In the basement that has haunted Barry Crimmins since he can remember, the acerbic comedian’s tongue falters for a moment as he hums and haws in the darkness. Eventually, unrehearsed words pour out and assemble themselves into a poignant justification for Bobcat Goldthwait’s documentary Call Me Lucky. Though the film ends up in this strange place, it begins as a seemingly garden-variety portrait of the political satirist and comedy club patron told mostly through interviews with his friends and family. But Goldthwait’s keen directorial eye and editing choices reveal the film’s sinister kernel – one that we won’t fully understand until much later (if ever).
Derek Jacobs
Though “Bridge of Spies” is Lesser Spielberg, Hanks, and Coen Bros – There’s Still Plenty To Enjoy
Steven Spielberg’s Cold War historical drama Bridge of Spies feels like it may get lost in the 2015 spy film shuffle. It has neither the name recognition of the franchise films released this year (Mission: Impossible and Spectre), nor the comedic leanings or freshness of something like The Kingsman. This would be a shame, as Bridge of Spies proves to be a mature and nuanced investigation of loyalty and integrity. At the same time, it offers a reminder that in fighting demons, we must always make sure not to become one.
State of the Blog – December 2015
The inexorable passing of time and domestication of the dog continues unabated, and November is in the books for Plot and Theme. I published slightly less than I wanted to while attempting to stick to something of a schedule, but I did make progress along those lines. Plus, despite writing fewer posts, November was more successful in terms of page views, visitors, likes, and comments than October, so I am confident that I am moving in a good direction here. There’s plenty to talk about and look forward to, so let’s get going.
“Creed” Drips with Directorial Style and Poignant Performance
The boxing ring is an attractive setting for exploring themes of determination, courage, and discipline. You won’t find a better offering from this century than Ryan Coogler’s Creed. This fantastic film manages to respect the stories that came before it in the Rocky universe while contributing a freshness to the standard underdog story. Coogler’s direction is apparent and smart, especially during the thoroughly engaging boxing sequences. Coupled with powerful performances from the leads, Creed delivers far more than the satisfying knockout punch of the standard boxing flick.
The Derivative “Spectre” Wastes Performances and Spins Wheels
How has James Bond become a poor-man’s Ethan Hunt?
Spectre, the twenty-fourth film of the James Bond franchise, meanders through action set pieces but doesn’t really have anywhere to go. Directed by Sam Mendes, who had much more success with his previous foray in to the world of Bond with Skyfall, the film wastes a potentially great villain by providing no motivation and a cookie-cutter surveillance plot which was done better by both Mission Impossible and Captain America: The Winter Soldier. Sadly, the latest Bond film offers nothing new to the franchise and feels like spinning the wheels in anticipation of the next reboot.
Classic Review Friday – Tony Scott’s “Man on Fire” (2004)
A slick, stylized violence permeates Tony Scott’s Man on Fire, which is as much a story about rebirth as it is about revenge. The critics balked at the vigilantism of Denzel Washington’s John Creasy as he tears through a Mexican kidnapping cartel responsible for the death of a young girl, but this film is much more about a man’s abortive redemption than pleasure-seeking violence. Far from glorifying Creasy’s rampage, Scott imbues the narrative with a decidedly blunt and tragic trajectory. Man on Fire is less about retribution, and more about a damaged man falling apart one last time in service of his highest value.
Criterion Blogathon: Day 3 Recap
Source: Criterion Blogathon: Day 3 Recap
The Animation of Don Bluth – Part II: Sullivan Bluth Studios and Commercial Success (1986-1989)
Previous Parts
In 1985, Don Bluth, John Pomeroy and Gary Goldman joined with Morris Sullivan and formed Sullivan Bluth Studios. The studio was initial founded in Van Nuys, California, but moved to Dublin, Ireland to take advantage of various financial incentives and escape union pressures. Their first two projects were collaborations with Steven Spielberg, but they eventually pursued independent projects as well. For this short period of time in the late ‘80s, Don Bluth animation reached its pinnacle of commercial and artistic success with three spectacular films: An American Tale, The Land Before Time, and All Dogs Go to Heaven.
Criterion Blogathon – Roman Polanski’s “Macbeth” (1971)
Roman Polanski opens his film adaptation of William Shakespeare’s Macbeth with an establishing shot composed of equal parts cold, light blue sky and dour, grey beach. The beach begins to fill the screen as a gnarled stick starts scratching out a circle in the sand. Thus Polanski introduces his version of the witches: one of the weird sisters places a noose in the hole, another places a severed forearm grasping a dagger, and the three bury these items in the sand. The final witch then pours a vial of blood on the sand, and the three chant: “Fair is foul and foul is fair, / Hover through the fog and filthy air.” Polanski begins the scene with this couplet (it traditionally closes the scene), and completely fabricates the weird sisters’ grisly rites. This is Polanski’s vision – a grim and visceral portrayal of The Scottish Play, fully realized on the big screen:
Classic Review Friday – Gary Ross’ “Pleasantville” (1998)
The strongest fantasy stories depict a world that is different from our own while telling stories which are fundamental to the human condition. In the case of Pleasantville, the idyllic 1950s town is an actual paradise where the high school basketball team never loses, the fire department merely has to rescue cats trapped in trees, and dinner is always ready when you come home. But perfection, safety, and comfort are not the default, and when two real-life children introduce new ideas to the sheltered town, Pleasantville transforms from black-and-white safe space into vivid real-life.