The Reel World

With the exception of Blazing Saddles and City Slickers, it’s not easy to come up with a successful western/comedy.  But leave to Seth MacFarlane to venture into this territory with his irreverent humor in tow as he looks to beat the odds and make a successful western with his new film A Million Ways to Die in the West.  Following the success of Ted, I was looking forward to seeing what MacFarlane would do next; after all, I feel he’s the comedian who speaks to my generation better than anyone else out there.  As one of the comedy greats of the time, I had little doubt about his ability to write and direct another hit, but where my concern mainly fell is on how he would fare as the leading man.

When we first meet Albert (MacFarlane), he’s running late for a duel with a gunslinger to whom he is in debt.  He’s no match for the gunslinger, and he does his best to beg and wisecrack his way out of the duel to the town’s disappointment.  With a minor reprieve and an even more minor gunshot wound, Albert is sent on his way.  Unfortunately Albert’s good fortune doesn’t last long once Louise (Amanda Seyfried) dumps him so she can “work on herself”.

If Christopher Nolan’s take on The Joker isn’t the very best example of modern cinematic villainy, then it’s near the top of the list. Obviously, a tremendous amount of credit goes to Heath Ledger’s Oscar-winning performance in The Dark Knight, but I’d argue the real thrill comes from the character’s arbitrary, inexplicable approach to evil. By having its Joker invent tragic (fake) backstories on the spot, the film made a mockery out of the notion of having to explain a movie monster’s past. Disney’s Maleficent, on the other hand, is the latest misguided attempt to redeem a character who was better off being unredeemable.

"Let us tell an old story anew and see how well you know it."

Vampires have been popular since Bram Stoker and Sheridan Le Fanu started writing about them nearly 200 years ago, but vampires have been around much longer than that. That seems to be how the story goes. That's part of the problem. In Only Lovers Left Alive, it's difficult for a vampire to overcome  his boredom and disappointment with “zombies”, as he calls the human mortals. These vampires try to subsist on blood banks. Not only is it more humane, but that way they know the blood is tested. They don't like blood-borne pathogens. Jim Jarmusch makes his own kinds of movies that no one else makes. He is one of the last directors working in Hollywood who hasn't sold out, partly because he never has worked in Hollywood. He's too cool to sell out. That's why he's made a vampire movie no one else could have made. It has a great cast because all the cool actors would love to be in a Jim Jarmusch film. Tilda Swinton played the angel Gabriel in Constantine. Tom Hiddleston is Loki in the Marvel universe in movies like Thor I, Thor II and The Avengers. Anton Yelchin is Chekov in Star Trek and was fighting vampires recently in Fright Night. Mia Wasikowska was Alice in Wonderland, and that movie literally and truthfully made over a billion dollars. Jeffery Wright and John Hurt are two of best actors alive, so look that up. Bill Murray and Johnny Depp have starred in Jim Jarmusch movies for no other reason than that he asked them. If you haven't seen a Jim Jarmusch film by now, you're probably not ready to see one. Go spend a few years in the East Village to prepare yourself.

All that said, Only Lovers Left Alive is a luxurious and enjoyable experience. Our main vampire, Adam (Hiddleston) is a reclusive rock star who lives in a ramshackle mansion in a deserted Detroit neighborhood. He rarely leaves the house, and his needs are mostly tended to by a spacy groupie, Ian (Yelchin). He labors over music with equipment he has cobbled together over the years. His electricity is furnished by generators based on the principles of Nikola Tesla. He gave away some music to Hayden many, many, many years ago. He shows up at a hospital blood bank unannounced to buy from Dr. Watson (Wright). That is basically his life. He recently got Ian to procure a bullet made out of one of the densest woods imaginable. Just one bullet.

Chef has a fantastic cast having fun, being sexy and making us happy. It must have been a blast for everyone involved. Everyone is probably involved because they love writer/director/star, Jon Favreau. Favreau's directorial efforts are varied and include Iron Man I, Iron Man II, Cowboys and Aliens, Zathura, Elf and Made. He made an early impact in 1996 by writing and starring in Swingers. He is also familiar to audiences as Happy Hogan, Robert Downey Jr.'s security chief, in the Iron Man series.

Now Favreau is back to running the show with a personal Indie project.

There is a famous painting from 1779 of Dido Elizabeth Belle with her cousin Lady Elizabeth Murray which is owned by the present Earl of Mansfield and rests in Perth Palace. It is the inspiration for the movie Belle. The history of events that swirled around Belle are pertinent to this day. The film doesn't always hold to historical accuracy, but mostly in matters that do not aid the excellent story being told. The historical inaccuracies are minor and mostly irrelevant. Here is what is true. Belle is the daughter of Admiral Sir John Lindsay and an enslaved African, Maria Belle. Lindsay had his uncle, William Murray, take care of her at his estate. Murray was the first earl of Mansfield and chief magistrate of England. He also took in Lady Elizabeth Murray, another niece, when her mother died. Mansfield may have been the most powerful man in England at the time and presided over many monumental decisions of British law. The decision that this film deals with is based on the Zong massacre and its ramifications. A slave ship threw its slaves overboard chained together to claim the insurance. The thing that is remarkable about the film is that it navigates all these issues with intelligence and clarity. The historical inaccuracy I mentioned that was wisely circumvented was to make Belle the epitome of a Jane Austin heroine. Belle, in this movie, is sheer perfection and a joy. It isn't possible that the real Belle could have been so wonderful.

