Hey — it’s Christmas! Let’s go to the movies. Slug some hot chocolate, throw on your wool hat, follow the colored lights strung from tree to tree on the citywide commons to the movie theater or the cinema or the multiplex or whatever you call it in your neck of the woods. I’ll get the tickets, you get the popcorn. What do you want to see? It’s Christmas, remember, so we need something that will encourage our merriment and warm up our capacity for joy. That disqualifies The Revenant. What about Star Wars for the fifth time? What do you mean you saw it again this morning? Why didn’t you invite me? Whatever, just go get the popcorn.
Here we go: a new Tarantino movie. One would think that a brand spankin’ new flick from Tarantino would, if nothing else, be entertaining. It’s Tarantino. This is the diabolical purveyor of histrionic, action-packed jaunts that bleed style and ooze cool, of movies that have banging soundtracks and automatically generate an Academy Award for Christoph Waltz. This is the director that champions violence in film as fun, responding to the masses that claim violence in film is a potentially toxic influence on viewers with a beautifully composed shot of red blood spewing out of a newly-severed neck. Take that! The violence-is-bad point always reminds me of part of the testimony of famed censorship bogeyman William Gaines during the 1954 hearings on the validity of the violent comic books he produced: “Do we think our children are so evil, so simpleminded, that it takes a story of murder to set them to murder, a story of robbery to set them to robbery?” I picture Tarantino saying that, only with a lot more gesticulation and overeagerness and a lot of “alright, you know, okay?” and a lot of averted glances.
Continue reading The Hateful Eight (2015)
- Both the New York Film Festival and the New York Comic Con concluded this weekend. From the former, I’d like to give a sarcastic shout-out to the idiot who talks through the Closing Night premiere and is inevitably seated right next to me; from the latter, I’d like to give an actual shout-out to the girl dressed as Harley Quinn that I saw zipping through Grand Central. Nice mallet.
- Quentin Tarantino is cutting two versions of The Hateful Eight (rather than, you know, eight versions), one for 70mm and one for the rest of the peons to check out in digital. I really cannot for the life of me think of a good reason for this, other than because he’s Tarantino.
- Jeff Goldblum, Bryan Cranston, Bob Balaban and Edward Norton will be voicing a pack of dogs for Wes Anderson’s next stop-motion animation film. Even if you’re not a huge Wes fan, that’s a pretty top-tier voice cast.
Continue reading Film & TV News: October 13
Nothing says “happy holidays” like an incredibly violent, utterly vulgar, yet strangely comedic look at slavery and racism in the Antebellum South. Quentin Tarantino’s latest effort has garnered exceptional critical support, seeming to morph together styles and tones from three of his previous cinematic achievements: Reservoir Dogs, Kill Bill, and Inglourious Basterds. The scope of the film is quite epic, occurring over months in various Southern states, yet it in no way takes itself too seriously. Instead, Django is extremely humorous and several of its minute details, when given closer examination, actually seem rather bizarre, almost finding itself belonging to the Wes Anderson genre of film. While dealing with a very serious topic and maintaining an ethically appropriate opinion of said topic, Djano truly reels in its audience with its Oscar-winning dialogue and impeccable acting. The film may seem controversial to some, but anyone really paying attention will easily be able to understand the stance the film is taking.
The film has a subtle but significant Reservoir vibe to it. The plot is intricate and well thought-out; dramatic irony (when one or more characters are aware of something that others are not privy to) is abundant; and there is even a particular scene in Django that is a directorial parallel to a different scene in Dogs. Let’s discuss the similarity in complexity of the plot. These movies are no rivals to Inception when it comes to complex storytelling, nor are they trying to be, but they do certainly contain these types of elements. Dogs places a police officer undercover in the mafia, thus tricking the mafiosos into believing that he is one of them. Django places an African American in the fourth largest slave plantation in Mississippi, posing as an expert in the well-regarded field of Mandingo fighting; in front of Leonardo DiCaprio, no less. This similarity simultaneously explains both the intricacy of the plot and the abundance of dramatic irony. And then there are the scenes using the slow-motion walk. If you do not recall what I am talking about, you now have an excuse to go rewatch these fantastic films.
Continue reading Django Unchained (2013)