The Curious Case of Benjamin Button: Cinesnob Delight (Spoiler Warning)

(I’ll have some spoilers later as I discuss some of the deeper themes of this movie, but I’ll let you know when they are coming)

So most of the reviews of this movie are coming in fairly mixed, and while it is not without fault, I can’t stop thinking about the themes and the choices made by it’s central characters. That’s when you know you’ve been captivated by a movie. David Fincher is a visual genius. I’ve been a fan ever since he broke out of the music video circuit with Alien3. His movies (Fight Club, Seven, Panic Room, Zodiac, The Game) are all considerably dark movies. They are filled with nihilism, death, fear, and a lot of trippy camera work. Fight Club still remains one of the most poignant studies of existential angst among genX males ever committed to film. In short…Fincher really knows how to speak to guys. Just like Stephanie Meyer has done with women (and my wife) with the whole Twilight series, he knows how to get at our core…what inspires us, what motivates us, and what we are afraid of. In The Curious Case of Benjamin Button, he does it again. At first glance, one might not see the parallels between a high-falutin’, Oscar-baitin’, period sweepin’ epic light Button and a movie like Fight Club, with all it’s blood and subversion, but in truth, thematicaly, they are very similar. Both demand you to answer the question…what do you do with the time you’ve been given? Time is precious…and there is no sense wasting it all with propriety and duty when you should be truly living.

In Button, Brad Pitt plays a man who is aging in reverse, and, setting aside the dramatic aspect of that conceit for a moment, it is a process that I was very skeptical about how Fincher would be pull it off technically. Would they put kids in wrinkled latex makeup? Would they CGI Pitt’s face to someone? In fact, they do a mashup of the two…and it worked sublimely. Standing on the shoulders of Gollum, Bob Zemekis, and Speilberg, Fincher adds a new delicacy to the possibility of CGI to help tell a story. And while I’m speaking about the aging process, let me also say that what was done with Brad Pitt’s love interest Daisy was amazing as well. we see Daisy, played by Cate Blanchett, age from 8 to her 80’s. While various children handle her younger years, Blanchett inhabits her from the slender, porcelin faced ballerina of 23 to the pale, cancer striken ghost of 89 with complete believability. Her face at times digitally morphed onto the bodies of young women and brushed free of wrinkles, while other times, it is enhanced with the translucence that comes with age and a few rounds of chemo. The special effects work on this production is dripping from every shot, but it became seamlessly woven into the fabric of the narrative. While I am gushing about Fincher’s meticulous dedication to detail, let me also geek out for a moment on his method of using film treatment and digital coloring to match his shots to their time periods. While it was usually saved for montage type shots, notice when you watch how the film is processed to look old and scratchy when it’s narrative is in the early 1900’s and into the 20’s. Then later, in the 50’s, the film takes on that golden, warm saturation we see in the color movies from the 50’s. As the film moves into describing what Benjamin was up to throughout the 60’s, 70’s, and 80’s…the footage looks almost like it was captured at that point in history with equipment available at that time. It’s a miniscule detail that I bring your attention to so that you can geek about it with me.

Beyond the technical prowess of the film is the overall theme of time.  Time is precious…so don’t waste it, but there is always time to make up for your mistakes, for your broken relationships.  (Here is where this might get a little spoiler-ish)  In using the device of aging backwards, there is always a sense of urgency within the love story of the two leads.  Benjamin and Daisy are technically the same age, and upon reaching adulthood, are close enough in their outward age to have a relationship.  Although I won’t explain how, they do end up spending the majority of their life together, so saying that it has a happy ending is really up to the viewer.  As Benajmin ages, and the his youth begins to wind him down, he makes a tough parental decision.  His decision made me more uncomfortable than any in the movie.  Jess hated his decision.  Me, I would not have had the strength to go through with his decision as it is as selfless and self-sacrificing as anyone could ever make.  I’ve been telling friends that if they are a husband and a father, they should take a box of kleenex.  Just as 10 years ago, Fincher knew how to speak to a generation of 20 somethings, he now knows just how to pull at the hearts of dudes in their 30’s.  Guys who are trying to be good providers, good dads, sometimes wondering if their life is what they had hoped, or if they have the energy to sustain it, or the strength to do what is right.  I was a wreck, dude.  I felt like the lights came up all too quickly as the credits rolled…wiping the puffy eyes and supressing the pain in my throat.  I know I sound like a wuss, but the story gripped me.

