The Watercooler: 11/17/08
I’d like to kick off this Monday’s Watercooler with a shout out to the dude behind me during Changeling.
Noisiest. Popcorn eater. Ever.
What the hell were you digging for? Gravel? When I was a little kid, we had this massive bushel sized Valencia orange box full of Legos and I swear to god the sound of digging to the bottom of that thing for the little pieces made less noise than this ogre clawing through his bag and stuffing his hole with buttery popcorn.
Thank you Cap’n Crunch. This Watercooler is for you.
Anyway, before I saw Changeling I saw the new James Bond movie Quantum of Solace. Call it the benefit of lowered expectations, but I kind of liked it. It won’t ever rank with the best films, but it’ll do until the next one comes along. I’ll have more to say about it in a forthcoming review.
Sadly, lowered expectations didn’t help Changeling much. I liked Angelina Jolie as the woman whose son is kidnapped but the story went on forever and it slowly started to derail as the mystery of what happened to the boy was revealed. There was a good movie in there somewhere about a single career woman beaten down by the system, but it was buried by a bloated, scattered screenplay.
Filed under: Watercooler
Tags: Changeling, Quantum of Solace
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- Trailer: Changeling
I swear, I link to them all of the time, but have you heard Ricky Gervais and Stephen Merchant rant about annoying movie-goers on their radio show?
I hate people who make noise eating or people who talk in the movie theatre. Honestly, I kid you not, that is a major reason I avoid going to the movies — especially if it’s a quieter, emotional film.
I saw four movies in the theatre this week and after over ten months of not fielding a 5 star film (there were several 4 and a half star entries) I saw two in back to back evenings. I saw:
Slumdog Millionaire ***** (Wednesday evening)
Dear Zachary ***** (Thursday evening)
Quantum of Solace * (Friday evening)
A Christmas Tale *** (Saturday night)
Danny Boyle’s SLUMDOG was as exhiliarating as it was dazzingly-crafted, a pure piece of artful entertainment. I have already reviewed it.
DEAR ZACHARY: A LETTER FROM A SON TO HIS FATHER is one of the saddest documentaries ever made, but it’s also one of the best. I’ll just say that on this thread. All due respect to Craig I found the new James Bond movies as one of the worst investments of time in many a year. This bombastic, noisy film yielded nothing but convolutions, listless and monotonous acting and all kinds of gunfire and explosions. Thanks, but no thanks. As to the French film by Arnaud Despletchen, I was disappointed, having placed his prior effort, KINGS AND QUEEN in the top film of it’s year. But I’ll have more to say.
Unlike Craig, who (lamentably) had to deal with obnoxious popcorn chompers, I had former New York City Mayor Ed Koch (who is also a film critic now in his ‘retirement’) sitting right me behind during the viewing of the Despletchen at the IFC Film Center, a fact that was brought to my attention by my friend Broadway Bob Eagleson, who had been speaking to him in the lobby. LOL!
But to see two ***** films in the same week, we can easily overlook Gallic disappointments and car explosions and celebrate in our very good fortune, being that we have have here (in my opinion of course) the two best movies of 2008.
That sounds like a weekend well-spent, Sam.
We tried, but didn’t manage to go see RGM since my navigational skills got us all turned around, off course and behind schedule with no way to get to the theater in time. I feel bad about missing it, but am hopeful it will garner enough noms to get a wider release during awards season.
Friday night I watched The Hoax on DVD. Solid little film, pretty good in that watching-someone be-the architect-of-their-own-demise kind of way. It was missing something, but I haven’t figured out precisely what. That night, though, my subconscious decided that what it was missing was song and dance, as I dreamed I adapted the film into a hit Broadway musical, HOAX! So sad I can’t actually remember the songs now. They were kind of catchy.
And Thursday night, to my regret, we went to see Zach and Miri. Daniel was right. What a disappointment. Honestly, it felt like I project Smith had been wanting to make for years, but the comedy that might have been sharp 10-15 years ago just felt strained, the timing and pacing off, and about a dozen other things were wrong with it. I can count on one hand with fingers left over the number of times I laughed. If I were feeling generous, I’d give it two stars out of five. And while Elizabeth Banks is charming and talented and I’d like to see her in more movies in the future, she’s entirely to attractive for that role. I get so tired of seeing shlubby leading men paired with impossibly attractive women. It’s an age-old film tradition and male fantasy, but I think it makes for some tired casting. Bleh.
