As of this writing, I have not yet seen Clint Eastwood's J. Edgar. I had some free time on Monday and, faced with two new releases that were both playing around the same time, I chose Immortals in 2D. I actually had a few opportunities to see the Leonardo DiCaprio picture prior to release, but passed each time. Like a lot of would-be Oscar contenders that drop during this time of the year, the poorly reviewed 'good for you' picture felt less like nutritious entertainment and more like homework. The conventional wisdom is that the problem with mainstream Hollywood is that it fashions its films for the tastes of fourteen-year old boys, while adult films for adult film-goers are relegated to the art-house if they are released at all. But my situation is a little different. I find that as I get older I am less and less enticed by the so-called grownup films. Faced with a choice between seeing the newest Oscar-bait film immediately upon release (or at a press screening downtown at 'pain-in-the-ass-traffic o'clock') or checking out something vaguely more escapist, the choice is harder and harder. I used to relish the opportunity to see the so-called 'grown up movies' as soon as possible. Now, due to obvious demands on my time, the insane time-crunch that is the year-end release schedule, and the glut of often mediocre art-house product (Gee, I sure hope that sensitive, quirky, and somewhat handsome young man overcomes his problems with the help of an out-of-his-league hottie who exists purely to make him enjoy life again), it sometimes seems more like a burden.
In my middle school, high school, and college years, I raced to the 'prestige pictures' whenever possible. Growing up in Akron, OH, I was lucky enough to have two large multiplex literally across the street from each other. Since there were only so many wide releases and not everything went on three screens apiece back then, the local Regal usually had one or two screens reserved for prestige pictures or artier fare. I distinctly remember rushing out to see the likes of Affliction, Boys Don't Cry, and Croupier during their one or two week engagement at the local Regal 12 (IE - Montrose Movies). I was the only white guy in the theater on an opening weekend Saturday afternoon showing of Spike Lee's Get on the Bus. Sure I saw pretty much everything back in those days, but I took special pleasure in seeing the 'good' stuff. The fifteen-year old me saw Dead Man Walking on the second day it was in wide release. Would I today be as eager to see what is still the best film ever made about capital punishment? I would like to think so, but...
Part of the problem is that there are just too many movies to see around this time of year. For reasons that still baffle me, the studios choose to unleash every single major awards contender during a 2-3 month period, rendering what should be a pleasure (seeing some of the year's best films) into a chore, a marathon of balancing screenings and before-work matinees and the like. Maybe people would complain a bit less about how 'Movies stink these days!' if the studios actually spread out their quality product throughout the year rather than holding most of it for November and December. Ironically, that is a problem that stems from me actually living out in LA. Back in my younger days, I in fact didn't see many of the year-end films until they went into wide release, which was (and often is) well into the new year. So while checking out In the Land of Blood and Honey (or Dead Man Walking) would be a treat in mid-January at my local AMC, now it remains just one more gosh-darned 'Oscar-bait' movie I have to squeeze in before the end of the year, playing only at The Arclight Hollywood and/or The Landmark (lovely theaters, but not the easiest drive).
Also adding to the fatigue is the genuine glut of product in general. Since I live in LA, I indeed have access to everything. So there really is no filter when it comes to separating the bad art-house films from the genuinely worthwhile independent cinema, other than my hopes that the initial critics were right (and of course blind faith when it comes to press screenings). But in a year that has seen me loving Sucker Punch while more-or-less hating Drive and Midnight In Paris, even the critical seal of approval doesn't quite mean what it used to. Back in Akron, something like A Better Life (which is one of the year's best films, by the way) didn't make it to a mainstream multiplex unless it was pretty terrific. If Montrose Movies was showing Croupier in late-August 2000, then that meant that Croupier was damn-sure worth checking out.
I have zero interest in seeing The Iron Lady or My Week with Marilyn, and my interest in Carnage stems mainly from Jodie Foster's starring role. And while it looks interesting, I am not waiting on the edge of my seat to see Shame. I saw Sleeping Beauty (review will drop closer to its theatrical release) mainly to compare it to Sucker Punch, and I will say that I was far more impressed at how the latter film was able to weave many of the same ideas and themes into a fantastical story featuring eye-popping action sequences. The fact remains that many of these 'prestige pictures' just don't seem all that involving, and they offer little to entertain should their more scholarly attributes (writing, acting, direction) not resonate. When you walk into a Jason Statham action picture, you are guaranteed a certain level of visceral entertainment. With artier fare, it's a complete gamble. If you stroll into The Last Days, it's a zero-sum bet.
In essence, mainstream films are the equivalent of treasury bonds. Low risk, but generally lower reward. Walking into Take Shelter (which I ended up loving, natch) is the equivalent of investing your money in the stock market. The rewards are arguably greater, but you stand a chance of completely crapping out. With my schedule, I don't have time for many crap-outs. But the fact remains that, regardless of how the release schedule turns this game into an endurance contest, I find myself less and less intrigued by the so-called 'adult film'. I have been married for nearly four years, engaged for a year prior to that, and basically living together six months prior to that, so I don't really need to spend time away from my wife to learn about how difficult relationships can sometimes be. I have two children who I generally like, so I really don't need to spend time away from my kids to appreciate my family and/or better relate to my children.
It's cliche to say that general moviegoers want escapism, but there is a certain truth to that. But it's more than about 'escaping from your problems in a world of fantasy'. It's merely the fact that, for me at least, I don't generally need to go to the movies, especially when it means time away from work and family, to learn what one hopes would be pretty basic life lessons. The mainstream stuff offers arguably the same morals, sometimes even going a bit deeper than they are given credit for. Slight digression, but how many 'prestige' pictures had as much lump-in-the-throat wisdom to offer as Up? How many 'prestige pictures' had the kind of insightful and unforgiving commentary about a generation being raised online and society's sadly still prevalent sexual double-standards as found in Easy A? And there is no truer cinematic examination of what America turned into in the decade following 9/11 than The Dark Knight. Should we not give equal, if not superior acknowledgment to films that can explore important ideas within the tapestry of popular entertainment? Why should we hold Sleeping Beauty above Sucker Punch because the latter offers almost nothing but ideas?
So what to do about this? Well, for starters, I am going to see the year-end movies I want to see, with the hopes that I can form a best/worst list that accurately reflects the year in film. I saw The Descendants yesterday because I adore Alexander Payne and I ended up enjoying it more than any of his films since Election. I will catch Young Adult next week because I still think Juno was a great movie. I'm seeing the national sneak preview of We Bought a Zoo next Saturday because Almost Famous is one of my all-time favorite films and I want to see if Cameron Crowe can get at least some of his creative mojo back. I'm seeing Tinker Tailor Soldier Spy at a press screening a week from Monday because I damn-well want to and it's apparently a great thriller filled with wonderful actors. And I will relish taking my wife to Sherlock Holmes: A Game of Shadows about as much as I will look forward to seeing what Brad Bird can do with a live-action IMAX action picture in Mission: Impossible: Ghost Protocol.
If I don't get around to seeing J. Edgar, the world will keep spinning. In the meantime I have to get ready for a press screening of the film I'm most anticipating this season. It's a dramatic comedy about a group of former entertainers who try to get the old band back together for one last hurrah. Maybe you've heard of it, it's called The Muppets.
Scott Mendelson
