TV Review: South Park, "You're Getting Old, Part 1"
Stan turns 10.
There's a lot of talk now about what the fate of South Park will be. It's been an unorthodox show, and it's no stretch to suggest it will have an unorthodox ending. "You're Getting Old" wasn't a particularly good episode in a string of not particularly good episodes with occasional spikes of genius, and if listening to the DVD commentary on many of their episodes is any indication, it's clear that Trey Parker and Matt Stone know a bad episode when they've made one; it's unlikely the decline in quality has gone unnoticed. Some might call that perspective "cynical." But this doesn't feel like a response to critics - Stan is a poor choice for an avatar of the audience when he's so clearly the common avatar of Trey Parker - and could well be a response to their own reactions, as they, like most, have probably come down with an occasional case of being a cynical asshole themselves. And if this is a damning response to a judgmental audience, then what are we to make of the final conversation between Sharon and Randy?
It's been fifteen years and Parker and Stone have now broken forty. While I don't believe that getting old means talent is necessarily lost I do believe it's necessarily changed. No one has the same outlook they had fifteen years ago, and maybe what seemed like a stupid waste of time then appears more worthwhile now, and vice versa. Their most successful contemporaries are now habitually producing season after season of trash, and there may be concern over becoming another Simpsons or Family Guy: achieving great things, and then going into a steady decline that leaves a sour taste in the mouths of fans that lasts for years and even decades. When I watch any modern episode of either of those shows, I wish that someone had had the force of will and foresight to pull the plug long ago. Trey and Matt can't want the same thing for South Park.
Maybe it's premature to be saying things like this, but my hope is that this is the final season, and "You're Getting Old" actually makes me more excited for what could be the series' final episodes.
June 12, 2011
The Cuban Missile Crisis
Movie Review: X-Men: First Class
Charles Xavier attempts to befriend and educate fellow mutants as he charts their emergence across 1960s America until he discovers another powerful mutant with a more malevolent agenda: Sebastian Shaw. Stars James McAvoy, Michael Fassbender, Jennifer Lawrence, Kevin Bacon, and January Jones. Directed by Matthew Vaughn and written by Vaughn and like four other people. 2011.
At a fairly early point in the film, First Class presents itself as a stupid movie, and never surpasses that expectation. However, it does have some moments of clarity. McAvoy and Fassbender enjoy a great on-screen chemistry. Their relationship is touching and well-portrayed; a scene in which Charles experiences one of Erik's fondest memories is a particular highlight of the movie. This is a well cast film, and cameos were handled sensibly. That said, my list of complaints is long. At no point does this ever feel like the sixties. Aesthetically and dialectically, these are modern people. Havok looks like a guy from One Tree Hill. Setting it amidst the Cuban Missile Crisis feels like a minor effort that doesn't sell the era at all. The support cast are essentially warm-body roles with the possible exception of Raven and Hank, whose relationship is rushed and illogical. Moira McTaggart's rethinking into an American CIA agent begged a few questions. The effects are surprisingly bad, and the movie is glaringly bloodless. I'm bewildered that this is reviewing so well. A pothole in Matthew Vaughn's mediocre track record.
Charles Xavier attempts to befriend and educate fellow mutants as he charts their emergence across 1960s America until he discovers another powerful mutant with a more malevolent agenda: Sebastian Shaw. Stars James McAvoy, Michael Fassbender, Jennifer Lawrence, Kevin Bacon, and January Jones. Directed by Matthew Vaughn and written by Vaughn and like four other people. 2011.
At a fairly early point in the film, First Class presents itself as a stupid movie, and never surpasses that expectation. However, it does have some moments of clarity. McAvoy and Fassbender enjoy a great on-screen chemistry. Their relationship is touching and well-portrayed; a scene in which Charles experiences one of Erik's fondest memories is a particular highlight of the movie. This is a well cast film, and cameos were handled sensibly. That said, my list of complaints is long. At no point does this ever feel like the sixties. Aesthetically and dialectically, these are modern people. Havok looks like a guy from One Tree Hill. Setting it amidst the Cuban Missile Crisis feels like a minor effort that doesn't sell the era at all. The support cast are essentially warm-body roles with the possible exception of Raven and Hank, whose relationship is rushed and illogical. Moira McTaggart's rethinking into an American CIA agent begged a few questions. The effects are surprisingly bad, and the movie is glaringly bloodless. I'm bewildered that this is reviewing so well. A pothole in Matthew Vaughn's mediocre track record.
