Oscar Season in Full Swing

It would be difficult to characterize 2015 as a banner year in film. Take a look at the top 10 box-office hits of the year and we find sequels, reboots, and superheroes. A box-office list doesn’t necessarily show us the good in film. Most often, it’s quite the opposite. These are major-studio-produced projects that have big budgets, and major dollars in advertising campaigns behind them, most of which are released in the summer months. We’re past that now. October began the season of more serious fare. Indie, art-house, supposedly award-worthy films.

We’ve reached an unfortunate lull in November where nothing has moved the meter in weeks, but let’s break down some of the early hopefuls already in theaters. Perhaps this post helps some of you who aren’t sure what films are worth your time and money this season.

SICARIO – 3.5/4

My favorite of the early awards hopefuls, Sicario is a tense thriller that takes a look at the frightening drug wars on the border of the United States and Mexico. Director Denis Villeneuve (Enemy, Prisoners) has established himself as a man so adept at tension in even the simplest of scenes. Shot beautifully by Roger Deakins (DP – The Shawshank Redemption, Fargo, No Country For Old Men, Skyfall), and led by a quiet, but powerful Emily Blunt, and Benicio Del Toro in his most chilling performance in years, Sicario is an ambitious, and compelling thriller that at times will leave you breathless.

THE MARTIAN – 2.5/4

I couldn’t help but feel disappointed walking out of this one, feeling as marooned as Matt Damon’s character on Mars. While critical praise is almost universal, The Martian left me cold. Damon gives a fine performance, but the rest of the cast—that for whatever reason needed to be someone recognizable in each role—was distracting at best, and annoying at worst. At times, the science is fascinating, and the imagery wonderful, but it was too Hollywood-by-the-books. A neatly wrapped up film where the end is never in doubt.

BRIDGE OF SPIES – 3/4

Steven Spielberg is no stranger to war-time film-making with movies such as Schindler’s List, Saving Private Ryan, Munich, and Lincoln under his belt. While Bridge Of Spies may not be a major Spielberg work, and at times feels like it’s a film more settled than ambitious, it’s well done. With a tight, at times humorous script by the Coen Brothers (of course!), and one of America’s most beloved actors (Tom Hanks) leading the way, it’s a drama about morals. About doing what’s right instead of doing what’s asked or expected. Mark Rylance as Abel, the Russian spy, is scene-stealing.

STEVE JOBS – 2.5/4

It’s another slam-you-over-the-head with quick, witty dialogue Sorkin-fest. Think The Social Network, but not as good (and I didn’t love that, either). There isn’t a lot of revelatory information here. Jobs was a difficult person to work with and be around, but this is known, and there are better sources for that information. The film, and script are more concerned with showing you how bad a guy this was, rather than the visionary who inspired it. This gets the extra half a star for Michael Fassbender’s immersive title performance as Jobs. He’s so good, you forget they look nothing alike.

A bonus pick for those of you who enjoy documentaries:

JUNUN – 3/4

For my money, Paul Thomas Anderson is the greatest working filmmaker today, and of the last 18 or so years. Writing and directing the fabulous Boogie Nights at 26 years old, and creating what I consider to be the only masterpiece of the past decade (There Will Be Blood), PTA is known for his flair behind the camera, his close-ups, and getting the best damn performances of actors a director could dream of. He sets most of that aside here to film his friend, and regular collaborator Jonny Greenwood (lead guitarist of Radiohead) creating an album in India with a group of Indian musicians. There is almost no dialogue, and very few interview moments we’ve become accustomed to seeing in documentaries, but the connection of these musicians, and the feeling conveyed by each shot left an impression on me. It might not be for the average viewer, and maybe you need to be a fan of PTA to get it, but for the wonderful music alone, and that it’s less than an hour, it’s certainly worth the look.

Something to keep an eye on going forward is women in Hollywood taking the lead this season; a refreshing and exciting trend to this year’s films (as well as television). I’ll come back in the coming weeks and post my thoughts on that and more hopefuls including: Spotlight, Carol, Room, The Revenant, Brooklyn, and The Hateful Eight.

Tweet me @BobbyJDaniels!

