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.
Boyle’s “Steve Jobs” the Epitome of Style
Unlike most Hollywood films, the most remarkable aspect of Danny Boyle’s Steve Jobs is undoubtedly its style. Narrative, characters, and even the themes of the film all play second fiddle to the distinct styles of Boyle and screenwriter Aaron Sorkin. And still, Steve Jobs avoids the “form over substance” trap through splendid performances and a powerful story of family amid the backdrop of Jobs’ unique innovative spirit. The result is a film which we appreciate both for what it has to say, and the means in which it speaks.
State of the Blog – November 2015
As happens, the inexorable passing of time has continued unabated, so it is time for another sobering and disappointed recounting of the previous month at my movie blog. There were still a few cool things that I got up off the ground last month, and also plenty to look forward to in November – including a couple of great outside projects that both look incredibly fun and should increase traffic towards my little online moviespace. So, let’s get to it!
The Animation of Don Bluth – Part I: Leaving Disney and Early Independence (1979 – 1984)
On September 13th, 1979 Disney animator Don Bluth turned 42 years old. He had worked as an animator on Disney feature films for the previous eight years, and was dissatisfied with the cost-cutting measures being employed there. Also, he felt that Disney had abandoned their roots of character-driven storytelling and meticulous animation in favor of churning out banal crowd-pleasers. This led Bluth, along with Gary Goldman, John Pomeroy and nine fellow Disney animators to abandon Disney and form Don Bluth Productions, their very own animation studio. Through financial struggles, ever-changing partnerships, and industry-wide strikes, Bluth and his collaborators were able to produce their own animated masterpieces which continue to delight.
Back on the Big Screen: “Back to the Future Part II” (1989) and “The Iron Giant”(1999)
I am trying something new here on Plot and Theme: “Back on the Big Screen” will be a series of posts focused around familiar films that I had the opportunity to see screened in a theatre. Sometimes I will focus on a single film, but like today I will also use it as a way to comment on multiple films without delving into a full-on review. The first official Back on the Big Screen will showcase two films recently shown in theatres in the last month as a special occasion: The Iron Giant and Back to the Future Part II.
Criterion Blogathon – Things to Come
Keep your eyes peeled for this Criterion Blogathon in November; yours truly will be participating by posting a review of Roman Polanski’s “Macbeth” (1971)!