending is writer/director efforts The Winter Guest and A Little Chaos to anyone who’ll listen.
- HBO has reportedly halted production on Westworld, the Jonathan Nolan-helmed series adaptation of Michael Crichton’s seminal original film. That’s the latest in a long string of mysterious production shakeups at HBO, but it’s hard to get too rattled about it considering nearly everything they put out is of impeccable quality.
- A lightsaber with a crossguard hilt will apparently crop up in Star Wars Rebels, and it’s possible (although highly unlikely) that Supreme Leader Snoke will make an appearance as well. I’m all for bringing elements of The Force Awakens into the earlier-set parts of the Star Wars saga, but the lightsaber concept alone kind of makes Kylo Ren’s iconic weapon a little less special. I hope I eat those words.
- Can we talk about the impressive unveiling of 10 Cloverfield Lane? Consider how impossible it is to keep anything a secret these days. Consider how we only have to wait two months for the film, rather than two years. Consider how J.J. Abrams must have known that the Force Awakens marketing blitz would effectively serve as its own smokescreen, press outlets wrongly assuming that J.J. wouldn’t dare think of multitasking with a Star Wars film at stake (even if T.J. Miller sniped it). Trailer below.
Continue reading Film & TV News: January 18
To my mind, two things played a major role in spawning a resurgence in post-apocalyptic storytelling in the past decade. The first is Cormac McCarthy’s The Road, a bombshell of a novel from 2006 that depicted an ashen, desolate earth struggling to grasp the faintest glimmers of hope. It became a decent John Hillcoat film a few years later, but the craze spun off into more than just that: The Book of Eli, I Am Legend, Tom Cruise’s Oblivion, last year’s brilliant Snowpiercer, last year’s crappy Young Ones, that crappy now-cancelled NBC show Revolution, etc. etc. They’re not all directly borne of The Road, of course, but the genre itself certainly received a huge boost from McCarthy’s novel. That’s why the time was right to revisit Mad Max with Fury Road, and why the likes of Blade Runner is getting a new treatment as well. Heck, just this week there’s talk of Christopher Nolan being involved with the long-awaited Akira adaptation.
The second influential piece of post-apocalyptic storytelling is The Walking Dead, the massively popular AMC show that launched a thousand other zombie-related things and an official spinoff of its own (Fear the Walking Dead, which is pretty good if almost exactly what you’d expect). The thing that pushed TWD ahead of the pack was the format of a television series: movies and books are comparatively finite, but the long-term storytelling at hand in a TV series (or a comic book series, like the one TWD is based on) serves the genre in the perfect way. In both cases — Road and TWD — the aim was to create a new world out of the old one, to watch characters deal with the differences, to play witness to what fantastic and terrible things might arise after something alters life as we know it.
Continue reading The Leftovers 1.5 – “Gladys”
These days, Westerns seem to either be smaller art-house fare or destined box-office flops. Michael Agresta’s phenomenal article “How the Western Was Lost (and Why It Matters)” touches on a few reasons why — see The Lone Ranger, Cowboys & Aliens, Jonah Hex, or don’t see them — and a few reasons the erosion of the genre marks a sad day for American Cinema. Agresta is mainly writing about the public perception of the Western and not necessarily about whether Jonah Hex is any good or not (it’s not), and so the commentary on the smaller art-house stuff is limited. He’d agree, though, I think, that the more limited platform of independent and small-studio filmmaking is where the majority of “good” Westerns are being produced these days.
And Slow West is somewhat of an interesting film to consider in the larger context of The American Western, a long-standing genre with a hugely important but slightly malleable history as outlined by Agresta. Starring Kodi Smit-McPhee as the young dreamer Jay and Michael Fassbender as the mysterious drifter Silas, Slow West is an undeniably style-heavy piece that takes full advantage of the fact that it’s not a big-budget tentpole. In doing so, the film retains a self-awareness that manages to be less wink-wink than you might expect.
Continue reading Slow West (2015)
These days future-set postapocalyptic fables are so common that anything such a movie can do to make the idea fresh and original is more than welcome. Cormac McCarthy’s popular The Road and John Hillcoat’s ensuing adaptation with Viggo Mortensen helped to cement the profitability of the genre after a distinct lag since the Mad Max/Blade Runner heyday, and now dystopias seem to be coming through the woodwork. The fact that both Mad Max and Blade Runner will be getting new treatments soon should attest to that desire to recapture the glory days of the genre.
One of the latest entries is Jake Paltrow’s Young Ones, set in a world where water has finally become a scarce and precious commodity. The film is divided into sections focusing on different characters, starting with Michael Shannon’s Ernest Holm, continuing with Nicholas Hoult’s rogueish Flem, and ending with Kodi Smit-McPhee’s son-of-Ernest Jerome Holm. They’re all changed irrevocably by the drought, guarding what little they have with violence and ruthlessness, and most shades of innocence are gone by the time Young Ones takes place. As in most dystopias, it’s the state of things that causes this darker and more animalistic aspect of humanity to come to the surface.
Continue reading Young Ones (2014)
Cop Land can be classed with recent entries Oblivion and Lawless under the “Decent Movie, Terrible Title” banner that seems more and more popular these days. The lineup is impressive – Sylvester Stallone, Robert De Niro, Harvey Keitel, and Ray Liotta lead a character actor-fest that includes a bunch of guys with two first names like Robert Patrick, John Spencer, and Frank Vincent. Also, master thespian Method Man is on hand to pick up De Niro’s slack.
The plot is not nearly as stupid as the title, but it is a fairly rote procedural as far as corrupt cop flicks go. De Niro is good cop (duh), Harvey Keitel is bad cop (duh), and Ray Liotta is drug addict cop (duh). Stallone is the only noteworthy one here, surprising as that may be. As naïve heart-of-gold Sheriff Frank, Stallone brings something other than the usual slackjawed tough-guy macho talk to the screen. Frank is Sheriff of Garrison, New Jersey, dubbed by De Niro in a trailer-suitable monologue as COP LAND. BOOM, baby. You can almost see the ALL CAPS on the script. COP LAND is corrupt and STALLONE has something to say about it.
Continue reading Cop Land (1997)