I arrived late to the party for The Shape of Water, having finally caught the movie a few weeks ago after months and months of dodging reviews online. Guess I’d better add my voice to the fray, huh? Maybe a piece on how writer/director Guillermo del Toro’s creativity allowed him to get away with a smaller budget…but, no, someone’s already written that. How about an article detailing the Creature from the Black Lagoon-inspired genesis of the film? Damn, that one’s been up for three months. Use of color in the film? Been there. Political subtext? Done that. Seems a movie as rich as this should have a surplus of accoutrements on which to festoon my opinions, should have that pliability typical of great films allowing for different readings, interpretations, criticisms, attitudes and judgments.
The irony, in a way, is that explicit analysis of The Shape of Water is sort of counter to the themes of the film. More than that: forcing words onto Shape, which thrives largely on sight and feeling, might actually be detrimental to one’s enjoyment of and identification with the message at hand. Despite having seen the film only recently and only once, I suspect that removing the words entirely — watching it with the volume muted — wouldn’t take anything away from the overall experience. It might even heighten it, highlighting just how different “words” and “communication” actually are.
Continue reading The Shape of Water (2017)
At one point Jeff Nichols was slated to direct Aquaman. Let’s let that oddity sink in for a moment, try to picture a big-budget superhero tentpole in the hands of a small-scale operator, compare it to that one time Edgar Wright was going to direct Ant-Man. Oof — too soon. If you don’t know Jeff Nichols (or just confuse him with Mike Nichols) then there are two movies you have to see. The first is Take Shelter, about a family man plagued by apocalyptic visions. The second is Mud, starring Matthew McConaughey in one of his McConaissance roles, about a backwoods constellation of intersecting characters. If you’re sensing that neither of those exactly scream underwater trident-wielding badass, don’t panic! This indicates only that you are still sane.
One commonality between the films is Michael Shannon, a forceful actor who’s risen to prominence with the likes of Boardwalk Empire and Man of Steel, and yet still the kind of guy who seems underrated. Nichols certainly doesn’t make that mistake, recognizing his talent to such a degree that he can’t seem to make a movie without him. He’s something of a bit player in Mud, but Shannon leads Take Shelter and returns to the fore in Midnight Special, Nichols’ latest film.
Continue reading Midnight Special (2016)
How badly can two brothers mess up a supposedly simple robbery? Apparently, very, very badly. This is what we learn in Sidney Lumet’s Before the Devil Knows You’re Dead when Hank and Andy try to rob their parents’ jewelry store to cure some financial woes and, well, it doesn’t go according to plan, which is to say their plan did not involve botching the actual robbery and leading to six deaths, including their own mother, in just a few days. Definitely not good.
At the very least, I can say that the movie is done much more pristinely than the brothers’ plan, but, like the attempted robbery, it certainly could have been executed better. Before I get to any of my problems with the film, I must first admit that the acting is superb. The late Phillip Seymour Hoffman is fantastic as Andy, the older brother pushing for the robbery. Then there’s Ethan Hawke (who just loves being in movies that start with “Before”, as he’s been in four such movies) who plays Andy’s younger brother Hank, a loyal, but non-custodial parent (Boyhood, anyone?), behind on child support. Hawke, as he has been known to do, truly captures the role.
Continue reading Before the Devil Knows You’re Dead (2007)
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)