One of the previews that screened before last night’s Boston premiere of Blade Runner 2049 was for next year’s monsters vs. robots actioner Pacific Rim Uprising, an inevitable if somewhat tardy sequel to Guillermo del Toro’s 2013 original. Based solely on this trailer, it’s evident that Uprising centers on the son of the first film’s protagonist, alludes heavily to that first film, and possibly just revamps the plot with slightly louder explosions. I was reminded, regrettably, of Independence Day: Resurgence, which gave off a similar reek of franchise desperation.
Tag Archives: Roger Deakins
Film & TV News: February 29
- The Aussies cleaned up at the 88th Academy Awards last night, taking home a grand total of six for Mad Max: Fury Road. The Revenant and Spotlight won the bigger trophies, though, as did Brie Larson for Room and Mark Rylance for Bridge of Spies.
- Major respect to Alicia Vikander for taking home a well-deserved Supporting Actress Oscar, considering she was pivotal not only in The Danish Girl but also the supremely under-appreciated Ex Machina and the summer’s best popcorn flick The Man from U.N.C.L.E., all of which are from 2015. 2016 better watch out.
- We somehow failed to recognize that the great Douglas Slocombe had passed away this year until the In Memoriam section of the Oscars rolled out. Slocombe is the man who lensed the likes of The Lavender Hill Mob and Raiders of the Lost Ark and had immense influence on how major motion pictures look today.
- Speaking of cinematography: Chivo x3! Poor Roger Deakins though.
- Best quote of the night goes to Oscar winner Charlize Theron, responding on the subject of the best part of the Academy Awards by simply saying “the hamburgers.” Also, Best Human Ever also goes to Charlize.
I admit: I was sold early on Sicario. Were you? There’s no shortage of seduction. Emily Blunt leads a stellar cast that includes Josh Brolin and Benicio Del Toro in some of the finest roles of their respective careers; Roger Deakins (blame him for this) is behind the camera, which is hardly ever wrong; and Denis Villeneuve is in the director’s chair, following up on Enemy and Prisoners with another intense thriller. Not completely onboard yet? How about a poster that recalls The Third Man?
Ah, works every time. Happily, as we sit down in the darkened theater and Sicario (a film which by the way has little to do with The Third Man) begins, it turns out the theme of seduction was at the heart of the film all along.
O Brother, Where Art Thou? (2000)
This year’s New York Film Festival played host to a 15th Anniversary screening of O Brother, Where Art Thou?, the Coens’ Dirty Thirties road movie, though it hardly seems like that much time has passed. I might have described O Brother differently — say, the Coens’ Dust Bowl love letter or the Coens’ Homer homage or the period highbrow escapee buddy whatever — except that the directing duo melted all of that babble away in the post-screening “discussion” of their writing process. “We just started with ‘three guys on the road'” said Joel; Ethan added, “then we tarted it up with Homer.” That was that. Next question. The Coens are experts at both of those things: interpretive film direction and film interpretation deflection.
But they were no less the storytellers on stage, despite their succinctness, and they were joined by O Brother stars George Clooney, John Turturro and Tim Blake Nelson as well as legendary cinematographer Roger Deakins. The latter was a pleasant surprise, and though the Coens have recently worked with the likes of Emmanuel Lubezki and Bruno Delbonnel it’s endlessly exciting that Deakins will return to the fold (as will Clooney) for the next Coen film Hail, Caesar!; if it’s at all the blend of O Brother and Barton Fink that it appears to be, then it can’t come soon enough.
I’m not typically a genre purist. I don’t believe an artist should be constrained to single genres, and I have a great admiration for movies that blur the lines to create something fresh. There are two very different, but very good movies in Prisoners that, in this case, don’t exactly result in synergy. The first is about two families dealing with the disappearance of their daughters. It’s haunting, gut-wrenching, and hyper-realistic. To me, this is the stuff of reality. The second is about the mysterious detective trying to catch the abductor. It’s creepy, riveting, and grotesque. This is the stuff of crime thrillers. Frankly, each one would be nearly perfect on its own. But together, in the form of Prisoners, they feel like a cheap blow below the belt.
Anna’s parents, played by Hugh Jackman and Maria Bello, attend Thanksgiving dinner at Joy’s parents’, played by Terrence Howard and Viola Davis. When the two girls don’t return from playing outside, and it starts to rain, and a mysterious RV is spotted, the families go into panic mode. Days later, with the authorities on the case 24/7 and vigils being held for the missing girls, the families continue mourning and start resigning to the bad news that’s likely to come. But Keller Dover (Jackman) never really leaves panic mode. There was one suspect–the child-like, catatonic owner of the RV (Paul Dano)–but the cops had to let him go. So Keller does what any frustrated father who’s built like Wolverine would do and takes matters into his own hands. Next thing you know, he’s leading Terrence Howard into an abandoned apartment complex where the suspect is chained to a sink and badly beaten. Continue reading Prisoners (2013)