True Detective – The dumpster fire has finally been put out

The conclusion to the most underwhelming season of TV in recent memory reached it’s conclusion on Sunday night, and it did not disappoint. That is, if you thought it would be as bad or worse than everything that preceded it. I gave up the search for a silver lining after the nonsensical shootout in episode 4, a scene that seemed to be about blowing shit up for the sake of blowing shit up. A scene where the only survivors were those with contractual obligations as the “star.” The self-seriousness of it all played as unintentionally funny. There was no reason to care about anything that was happening leaving any potential payoff as lifeless.

Sure, Rachel McAdams had her moments, as did Colin Farrell. That’s more than I can say for Taylor Kitsch, and especially Vince Vaughn. When the cast was announced, I wanted to be excited. I wanted Vince Vaughn to prove that he could act, instead of just playing Vince Vaughn. I wanted to think of Kitsch as something other than Riggins.

Most importantly, I wanted Nic Pizzolatto to be the writer of the first 6 episodes of season one, instead of the writer of the final 2. Not only is he the latter, but I pine for at least that version of him. It’s possible, in hindsight, the writing wasn’t all that good last year, either. Perhaps McConaughey and Woody were great enough to elevate to a level high enough that I didn’t care about how clunky or overwrought the dialogue was. In his quest to stick to his themes and nothing else (how about telling us who anyone is, ever?) he’s been vilified by critics, and created mass confusion amongst even those of us with half a brain. The plot was so dense and complicated at times, that even the most attentive viewer could lose track of, well, everything. Enter the danger of auteur television. With full autonomy and creative control, there’s no policing bad decisions in both casting and writing. Had he earned that off just 1 season?

In a post exceeding 4,000 words, Willa Paskin did her best to make sense of this season. The who’s, the what’s, the where’s, and the what the fucks. She described it as an excruciating breakdown. It’s come to this. A television show, one that I greatly enjoyed in season 1, required an explanation so extensive, you might forget what you read two paragraphs before. This isn’t a Kubrick film. There are no hidden meanings that deserve to be uncovered, as we learned when Pizzolatto abandoned any and all supernatural possibilities towards the end of season 1.

When you didn’t think it could get any worse, we arrive at the finale. Clocking in at 90 minutes, the episode had no business being that length. None. The extra half hour tacked on at the end did nothing, but add insult to injury. It’s ability to be completely confusing, while being downright predictable is quite the feat. I could go on about the various thematic points Pizz was trying to drive home, the convoluted plot, and the holes all over the narrative, but there’s enough hate in this blog already.

I’d give anything to hear an explanation of why Chad Velcoro had his grandfather’s police badge during recess at school other than because the show needed Ray to have a moment of “happiness.” He even smiles when talking to Ani! But, this is the type of thematic point I’m talking about. There wasn’t any reason for that to be there, just as it could’ve been anyone wearing that bird mask. It didn’t matter. Having it be a character that we saw for 5 minutes in episode 3 – yes, I am aware the killer in season 1 was introduced and found out in a similarly disappointing fashion – was as mindless as Ani and Ray sleeping together, when their best character moments came together as detectives on the job.

Much was made early on about the departure of season 1 director, Cary Fukunaga. Rightfully so. The show suffered through mediocre direction not strong enough to boost the self-serious, and at times self-indulgent writing. I saw enough aerial shots of LA to never want to see an aerial shot of LA ever again. Did anyone come up with a final tally? The directorial choices made in season 2 shine an even greater light on the work he did last year, not just in the steadicam, but in setting the tone and mood of the bayou both in 1996 and in present day. Given his falling out with Nic Pizz, Fukunaga is one of the few winners of True Detective season 2.

HBO is in a tricky spot. The ratings are still strong, and execs have said they’d like to bring back True Detective if Pizz is still on board. Do they ask him to add additional writers? It’s not an easy question, but I hope he at least acknowledges that another voice – or several – in the room could help. I’ll miss you Stan. I hardly knew you.

Paul Thomas Anderson To Write Script for Downey Jr.’s Live-Action Pinnochio

I am on board with literally anything that has Paul Thomas Anderson’s name attached, but I’d be lying if I said I wasn’t surprised by today’s announcement that he will be writing and possibly directing a live-action Pinocchio. Something about Pinnochio doesn’t hit the same chords as say a Dirk Diggler, or Daniel Plainview. Hard to imagine Anderson being a “gun-for-hire” so to speak for a major studio.