Also, from a purely historical standpoint, the movie is a love letter to the 20th Century.  I wonder how history will paint the 1900s.  It is an era apart from anything before it, and I believe we won’t see anything like it for sometime.  The world changed so much in the years between Benjamin’s birth and Daisy’s death…the movie is bookended by the end of World War I and Hurricane Katrina.  I found myself captivated that so many events and technolgical leaps brought the world into an age of flight, computers, information, communication, and medicine in such a short amount of time.

I am glad to have seen Benajmin’s journey and while his story is a ludicrous conceit, it is a rich study of human interraction and what it means to live.  Go see it.

Fanboy Squeals while Cinsnob Scoffs

Will it suck? Probably
Will I go? Does the pope poop in the woods?

The Story of a Film of a Murderer

Last year, during the fall I believe, I rented the movie Perfume: The Story of a Murderer, an obscure and intense film made in Germany that hardly anyone saw here in the states. It received blockbuster status in Europe instantly but was deemed “unmarketable” in the US and was only in limited release here for a short while.

The filmed is based on Patrick Suskind’s novel, Perfume, and it follows the story of an impoverished and abandoned orphan with a near supernatural olfactory sense and is plagued with the quest for the perfect sent. He then attempts to create that scent by distilling the odors of beautiful women whom he murders and combines them all together.

Let me start off with a disclaimer by saying this film is visually intense, very graphic, very dark and not created for the general American public in mind. In other words, Cinesnob factor 9 here folks.

However, if you can get past the unconventional storytelling style the film utilizes you will be surprised to discover one of the most beautifully sad films ever created. (SPOILER WARNING)

Grenouille, the main character, is gifted and plagued throughout the entire film with a curse. He has the best nose in the world and yet he is alone in his naivety on how to properly use it. He finds no greater delight than in smelling all things beautiful but knows nothing of companionship, family or even love. The film climaxes in the final unveiling of Grenouille’s master perfume on the day of his execution in which he uses it to swoon the entire mob that has gathered to see his imminent death.

But in the end he is confronted with a stark and debilitating truth that although he has found a complex and also deadly way to immortalize the intoxicating sent of any beautiful woman he meets he has completely missed the point. He could have just as easily “immortalized” the scent of the first maiden he meets and accidentally kills in the beginning of the film by simply loving her and having a relationship with her forever. It is one of the most heartbreaking moments in a movie I have ever seen.

The rest of the movie is a little odd, mind you I liked it, but I don’t foresee many of you renting or even renting it and liking it unless you are prone to enjoying european types of cinema. All in all I gave the film an A- for the cinesnobs out there but a C+ for the rest of the populace.

Smart People (2008) Review

You know the setup. Dennis Quaid, incredible IQ, retarded social abilities. Sarah Jessica Parker, pretty smart, emotionally confused. Emma Page, incredible IQ, retarded social abilities. Thomas Haden Church, pretty smart, emotionally confused. Not a new formula but not a bad formula.

As a whole, the movie got a B+ overall with maybe a low A- in character development. What did surprise was that Dennis Quaid, an man whom I probably wouldn’t even put on my top 100 list of best actors in my time, actually pulled a fairly solid performance throughout the film as a very depressing and yet redeeming protagonist.

The script was ok, the witty banter between characters was good, general storyline believability was solid and the themes of redemption and growth were fulfilling and well played out. I’d recommend it to see in theaters if it is still in one near you but you’d be just as fine renting it on a rainy day.

I am 11 again watching faces melt from Nazi’s

Remember this?  Yeah, me too, I can still hear the scream.  Especially the part where he gurgles on is own melting flesh.  The screaming baddie from Raider’s of The Lost Ark is so vivid in my mind because the first time I saw the movie, my mom wouldn’t let me watch this part.  “You can open your eyes when Indy does.”  So I heard the whole scene from Indy’s perspective.  He shouts “Whatever you do don’t open your eyes!”  Man I really wanted to open my eyes.  Of course when I saw it later I was mesmerized.

Earlier this year, when the new trailer for Indy 4 (I’m not linking dude, I’m lazy and you know how to use Google) hit the net, the hairs on my neck stood on end when the rousing John Williams trumpets began to play the familiar fanfare.  A fanfare that the Fanboy has sung from the top of his lungs many times while snapping his brother’s whip over the garage rafters and swinging with one hand on my fedora.

I am stoked about the new Indy on many levels.  There is plenty for both Fanboy and Cinesnob to want to rip his beating heart right out of his chest and feed it to the crocs.  On one hand, this is a conventional, popcorn, thrill a minute, action movie.  It is a formula that has been in place since the first film and in a way is a formula that some cinesnobs would point to as the very reason for the boring blockbuster summers we find ourselves in.  Fanboy eats that crap up though.

