Monthly Archives: December 2014

Home Alone

I thought I was too old to see this movie in the theatre. Now I have probably watched it ten times in my 30s (all by choice). It is somehow a sweet movie despite little Kevin nearly killing poor Harry and Marv (according to some doctor on the internet, they would have died several times over in real life from the injuries Kevin gives them). It is somehow a tale of a mother’s love for her son even though Kevin’s parents are totally neglectful. After all, if they had just sat in coach instead of abandoning their kids there, Kevin’s parents would have clued into the fact that they were missing their son (and as an added bonus they could have prevented their other kids from terrorizing the rest of the passengers on the plane). It is a story of an old man saving the day on Christmas Eve, but also apparently taking great pleasure in scaring the neighbourhood kids the rest of the year. And be sure not to think too hard about how Harry and Marv ever got away with any of their alleged string of burglaries, when every step of the way they get thoroughly out-schemed (as well as savagely beaten) by a ten year old.

So how have I watched this so often and enjoyed it every time? Because this movie just works. It hits all the right crazy notes. It captures the magic of being a kid at Christmas. It doesn’t worry about justifying its ridiculous premise or anything else along the way. It takes pleasure in ramping up the craziness at every opportunity. It is truly joyful, a live action cartoon, a John Hughes caper to end all John Hughes capers. For accuracy’s sake, I checked the back of the DVD case to be sure that the late great Mr. Hughes had, in fact, written this movie but I was sure he had. It has his fingerprints all over it and that’s a wonderful thing.

Hands down, this is my favourite Christmas movie, for what it is and for what it captures. By the way, don’t bother with any of the terrible sequels, just watch this one three or four times and you’ll be far better off.

Ten wet bandits out of ten.

Birdman

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Birdman opens with C-list celebrity Riggan (Michael Keaton), a superhero has-been trying to reclaim glory as a serious Broadway actor, meditating and levitating before rehearsal of his play. Wait – levitating? Yes. It seems that Riggan has picked up some super powers along the way.

But this movie is so subtly engrossing, its rhythm unrelenting, that I actually forgot this little nugget of information until the next bit of surrealism came our way, presented just as slyly as the first. Some remnant of his Birdman alterego remains, and narrates Riggan’s present tense in a voice reminiscent of Christian Bale’s Batman, driving home the satirical meta-performance at work here. Director Iñárritu gets right up in his grill, nursing long but very intimate shots that show unflinchingly every wrinkle, every worry line ever earned by these actors.

Set almost entirely behind the scenes at St James theatre and shot in long, loooooooong takes that keep the film moving briskly, there’s a beauty and a mystique that really locked me in. Finally Iñárritu has found his element. Cinematographer Emmanuel Lubezki floats the camera down corridors and ascends smoothly through the scaffolding and the balconies like an unobserved peeping tom. We take our cues from this camera work. We race to find new action, we catch our breath when travelling down darkened hallways. In this way, the movie feels serene yet is in constant motion. The music helps us keep pace and is sometimes so coolly frenzied that musicians forget they aren’t supposed to be seen!

Riggan, meanwhile, is crippled by all the nay-sayers in his life: the junkie daughter (Emma Stone), the anxious lawyer (Zach Galifianakis), the guilt-tripping ex-wife (Amy Ryan) – but none more so than that voice in his head that slowly cannibalizes him by the end of the film. When one of his actors is put out of commission, he’s forced to bring on board stage actor Mike Shiner (Edward Norton) who immediately threatens to outshine him. With his own superhero baggage (Hulk, anyone?), Norton threatens to casually steal the spotlight from Keaton as well with a brilliant send-up to Method acting, and a nod toward his own reputation for being difficult on set, but Keaton reminds us why he left the Batman franchise in the first place – dude is a first rate actor when he plays crazy.

The movie is ambitiously self-aware and asks smart-aleck questions like, why bother making a $20 million dollar movie when you can go viral for free? This may not be ground-breaking material but as long as Keaton is in on the joke, the monster egos and insecurities, the fraud and the acerbic wit, it’s all part of a complex self-examination that’s fascinating to witness.

Matt and I saw this movie nearly a week ago and it’s taken me this long to even begin unpacking my feelings about it, and this after an all-you-can-eat-sushi session in which we debriefed and compared notes. As Matt will tell you, the movie is also Iñárritu’s excuse to poke back at the critics who have called him out on his self-important, self-conscious work in the past (Babel, Biuitiful) even though this movie actually seems to acknowledge that these criticisms may have been valid.

I really enjoyed this movie. It’s a pleasure to watch, a puzzle to figure out, and a commentary just begging for feedback. Please, give us yours. Assume spoilers in the comments.

Rudolph the Red-Nosed Reindeer

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Rudolph is celebrating his 50th year of bringing stop-animation joy into our homes this year. Most of us grew up watching this Christmas classic every year but re-watching it as an adult may leave you with a slightly different interpretation.

Yes, it’s tempting to say that Hermey the elf is gay. He’s got snazzy Justin Bieber hair and a lisp that just won’t quit. So is “dentistry” one of the oldest euphemisms for “raging homosexual”? Possibly. But you can’t really tell someone’s gay until they tell you they are, so if Hermey wants to stay in the closet, or is still exploring his options, we’ll let him. Meanwhile, it seems that some of the lady elves have found him to be an excellent dance partner. Sounds like a win all around.

Santa, however, I have issues with. He’s a dick. Definitely sexist. Pretty racist. I mean, he rejects Rudolph on the basis of the colour of his nose alone. He was totally excited about this guy on paper, but red nose? Deal breaker. And he’s a complete ass about the song the elves perform especially for him. I mean, these little dudes slave away all year long for him, and all he can do is criticize? This is not a nice guy. No wonder kids always cry when you plop them on his lap. I will say though that more mall Santas should aspire to his excellent beard grooming. Man’s got some tidy facial hair. Mall Santas always go for the curly bearded look, and I think it’s a mistake. I also enjoyed Santa’s Sherlock hat – who knew he also rocked the deer stalker?

But the best-dressed award goes to Sam, the snowman narrator. Love the tartan vest, the watch fob, his Colonel Sanders tie, heck, his bowler hat’s accessorized with winter berries! Burl Ives pwnd Christmas, y’all.

Yukon Cornelius is a little more lumbersexual, but you have to hand it to him, he’s an inclusive, forward-thinking guy. His sled dogs include a cocker spaniel, a poodle, a Saint Bernard, a collie, and even a little wiener dog. He’s also a champion for immigrant employment. Who else would think that all this time the Abominable Snowman just wanted to dignified work and a decent wage?

I also felt like the Island of Misfit Toys must have planted the seedling of Toy Story into John Lasseter’s brain. Little Johnny would have been about 7 or 8 when Rudolph first aired and he heard a bunch of talking toys utter the magical words “a toy is never truly happy until it is loved by a child.” There was even a cowboy riding an ostrich. Not much of a stretch to Woody, and a dynasty is born.

It’s still a treat to watch this movie though, it takes you back to simpler times, to wearing your flannel jammies and sharing a big bowl of popcorn with siblings while the Christmas specials air. The animation was done primarily in Japan, but the voice work was recorded in Canada. In fact, the woman (!) who voiced Rudolph lived in the same Ontario retirement residence as the guy who voiced Hermey the elf up until her death a few years ago. For many of us, this movie became a Christmas tradition, one that you can honour during the holidays, or you can do like me and totally desecrate it by buying it on DVD and “accidentally” watching the claymation Destiny’s Child video in the bonus features – or worse yet, the Regis Philbin one.

The Holiday

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A quasi-Christmas movie for when you’re feeling in a quasi-holiday mood. It takes place around the holidays but it doesn’t shove them down your throat. It is unabashedly a romcom though. Like, hardcore romcom. If you love Love Actually, this might just be the perfect follow up. Just don’t make your boyfriend watch them back-to-back, or I won’t be responsible for him menstruating all over your micro suede couch.