I wonder how many people thought of Disney, or Burton (Alice In Wonderland, Charlie and the Chocolate Factory) when they read the news. If Disney remains a limited participant, perhaps we get a darker adaptation. I’m not terribly thrilled by the notion of a PG-13 script regardless of how talented the man is. Anderson’s filmography doesn’t exactly lend itself to a sunny story. Often compared to Robert Altman, this is another indication of Anderson following in his footsteps, though Altman’s foray into this territory didn’t exactly hit the mark with his live-action version of Popeye.

Hollywood is seemingly cashing in on the live-action fad. Alice in Wonderland, Maleficent, and Cinderella all did well at the box office. Beauty and the Beast, Mulan, The Jungle Book, Tinker Bell, Winnie the Pooh, and Fantasia are all currently in production on some level. Downey Jr. has reportedly been trying for years to get this film made, and with PTA on board it seems his Pinocchio is joining that list.

I’m admittedly intrigued by a PTA/Downey Jr. match-up. The duo was originally slated to work together on Inherent Vice before Downey Jr.’s ‘Iron man’ commitments got in the way. As long as Downey Jr. and PTA retain creative control, I’m confident they’ll create something interesting and worth-while. Preferably, Anderson passes on the director’s chair, and just writes the script. Bryan Fuller (Writer and creator of TV’s Hannibal) and Jane Goldman (of recent X-Men fame) are said to have penned earlier drafts of the script. The details beyond this remain scarce, but the film is gaining momentum.

PTA on WTF

This weekend I was finally able to listen to the Paul Thomas Anderson interview on Marc Maron’s WTF podcast. I was THRILLED with this two-hour extended sit down. I’ve read many pieces on PTA, spent hours on YouTube watching interviews or discussions with him, but this was as good as it gets for the hardcore fan.

I watched Punch Drunk Love last week which prompted me, aside from being a mega-fan, to listen to the interview. While not my favorite of his, Punch Drunk Love captures the French New Wave feel of the 60’s. It’s simply, as he puts it, a story about love. That he wanted to work with Adam Sandler, place him in a role different from anything he had done prior, and succeeded is an accomplishment all on it’s own. It’s unlike any other film PTA has created. At the same time, I’ve always felt it was made in exactly the style PTA has become known for – if that makes sense. Just go with it.

I’ve read many accounts of the difficulties of getting his first film, Hard Eight (Sydney) made and distributed. It was great to hear him expand on the problems he had in that process. HE WAS 23 YEARS OLD!!

As I’ve written on this blog, Boogie Nights is one of my all-time favorite films. I’d put it in my personal top 5, so any new thing I learn about it, or any time PTA has an extended chat about it, I’m fascinated. PTA and Maron mention the Rolling Stone article about the Wonderland murders, written by Mike Sager in 1989. I’ve made the link clickable and if you ever get a free hour and want to read an explosive telling of that fateful event, there you go.

Lastly, PTA talking about his love for Philip Seymour Hoffman – one of my favorite actors of all time – was touching. Seeing him for the first time in ‘Scent of a Woman’ and knowing, “I knew what true love is, I knew what love at first sight was….he’s for me and I’m for him.” Many top directors like to work with the same actors. You build a rapport with an actor and enjoy their work enough to keep featuring them. It doesn’t get better than PTA and Seymour-Hoffman together. The working relationship between Joaquin Phoenix and Anderson seems to be mirroring that and it’s worked brilliantly.

I’m not a regular WTF listener. I’m particular about the Maron interviews I listen to, but he has a genuine ability to get the “real” out of people. You can tell Maron is a big PTA fan. He’s clearly excited to have him there and it comes through in their conversation. And it’s exactly that. A conversation more than an interview. Interviews with celebrities are usually the standard fare. Promotion, get in/get out. This was the opposite. Two cinephiles just talking about movies, geeking-out over their passions. Good movies, bad movies, obscure movies. They may have never met before this, but it seemed like they were buddies. There’s an understanding. It’s a refreshing listen.

