Last year, 2018, was the biggest year ever at the domestic box office. There were some great movies, sure, regardless of their financial success, but it still felt like a weird year for Hollywood. The dark pall cast by the Weinstein case revealed the industry to be hopelessly stuck in the past (to understate the matter), run by rich white men and increasingly monopolized media conglomerates. Green Book winning Best Picture did not help.
So, how did 2019 respond? Essentially in two ways:
- Martin Scorsese refers to Marvel movies as “not cinema”. He goes on to clarify and reclarify his position, which is in turn either refuted or bolstered by nearly everyone in Hollywood. But the point is out there now, whether you agree or not: there’s the Hollywood that cares about money, about starpower, about IP, about all four quadrants, about comic-book fandoms and release calendars and streaming services and cosplay-riddled convention hall trailer reactions; and yet, somewhere, there’s still the Hollywood that truly cares about the movies, quaint an idea as that may be. Partly due to Scorsese’s willingness to speak truth to power, many spent 2019 redefining and rediscovering cinema.
- Disney, meanwhile, spent 2019 expanding its revenue base by a record $10 billion.
I watched about 100 new movies in 2019 and it seemed like Adam Driver was in most of them. The first one I saw was Alita: Battle Angel and the last one was The Two Popes, both of which were full of guns-blazing action. Chris Evans holds the distinction of starring in the year’s biggest (Avengers: Endgame), one of the year’s best (Knives Out) and also one of the year’s absolute worst (The Red Sea Diving Resort). And just when you thought toxic discourse about Star Wars fandom couldn’t explode any further, The Rise of Skywalker and Baby Yoda brought us to the brink of an Alderaan-level event.
But those aren’t the stats you care about. You just came for the best:
Continue reading Best of 2019
We’ve already gushed a bit over Mindhunter, which returned to Netflix for a second season a few weeks back, but the work of David Fincher and Co. on that series really can’t be undervalued. There are two scenes in the first three episodes of the new season — all directed by Fincher — that are particular standouts. The opening of the season is just masterful tension achieved with so little: a rope tied to a doorknob, a slight rattling of the door on the other side, a trembling hand reaching out to open it. Fincher holds this almost to the point of hilarity before letting it all break open. The second scene in question is set in a car, with Agent Tench interviewing a subject who’s had his face mutilated by the BTK Killer. Without giving away the device, the camera placements and shot choices make for an utterly gripping sequence that happens to take place in a parked car.
Both recalled Panic Room, Fincher’s most claustrophobic effort and possibly his most overlooked. It’s about as simple as a plot can be: Meg (Jodie Foster) and her daughter (Kristin Stewart) lock themselves in a well-equipped panic room when three burglars (Forest Whitaker, Jared Leto and Dwight Yoakam) invade their new home. Coming off the comparatively bonkers Fight Club, Fincher still managed to turn this single-location shoot into a consistently twisty thriller.
Continue reading Panic Room (2002)
Each Motion State Face Off pits two films, franchises, or television series against each another for no reason other than because we can.
The second season of Netflix’s Mindhunter is the best single season of television the streaming giant has ever produced. I’d entertain an argument for the best series overall being something else — Stranger Things, Narcos — though with a five-season plan Mindhunter might someday change that. And the show’s not without problems, of course. Still, pound-for-pound, on a season-by-season basis, the second chunk of the David Fincher-led serial killer show is the most finely-tuned and commanding character study you’re going to find. Fincher’s cold camera has never been more sinister than in the first three episodes of this season, and that mood is carried throughout. It’s almost a disappointment when a larger-than-life figure like Charles Manson, babbling and bombastic, intrudes on the otherwise grim and brooding proceedings.
Much of what makes the show so compelling, of course, is that the verifiable truth — some would call it “historical accuracy” — is often one and the same with the most disturbing shit ever undertaken by a multiple murderer in America. Mindhunter makes plenty of stuff up, with Holden Ford, Bill Tench and Wendy Carr serving as fictional versions of actual investigators; a huge subplot of the second season involving Tench’s son was (likely) pulled from an actual San Francisco case in 1971, but didn’t have anything to do with the real people on which the show is based. Yet the depictions of the killers and their crimes are horrifyingly accurate, and the sadistic evil you really wish was fabricated is often the tragic truth.
Continue reading Face Off: Once Upon a Time in Hollywood (2019) and Mindhunter (2019)
The fourth episode of a given season of True Detective is apparently where the action comes in. After the first season kicked off with three episodes of deep philosophizing, “Who Goes There” gave us a heart-in-your-throat action chase in one of television’s most ambitious tracking shots. The fourth episode of the second season, “Down Will Come”, similarly launched us into a shitshow shootout that we’d eventually learn was the high point of the season.
The third season’s fourth entry brought us right up to that point, prepping us for a major action sequence…and then it cut to black right at the literal detonation. It’s somewhat rare to have a dearth of action sequences in our modern film and television entertainment, regardless of the genre. Outside of Mindhunter — which had not a single car chase, shootout, fistfight or explosion over the course of ten hourlong episodes — police procedurals are especially reliant on action. NCIS and the like have at least one set piece per episode.
Continue reading True Detective 3.4 – “The Hour and the Day”