State of the Blog – January 2016

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I am going to keep the January 2016 State of the Blog a little shorter than normal, because I am very close to finishing up my version of “the best 10 films I saw of 2015” type post, and it will include a lot of sum-ups and ideas that would otherwise be repeated here. So, I’ll use this update to talk about things that I am looking forward to in January (there’s not a lot), and how I will use that opportunity to slightly change the focus of Plot and Theme, for at least the foreseeable dregs of January / February.

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“Krampus” Revels in the Darker Side of the Holiday Season

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Mashing together a Christmas movie with the horror/comedy genre tends to go poorly. The result is usually hackneyed slasher schlock like Jack Frost or Black Christmas. Capturing the spirit of the holiday season is a difficult thing to accomplish if you’re also trying to establish an appropriate tone where you can alternate between monster attacks and comedy. The gold standard will always be Joe Dante’s Gremlins, but Michael Dougherty has a viable competitor in Krampus. This film succeeds where others fail largely because it doesn’t insist upon offering us a warm-and-fuzzy interpretation of “holiday spirit”. As Krampus shows, there is a much darker side to the holidays.

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Star Wars Episode VII: The Force Awakens – Not Mad, Just Disappointed

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You can’t really call Star Wars Episode VII– The Force Awakens a bad film with a straight face. The script is entirely serviceable with few logical inconsistencies or plot holes. Almost every character is well-established (Captain Phasma notwithstanding), and the performances are certainly on par with the original trilogy (especially with regards to the leads). Thematically, this is nothing that surprises us: it is the Light side vs. the Dark side, an allegorical simplification of the struggle between good and evil. But, from the get-go, there is a haunting echo: this doesn’t merely remind of the original trilogy, it outright pilfers its structure in hopes of re-capturing its magic.  As plotpoint after familiar plotpoint falls into place, it becomes clear that this new trilogy is just calculated nostalgia.

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Classic Review Friday – John Dahl’s “Rounders” (1998)

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Widely touted as “The Best Poker Movie Ever Made”, Rounders barks the lingo of the degenerate gambler with a practiced fluency. The scenes spent at a poker table exemplify the emotional roller coaster that every lover of the game has experienced. But amid the bad beats, 3-outers, and pot splashing, the film offers something more meaningful than a fly-on-the-wall perspective of a high-stakes poker bout. Nestled between the turn and river cards, Rounders challenges the viewer with a pointed question: are you doing what you love to do, or are you doing what others think is best for you?

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The Animation of Don Bluth – Part III: Don Bluth Entertainment Struggles (1992-1995)

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Previous Parts

Part I

Part II

 

Competing against the Disney Renaissance would be a challenge for any production company, animation or otherwise. While Disney was creating consecutive masterpieces, the films coming from Bluth and his newly created studio Don Bluth Entertainment steadily declined in quality until Bluth actually disowned a film because he despised the finished product. For fans of Bluth, this is a hard period upon which to reminisce. There are isolated moments where the magic of Bluth’s skill is still apparent, but by and large this period is a straight downward spiral. We start with a story featuring a rooster Elvis Presley with amnesia. Seriously.

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Barry Crimmins’ Courageous Testimony: “Call Me Lucky”

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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).

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Though “Bridge of Spies” is Lesser Spielberg, Hanks, and Coen Bros – There’s Still Plenty To Enjoy

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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.

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State of the Blog – December 2015

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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.

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“Creed” Drips with Directorial Style and Poignant Performance

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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.

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The Derivative “Spectre” Wastes Performances and Spins Wheels

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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.

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