There’s so much here. I could gush on for another 600 words and still have more to say. We’re lucky to have a someone like Paul Thomas Anderson making films for people who love film. (I sit here wondering if saying film repeatedly makes me sound pretentious, and if I even care). If you haven’t already, give it a listen. I’ve embedded the podcast below. Enjoy!

Opening Steadicam Shot – Boogie Nights

Recently, I’d been thinking about the upcoming season of True Detective and how I thought the show, while still good, would suffer a bit without the direction of Cary Fukunaga. I’m still awe-struck by the long tracking shot he used at the end of episode four (were there edits/cuts? I don’t know, I’m not an editor or director, so it’s hard for me to tell, but it was beautiful, nonetheless). I became stuck in a vortex of articles on the art of the “long take“. The Copacabana walk through in Goodfellas, and the car ambush in Children Of Men are a couple of the standouts that instantly come to mind. Recently another long take was utilized in dazzling fashion during Netflix’s new show, Daredevil.

Paul Thomas Anderson has long been my favorite director. The skill, and art with which he tells each story, and how he frames each scene so specifically has always left me mesmerized. There is a meaning, and emotion to everything he does from Tom Cruise giving his “respect the cock” speech in Magnolia, the oil well explosion in There Will Be blood, the processing scene in The Master, to Shasta returning to Doc Sportello in Inherent Vice. You don’t get a PTA film every year. He’s not the type of director/writer to churn out film after film for a buck. He’s not looking for recognition or the limelight. He makes the films he wants to make the way he wants to make them. It’s one of the things I admire most about him.

There Will Be Blood is often spoken of as this centuries American classic. Having recently re-watched, I can attest to the film’s greatness. However, ask me and I’ll tell you Boogie Nights is the gold standard in PTA films. Set in Los Angeles, Boogie Nights is focused on the rise and fall of a young porn star during the golden age of the 70’s through the excesses of the drug fueled 80’s. Anderson is able to delicately balance the humor and violence, often coinciding, all the while making the film feel alive. There’s a level of sophistication at play not often associated with the pornography business. The touch of Paul Thomas Anderson.

While I could write thousands upon thousands of words (yawn, I know) about Boogie Nights and my love for and appreciation of it, I’ll spare you. Instead, I’d like to briefly examine the opening scene of the film and gush about how special it really is.

Beginning with the crane shot above a Reseda movie theater, the camera descends from above across the street to the Hot Traxx nightclub, run by Maurice Rodriguez, a wanna be adult film star and friend of the porn community who inhabit his club. As the camera reaches ground level, Maurice greets Jack (Burt Reynolds) and Amber (Julianne Moore) and the introduction of major cast members begins. The camera moves in behind Maurice as he does club owner things, then follows him to the dance floor where we meet John C. Reilly, Don Cheadle, and Nicole Ari Parker’s characters dancing to The Emotions’ ‘Best Of My Love’ which plays perfectly to the setting. The ever-moving camera makes several circular tracks around the group before it breaks from them back towards Jack and Amber who are at their table. Cue Roller Girl’s (Heather Graham) entrance followed by a sweeping maneuver of the camera back across the dance floor where the camera finally makes contact with our “big, bright, shining star”, Dirk (Mark Wahlberg). End long take.

165 seconds. An introduction to many of our major players, ending with the star of the show. It’s an ambitious, well constructed, and flawlessly executed scene. It’s a shot that’s as complex as it is beautiful. When a long take is used to such perfection, you are completely pulled into the film. You feel as though you’re an actual character in the world the director has created.

The opening scene is one of a few long takes used in the film. The pool party steadicam, which has some of the best comedic dialogue in the film, stands out for it’s underwater capture as ‘Spill The Wine’ hits it’s chorus. New Year’s Eve is remembered, well, for a murder-homicide that leads the film into a new decade.

This is a subject I’m well aware has been written about ad nauseam, but I’ve always greatly admired the camera work, among other things, in this film more so than almost any other in recent memory. A few months ago, Grantland posted a piece, “An Oral History of Boogie Nights”. It’s a must read for any fan of film, especially of this film and this director. PTA is one of the few directors (I might be making that figure up) left with the much sought after final cut. He’s the greatest auteur of his generation. He takes risks with every page of every script. An artist of the highest caliber.

Here’s the scene in all it’s glory: