Posts Tagged ‘Movie review’

I watched Ready Player One tonight and had a couple of thoughts, mostly about the book it’s based on. I always found it odd that critics called it a “love letter” to geek culture, when the virtual world Ernest Cline creates seems to be one entirely devoid of creativity. There are no more authors or artists, there are only fans. And the fans have taken ownership over everything. And instead of creating works of their own, they simply pine over and remix the works of the past. It’s a world of perpetual nostalgia and eternal sameness. It’s geek culture as imagined by Joseph McCarthy, in which there are “true” geeks (who can recite the lyrics to every Monty Python sketch) and “false” geeks (who don’t even know how many parsecs the Millennium Falcon made the Kessel Run in).

For Cline’s characters, the value of movies seems to have been reduced to how many facts you could rattle off about it, rather than the emotional or intellectual experience it stirred within you. Who you are no longer refers to an inner self or a set of principles, but rather of what you like, how you pay homage to it, and how much more devoted to it you are than everyone else. It’s a potentially fascinating critique of our own relationship with pop culture, except that Cline shows almost zero interest in exploring these implications. The book is a by-the-numbers YA adventure which revels in pop references and unites geeks against a cartoonishly evil corporation whose main sin is that they aren’t as pop culturally obsessed as our paper-thin heroes.

As for the film, Spielberg admittedly does a better job at probing the troubling aspects of this digital escapism and nostalgia obsession, and the story works far better in a visual format, as the action can be drawn with all the kinetic intensity of a real computer game (one understands the awesome appeal of the virtual reality game). And the avalanche of pop references need only be shown (allowing the viewer to make the connections themselves, if they care to), instead of being laboriously explained and itemised by Cline.

I did get a giddy thrill over the ultimate prize of the film being an “Easter Egg.” I wonder if they planned that. The final boss should have been Zombie Jesus.

 

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VASSALS OF KINGSGRAVE: EPISODE 453
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The Vassals venture from the Outback to the dancefloor to the suburban sprawl in search of the cinematic heart of Australia. Join Duncan (Valkyrist), Sarah (Lady Weaver), Dana (Taindana), and David (davidhhh) as they discuss some of their favourite Australian films and mull over the state of the industry.

01:24 – Australian Cinema
22:19 – Wake in Fright (Ted Kotcheff, 1971)
55:20 – The Adventures of Priscilla: Queen of the Desert (Stephan Elliott, 1994)
1:25:26 – Strictly Ballroom (Baz Luhrmann, 1992)
1:44:17 – The Babadook (Jennifer Kent, 2014)

Warning: Contains #SPOILERS# for all four films

Credits:
Edited by Valkyrist
Audio clips owned by NLT Productions, PolyGram, M&A Productions and Causeway Films


VASSALS OF KINGSGRAVE: EPISODE 439
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Join the Vassals for a spoiler-filed discussion of Star Wars: The Last Jedi. Did you love this movie? Hate it? Can’t decide? Tell us what you think. It’s certainly been a hot topic this past week.

Your hosts include Adam (drownedsnow), Paul (SerDinnerRoll), Michal (inkasrain), Katie (Lady Griffin), Patrick (Ser Patrick the Tall), Duncan (Valkyrist), Amber (Amberrocks), Bina (Bina007), and Hannah (Shadowbaby). The Aftershow begins at 2:51:00.

Credits:
Edited by drownedsnow


VASSALS OF KINGSGRAVE: EPISODE 395
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The 3-hour Halloween edition of VoK crams together a multitude  hosts, discussions and stories.

In Part 1, Hannah (Shadow_ baby) is joined by Glen (Dagos_Rivers), Paul (SerDinnerRoll), Adam (DrownedSnow) and Jock (MunroJock2) to discuss Halloween memories, favourite movies, and favourite costumes.  Also included is a Scottish poem, read by Jock.

In Part 2, Krakens  Duncan (Valkyrist) , Sarah (Lady Weaver), Dana (taindana) and David (davidhhh) contribute their memories and opinions of the Halloween culture.

In Part 3, Patrick (Ser Patrick the Tall), Matt (Varley) and Brett (White Raven) join in for the roundtable of scary stories.

Credits:
Edited by Shadow_ baby
Music by Michael Jackson, Bobby ‘Boris’ Pickett, Disneyland Park Soundtrack, and The Fresh Prince & DJ Jazzy Jeff

It [2017] as Political Allegory

Posted: September 17, 2017 in Movies
Tags: ,

I had some random post-screening thoughts on the horror movie It as a contemporary political allegory…

–SPOILERS BELOW–

  • A group of diverse misfits draw strength from unity, and stand up against a fascist, xenophobic, misogynistic bully
  • Durry as a town bound by white picket nostalgia, where the adults refuse to acknowledge the historical atrocities dug up by the kids and instead attempt to propagate a facade of eternal sameness and insulation
  • Pennywise as an agent of chaos who exploits the fears of different people in order to divide and conquer, and convinces the bully to commit mass violence as a way of reclaiming his stolen masculinity
  • The figure of the evil clown running amok literally reappeared in the months leading up to the 2016 election, and also signalled the rise of the alt-right as a horde of anonymous, sadistic mischief-makers who harass people “for the lulz”
  • Oh yeah, and the sewerage pipes teeming with mindless zombies symbolises current internet discourse

Logan [2017] (mini-review)

Posted: March 12, 2017 in Movies
Tags: ,

Logan might be my favourite superhero movie ever. It’s certainly unlike any other superhero movie in its characterizations, and the way it depicts the personal and social cost of violence (or hell, toxic masculinity in general). I guess superhero movies have been around long enough that we’re starting to see the first of the revisionist films. It takes clear inspiration from late-era westerns – the aging gunslinger contemplating his life, not understanding the world anymore, the tension between the man and the myth.

–SPOILERS BELOW–

Logan’s fixation on militarized borders (and the omnipotent surveillance drones) seems eerily resonant with the times we live. I also found the use of the limo quite interesting—wealthy passengers laughing and drinking, chanting “USA!” from the sun roof—while the body of the limo is gradually shredded with bullets (class commentary?). Unlike most superhero movies, it is mostly set outside cities, depicting an America of decaying factories and desolate highways, anonymous gas stations and modified corn fields, and a false Eden at its heart. And it ends, not with refugees trying to get into America, but trying to escape it.

The film completely subverted the Avengers formula with the intimacy in scope, focusing on just two or three characters, and I loved the restraint of its exposition, which was couched in character development and action. I was genuinely moved and cared about Logan and Charles in ways few superhero movies have come close. It was such a brutal movie, such a sad movie, and yet its action and story were utterly compelling all the way through. I kind of wish Logan’s dying breath had been something like, “I’m going to see my friends again,” but that would probably have been way too cheesy.

The final shot was perfection. 5/5 rusted adamantium claws.

Moonlight [2016] (mini-review)

Posted: February 28, 2017 in Movies
Tags: ,

So great to see Moonlight snag Best Picture. It really is a stunning, heart-wrenching film about trying to figure out who you are in a world which relentlessly tries to define you. What I love is how much more the director is concerned with feelings rather than plot, feelings which can’t necessarily be articulated by the characters, but are instead conveyed through a kind of sensory language – the camera caught above and beneath the surface of the water, the lulling rush of the tide, cool wind against anxious flesh, ripples of starlight on a dark purple sea, fingertips tracing patterns in grains of sand. Can’t wait to see what Barry Jenkins does next.

Cinema and the City

Posted: January 28, 2017 in Movies, Philosophy
Tags: , ,

This is a video essay examining the relationship between cinema and the city. In particular, it draws on David B. Clarke’s 1997 book The Cinematic City, and the presence of the city-stroller and the stranger in urban films.

FULL TRANSCRIPT

In The Cinematic City (1997), geographer David B. Clarke considers the relationship between urban spaces, urban representations and the cinematic form. He argues that the modern individual has come to conceptualise the cityscape as a screenscape—as an engulfing combination of movement and visual stimulation—and that one’s understanding of particular cities, such as Los Angeles, New York, Paris, or London, as well as the very idea of the city, has been fundamentally shaped by motion pictures (3). While the compendium contains essays from a variety of cultural critics, this evaluation will focus primarily on Clarke’s introductory essay, in which he outlines his theories, and makes a case for the intersection of urban and film studies which frames the cinematic city paradigm.

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La La Land [2016] (mini-review)

Posted: December 26, 2016 in Movies
Tags: ,

I just saw La La Land and thoroughly enjoyed it. The film is both a sweeping, sundrenched love letter to the dreamscape of Hollywood, and a charmingly intimate portrait of two aspiring artists enthralled and tortured by that dream. The romantic chemistry between Stone and Gosling is genuinely effective, and the film flows with a giddy optimism and inflamed yearning that gets under your skin and refuses to leave.

–SPOILERS BELOW–

I saw Rogue One today. It wasn’t as good as The Force Awakens (which I found a fun, energetic adventure which got me right back in the Star Wars spirit), but it still pretty good. I found the main character and villain a little bland and underdeveloped, but I really liked the supporting cast, especially the wise-cracking robot and the blind priest. Vadar was perfectly understated and the kind of nightmare fuel his reputation deserves. The film had a really dark, gloomy edge to it, which I appreciated – this is life under the empire, this is life in the trenches of the rebellion. Everyone is lost, and losing faith and turning on each other. “It helps if you don’t look up.”

On its own, the movie is uneven and scattershot, especially the first hour, but the final action sequence is brilliantly tense and tragic and exultant. As a prequel, however, it gives us such a richer vision of this world, and adds new layers to the events of the original trilogy. Even the title of the original film (A New Hope) has new meaning, because it doesn’t just refer to Luke as this delivered savior, but of the renewed sense of unity and courage that the Rogue One crew invigorated in the rebels. No one will remember Rogue One, but they lit the fuse.