I recently watched Edgar Wright’s Hot Fuzz for the zillionth time. This was partly to assuage my excitement for Baby Driver, Wright’s latest, and partly because the discovery of a commentary track by Wright and his buddy Quentin Tarantino was too good to pass up. Usually commentary tracks feel slight, strained, straight-up unnecessary; Wright and Tarantino have a casual chat that’s nearly as bonkers as Hot Fuzz itself. The pair share a vast encyclopedic knowledge of film and music, and throughout the course of the commentary they discuss nearly 200 films — basically everything besides Hot Fuzz — and if you’re thinking someone should write out that list, well, yeah: reddit.
Their knowledge is enviable, yes, but it’s not nearly as enviable as the fact that both writer/directors manage to make movies that are unlike any other movie you’ve ever seen. Baby Driver, it should be stated at the outset, is unlike any other movie you’ve ever seen. Wright, like Tarantino, has fresh ideas that swing for the narrative fences, and like Tarantino he also has the prowess to actually achieve his vision. This time around the vision is something people are calling a “car chase musical”, which seems only half-accurate because it doesn’t quite do Baby Driver justice.
Continue reading Baby Driver (2017)
At some indiscriminate point in the ’90s movie producers everywhere decided to simply stop caring about trying to get actors to do passable Irish accents. Can’t we try, begged writers and moviegoers and people from Ireland, at least try to make this sound accurate? We know it’s more appealing to have a major American beefcake rather than, say, an actual Irish guy playing the role of “actual Irish guy”, but can’t we spend the extra time/money to ensure this film won’t become a laughingstock in ten years, or five, or instantaneously? Please? Please?
We’ve charted a course backwards through movie time and discovered Far and Away to be one of the earliest and most egregious offenders. If not patient zero per se, Far and Away is effectively worse than the index case for presenting itself on the largest possible stage and thus spreading the Awful Irish Accent disease much more quickly. Prior to Far and Away a shitty accent was a shitty accent. After Far and Away, a shitty accent became a perfectly acceptable feature of a major blockbuster because Ron Howard and Tom Cruise and Nicole Kidman couldn’t be bothered to do better. Why should anyone else?
Continue reading Far and Away (1992)
Al Pacino, Jack Lemmon, Alan Arkin, Ed Harris, and Kevin Spacey all in one movie, each with significant time in front of the camera. Who steals the show? If you guessed none of the above, you either were too afraid to guess or you’ve seen Glengarry Glen Ross. GGR does have all of these actors for the entire movie; it also has Alec Baldwin for one scene.
In the end, three minutes of Baldwin overshadow an hour and a half of some of the greatest actors of more than one generation. His brief, but memorable performance can be likened to that of Matthew McConaughey’s in The Wolf of Wall Street. In both cases, they achieve the goal of all actors/characters — to be memorable in just one scene.
Continue reading Glengarry Glen Ross (1992)
The Affair took home a few surprise awards at the Golden Globes this past weekend, including Best Drama Series (beating out the likes of Game of Thrones and House of Cards) and a Best Actress trophy for Ruth Wilson. Dominic West was nominated as well, but lost out to Kevin Spacey for Cards. As a consolation prize (and because episode six was very much The Dominic West Show), this review will be very Noah-centric. You’re welcome, Dominic.
We catch up with Noah as his best friend Max visits him out in Montauk. They go drinking, clubbing, and guess who they meet during their night of revelry? I may have said this before, but Noah and Alison running into each other constantly just seems a bit contrived. This time, though, that aspect is at least partially left to the imagination. Noah plays it like he has no idea who Alison is, for the sake of appearances in front of family friend Max — but as Max’s taxi pulls away from the club later that night, Noah spins and scampers back up the stairs like a child on Christmas (in reverse) and promptly and passionately kisses Alison. So it could have been the case that this particular run-in wasn’t at all accidental, and Noah’s getting more and more bold in his fling. More importantly, West absolutely nails that giddy super-romantic childlike glee.
Continue reading The Affair 1.6
Let’s get one thing out of the way right off the bat: Sam Mendes’ directorial debut, American Beauty, is one of the most psychologically engrossing and, admittedly, strange films of all-time. Let’s get another thing out of the way too: Sam Mendes’ directorial debut, American Beauty, is one of history’s greatest films, and is one of the best directorial debuts in recent memory.
Sure, it doesn’t take a movie genius to call American Beauty a great movie. In 1999, the critically acclaimed film collected five Academy Awards: Best Picture, Best Leading Actor, Best Director, Best Writing, and Best Cinematography. On the surface, though, the film’s success seems far-fetched. The plot consists of a creepy middle-aged man fantasizing about his teenage daughter’s best friend, while he struggles with his rather extreme mid-life crisis. That doesn’t exactly sound like the winning formula for a movie. But the beauty of the film lies in its tagline—“look closer”—as both the audience and the characters are encouraged to do as the film progresses.
Continue reading American Beauty (1999)