The ballots for the Online Film Critics Society awards are due in less than a week so I’m scrambling to get caught up on movies I’ve missed in 2011 and movies that I have yet to review before the end of the year. In other words, I didn’t have time to make it into a theater this weekend, though I still might head out for Mission Impossible at some point this evening, depending on how much work I get done or how sick of looking at my laptop screen I become.
Stay tuned for reviews of Tintin, War Horse, A Separation, Pina, Albert Nobbs, Pariah and Iron Lady in the coming weeks plus of course The Girl With the Dragon Tattoo which opens on the 20th.
I still haven’t decided if I’m going to write a Top 10 this year or not, but if I do, as always I’ll be posting it January 1 long after all the cool kids have already weighed in. I want to make sure I have as much time as possible to see as many movies as I should see. There are always gaps and there will be again this year, but we do what we can.
Behind the scenes, I’m continuing to tinker with how Living in Cinema looks. Invariably this causes something to go haywire on one browser or another. By all means, if something looks screwy to you, shoot me an email with your browser version, operation system and if you can manage it, a screen image of the problem. Send it to craig [at] this domain.
That’s all from me this week. Now it’s your turn. Has anyone seen anything worth talking about since they last hit The Watercooler? Lay it on us.
Filed under: The Watercooler
I saw My Week with Marilyn and while the movie as a whole didn’t completely blow my skirt up (factually I was wearing jeans), Michelle Williams’ performance as Marilyn was terrific. She really captured the sadness, vulnerability and loneliness as well as the charming and fun-loving side of Marilyn too. If she’s not nominated for an Oscar, I’ll eat my hat.
I also watched the 1944 gem Since You Went Away on TCM. It’s a favorite of mine with a great cast; Claudette Colbert, Jennifer Jones, Shirley Temple, Monty Woolley, Joseph Cotten, Lionel Barrymore, Hattie McDaniel and one of my all time favorites, Agnes Moorehead. Yep. Good weekend all around.
Jeanine: I also love SINCE YOU WENT AWAY, and that Oscar winning score of the film by the great Max Steiner is simply one of the most ravishing ever written.
Craig: I look forward to catching up with the films you note there, and also with the likes of TURIN HORSE and MYSTERIES OF LISBON, which I haven’t seen yet. Though I know you will be voting for the Online Critics Awards, I still do hope you post your Top 10 here at LIC. I have decided for the first time to go with a Top 20 this year.
Well, the past week was an active one for Lucille and I, but at this time of the year this is no surprise. We attended four movies in theatres, while I took my youngest daughter Jillian to see the encore HD simulcast of the NYC ballet’s ‘George Ballantine’s Nutcracker’ on Tuesday night at our local multiplex.
Tinker Tailor Soldier Spy *** (Thursday night) Village East Cinemas
Young Adult *** 1/2 (Saturday night) Chelsea Cinemas
The Big Parade (1928) ***** (Monday night) Film Forum
Possession (1981) **** 1/2 (Friday night) Film Forum
Gary Oldman delivers a striking performance in the British film re-make of a popular spy mini-series, and the film does contain some arresting sequences. Yet there is dramtic inertia here, and the story arc is mired in a holding pattern that includes a dreadfully dull opening section. It’s a case of the sum making for less than the individual parts. But I’d certainly be up for a second viewing at some point. YOUNG ADULT contains some acerbic Diablo Cody writing, and Charlize Theron and Patton Oswalt are top-rank in YOUNG ADULT, which is admittedly a tough film to embrace, yet it’s underlying cynicism is really the major virtue. THE BIG PARADE (1928) is one of the greatest silent films of all-time, and one of the best war films, so a live accompaniment by Steve Sterner of this King Vidor masterpiece was one of the greatest of all screenings. The absence of this treasure on DVD remains an unforgiveable slight from Warners, even with very fine booties out there, including some copied from the laserdisc. POSSESSION (1981) from Andrezej Zulawski is one of the most disturbing of all films. There were shocks, disturbing sequences, grotesqueries, avante-garde, psychological meltdown, unsettling expressionism and a demonic premise that accelerates in intensity after a slow start. The sequence on the stairs near the end is unforgettable, but the surrealism throughout takes on the spectre of a nightmare that will never be completely forgotten. Sam Neill and Isabelle Adjani are masterful in this near-masterpiece of the cinema.