Kate Winslet plays this woman who’s in love with a jackass who doesn’t love her back, and wouldn’t deserve her even if he did. It’s next to impossible to believe this heavenly creature could ever be in an unrequited situation but she’s lovely and she elevates this stinkin romcom to a very nearly decent little movie. She’s at her office Christmas party when her ex-lover announced his engagement to the woman he cheated on her with (holy god, call the grammar police!) and poor Katie does a not too great job of hiding her tears because her coworker says “I never realized how pathetic you are” to which Kate replies “Really? I’m so aware of it.” And how can you not love a movie like this?

In an effort to avoid another new year’s eve of tears and vallium, she lists her home on a house swap site and connects with Cameron Diaz, a woman in Los Angeles who’s just had a bad breakup with her boyfriend and also needs to get away from life and from men.

But of course they don’t just live in each other’s houses, they inhabit each other’s lives. Kate’s little cottage is cozy and filled with books. Absolute heaven. Cameron’s house is bursting with movies, including, weirdly, Gigli. Sort of reduces her credibility, no? And soon they start me including their men (though thankfully not their exes). Both rom and com ensue.

And keep watching because the best part is right around the corner – an old guy, a writer from show business’ golden age, who just slays with his great advice (“You are a leading lady but for some reason you’re acting like the best friend.”) and his undying loyalty. I was completely charmed by Jack Black (!) and won over by Jude Law (!!). It’s totally predictable and meandering but that doesn’t stop me from wanting to cuddle this movie all night long. Merry Christmas to me.

Unlikely Angel

Into The Storm

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This no-star cast makes a movie with a recycled script and boring, unformed characters, but if you’re in it for the storm porn, there’s plenty of that.

Sean and I saw this at the drive-in this summer and even on a peeling outdoor screen that’s older than my grandfather, the visual effects were dazzling. Back before it was forgettably titled Into the Storm, it was known as the “found-footage” tornado movie, and yes, the tornado scenes really are that seemless. When you are taken alllllll the way the funnel of one these suckers, and then come crashing down, you’ll feel like you’re on a roller coaster.

But only a movie this dumb can actually drum up romance between intense bouts of almost-dying. Twice. When the film pits twister vs people, you sometimes wonder if you shouldn’t just root for the damn tornado, especially when two doofuses looking for Youtube fame continually pop up in what I can only assume is a bid for comic relief, just minus the comedy, and the relief. The plot basically consists of “Oh no, here comes another one!” and the second the wind dies down, the film just flops around like a fish out of water.

Dawn of the Planet of the Apes

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Ten years after a deadly simian virus wipes out populations and collapses economies and countries, only a small band of immune human survivors remain. They brush up against Caesar, the genetically modified ape from the first movie, and his band of primates, who live in the forest outside of San Francisco. Caesar warns that the apes don’t want war but they also don’t want intruders – the humans are to stay away, or the apes will defend their home. But of course the humans won’t stay away. They need access to a hydroelectric dam that just happens to be smack in the middle of ape territory.

Caesar grants Malcolm (Jason Clarke) and co the necessary access, provided they remain unarmed, but humans can’t do that either. But it’s an ape with a grudge who really gets things going – he sets fire to his own settlement and frames the humans for Caesar’s death.

Critics called this the summer’s best popcorn film, but that’s not saying much considering this was the summer of the stinkiest Transformers movie to date. I will say that it bests 2011’s Rise of the Planet of the Apes; it’s more assertive, more sure of itself, and more clearly guides us to where we all know we’re going.

Andy Serkis as Caesar is as good as ever. In fact, all the apes are so strongly turned out that they make the human characters pale in comparison. I felt a very real dread the first time I saw an ape on a horse with an automatic weapon in hand. The apes have gone guerrilla. So there’s a certain philosophy that permeates the movie – even Caesar must confront his own naive believe that apes are “better” than humans – because they certainly seem to be adopting an awful lot of the culture they so disdain. While the 2011 film had us discussing medical experimentation and all it entails, the 2014 film has us pondering supremacy, vengeance, forgiveness. And maybe even ambivalence, which is what I felt toward this film. A lot of interesting parts still left me feeling not quite there. But maybe that’s part of the journey. There is 1968’s Planet of the Apes, and we haven’t come full circle yet, but we’re getting there fast.