The cast is superb led by Tom Wilkinson, Emily Watson, Miranda Richardson, Penelope Wilton, Tom Felton and Matthew Goode. Belle is played by Gugu Mbatha-Raw, who has been around for a while in things like Larry Crowne and British television but is holding center stage here. She is the picture of aristocracy and intelligence and sensitivity and grace. She weathers the small and big slights that her unique situation delivers to her. Lord Mansfield (Wilkinson) comes to love her as if she was his daughter, but he also must navigate through mores of English society. The story plays out like an Austin novel with courting and marriage as a goal and full of complexities in execution. That is when the Zong case starts to figure more prominently in the story. The son of a minister, John Davinier (Sam Reid) is given the opportunity to clerk for Lord Mansfield. He demonstrates strong feelings about the morality of this case. He also encounters the fiercely intelligent Belle who looks down on him in her early meetings. Belle, despite being a mulatto, is part of the aristocracy. When her father dies, she is left a fortune, which entices a member of a good family to court her.

"You and I have a lot of catching up to do. What's the last thing you remember?"

In 2006 director Bryan Singer appeared to have turned his back on the film franchise he had brought to life. After two successful runs at the X-Men universe Singer was primed and ready for a third when a certain Man Of Steel caught his eye. At seemingly, the last minute Singer dropped out of the third X-Men film to direct the dubious return of Superman. I actually like Superman Returns better than most. I wonder how much of the film's hatred might have been directed at its director, considered a traitor by many fans. I never really looked at it quite that way. It's a business, after all, and people come and go. Still, I'm not sure that Singer didn't feel a need for redemption or at least that he might have had some unfinished business. X-Men: Days Of Future Past should wash away any hard feelings fans might still harbor. This is one heck of an apology!

“It’s not the end of the world.”

I still remember the night I walked out of the screening of the Roland Emmerich version of Godzilla.  I can’t remember a time I had ever been so angry at a film.  It was a film that was an insult to the monster that I had held in such high regard right alongside King Kong.  Sure I had seen the trailers, but when I saw that first reveal of their “Godzilla” I cringed; I hated it.  Had the film been called anything else perhaps my loathing towards it would have been different, but it was a film that was foolish enough to hold the name of Godzilla.  Now it’s been over 15 years and Hollywood is taking another stab at presenting us with an Americanized version of Godzilla.  And this time they nailed it.

Baseball is huge, and Bollywood is huge, so imagine if you put them together. In many ways, Million Dollar Arm is about Indian culture and what a separate world it is from ours. The film starts out in Los Angeles where J.B. Bernstein (Jon Hamm from Mad Men) is a sports agent who has broken off from a big agency to start his own firm. His partner, Aash (Aasif Mandvi of The Daily Show), is very nervous about where their next client is coming from since they lost a big one right at the start of the film. Bernstein, thinking on his feet, decides to pursue an untapped market for baseball and the big-money stars who are big league pitchers. He sees India as completely virgin territory for baseball. But the problem is there are no baseball players in India. Aash gives him the idea by talking about cricket on cable.

Clearly, cricket and baseball are totally different, but Bernstein is desperate. He pitches his idea to a big-shot money man. The money man, Chang (Tzi Ma), listens and agrees with big conditions. They are basically impossible conditions, but again, Bernstein is desperate. Bernstein had a great life once, and he still has the big expensive house and the Jaguar, but his time to make this big gamble work is running out. A nurse (Lake Bell) rents his guesthouse. She's a sweet person, but Bernstein usually has a different model girlfriend on a regular basis. Her washing machine is broken just as he is walking out the door to head halfway around the world. He gives her keys to the house and tells her to just use the machine and be careful.

Walking out of Neighbors one thought struck me, and I haven’t been able to shake it since seeing the film.  I’m getting old.  It’s the revelation we all deal with at some point or another, and it seemed to be the overall theme of Neighbors.  Since Judd Apatow came along I think he has firmly created a new sub-genre the coming of middle-age film.  Seth Rogan seems to be the poster child of this new genre, and with his characters he is somewhat the ambassador of all man-children out there. 

Mac (Seth Rogan) and Kelly (Rose Byrne) Radner are new parents who have just moved into a new home together.  It’s the start of their grown-up lives, though of course it isn’t as easy as they had hoped.  The days of going out to all night raves are over, as is their “spontaneous” sex life.  But what makes it work is their desire to at least be good parents and maintain a healthy relationship with one another.  Their quiet, boring life takes a sharp turn after the arrival of their new neighbors, a fraternity set on becoming the ultimate party and going down in frat-house lore.

“War leaves a mark.”

Even the people who manage to escape war with all their limbs intact feel its impact for the rest of their lives. Of course, it’s much trickier to spot the emotional and psychological wounds veterans like Eric Lomax carry with them. The Railway Man is based on Lomax’s harrowing World War II experiences and the day of reckoning, decades later, with one of his tormentors. In turning Lomax’s real-life story into a dramatic movie, the film doesn’t so much ask if revenge is good for the soul; it argues that it might be necessary.