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)
– Oscars went to Eddie Redmayne for The Theory of Everything (Best Actor), Julianne Moore for Still Alice (Actress), and Birdman for mostly everything else. A huge fist pump goes to Whiplash for winning three out of their five nominations, including a long overdue acting award for J.K. Simmons. All in all, a fairly good year for movies.
-It turns out Neill Blomkamp actually is directing a new Alien movie, not just Instagramming it. Thoughts?
-After shitting on him a little bit in last week’s news roundup, Kodi Smit-McPhee got cast in X-Men: Apocalypse as the supercool mutant Nightcrawler. We’ll have our apology ready for when he nails it.
-Happily, The Man in the High Castle got picked up by Amazon for a full first season; sadly, Niko and the Sword of Light did not.
Continue reading Film & TV News: February 23
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)