Movie Update 12

At this point I'm starting to see the finish line on the list of classic movies I compiled last year (and have repeatedly expanded on since), about in time for Netflix' two disc plan with streaming to increase in price. I might just watch regular old crap for a while after that, though there's plenty of lists I haven't gone through yet, mostly consisting of winners of various awards. Anyway, movies.

American Graffiti


This is the first non-Star Wars film directed by George Lucas that I've seen... not very surprising, since only one other such film exists. It's an entertaining and charming nostalgia-laden film about mid-century cruising culture, which consisted of teenagers in California hooking up and aimlessly driving their cars around town while listening to music. It's obvious Lucas has a history with this sort of thing, and it comes through in the movie, which is too light on plot to really be a sex comedy or anything like that, but tells a simple and interesting story about two high school graduates struggling with whether to go to college at the other side of the country while summer comes to a close. The young cast is pretty good, it's funny, and it's shot well enough to make you forget for a little while what Lucas' career has turned into. Nothing too incredible, but a good film.

The Curious Case of Benjamin Button


I liked this more than I expected, but it's still pretty far from the best work by David Fincher. Despite the apparent grab for awards with the sentimental, broadly-reaching script and big name cast, you can still definitely tell it's a Fincher movie from the specific color scheme and interesting using of CGI (the effects to create young/old Benjamin are far from real looking, but they're definitely interesting) among other things. And I liked most of the performances, especially surprising ones like Mad Men's Jared Harris as a salty, drunken sea captain. It's just much too long of a movie for how much story it has. It's like screenwriter Eric Roth couldn't think of anything beyond combining an intriguing short story concept with an earlier-set version of Forrest Gump. Some cool ideas, but the experience is kind of a drag.

La Dolce Vita


This is the third film by Federico Fellini that I've seen, and I was again impressed by some things he did without being really drawn in or terribly entertained by the work itself. It's very much a 60s European art film, and is very identifiably good at that. I was somewhat intrigued by the episodic nature of the story, as it progresses through various mostly unrelated events, examining the mindset of the central character. Really though, the part that grabbed my interest the most was when Anita Ekberg was just sort of walking and dancing around on screen, so maybe I'm not quite the target audience. This is another film that was quite long, and I got through it fine but wouldn't want to watch it again.

Nashville


Robert Altman is definitely known for those ensemble casts, and this is a premiere example of that. Nashville is about the coming together of many people, lots of them musicians, at a political rally for a candidate that is never actually seen. Much time is dedicated to the musical performances, and it's quite a long movie, giving fair shake to a lot of different stories. It's a well put together film, and while I'm not familiar with a lot of the cast, they all tend to do good jobs. I didn't like a lot of the movie though, which I found to be incredibly uncomfortable and hard to watch. It's the product of a very dark sense of humor, some real proto-cringe type stuff. I understand what they were going for, but too much of it was too far on the painful side of the spectrum without being that funny. It's just personal taste, and I respect the movie, but I had trouble with it.

Sullivan's Travels


Sullivan's Travels is about a comedy director who thinks people don't know enough about the real suffering going on in the world, and tries after a few false starts to discover real trouble so he can honestly make a movie about it. I tend to like movies that hold up mirrors to Hollywood, and Travels does it about as well as any. It's a nice snappy 40s road comedy, which happens to take a strange, dark, and surprising turn near the end. It's a little off-putting, but not enough to really damage a film that's otherwise got a pretty good point to make about what people really want to get out of cinema, and is honestly just entertaining on its own. The biggest issue is perhaps the movie trying to get me to believe a girl who looked like Veronica Lake would have trouble getting a break in Hollywood, but that's pretty much how movies work. Somehow not as famous as other movies of similar type and quality from the period, but deserving of a watch.

Movie Update 11A

Life goes on, and I continue to watch a number of films that I have never seen before. I'm running out of "classics" in the instant queue at this point, and I don't know if I'm going to keep that when Netflix switches up the plans in a couple months. But I'll keep watching movies. 11B goes up tomorrow.