Tchaikovsky’s NUTCRACKER ballet is a perennial chestnut that never loses it’s magic and wonderment, and the George Ballantine version from the NYC Ballet has held up magnificently for years now. The encote HD broadcast on Tuesday at local movie theatres included some wonderful intermission interviews and looked marvelous with so much of the close-up camerwork. In the end, for all the beautiful sets, it’s the deft foot work and the glorious score that always trump all.
TCM had a Katharine Hepburn/Cary Grant marathon so I revisited Bringing Up Baby, The Philadelphia Story and Holiday. I especially always loved the last one.
Today was Muppet Christmas Carol.
Alison – LOVE Philiadelphia Story the most! Did you happen to see TCM’s A Night At the Movies? Robert Mitchum’s daughter was on and she told a great story about George Cukor.
I caught “Tinker Tailor” and “Mission Impossible” for new releases– spy movies of decidedly different styles, but for my tastes about equal (TTSS is better as a miniseries, to my memory, but still just as much fun as Tom Cruise climbing the tallest building in the world). I also saw “Nausicaa of the Valley of the Winds” at the IFC Center’s 4 week Ghibli fest, and though Miyazaki has never been my favorite anime director, it was a lot of fun, and something I’ll cover soon. I’d have stuck around to see “Totoro” afterward, but you would not believe the line waiting to get into the next showing– actually, I take that back. You would.
Jeanine, yeah, I was a little higher on Marilyn overall, but I have to admit it was pretty much all about Michelle Williams’ performance, which I pretty much said in my original review. The story… eh.
Sam, I’ll probably do a list, but if I do Turin Horse will not be included since it hasn’t officially been released yet in the US. For the same reason, films like Rampart and We Need To Talk About Kevin and some others won’t be eligible even though they received Oscar qualifying runs. You’ve got to draw the line somewhere. I know your friend Allan would disapprove, but that’s not my problem.
We’re kind of in line on Tinker Tailor. I really liked it after watching it a second time, yet only to a point. I’m a little surprised at the very high critical response to it. I really liked the book and the Alec Guinness mini-series and I couldn’t avoid comparing them even though it’s not fair to do that to a 2 hour film which could never be the novel or the mini. I did really like the overall mood and the performances though in the case of the latter I wish we’d had more time to spend with the great characters.
Alison, goddamnit, quit trying to make me jealous I don’t have cable :)
I’m with you Bob, TTSS is a little meatier and more satisfying as a mini. it just better serves the book which is full of plot and characters and takes its damn time unwinding everything.
Did anyone who saw Mission Impossible in IMAX also see the Dark Knight teaser? It wasn’t enough to get me off my ass and into the theater, but I’m curious to know how it went.
Craig: I am with you with TURIN HORSE but will allow KEVIN (and CORIOLANUS for that matter) as a one-week qualifying run still consitutes a theatrical USA opening no matter how you cut it. That is the line I draw – if it opened in theatres during 2011. I’ve gone by that every year.
I called up my theater in advance to see if they’d be showing the 6 minute TDKR opening, and was told yes. Turns out they just had the same short teaser trailer everyone else has been getting.
I’ll say this about MIGP in general– don’t bother seeing it in IMAX. Yeah, a lot of the movie was shot with those cameras, or 70mm or something, but the image gain appears to be a lot less than it was for TDK. Not worth it.
Saw Shame this weekend, which I liked. Fassbender is excellent, whether you like the character study that McQueen engages in is another matter I suppose.
I also saw MI4, which I enjoyed. The last act is weak, but it has enough going for it that it was a fun ride. Much better than the previous two sequels. I agree the IMAX for this is probably overrated, but I enjoyed seeing it on a large screen.
Not sure what to make of the Batman trailer, especially since I couldn’t understand most of the dialogue. It ends with some pretty awful CGI. I have to wonder if it will be wise for Nolan to eschew practical effects (his strength) in favor of CGI scale and spectacle?
I think one of the failings of MI4 that nobody’s really commented on yet is the lack of a true villain for the film. There’s the French assassin chick, but she’s just there for the girl agent’s revenge subplot. There’s the Russian nuclear mastermind, but he never gets developed as a personal threat to the IMF team, as the villains of the other films were. Without a worthy adversary for Cruise & Co. to go up against, the stakes aren’t really there on a palpable level, no matter how close the ICBM gets to blowing up San Francisco.
As for TDKR– did you see the 6 minute opening teaser, or the much shorter trailer?
