The Coen Brothers have been on my mind as of late. They usually are, granted, but especially so now that we’ve made the (ill-advised?) decision to dive into a complete Coen retrospective in our Director Series column. That means we’ve signed up for a lot of likable characters making drastically dumb decisions against a lovingly-rendered period America and a deep bench of memorable supporting players. You want pitch-black comedy? You got it. You want films that actually earn the moniker neo-noir? You got it, again and again. So how about a little break from the Coen-verse? Perhaps a new indie flick on Amazon to shake things up? Sure. Nice change of pace.
Continue reading Blow the Man Down (2020)
Early buzz on Joker made frequent mention of a guy named Martin Scorsese, a film director you may have heard of, though not one who’s ever actually directed any films called Joker. Partly the comparison stems from the aesthetic of this new grimdark pseudo-origin for Batman’s nemesis, which is set in the ballpark of 1981 in a Gotham that looks suspiciously like the New York of Scorsese’s Mean Streets and Taxi Driver. Partly it’s the theme, too, I suppose, as Scorsese’s obvious preoccupation with insecure males and violence fits Joker‘s bill pretty well. And partly people simply love saying “it’s just like ______!” when a new movie comes out. Heck, the last Joaquin Phoenix movie we reviewed (the phenomenal You Were Never Really Here) discussed exactly that: people said it was “just like Taxi Driver!”
It wasn’t, of course, and Joker isn’t really like Taxi Driver, either. But I’m willing to bet Todd Phillips — Joker‘s actual director — isn’t exactly bummed at the comparison. If anything he’s consciously invited it, crafting Joker as a
rip-off spiritual offspring of Marty’s in more ways than one. We might jump to Taxi Driver because of the interchangeable logline — unstable loner is shunned by society and devolves into madness as a result — but the shout-outs to Scorsese’s King of Comedy are even more explicit. Robert De Niro was in Phoenix’s shoes for that one, playing the failed comedian obsessed with Jerry Lewis’s talk show host, but in Joker he fills the exact seat Lewis filled in King. Now may be a good time to note that subtlety is not one of Joker‘s strengths.
Continue reading Joker (2019)
On New Year’s Day it’s customary to make a ritual sacrifice to the all-powerful List Gods, the extradimensional appetites of which demand that all things — like, say, the best (and worst) movies of 2018 — be ordered and numbered before the new year can commence. For some reason, the List Gods also demand that “Top Ten” items be ranked in reverse sequential order so that everyone has to read the whole damn article to see what came in first.
Editor’s note: in cooperation with scary net neutrality stuff, Motion State’s Top Ten this year was subject to audit and review before publication to ensure that none of this news is deemed fake. As such, the views expressed in this commentary are actually 100% correct, factually speaking. These ones are just the best.
Continue reading Best of 2018
There were a number of factors that prevented me from rushing out to see You Were Never Really Here on opening night. First was the weather, which is not really an excuse at all if you’re a New Englander like me. The second factor was the review snippet plastered on the poster that referred to the film as “Taxi Driver for a new century.” Do I enjoy Taxi Driver? I do. Do I enjoy “modern updates” to ’70s classics like Westworld, for example? Occasionally, yes, I do. But this kind of explicit tailcoat-riding is either lazy marketing or inadequate criticism or, likely, both. I don’t think I saw Interstellar because people said “it’s 2001 for a new generation!” and I didn’t see Annihilation because people said “it’s 2001 for a new generation!“, but I do know that I enjoyed those movies primarily for how not-2001 they both were.
But this, too, is a weak excuse. Two big preventatives: firstly, in a move most unforgivable and piteously ironic for someone who purports to point out “inadequate criticism” in the first paragraph of this very review, I had never before seen anything directed by Lynne Ramsay. People had gently suggested this oversight as something I should reconcile tout suite. “Start with Ratcatcher,” they said, recommending Ramsay’s feature debut. “Start with We Need to Talk About Kevin,” they said, recommending her 2011 effort. I’m a bit of a completist in this regard, watching one movie by the Coen Brothers and then suddenly finding myself rewatching them all. Maybe my appreciation of You Were Never Really Here would be heightened if I first paid my dues to Ramsay’s previous films, no?
Continue reading You Were Never Really Here (2018)