On the other hand, this is a movie made by three of the heaviest hitting, most creative guys on earth.  Harrison Ford may be a pain in the arse, but he loves and cares for his craft.  It is what makes him such a pain in the first place.  As for the other two guys, Speilberg and Lucas, are responsible for the way moviemaking of the last 30 years has been done.  They have led every frontier and have created images and stories that are as much a part of our cultural lexicon and identity as Shakespeare or Picasso.

Entertainment Weekly recently published a Q&A with these two and it is a sublime read.  They banter, argue, and get into pissing matches about who is more innovative.  Here is a snippet:

How much did George nag you to shoot film-free, with digital cameras, the way he did on the Star Wars prequels?
SPIELBERG: All through three years of preparation. It’s like he was sending these huge 88 [millimeter artillery] shells to soften the beach, y’know? He never swears at me. He never uses profanity. But he calls me a lot of names. And in his creative name-calling, he topped himself on this one, trying to get me to do this digitally.

What did he call you?
SPIELBERG: I guess the worst thing he ever called me was old-fashioned. But I celebrate that. He knows me like a brother. It’s true, I am old-fashioned.
LUCAS: I think the word ”Luddite” came into it. In a very heated discussion.
SPIELBERG: I said I wasn’t, I was Jewish! [Laughter]
LUCAS: The end of it is, I said, ”Look, Steve, this is your movie. You get to do it your way.” And in the end, I didn’t force Steven to do it. That doesn’t mean I didn’t pester him, and tease him, and get on him all the time.
SPIELBERG: It was all 35-millimeter, chemically processed film…. I like cutting the images on film. I’m the only person left cutting on film.
LUCAS: And I’m the guy that invented digital editing. But we coexist. I mean, I also like widescreen and color. Steven and Marty [Scorsese] have gone back and shot in black-and-white [on Schindler’s List and Raging Bull, respectively]. I don’t get on their case and say, ”Oh my God, this is a terrible thing, why are you going backwards?” I say, ”That’s your choice, and I can appreciate it.”
SPIELBERG: Eventually I’ll have to shoot [and edit] movies digitally, when there is no more film — and I’m willing to accept that. But I will be the last person to shoot and cut on film, y’know?

Read the rest here

I am stoked for this film.  Here’s for hoping for an experience worthy of the first facemelting.

Quantum of Solace (2008)

I just finished watching Casino Royale yesterday, the latest Bond film with new 007 actor, Daniel Craig. It reminded me why, when I originally saw it, I thought it was the best Bond movie yet and watching it recently also got me thinking again about the next one set to release later this year, Quantum of Solace.

2 Reasons Why I’m Looking Forward To This Bond Film:

Daniel Craig is back. The crazy brit who resurrected the original bond persona and went a step further to perfect it even more in a modern view. Pierce Brosnin, by the time he made his last Bond film, had slughtered the authenticity of the 007 persona and, with the help of horrible writing feeding him some of the worst lines in film history, drove the quality of the film series into the ground. Even my inner Fanboy didn’t give a rats ass about seeing another one with him in it. Daniel Craig however gave James a makeover and relaunched the character back into action with more style and class than you could fit into a dry martini (shaken, not stirred).

Also, Marc Forster, the man with the plan who brought us movies like Finding Neverland, Stay & Stranger Than Fiction, is directing the 22nd Bond film. After naming off those films in his repertoire need I say more? The dude will always blow your mind while at the same time making you fall in love with his characters and he never shies away from rule number one in film, content is king. Action films like the Bond series often forget that and I am very curious to see what he will bring to the series with his directing styles.

Upcoming: The Spirit (2009)

As I was lurking around my usual film blogs and forums I stumbled across a movie poster release for The Spirit which is set to release next January. Any one who knows me knows I am in love with Frank Miller. The dude brought us Sin City and 300, ’nuff said. And from the looks of what info has been released thus far, Spirit has all the elements needed for another Miller knockout. The Spirit as a graphic novel is one of the most historic titles of its kind so there is a lot to live up to with this movie title but the cast looks good an the director has a great running streak so far so I am very curious to hear more about this one as the year progresses.

Top 5 Movie Speeches

#5 – V for Vendetta

“Words will always retain their power. Words offer the means to meaning and for those who will listen the annunciation of truth. And the truth is there is something terribly wrong with this country.”

This movie is one of the best written scripts ever so you can be pretty safe and pick out any of Hugo Weaving’s monologues in it and throw any of them into a “Best Speeches” list. However, his speech that he gives via his virtuous vigilante character aptly named V during his hijacking of all of the tv signals is right up there as one of the best ever given in my book. Listen to it and tell me you do not feel like dawning a Guy Fox mask and joining the revolution?