Jennybee, I liked the Hoax too but I agree…it needed more dance numbers. You need to plumb that subconscious for the lost musical because I think you’re on to something. BRILLIANT!
I spent a couple hours Sat morning early waging war with the leaves in our yard, which routinely go with the flow of gravity and end up consuming our yard in their never ending need to drop from the tree. Jerks. Luckily the city of Portland came by to collect the pile because believe me, bagging 30 yard bags of leaves again this year might have killed me. Instead I’ve got blisters and back pain, but the leaves lost.
Saw Let the Right One In and recorded my thoughts over at Craig’s review. I really liked it, although I’m guessing it’s not for everyone.
Sunday I saw Dear Zachary, which was sad and rewarding in equal measure. It’s probably best enjoyed with as little knowledge going in as possible, but it’s definitely worth seeing. Far more personal than any other documentary I’ve seen this year.
I also saw Fear(s) of the Dark, which was more miss than hit for me. The animation was roundly beautiful but the stories left something to be desired (except for the final episode, which was excellent). Overall, this is one for the animation fans more than the horror set.
K, I’m with you, though I refuse to give up the theater experience until I no longer have a choice. At least popcorn noise is movie-related…talking or cell phones not so much.
Sam even Bond fans are bailing on this one so I can imagine your pain. The franchise taps into my childhood which is all I can say about it.
Sorry about Christmas Tale, but keep an eye out for Summer Hours - a French import I liked even better.
I didn’t make it to Slumdog, but I’ll make an effort.
Bummer about RGM, Jenny. Now the pressure will really be on for you to like it! I hope it doesn’t disappoint.
I liked The Hoax surprisingly well at the time too, but yeah it was missing something and found I quickly forgot about it. Hahahah HOAX! The Musical. You realize that’s going to happen now.
I almost snuck into Zack & Miri, but I decided to call it a weekend after Changeling drained the life out of me. Sounds like I haven’t missed anything.
I agree Joel that Fear(s) was uneven…the abstract shapes with voice over and the Japanese themed one sucked the life out of it. I loved the one by Burns and the last one though. The alligator one was pretty good too.
Didn’t see a single thing myself…just waiting. One more week to go. Then, *movie explosion* Seriously, all I am saying.
Needless to say, I just can’t agree with Craig about Quantum of Solace, but what are movie-obsessed fans for but endlessly debating the merits of films? And I must say, having seen Changeling about a week and a half ago, most of it has vanished from my mind; it has that Brian Grazer-Ron Howard blandness and sense of entitlement (as in, look, we’re making a film based on a true story, so pay attention). That screenplay was indeed a mess, and as Daniel and I’ve talked about it at both Getafilm and Coleman’s Corner, the movie was at the very least highly uneven.
It should be noted before posting what I saw this weekend that I did not sleep more than a couple of hours altogether from Thursday morning until last night at midnight, so I was able to see a great many films!
Thursday: Copper Sky, a little cheapo ’50s black-and-white western that received * from TV Guide, but it wasn’t that bad, honestly; followed by The Shooting with Warren Oates and Jack Nicholson–what a strange, fascinating western this was, with an ending that will make you scratch your head for hours; Casino Royale (2006), which I enjoyed a great deal more than I had before, only heightening the eventual disappointment of Quantum of Solace; Osaka Elegy, a fine 1936 drama by Kenji Mizoguchi that seems like a cousin of many of the American pre-code women’s films that were released only a few years earlier; Tarkovsky’s Stalker followed that on a whim. What a great film.
Friday: Quantum of Solace at the Corte Madera, CA “Cinema” movie theatre; Cloudburst, an uneven but sporadically interesting 1951 English noir I DVR’d from TCM; Mr. Sardonicus, a rather forgettable and uninteresting William Castle horror movie that was short on horrors; La Jetee!