Birdman or (The Unexpected Virtue of Ignorance)

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I walked out of Birdman last night feeling exhilarated, confused, and unqualified to review it.

The film, nominated for seveon Golden Globes including Best Picture- Musical or Comedy and Best Director), follows (literally, through most of it) Riggan Thomson (Michael Keaton), a fictional ex-movie star most famous for playing a superhero called Birdman as he tries to re-invent himself as a Broadway star in a play that he wrote, directs, and stars in. The production is shaping up to be a disaster throughout rehearsals as it’s star must not only deal with his own demons but also with his eleventh-hour replacement co-star who threatens to steal the spotlight (Edward Norton), a high-maintenance actress afraid of spoiling her one chance to be in a Broadway show, his high-strung lawyer (Zach Galifanakis), and his resentful daughter who is straight out of rehab.

Whenever possible, director Alejandro Gonzalez Inamitu gives the appearance of one long continuous take as he follows his actors from backstage to Times Square to a nearby bar. Some of this was accomplished through fancy editing tricks but the film’s stars apparently would have to shoot up to 15 pages of dialogue at a time. That and the complex choreography of the walk make what would otherwise be a pretty talky movie feel action-packed. Even those with little interest in cinematography and editing are likely to be impressed. And the cast, with Keaton and Norton being clear stand-outs, seem grateful for the challenge.

I feel shy about reviewing Birdman because it’s more surreal touches involving Thomson’s frequent arguments with the voice of Birdman in his head left me scratching mine. Many scenes are ambiguous and are probably meant to be but sometimes left me feeling like I wasn’t understanding what was going on. But mostly, I feel shy to review it because few seem to be able to escape its brutal honesty as it takes aim at Hollywood, Broadway, critics, bloggers, Twitter, awards season, and self-importance in general. I felt like I was being dared to love this movie- or to hate it- only so it could mock me for it. The script and acting feel refreshingly honest even as it seems to question its own ability to do so. Keaton and Norton contribute to the multi-layeredness, both playing parts that are so close to their real-life public personas.

My review of this is all over the place. Sorry about that. I’m still not sure what to make of this movie. I can tell you that you I doubt you’d regret watching it. And that (I never thought I’d say this) someone should nominate Michael Keaton for an Oscar. Even if the makers of Birdman would laugh at them for it.

Die Hard: My Second Favorite Christmas Movie

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To make up for my admittedly obvious choice for my favorite, my second favorite Christmas movie is one of the best action films of all time that just so happens to be set entirely on Christmas Eve. Despite being originally released in the middle of summer and featuring a body count of nearly 20 bloody murders, Christmas is not incidental to Die Hard. Beginning with an act of Christmas kindness from the likeable limo driver Argyle, featuring several Christmas songs hummed by Sgt. Powell, and ending with Let it Snow during the credits- barely a minute goes by where we’re not reminded that it’s Christmastime at Nakatomi Plaza. In fact, when the third Die Hard abandoned Christmas Eve for summer in New York, I missed it, more than I missed Bonnie Bedelia as Holly or Reginald VelJohnson as Powell- also both missing in the third installment. This is the perfect Christmas movie for those that don’t mind a little mayhem with their mistletoe.

Supporting Characters

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A perfectly fine little indie film starring Alex Karpovsky and Tarik Lowe about co-editor buddies who work together to save movies and relationships in crisis. They’re more successful at one of those things than the other.

It’s very bromantic. The dialogue is snappiest between the bros, and the chemistry works best between them too. The movies is well aware of this. When the buddies each take their respective girlfriends on a double date, one girlfriend asks “So how did you two meet?” and the buddy isn’t sure whether she’s asking how he and his girlfriend met, or he and his buddy. In any case, he prefers to tell the story of the buddy meet-cute, it’s the better story, and, frankly, the better relationship.

The movie is no-budget, ugly to look at, but comes to life when the grumbly Karpovsky and charming Lowe have only each other to pick on. I nearly turned the thing off after about 20 minutes because while nothing was wrong or offensive about it, it just wasn’t that interesting to watch. We left it on but my original impression was confirmed. Just not that into it.

What movies bore you?