Tom McCarthy’s Spotlight opens with a quick vignette at a Boston police station. Using subtle camera movements and specific acting choices, the subject of the scene becomes clear: a young boy has been molested by a local priest. A green policeman doesn’t seem to understand the protocols, but he watches as the strings get pulled and the wheels get greased, and the offending priest gets whisked away from the police station without consequence. This serves as a preamble to the harrowing story we are about to witness: the rampant sexual abuse of children by Catholic priests, and its systemic cover-up by the Church.
Saoirse Ronan Discovers Capacity for Joy in “Brooklyn”
Opportunity is pregnant with possibility, but that does not dissolve the hardship associated with exploring it. John Crowley’s period piece Brooklyn explores this conflict through the eyes of Eilis (Saoirse Ronan; pronounced Seer-sha) as she leaves her small Irish town to start a new life in 1950s Brooklyn. There, she deals with homesickness, depression, and the struggle of starting anew. And though her path towards flourishing in the New World is beset with obstacles, along the way she discovers a joy which is all her own.
State of the Blog – January 2016
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.
“Krampus” Revels in the Darker Side of the Holiday Season
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.
Star Wars Episode VII: The Force Awakens – Not Mad, Just Disappointed
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.
Classic Review Friday – John Dahl’s “Rounders” (1998)
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?
The Animation of Don Bluth – Part III: Don Bluth Entertainment Struggles (1992-1995)
Previous Parts
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.
Barry Crimmins’ Courageous Testimony: “Call Me Lucky”
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).
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.