Saturday: Dario Argento’s Suspiria, having DVR’d it only hours beforehand from TCM; The Most Dangerous Game, a film referenced to in Zodiac, and quite a fun picture, truly; Roger Corman’s House of Usher with Vincent Price; The Road Warrior (1981), which is an action movie that betters with age; Captain Kidd with Charles Laughton and Randolph Scott, which I had not seen in many years–quite good; Paul Newman’s directorial outing Sometimes a Great Notion, a flawed but faintly intriguing picture; Peter Weir’s 1982 The Year of Living Dangerously, another film I hadn’t seen in quite a long time and it almost completely held up.
Sunday: The pre-code comedy Platinum Blonde with Jean Harlow playing the titular figure–cute, pleasant, with a stronger leading man could have become a classic, perhaps (directed by Frank Capra); Jacques Tati’s Playtime, followed by his Mon Oncle–so funny, and with such delicacy–I suspect even those who have never seen a silent comedy by Keaton or Chaplin would know in their bone marrow that he was inspired by those films; Paid to Kill, a dandy little 1950s 71-minute noir from England; the 2003 Hungarian film Kontroll, which I wanted to see again, a very interesting work; finishing the weekend with Ozu’s Soshun.
Nick, I hope you’re wearing your special protected “movie explosion” pants. All I’m saying.
Alexander, I look forward to reading your QoS review and figuring out exactly what bugged you about it. As it stands now, I have to say it’s a complete mystery.
We agree in Changeling though, so I guess we can still be friends :)
Alexander have you ever seen Mizoguchi’s Sisters of the Gion? That’s an early favorite of mine.
You score bonus points for being all over the map in your selections. What’s with the not sleeping? You know that’s weird right?
Yes, Mizoguchi’s Sisters of the Gion is a favorite of mine as well, Craig! What a wonderful film that is.
Concerning Quantum of Solace, I thought the writing and, consequently, the characterizations, were among the weakest of the entire Bond series. I read one professional critic who made a point with which I agreed: the 144-minute Casino Royale felt livelier and shorter than the 105-minute Quantum of Solace.
I’m also in the unenviable position of agreeing with Jeff Wells: this latest Bond is just a bruising, flat enterprise. And the Bourne-ification of Bond here, as I called it in my review, is most distressing to me. How I now long for Martin Campbell’s coherent visual schema!
We’ll always be friends, haha. :) Changeling was plagued by many a problem.
Yep, not sleeping is pretty weird.
Well, Jeff Wells declared Casino Royale a bomb before anyone had ever seen it.
All I’m saying.
Also, I thought QoS went by pretty fast. Like I said it felt like the middle part of a trilogy. I disliked the action sequence editing, but that seems to be the way it’s done nowadays…sadly.
Not only that, but Wells called James Bond “over” before Casino Royale, something I remember with great vividness, since he was so hilariously wrong.
A few days ago he called the Jason Bourne series markedly superior to Bond. I didn’t see anyone disagree; he probably has banned anyone who voices a different opinion by this time.
I haven’t peeked in on what Wells was up to since before the election.
I enjoy the Bourne movies, but they’re pretty overrated and they don’t have that iconic vibe that Bond has.
But I agree that Bond in 2008 isn’t as interesting as Bond 40 years ago. The world has changed. A point I’d address if I ever get around to a Dr. No review…
“…they don’t have that iconic vibe that Bond has…”
And with that you help point out one of the reasons I so strongly disliked Quantum of Solace. The iconic vibe was not there. The best line they can give Amalric’s villain is something to do about Bond and the woman both being “damaged goods”?
For instance, the film’s immediate predecessor created more tension with a card game than Forster and Co. could summon with all of their ADD editing.
I’d love to read your thoughts on Dr. No.
Alexander, Suspiria is one of the scariest movies ever. The story is pretty non-descript but the visuals and the overall effect of the movie is undeniable.
Still working many hours a day, but I had Saturday off and caught Paths of Glory on TCM. Early Kubrick and a heartbreaking film that is relevant today moreso than ever. I love Kirk Douglas in this movie too.