#4 – Schindler’s List

“This car. Goeth would have bought this car. Why did I keep the car? Ten people right there. Ten people. Ten more people. This pin. Two people. This is gold. Two more people. He would have given me two for it, at least one. One more person. A person, Stern. For this. I could have gotten one more person… and I didn’t! And I… I didn’t!”

The nazi film genre has steadily become a favorite style of mine over the years. Therefore it is no surprise that Schindler’s List finds its way on this list. When Liam Neeson started taking off his lapel and his ring it immediately took that scene too a new level of emotion. I didn’t cry (partly because I am a heartless robot) but It still got to me.

#3 – Fight Club

“You’re not your job. You’re not how much money you have in the bank. You’re not the car you drive. You’re not the contents of your wallet. You’re not your f*cking khakis. You’re the all-singing, all-dancing crap of the world.

I am pretty sure that when they were naming this film they wanted to call it “Existentialism Club” but figured that would have been giving away too much. Tyler Durden gives several very powerful speeches and monologues throughout the film so this was another one that I could have pulled plenty of choices from. Instead I chose this little ditty. It uses vivid imagery and word usage to an almost Hitler type level that embodies Tyler’s urban chaos movement. And you just have to love his line “you are not your f*cking khakis”.

#2 – 300

“My children, gather round! No retreat, no surrender; that is Spartan law. And by Spartan law we will stand and fight… and die. A new age has begun. An age of freedom, and all will know, that 300 Spartans gave their last breaths to defend it!”

This movie is the ultimate battle rouser that was ever made. I remember numerous times while watching it for the first time that I was very much ready to jump out of my seat and yell “HOO-AH!” with the Spartans if not for the fact that I was in a crowded theater. The King Leonidas character has some of the best lines ever in this movie (i.e. the unforgettable (This is Sparta!” cry he makes in the beginning of the film) so I chose his speech he gives his men the night before their big battle.

#1 – Good Will Hunting

“So if I asked you about art, you’d probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life’s work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I’ll bet you can’t tell me what it smells like in the Sistine Chapel. You’ve never actually stood there and looked up at that beautiful ceiling; seen that.”

Good Will Hunting probably wasn’t what you were expecting as my number one choice. Bet you figured I’d throw in Braveheart or Return of the King or something, one of those well known speeches that will be remembered till eternity. Nope, I picked good ol’ Robin Williams and Matt Damon. This speech is probably the speech that got Robin his oscar. I love how he starts this conversation with Will by saying “You’re just a kid, you don’t have the faintest idea what you’re talkin’ about.” and then continues to peel away everything about Will’s character that he has been hiding and defending against. Not many people can argue against this being a fantastic monologue and it’s my #1 of all time.

10 things I learned from watching “No Country For Old Men”

10. Never laugh at someone’s bowl cut.

9. The bags under Tommy Lee Jones’ eyes could hold a pound of rice each.

8. Telling a border agent you are a Vietnam Veteran will get you back across the border, even if you are wearing nothing but a hospital gown and some boots.

7. Texans transport bodies from a crime scene on a flatbed truck by dudes that are dumber than a bag of hammers.

6. Boots are cool. The pointier, the sexier.

5. Woody Harrellson used to be a top-billed actor. Now he pops up in the strangest places.

4. Josh Brolin has come a long way for a Goonie.

3. In Coen world, (the quirky dimension cooked up by the Coen Brothers in movies like Fargo, The Big Lebowski, and O Brother) interesting old men pop up with interesting things to say at every turn. Then they are usually dispatched in a clever wide-shot.

2. If someone is walking towards you with an odd looking air tank with a thingamabob on the end. You no longer have to ask, “What’s that thing there?” You run.

1. Never, under any circumstances, work as a motel clerk at a cheap Texas motel. You’re dead for sure. It is especially hazardous if someone tips you a bloody Benjamin. Unless you are an annoying, overweight, old woman, then you’re safe.

Australia

Haven’t been to any movies since starting this blog so no reviews or stories about film experiences yet but here is something I think a lot of people will enjoy to hear about. Baz Luhrmann, the man who changed the world of cinema in 2001 with his masterpiece, Moulin Rouge, is coming off of his 7 year long feature film hiatus with his new cowboy epic, Australia. It is starring Nicole Kidman and Hugh Jackman and takes place in the Australian outback during the bombing of Darwin, Australia by the Japanese.

Filming began last April and finished up in December and the movie has a tentative release date of November 14, 2008. Baz is using a lot of his usual crew from his movies including the same Art Director from Moulin Rouge and Romeo+Juliet.