Sam, I simply draw the line at the place when most of the people who read this blog will have a chance to see the movie for themselves and a 1-week, unadvertised run in two theaters just doesn’t cut it. I’m not arguing against your choice, I’m just saying.
Bob, did you see it in supposed “real” IMAX or “fake” IMAX? I think they’re both a ripoff, but I’m curious if your experience was impacted by it being one or the other. I also heard the TDK clip would only play in front of “real” IMAX screenings.
I realize now that if I have to even ask this question and if theater managers are spreading bad information, I need to just forget about the whole thing. I can wait a few more months to see the next Bat movie. Hell, I can wait forever.
I can’t comment on the lack of a clear villain in MI4 being a deal breaker or not since I haven’t seen it. Seems hard to believe though that the destruction of an entire city isn’t high enough stakes.
Joel, I really liked Shame though my lack of writing a review is probably telling in some way. I even saw it twice. I kind of scratch my head when otherwise smart people say it’s not really about anything, but whatever. I can sort of see Ari’s perspective who has said elsewhere he found it ridiculous, but for me the movie sucked me into its little bubble in the opening moments and never let me out until the cathartic ending.
All I know is that the local IMAX theater I saw it at had a “real” Imax showing of TDK when it was out. I’d say the aspect-ratio difference for that film looked like 2.35 to 1.33, and for MI4 more like 2.35 to 1.85 at best. But I’m not even sure if Brad Bird shot portions of the film on Imax or 70mm (which would be 2.35 to what, 2.20?), so it may be false advertizing all around.
[Shame] movie sucked me into its little bubble in the opening moments and never let me out until the cathartic ending.
Me, too, Craig. I saw Shame twice and it was at least as moving for me the second time.
TVwise, I caught 2 episodes of Downtown Abbey — my first excursion with this wonderful series.
Needless to say, Sam, Young Adult is a film where we disagree. I’d give 2-1/2 to 3 stars (out of five.)
Alison, TCM’s string of Hepburn flicks was a joy to behold. And if you haven’t seen It Happened on Fifth Avenue, that’s a good one, as well.
I’m anxious to see Mission Impossible if for nothing reason to see Renner in blockbuster mode.
If you didn’t see the 6 minute Batman preview, you didn’t see it in “real” IMAX. Nolan specifically limited that preview to theaters with a true IMAX system installed. You can go on the Dark Knight Rises web site and see the list. To put it in perspective, there is only one theater in the entire NW that showed the preview, but MI4 played on about a dozen screens in Washington and Oregon anyway.
I’m guessing that when the film opens next Summer, it will be playing on every available IMAX screen and not just on the “real” IMAX screens, so this whole thing seems sort of silly.
There is a substantial difference between real IMAX and the fake IMAX. If you didn’t see The Dark Knight Rises 7 minutes, it means you saw a digital print of Mission Impossible, like I did. It’s not being projected on film.
It’s lame that they would do that. Lots of people were confused at my screening. You get the Imax size image in “fake Imax”, but it’s the equivalent of seeing a 35mm film projected at 4k resolution off a hard drive. It looks great, but it’s not the real thing.
Still, I was there for “MI”, not Batman. And I very much enjoyed the film. It’s fun, it’s light, and Cruise carries the movie with a good performance. I still think De Palma’s film is the best approach for this series, but Brad Bird did an excellent job of constructing exciting, over-the-top set pieces.
and yeah, I’m mixed on the “Rises” trailer. I like the dark tone of it, but the excess CGI looked out of place, especially the shot of the imploding football field. That was awful. I also think the mask on Bane looks funny, not menacing. I enjoyed “The Dark Knight” as a theatrical experience, but it has lessened for me since then. The last time I tried watching it I got tired of the self-serious tone and “heavy” thematic messages. The last 30 minutes, especially the stuff with Harvey Dent, is close to self-parody. Still, Heath Ledger is terrific and I like the “crime film” atmosphere of the film. It has a good ending. I remember thinking that another sequel would be unnecessary after “The Dark Knight”. But if they have a good story for “Rises”, then hey….
Ari, I’m not bothered much by the CGI in the TDKR (I just realized that’s the same acronym as Miller’s “The Dark Knight Returns”, which makes me feel a little nauseous), but yes, Bane is a rather odd choice for a villain. Outside of the comic-book set who know him for the “Knightfall” arc, he’s most famous for his appearance in “Batman & Robin”. I don’t mind how he looks, but the mask makes it damn near impossible to understand his dialogue (“When Gotham burns, you have my permission to die”– did I get it right?). Rather sad, really. The Dent stuff in TDK was rushed, and it’s a shame Nolan decided to double down on his death, denying us a full treatment of Two-Face. I’m still bothered by the political messages it has and the sanctimonious way it delivers them, but at least it’s taking a stand for something.
As for the “Mission Impossible” franchise– Abram’s film works best overall, for my tastes (though I still would’ve preferred him sticking with “Lost” instead of ditching after a season for that and the awful “Star Trek” reboot). Woo’s is forgettable and forgotten. Bird’s is okay, but feels rather anachronistic, for how hard it works to restore the old Russia schisms (between this and “The Iron Giant”, he strikes me as a very Cold War filmmaker). De Palma’s would be the best, were it not for the cardinal sin they commit of turning Jim Phelps into a villain. I’m still pissed about that.
A bigger question on “fake Imax”– I don’t care about resolution so much as your old site’s namesake. Any idea if the Imax sequences in the “fake Imax” version are the same aspect-ratio as the real McCoy? As I said before, it didn’t really look as though the film had even been shot with Imax cameras– all the interviews I’ve read so far suggest Bird just used old 70mm for those scenes, which is big, but not Imax big.
I thought I saw an aspect ration change at one point during MI4, but I wasn’t watching for it. Personally, I find IMAX overrated but I’ve never seen a pristine application of it in “true” IMAX. It seems to be a gimmick to me like 3D is. If I need the image to be so big that I literally have it in my peripheral vision, I will sit closer to the screen. I enjoyed the big picture and loud sound of the presentation, but I would have enjoyed it on a standard-sized screen in a regular theater all the same. The best part of the presentation for me, honestly, was that the film was so loud that I never once heard the sound from any other theaters in the multiplex. Strange, I know, but I miss the Cinerama in Seattle for that very reason.
I’m not too enamored of the whole IMAX thing, either. 2.35:1′s big enough for me, thanks. I’ll see a movie that way if that’s how it’s shot, but frankly I’m bothered by all the people who whine about how little you gain from 3D while praising how immersive IMAX is. At twice the price for a handful of scenes with a slightly wider frame, I really don’t think it’s worth it.
Ari, which theater did you see it at? I was under the impression that the AMC at Universal City was one of the theaters with so-called “real” IMAX.
At this point, I’m probably just going to see a regular priced matinee in a regular theater. I’m already kind of soured on the whole thing. having said that, are they even still showing the full Batman teaser or was that just for this weekend?
I saw it at AMC Century City. Universal City is real IMAX.
The fact there’s even a difference and that most people don’t realize it is kind of irritating, really.
It’s so confusing these days – Classic IMAX, IMAX-light, Diet-IMAX, IMAX-TurboPlus, IMAX-Vanilla…
New and improved IMAX with Lemon Fresh Scent and Flavor Crystals
I’m still pretty sure that the screen I saw MI4 on IS a Real IMAX, as the theater is at least eleven years old (I saw “Fantasia 2000″ and “American Psycho” there), which is well before the glut of Fake IMAX labels slapped on theaters. Perhaps they only had so many TDKR prologue prints, and NYC and Nyack got lucky, sticking us in Westchester with the digital print. Either that or the Fake IMAX conspiracy has been going on longer than I’d thought…
If MI4 wasn’t actually shot/projected in IMAX and you didn’t even get the preview (the preview only played two theaters in NY), then they royally screwed you.
Only a third of the theaters in New York have the full IMAX format projection/system and screen, and all of these are at least 8 years old. So there you go.
Kinda late to join in but still… I am trying to catch up with all the films I missed over the year and it is particularly hard thing to do. More films than time… Still, I managed to see a couple of titles and most of them I liked:
CONTAGION – I liked it. It had its flaws and I doubt that it will be in the front rows for the awards season but it is still a good film.
MONEYBALL – I will never doubt Sorkin again. I did so with The Social Network and I regret it to this day. I did for Moneyball and I regret it as well. It is a really good film. Solid acting, directing and script. Brad Pitt is delivering a good performance in a dream-come-true role for many actors.
STRAW DOGS – I wanted to see the original first but I couldn’t manage to. I liked this one in its own right. It was disturbing and yet thrilling. I will be checking the original as well since it seems that people who saw it hated the remake. Still, I believe it was a nice film and if you take it out of the context of being a remake, you’d probably realize it is not half as bad.