Dr. No = one of the best, if not the best Bond movie. Sean Connery was gorgeous in it, as was Ms. Andress, and there was some real suspense. It was also pre-overwhelm-the-audience-with-cool gadgets. I did love those gadgets as a kid though. The car that turned into a submarine in The Spy Who Loved Me, for example, was awesome.
I’ve been watching DR. NO on a loop while writing my Bond pieces. It holds up very well, and despite some technical issues, the movie is visionary in laying out the modern action film template. And Connery is utterly watchable. His first scene with Dr. No is just classic.
I keep saying that when the producers actually stick to the Fleming Bond, the films are just as successful. CASINO ROYALE, despite my coolness to it, does reflect the tragic romanticism of the books. And a huge hit. Audiences still want Bond in a suit and martini, and you can update the action, but the character is what remains durable. Turning him into gritty Bourne will not last.
Of course, I saw ZACK AND MIRI MAKE A PORNO instead of QOS. So what do I know? I like Kevin Smith personally, even if I haven’t really loved any of his films. I think he’s got a gift for a certain kind of dialogue that I wish he would hone instead of trying to wedge in the next shit joke. ZAMMAP is a wash because it asks us to care about a love story in the middle of internet-style crudity.
Then I came home to watch PHASE IV finally released on DVD. Saul Bass’s and killer ants. A truly bizarro 70’s film. I’d love to know the whole story behind it.
We’re definitely on the same Bond page Alison. Turns out we’re on the same Kubrick page too!
Christian, you’re killing me. I was dying to hear what you thought of QoS…kind of a tiebreaker. Truth be told, I’m projecting you won’t like it. We’ll see.
“Alexander, Suspiria is one of the scariest movies ever. The story is pretty non-descript but the visuals and the overall effect of the movie is undeniable.”
Indeed, Alison, indeed! I was so bewitched by it I feel compelled to write a review eventually.
I’m with Alison 100% on all of her comments.
I’m also with Christian 100% on his first, second and fourth paragraphs. (I have not seen the Kevin Smith movie yet.)
I agree, we need Christian to serve as tie-breaker.
With nothing new opening that I want to see (at least, that I could understand on the screen, but that’s a rant for a different time), I stuck to catching up on classic comedies that I’d never seen before, and for the most part was very happy with the experience of doing so.
A board I’m on is running a Best Comedies Ever poll that I’m cramming for, and among those watched over the weekend included Singin’ in the Rain, Dr. Strangelove, The Philadelphia Story, Arsenic and Black Lace, Take the Money and Run, O Brother, Where Art Thou?, and.. probably one or two more that are escaping my mind at the moment.
One good thing about constantly being involved in polls and what not is that it forces me to sit down and go through stuff that I’d never seen before, because I can be incredibly A.D.D. with some of my watchings, and bounce around with no rhyme or reason.
I’ve got… I think about 15 more films that I want to try to watch before my list is due next Sunday. And I plan on making it. :)
One unfortunate thing about this weekend is that we found out Saturday that they were showing Metropolis with a live orchestra… unfortunately, we found out 30 minutes before it was set to begin when we couldn’t have made it to the part of town in less than an hour. However, apparently it was such a big hit that they’re going to do something similar soon. Hopefully next time we’ll find out a little more ahead of time.
My weekend consisted of:
Friday: Changeling. Craig, I basically agree with you, it seemed to me like it could have been a perfectly okay melodrama, except for the fact that after it reached what could have been a reasonable stopping point, it just kept going…and going…for about another 45 minutes.
Saturday: the old Roger Corman movie A Bucket of Blood during the day, then later on the TERRIBLE ’80s horror sequel Crazy Fat Ethel II.
And Sunday, the Danish monster movie Reptilicus and later on, the Sundance hit Ballast. I can’t call it a great film, but it was very, very well-acted and fascinating to watch.
Metropolis with an orchestra! Cool, I hope you get a chance to catch that Michael. Your list of comedies sounds pretty great as well. I agree with the appeal of lists in terms of guiding you toward DVD rentals. Whenever I’m wondering what to get, I turn to a list like Eberts Great Movies or something.
Jeff, do I need to see Crazy Fat Ethel #1 to understand what’s happening in the sequel??
You’re totally right about Changeling. There were a number of times they could’ve wrapped it up, but they just kept on going. Ironically, it still didn’t end very satisfactorily even though it seemed like they dotted every i, crossed every t and tied up every loose end with a bow.
Ballast I liked a bit better the 2nd time around. The first time I was it was at a film festival and I was already kind of worn out and i’d seen a particularly stark and difficult mexican film right before it. I don’t think it’s perfect eitiher, but it’s a nice bit of indie Americana and I like the fact the guy is self-releasing it.
Craig, one of the amazing/horrible things about Crazy Fat Ethel II is that it’s one of those supremely cheap sequels that consists of 50% ‘flashback’ footage from the first movie and 50% new material. The first movie was shot (poorly) in the ’70s on film but the sequel was shot on what looks like someone’s VHS camcorder over the course of a weekend with what is probably the worst sound I’ve ever witnessed (microphones are expensive, after all).
Hahah. I’m guessing it’s also a film that gets by at least 75% based purely on the title.
Well, that’s why I tracked them down in the first place…
In the last week I saw FEAR(S) OF THE DARK, SYNECDOCHE, NEW YORK, and QUANTUM OF SOLACE. I found SYNECDOCHE to be one of the year’s very best films, and an almost certain inclusion in my year end top ten list.
FEAR(S) was an eerie, entertaining little oddity that I’m glad I saw. It’s not a great film, but it’s very effective.
As for QUANTUM, I’m one of the few around here with an unabashed love for it. I’m not a Bond fan or a follower of the series, but I thought it was excellent, and wasn’t even bothered by the editing. As someone who has a bit of experience in that field, I was highly impressed. I thought that Forster brought a more lyrical sensibility to the proceedings and created some truly stunning action sequences.
I liked CHANGELING more than you did, but I do agree it’s a flawed film. It goes on two long and splits into two movies for a while, but I liked the overall vibe and feel of it, and really felt it by the end.
As I said above Matthew, I think the editing is really just the way action is going. I’m old-school and I don’t care for it…I prefer a stronger sense of clear geography, I like to see where everyone is and where they’re going, but I realize this just makes me a dinosaur.
Which segments of Fear(s) did you like best?
Synecdoche could well end up on my Top 10, but I definitely want to see it again to see how far up.
As for Changeling. I did like the evocation of 1920’s LA and I thought Jolie was good…just a messy screenplay that never built enough momentum to keep me interested through the bloated running time.
I think that in five years or so, the new/edgy/gritty realism of the later two Bourne films is going to look as worn out as the Matrix films’ “Bullet time” does now. It’s a visual style that wears out fast, especially when directors actually capable of shooting an action sequence do much more memorable and enjoyable work.
I hope you’re right, but sometimes I fear the action train as simply left me waiting at the station.
I agree that Bourne-style frenetecism and Matrix-style effects have both been trendy in their own ways, but I’m not sure what this means: “especially when directors actually capable of shooting an action sequence do much more memorable and enjoyable work.”
since I think the Wachowskis and Greengrass have shown that they are very capable indeed of shooting excellent action sequences.
I haven’t seen Solace but I wonder whether the Bond franchise would have been better served by recruiting Campbell for say a trilogy of Bond films. The latest installment might then be fashioned in a manner that saw greater artistic continuity and development.
For me Craig, the flip side of iconic is predictable. And outside of the recent Casino Royale I’d long found Bond films of only passing interest. More pop culture icon than substantive genre film making. In contrast, the Bourne films felt fresh and far richer. Though by the end of number 3 I felt they’d taken the series and its trademark style as far as they should.
Connery remains my favorite Bond, but Craig (er, not Kennedy) is an excellent contemporary version.
Over the weekend, I introduced my wife to Dr Strangelove and Barry Lyndon on our newly minted full HD plasma (yay).
She loved both and it was a treat for me to revisit them.
We also watched Devil in a Blue Dress. I love Walter Mosley’s Easy Rawlins series of books and I’m really disappointed that Carl Franklin, Denzel Washington, and Don Cheadle didn’t, for whatever reason, do more adaptations from it.