June 6, 2011
Magicians Do Not Exist
Movie Review: The Illusionist
Looking for work in 1959 Scotland, a Parisian illusionist encounters a young woman who, after he performs several feats for her, believes him to possess magical powers of conjuration and follows him to Edinburgh. Stars the voice talents of Jean-Claude Donda and Eilidh Rankin. Based on a screenplay originally written by Jacques Tati, adapted and directed by Sylvain Chomet. 2010.
After Don Bluth in the 80s, the Disney Renaissance of the 90s, and now Pixar's instant classic after instant classic, I feel like animation isn't really something I have to defend anymore. Generally, it's taken for granted at this point that an animated movie can achieve great cinematic heights comparable to a live-action one. But the next time I encounter someone of a different opinion, I'm going to recommend The Illusionist, and then I'll have to specify that I don't mean the 2006 Ed Norton movie. This is Sylvain Chomet's second feature film, his first being The Triplets of Belleville, and I would've been satisfied with something equally zany and off-the-wall, however The Illusionist is a much more subdued story with a considerably greater emotional depth that came as a surprise but not an unwelcome one. There's no dialogue to speak of in the film, what lines we hear are indecipherable. This is a good way to highlight the language barrier between the two main characters, but also showcases the talent of the director and the film's animators, who are able to convey a range of emotions and atmospheres without being able to rely on dialogue. Chomet's landscapes are breathtaking, his array of even minor characters memorable and the film on the whole is heartfelt and sincere. The most recurring criticism I've seen is that it's occasionally oversentimental, and I guess that's true in places, but it's a movie about an old man trying to keep on doing what he loves in a world growing only more indifferent to his craft. Sentimental, perhaps, but it's not happy-go-lucky by any means. An exclusively mature animated film.
Looking for work in 1959 Scotland, a Parisian illusionist encounters a young woman who, after he performs several feats for her, believes him to possess magical powers of conjuration and follows him to Edinburgh. Stars the voice talents of Jean-Claude Donda and Eilidh Rankin. Based on a screenplay originally written by Jacques Tati, adapted and directed by Sylvain Chomet. 2010.
After Don Bluth in the 80s, the Disney Renaissance of the 90s, and now Pixar's instant classic after instant classic, I feel like animation isn't really something I have to defend anymore. Generally, it's taken for granted at this point that an animated movie can achieve great cinematic heights comparable to a live-action one. But the next time I encounter someone of a different opinion, I'm going to recommend The Illusionist, and then I'll have to specify that I don't mean the 2006 Ed Norton movie. This is Sylvain Chomet's second feature film, his first being The Triplets of Belleville, and I would've been satisfied with something equally zany and off-the-wall, however The Illusionist is a much more subdued story with a considerably greater emotional depth that came as a surprise but not an unwelcome one. There's no dialogue to speak of in the film, what lines we hear are indecipherable. This is a good way to highlight the language barrier between the two main characters, but also showcases the talent of the director and the film's animators, who are able to convey a range of emotions and atmospheres without being able to rely on dialogue. Chomet's landscapes are breathtaking, his array of even minor characters memorable and the film on the whole is heartfelt and sincere. The most recurring criticism I've seen is that it's occasionally oversentimental, and I guess that's true in places, but it's a movie about an old man trying to keep on doing what he loves in a world growing only more indifferent to his craft. Sentimental, perhaps, but it's not happy-go-lucky by any means. An exclusively mature animated film.
To See the Frontier
Movie Review: Dances With Wolves
John Dunbar is stationed at the American frontier, where he serves alone - save a loyal horse and a curious wolf - until he begins encountering his Sioux neighbours. A dialogue is begun, and he befriends them. Stars Kevin Costner, Mary McDonnell, Graham Greene, Rodney A. Grant, and Wes Studi. Adapted by Michael Blake from his novel published in 1988, and directed by Kevin Costner. Released in 1990.
As a child of the nineties, I equate Kevin Costner with pretty much Waterworld and baseball movies, and after movies with questionable plot philosophies like Avatar or The Last Samurai, I had it in my head that Dances With Wolves was another long-winded half-patriotic diatribe about a white guy getting in with the natives and then leading them to victory against his own people. But Dances With Wolves is a story that avoids heroics and grandstanding, and just tells an exciting and dramatic tale that never seems far-fetched. John Dunbar is a character for whom duty is first but an appreciation of the land a close second, and Costner himself probably has similar philosophies, as pretty much every location is a beautiful sweeping vista that seem to laments the loss of what America once was. Dunbar's relationships with the Sioux characters as well as his animal friends all develop uniquely and never feel taken for granted. The film feels fair-handed in regards to what I'm sure was and remains a delicate subject, showing nobility and cruelty in both peoples, and a pragmatism of inevitability; the characters are reflective, but never bark of injustice and unfairness because they needn't. Considering the big-league fumbles Costner would go on to make, Dances With Wolves is a surprise that is worth the time it demands.
John Dunbar is stationed at the American frontier, where he serves alone - save a loyal horse and a curious wolf - until he begins encountering his Sioux neighbours. A dialogue is begun, and he befriends them. Stars Kevin Costner, Mary McDonnell, Graham Greene, Rodney A. Grant, and Wes Studi. Adapted by Michael Blake from his novel published in 1988, and directed by Kevin Costner. Released in 1990.
As a child of the nineties, I equate Kevin Costner with pretty much Waterworld and baseball movies, and after movies with questionable plot philosophies like Avatar or The Last Samurai, I had it in my head that Dances With Wolves was another long-winded half-patriotic diatribe about a white guy getting in with the natives and then leading them to victory against his own people. But Dances With Wolves is a story that avoids heroics and grandstanding, and just tells an exciting and dramatic tale that never seems far-fetched. John Dunbar is a character for whom duty is first but an appreciation of the land a close second, and Costner himself probably has similar philosophies, as pretty much every location is a beautiful sweeping vista that seem to laments the loss of what America once was. Dunbar's relationships with the Sioux characters as well as his animal friends all develop uniquely and never feel taken for granted. The film feels fair-handed in regards to what I'm sure was and remains a delicate subject, showing nobility and cruelty in both peoples, and a pragmatism of inevitability; the characters are reflective, but never bark of injustice and unfairness because they needn't. Considering the big-league fumbles Costner would go on to make, Dances With Wolves is a surprise that is worth the time it demands.
June 5, 2011
Live Dogs and Dead Lions
Movie Review: Something Wild
On-the-rails Charlie meets out of control Lulu, and after she offers him a ride, she kidnaps him. Stars Melanie Griffiths, Jeff Daniels, Ray Liotta, and Jack Gilpin. Written by E. Max Frye, directed by Jonathan Demme, released in 1986.
I guess you can't really review Something Wild without giving away the big spoiler, which I was unfortunately aware of before going into it. So I will say that this was a cool all over the place movie and was a good watch. If you're worried about spoilers, stop reading here and go see the movie.
To everyone else: Something Wild starts as a happy-go-lucky whimsical romp, with maniacal Lulu having the time of her life just trying to get a rise out of suppressed yuppie douchebag Charlie. I've never thought Melanie Griffiths was that good an actor, and Something Wild doesn't alleviate that but Lulu's disaffected nonchalance isn't a demanding role and Griffiths sells her. Jeff Daniels, who is a good actor, handles Charlie well, transitioning the character from rube to accomplice at a very gradual and believable pace. Ray Liotta plays a psychopath again. Oh yeah, this movie has a psychopath in it, and well into the film the story becomes a fairly tense thriller. It's difficult to say whether or not the genre shift was successful, as I knew it was coming and kept expecting a sudden turn, but the movie didn't suffer from it, and all the characters felt like they were acting naturally. The ending seemed tacked on, like it was scrambling to finish the romantic comedy it started, but doesn't debase the whole piece.
On-the-rails Charlie meets out of control Lulu, and after she offers him a ride, she kidnaps him. Stars Melanie Griffiths, Jeff Daniels, Ray Liotta, and Jack Gilpin. Written by E. Max Frye, directed by Jonathan Demme, released in 1986.
I guess you can't really review Something Wild without giving away the big spoiler, which I was unfortunately aware of before going into it. So I will say that this was a cool all over the place movie and was a good watch. If you're worried about spoilers, stop reading here and go see the movie.
To everyone else: Something Wild starts as a happy-go-lucky whimsical romp, with maniacal Lulu having the time of her life just trying to get a rise out of suppressed yuppie douchebag Charlie. I've never thought Melanie Griffiths was that good an actor, and Something Wild doesn't alleviate that but Lulu's disaffected nonchalance isn't a demanding role and Griffiths sells her. Jeff Daniels, who is a good actor, handles Charlie well, transitioning the character from rube to accomplice at a very gradual and believable pace. Ray Liotta plays a psychopath again. Oh yeah, this movie has a psychopath in it, and well into the film the story becomes a fairly tense thriller. It's difficult to say whether or not the genre shift was successful, as I knew it was coming and kept expecting a sudden turn, but the movie didn't suffer from it, and all the characters felt like they were acting naturally. The ending seemed tacked on, like it was scrambling to finish the romantic comedy it started, but doesn't debase the whole piece.
May 27, 2011
Should've Had A Better Home Town
Movie Review: The Last Picture Show
America Lost & Found: The BBS Story
Sonny and his friends come of age in Anarene, a small Texas town, in the early 1950s. Over the course of several years, their lives intersect with the rest of their town as it slowly crumbles around them. Stars Timothy Bottoms, Jeff Bridges, Cybil Shepherd, and Ellen Burstyn. Written by Larry McMurty and Peter Bogadanovich, and directed by Bogadanovich. 1971.
I've been noticing a common thread amongst the BBS movies I've seen so far, and it's that the plots aren't really about any one thing, and tend to be observational pieces revolving around a character over a certain period of time. The Last Picture Show is a contemplation of friendship, growing up, and life in a dying community. It's one of those movies that reads like a book. Shot in the style of a fifties teen romp, it undercuts the fluff and happy-go-lucky rebellion characteristic of those films by showing teens growing up and facing realistic problems that the people around them can't recognize nor resolve. The Last Picture Show never tells or shows us what is driving this town to ruin, and ultimately it's unimportant, because the characters don't try to save it, and occasionally beg the question if it deserves saving at all. An all round exemplary cast never overdoes it, playing scenes in a very organic and conversational manner. Touching, bittersweet, full of a very human aimlessness.
America Lost & Found: The BBS Story
Sonny and his friends come of age in Anarene, a small Texas town, in the early 1950s. Over the course of several years, their lives intersect with the rest of their town as it slowly crumbles around them. Stars Timothy Bottoms, Jeff Bridges, Cybil Shepherd, and Ellen Burstyn. Written by Larry McMurty and Peter Bogadanovich, and directed by Bogadanovich. 1971.
I've been noticing a common thread amongst the BBS movies I've seen so far, and it's that the plots aren't really about any one thing, and tend to be observational pieces revolving around a character over a certain period of time. The Last Picture Show is a contemplation of friendship, growing up, and life in a dying community. It's one of those movies that reads like a book. Shot in the style of a fifties teen romp, it undercuts the fluff and happy-go-lucky rebellion characteristic of those films by showing teens growing up and facing realistic problems that the people around them can't recognize nor resolve. The Last Picture Show never tells or shows us what is driving this town to ruin, and ultimately it's unimportant, because the characters don't try to save it, and occasionally beg the question if it deserves saving at all. An all round exemplary cast never overdoes it, playing scenes in a very organic and conversational manner. Touching, bittersweet, full of a very human aimlessness.
May 26, 2011
Just Some Old Hood
Movie Review: Hard Eight
Professional gambler Sydney recruits transient John outside a diner and teaches him how to make a living cheating casinos. Two years later, Sydney becomes wary of John's new friend Jimmy. Stars Philip Baker Hall, John C. Reilly, Gwyneth Paltrow, and Samuel L. Jackson. Written and directed by Paul Thomas Anderson, and released in 1997.
Movies with older protagonists aren't as common as you might think, and it sometimes feels like every time I see one, it's possessed of an immediately distinct atmosphere. Hard Eight isn't a movie about getting old, but only an old man could be the main character of this film. Plus, it's Philip Baker Hall, who I'm beginning to think would read the phone book with depth and subdued passion. Hard Eight is the feature debut of writer/director Anderson, but it doesn't miss a single beat. It's another movie that has too much going on in it to be about any one thing, and it's plodding, low-key delivery makes every scene seem very thoughtful and methodical. Anderson's trademark tenderness for his characters is really the spotlight here, and the film is stronger for it. A fascinating first entry that is clearly his own without ever trying too hard.
Professional gambler Sydney recruits transient John outside a diner and teaches him how to make a living cheating casinos. Two years later, Sydney becomes wary of John's new friend Jimmy. Stars Philip Baker Hall, John C. Reilly, Gwyneth Paltrow, and Samuel L. Jackson. Written and directed by Paul Thomas Anderson, and released in 1997.
Movies with older protagonists aren't as common as you might think, and it sometimes feels like every time I see one, it's possessed of an immediately distinct atmosphere. Hard Eight isn't a movie about getting old, but only an old man could be the main character of this film. Plus, it's Philip Baker Hall, who I'm beginning to think would read the phone book with depth and subdued passion. Hard Eight is the feature debut of writer/director Anderson, but it doesn't miss a single beat. It's another movie that has too much going on in it to be about any one thing, and it's plodding, low-key delivery makes every scene seem very thoughtful and methodical. Anderson's trademark tenderness for his characters is really the spotlight here, and the film is stronger for it. A fascinating first entry that is clearly his own without ever trying too hard.
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