The Conversation


Sandwiched between the first two parts of The Godfather, Francis Ford Coppola made this film, a much more intimate and inward-looking affair. Gene Hackman does a great job (I find it amazing he was already 44 when this was made, but I hadn't realized he retired years ago either) as a surveillance expert who becomes worried by the content of a conversation he is hired to record, and reluctant to hand it over to his client. He's surrounded by a great cast, notably a young Harrison Ford as his main contact with the client, John Cazale as his spurned partner, and a brief appearance by Robert Duvall. It's mostly a character piece, and the script and Hackman's work do a great job of bringing a quiet by interesting man to life. Things do get hairier later on, with some surprisingly shocking moments as it reaches the climax. Nice anti-Hollywood ending, too.

The Hustler


I feel like Paul Newman was sort of a singular talent that came into his own in the 60s, and since he didn't have any direct competitor like Robert De Niro versus Al Pacino, some people my age overlook how amazing of an actor he is. There's no ongoing debate around him, he's just an amazing actor. Could be making crap up, though. In The Hustler he plays a pool shark, and while there are extensive pool scenes in the movie, it's more about the turmoil of the character, who realizes he's not who he thought he was after a game against Jackie Gleason's Minnesota Fats goes bad. George C. Scott is also great in the movie, and it's just a fun film to watch despite some pretty dark material towards the end. The good kind of sports movie that's not really about sports.

MASH


All I really knew about Robert Altman before seeing this was he made movies with ensemble casts that talked over each other, and that's certainly the case here. It's a Korean war movie that's really about the Vietnam war, and showcases funny actors rather than comedians trying to act. The three main characters are military doctors played by Donald Sutherland, Elliot Gould, and Tom Skerritt who don't care much for proper chain of command or behavior for their positions. It's not really realistic how cavalier they are with their mistreatment of other officers in the movie, but it's a satire, and it works. I didn't think it was an amazing movie, but I did enjoy watching it go through its paces, and there are a number of memorable scenes, even if some don't quite pay off or go on too long. I can definitely see how some producers looked at it and saw a way to make a series out of it, after removing some of the racier stuff. I assume I'll continue to never see it, but you never know.

Play Time


One of those movies that I didn't really love, but I appreciated the immense amount of care and craft behind. It's hard to say what Jacques Tati's deal is, beyond a lot of wide shots filled to the brim with little bits of physical comedy in every corner of the screen. Play Time is a film where dialogue isn't very important, and I could easily see the whole thing working almost as well with no subtitles at all (it's already a mix of French and English), or even as a silent film. It's about a tragic future version of Paris, where all of the famous landmarks people love have been replaced with plain buildings filled with sterile cubic offices, steel floors and chairs with squishy cushions. Humanity still shines through though, as Monsieur Hulot and an American tourist bumble around the trade shows and turn a disastrous restaurant opening into a heck of a party. I think the whole thing could have greatly benefited from chopping as much as half an hour off, but there's nothing wrong with any individual scenes. You can just only take so much whimsy and clever visual comedy before it all seems like the same stuff. Still a solid film.

Star Wars Episode VI: Return of the Jedi

Return of the Jedi is what made me like Star Wars and will always be special to me, even if I can see how the predecessor was superior as a film. I like stories with good endings, and Jedi puts a nice bow on the series, with the destruction of the bad guys and redemption of the most important character. A lot of people hated the Ewoks, and I can see why, but at least they had the balls to show them getting killed. From the opening on Tatooine to the speeder bike chase to the final battle in three locations, Jedi is packed with some of the series' best action scenes, which are better than a lot of the vastly more technically complex and visually busy ones in the prequels. The emperor's also a much more effective villain when he's sitting in a chair and pressing every button the good guy has than when he's cackling and spinning around with a lightsaber. He really knows how to twist the knife.

To be honest, I'm about tapped out on things to say about the Star Wars movies. Marquand seems like an okay director, but he never really did much else. Seeing all the hanging threads get resolved was good. I really hope the children of the future don't watch all the movies in chronological order, because the prequels really just ruin all the great moments from the sequels, including one of the best twists ever. Will people even really want to show them to their kids, after so many claimed that the new ones raped their childhoods? Maybe not. That catfish guy who flies in the Millenium Falcon with Lando is pretty weird. I now find it weird that Mon Mothma and Admiral Ackbar just show up and act all important in this one. Why haven't we seen or heard of them before? Carrie Fisher used to look really good in a bikini. The redone musical number in Jabba's palace for the special edition is completely moronic. I checked out the original ending on Youtube, and I'm not bothered that they replaced the Yub Nub song. I think I did a pretty good job of padding this out. I'm done now.

Star Wars Episode V: The Empire Strikes Back

Is it a coincidence that what is generally regarded as the best Star Wars film was not directed by George Lucas, and that he doesn't even have a screenplay credit? It does make you think a bit. I'm not a huge fan of cliffhangers myself, but Empire is a good film that improves on the first one in a lot of ways. Without an obvious goal to shoot for, the movie is more about developing the characters than moving them all towards a big climax, and it really succeeds at doing that. Han and Leia's love story is not only 100 times better executed than Anakin and Amidala's, it's one of the best I've seen on film, period. Their bickering is comedy gold, and things like "I know" cement Han as the series' greatest personality. Harrison Ford's the quintessential hero, the perfect balance of blazing his own path and always managing to do what's right, and the sense of humor just adds to his likability. Carrie Fisher brings a respectability to the role that you might not expect from a princess, and holds her own against him quite well. They really have a great chemistry.

Luke's journey gets more interesting too as he begins training as a Jedi. In the first movie he was an idealistic, somewhat naive kid going on an adventure in space. The whole movie is somewhat a coming of age tale, with a nice, happy ending. Empire really shows the darker side of the war, and Luke facing his demons with Yoda, abandoning his training, facing off with Vader and finally learning the horrible truth is the best example of this. Yoda seems like a silly joke of a character at first like Jar Jar or something, but before long he's telling Luke how afraid he's going to be. It's all good stuff. It's not as action-packed as the sequel, but as a piece of film making it really is superior.

Star Wars Episode IV: A New Hope

I'm not sure I ever saw Han shoot Greedo first before I looked it up on Youtube today. The decision to reverse that might be when fans realized that something had gone wrong since 1983, causing George Lucas to forget what made his world interesting in the first place. I didn't know any better, since the last one is the only one I'm sure I saw in its entirety before the Special Editions were released in 1997. But the fact remains that it encapsulates Lucas' weakness, the inability to let the series go. He has to keep tweaking and updating, and constant technological improvements are making it worse. And the fans are the ones paying for it. First the movies were released on video, then the special editions were. Then the DVD boxset, then "limited" edition DVDs with both versions of the movie. The problem with this was the original version really was original, with all of the errors and degradation intact, not even anamorphic widescreen. The best thing would have been to keep the cleaned up versions and remove the silly content changes, but instead, they decided to release another boxset with the only new feature being a box to hold the "limited" DVDs, and in the future you know they're going to rerelease in every new format and never stop adding new scenes and computer effects.

Beyond that business though, the original film is still a good, but not great adventure. The core cast is pretty darn good, even though only one of the main three went on to a big career. They rush through their lines once in a while ("Faster and more intense!"), but generally make the world feel believable. And Harrison Ford illustrates one of the many things the prequel trilogy lacks: a counterbalance to all the force mumbo jumbo. Han Solo is the series' best character, and they could have used him in the past to slap Anakin in the face and tell him to stop being such a wanker. Not everything has aged that well, but the final space battle remains one of the most thrilling sequences in film and it just feels like a genuine, entertaining movie. Its legacy has slipped, but it still brought joy to millions of kids.

Indiana Jones and the Kingdom of the Crystal Skull

Well, I ended up seeing it anyway. Fan reaction to the long-delayed fourth Indiana Jones movie was very divided. Some accepted the sillier elements for what they were and enjoyed where it stayed close to the spirit of the original movies, and others hated it for the outlandish plot tarnishing the integrity of what they forget was always a pretty goofy series. There were a few moments that deserve questioning, but overall it wasn't too far out of line. There was some unnecessary usage of computer graphics on small animals in multiple scenes, which was intended for comic effect but never that funny, and stuck out in a movie that usually tried to avoid effects that take you out of it. There was a scene near the beginning with a refrigerator that was completely moronic and utterly pointless, and I can't think of why they thought it was a good idea, but that was the only thing that really bothered me.

It helps that it's modern and benefits from current technology and stunt techniques, but the action sequences are the most exciting in the series. There are some pretty good ones in the other movies, but to me they were more about the character than a car chase or whatever. There aren't as many of those character moments, but there are some pretty good ones, and they acknowledge his advanced age without making a big joke out of it. The addition of Shia LaBeouf as heir apparent shifts the dynamic and it's interesting to see Indy as more of a mentor instead of just a leader. Harrison Ford isn't the young buck he was twenty years ago, but he really didn't seem out of place in the role. He doesn't dish it out as well as he used to but he can still take it pretty good, and his intelligence when it's required still make him quite a compelling protagonist. The main plot twist and especially the resolution were pretty out there, but I liked the movie all the same and wouldn't mind if they decided to make another. I was skeptical of the idea at first but they pulled it off fairly well.

Indiana Jones and the Last Crusade

Last Crusade returns to the formula from the first movie, with lots of high adventure and killing of Nazis. Instead of a Chinese child, his sidekick is his dad, played by Sean Connery. They have an entertaining chemistry, Indiana being pretty rough-and-tumble and his dad getting things done without ruffling his clothes. A lot of the things they do end up being pretty corny, but that's the way of the series. This film is probably the most family friendly of the three, though it still contains some scenes with an obscene amount of vermin and surprisingly grotesque deaths. John Rhys-Davies and Indy's older college friend both reprise their roles from the first movie and make likable companions. This time, the female lead is physically attractive and actually an interesting character, so she's an improvement over her equivalent in the first two movies.

Whereas the second movie was a departure, Last Crusade really follows in the first's footsteps. The opening scene is a flashback to Indiana's youth, an improbable day in which he managed to pick up four of his notable character details. It connects with the modern day (1938) by showing him after the same artifact, and then leads to the real story, which like the first movie, happens to feature the same treasure-hunting villain who has the support of Hitler's regime. There's lots of action and humor as Indiana searches for his kidnapped dad and then the ultimate goal. There are some more great parts, like the "no ticket" scene on a gigantic zeppelin. Too much of the action is slapstick in nature, but it's still an enjoyable movie. I'm not sure what it is, but something about the whole trilogy just felt like it was missing something, though I can't say what. Still, entertaining films.

Indiana Jones and the Temple of Doom

The second film in the Indiana Jones Trilogy (soon to be a quadrilogy) seems a little out of sorts. It just has less in common with the other two movies. The first and third feature Indiana following clues, hopping around the global to exotic locales, exploring perilous tombs, fighting Nazis, and spending a bit of time as a normal professor of history. Temple of Doom has almost none of this, and this is what's appealing about the series. Not to say it's a bad movie, it has plenty of fun moments. It's just... off. He starts off in China involved in a conflict that gets completely dropped when he, his Asian sidekick Short Round, and annoying female lead Willie crash in India, leading quickly to the underground chamber where almost all of the action takes place.