BeSt of luck to you and your wife with that new HD plasma, Sartre!
I’m lucky she’s supportive of my film love being channeled through the new technology. The upscaled from DVD cinematography of Barry Lyndon was truly gorgeous.
iNDEED SARTRE ON BOTH COUNTS!
Craig my favorite segment was the one with the man and the pack of wild dogs…I thought it was the most haunting and visually striking of the bunch, but I also really liked the creepy vibe of the last segment as well.
Sartre, that sounds like a lovely weekend of movie-watching with your wife, complete with shiny HD plasma.
Having the honor and enjoyment of letting your wife see those two Kubrick masterpieces for the first time–wonderful!
Like you, I wish Carl Franklin, Denzel Washington and Don Cheadle had made more Easy Rawlins movies. I’m a fan of the film they did make together, however. (Part of me wishes Franklin would just make more films, period.)
Wholeheartedly agree about Franklin, Alexander. I’m a big admirer of One False Move, and Out of Time was fun genre fare.
Congrats sartre. You’ll never watch movies at home the same way again.
Jeff, sorry, my earlier comment was definitely vague. The Wachowskis and Greengrass have proven themselves to be great directors in their own rights and I wouldn’t argue that the Wachowskis aren’t adept at the action sequence. Far from it. They’ve proven themselves quite adept at both suspense and action in equal measure. I’m simply tired of the “bullet time” effect. It was ground-breaking but not a visual element that can drive an entire sequence.
Greengrass is also an excellent director in his own way, but the shaky cam/erratic editing method works against whatever skill he might have as an action director.
I’d argue that both Bourne films work well as thrillers and feature strong suspense elements and interesting character work but both deliver poor action sequences. Call me old fashioned, but in a fight sequence I at least want to know who’s hitting whom, when, and where. In a chase sequence, I want to know who’s ahead, who’s behind, and which direction they’re headed. Greengrass’ editing and cinematography works great in dramatic scenes but it leaves me bewildered and confused when things actually get exciting.
So Wachowskis good at action, Greengrass not so much by my count. I’m looking forward to him getting back to what he does best with The Green Zone.
Thanks Joel, and I’m thankful you weren’t tragically pinned under a funeral mound of leaves over the weekend.
I’m okay with either approach to filming and editing action sequences. I thought the editing in Ultimatum was superb. I experienced it as both visceral and impressionistic in a way that left me feeling like I was inside the real life chaos of action. But I wouldn’t want every film to take this approach and not everyone is likely to use it in ways I find successful.
Joel, I agree with you on Ultimatum, although maybe I was just sitting too close to the screen. Supremacy, though, I thought was exactly what it should have been.
I don’t remember one Bourne from another.
There, I said it.
I just happened to catch part of Se7en last night before I went to bed on Encore. The chase sequence from Doe’s apartment into the street is an excellent example of gritty, frenetically-paced, very economic action that works brilliantly in comparison to the similar style of Greengrass’ work on the two Bourne sequels.
Fincher even takes the time to slip in a dozen (or so) wonderfully composed and shot moments of absolute artistic abstraction during the course of the chase. Not only does Fincher employ numerous handheld camera moves during the sequence, but he’s editing between two different chase sequences (Mills chasing Doe, Somerset chasing them both) and cutting from one character to the next in different locations.
I forgot how marvelous that sequence is, but it exemplifies what I would have preferred from Greengrass as opposed to what he delivered.
Nothing like Thursday morning to chime in on the WC. Well I’ve been crushed with work this week, and my girlfriend’s dad was in town. Over the weekend I saw not a thing. I saw QoS on Thursday night and my disappointing reaction is well known by now.
During this week I’ve missed screenings of Bolt, Twilight, Australia, 4 Christmases, and Transporter 3. I’m not too broken up about them, but I’ll probably end up seeing 3 of the 5.
I agree with all who say that Bourne is great but not excellent, and Bond as Bourne is bad if not awful.
Excuse me while I move over to the Weekend Forecast…
Looks like PSH is already booked for 2009: http://www.altfg.com/blog/film-festivals/mary-and-max-to-open-sundance-2009/. Color me interested. I love claymation!