The cultists Indy fights make adequate villains, and the chief is pretty solidly evil, they're just not as entertaining as Nazis. Since they don't use guns, it wouldn't be fair if he did, so every fight is a lot of barefisted slugging. That can be fun, but you like to have some variety in your confrontations. Thankfully, they made one of the series' more exciting sequences for this, a very unlikely high-speed chase on mine carts suspended by tracks over lots of molten lava. It's hard to say how they managed to build those tracks there or how the carts maintain velocity with all the rises, but it's an easy issue to ignore. There are some pretty violent moments, and this is one of the films that finally caused the creation of the PG-13 rating. None of the face-melting found in the other movies, but some scary stuff for little kids. The girl kind of really sucks a lot, but the kid is surprisingly not that bad. Ford is his usual self, and holds the movie together. Maybe the worst in the series, but still a really fun movie.

Indiana Jones and the Raiders of the Lost Ark

I'd previously seen some of the more famous scenes from the Indiana Jones movies, but never actually sat down and watched one from the beginning. I figured I should really see the trilogy, even though I don't have a plan to see the new one or anything. The idea of Indiana Jones fits in quite well with George Lucas' penchant for making entertainment franchises in the style of old serials from the beginning of Hollywood. He started it with Star Wars, his take on science fiction which he admits borrowed from many earlier classic films, and the Indy movies are the same thing with adventure, going on action-packed journeys around the world without taking themselves too seriously. There's something a bit strange about them, because they're definitely aimed at families yet there's some stuff in them that I would be surprised to see in something with a similar audience today.

Raiders of the Lost Ark is a fun movie, filled with iconic and memorable scenes. The whole opening sequence with the golden idol and rolling rock, then the escape to the plane, the confrontation with the swordsman, the Well of Souls, the truck chase, opening the ark. Lots of entertaining moments. Harrison Ford is a great, charismatic protagonist. The character is an interesting one, having two sides; the knowledgeable historian and reckless adventurer. There's a decent supporting cast around him. The female lead can be a bit silly sometimes, but John Rhys-Davies is a good ally, and a couple of the villains are pretty solid. Steven Spielberg admitted it was basically a B movie when he made it, and it's fine being that - it's definitely aimed to keep kids happy, but still has plenty of action and intrigue for older viewers, if you can handle some goofiness. The whole ending is really good, with a slightly shocking climax and cool, if somewhat hard to believe final shot. Pretty good movie.

Blade Runner

I probably shouldn't have waited this long to see it, although at least it's basically the definitive version. Blade Runner's been regarded as a classic of the science fiction genre for a long time, and it's nice to see the roots of a lot of work that borrowed from it. It's also fun to watch Han Solo, Admiral Adama, Cardinal Rourk, and Elle Driver run around a dark, dystopian city when they were younger (or in Solo's case, basically the same age). Having now seen four different adaptations of Phillip K. Dick's work, it's really interesting how different they can turn out in style, although I guess it can be expected when your leading men include Tom Cruise and Arnold Schwarzenegger.

Blade Runner has a couple action scenes, although that's not really the film's focus. It's about the story, as the movie raises questions about the true nature of life and the morality of killing off "Replicants", which are basically exactly the same as Cylons and even also nicknamed "skin jobs". The movie's very darkly lit and a bit of a slow burn, which doesn't make it very conducive to watching at night, but I wouldn't call it boring, as it's pretty well put together as a film and never lost my attention. Harrison Ford gives an interesting performance as Deckard, a man who isn't sure about what he has to do anymore. When it gets near the end and Deckard goes after the last couple Replicants, the movie gets genuinely disturbing, as Rutger Hauer plays the psychopath villain quite well, as he is known to do. The resolution is a bit weird, but everything about the movie is a little different, which I kind of like. Ridley Scott used to really know what was up with the genre. Apparently previous version of the movie had some terrible narration by Ford, and I'm curious about that, because it definitely didn't need it.