For Presidents' Day: The prescient politics of Air Force One...

In a two-for-one deal, today we discuss both an above-average Die Hard riff and a film explicitly about presidential politics.  As an action picture, Air Force One remains a rather terrific adventure, even if it follows the beat-for-beat structure of Die Hard a bit more than the likes of Under Siege or Speed. It's superbly acted by Harrison Ford and Gary Oldman, while containing several strong action beats and a thoughtful adult presentation of its subject matter. But putting aside its worth as a genre exercise, it was and remains a fascinating piece of subtly political cinema.  First and foremost, it stands as a prime example of the pre-9/11 idea that a big studio popcorn film could have explicit politics, even morally complicated politics, without being considered overtly political.  Second of all, it stands as a potent and prescient meditation on the personality-driven nature of today's governmental bodies, the 'cult of personality' if you will.  The whole film becomes a meditation on the political legacies of George W. Bush and Barack Obama, especially when it comes to our reactions to their respective foreign policy.

Review: Lawless (2012) is a generic and often dull macho crime drama that works only as right-wing propaganda.

Lawless

2012
115 minutes
rated R

by Scott Mendelson

Twenty years ago, a film as formulaic and frankly contrived as John Hillcoat's Lawless would be considered nothing more than a pretty lousy B-movie that happened to have a few decent actors in the mix.  And today that is the best I can say about the film, even if its pedigree might have originally positioned it as some kind of Oscar bait.  The film can either be read as straight-ahead manly action drama or it can be viewed as a piece of political propaganda, positioning the noble 'regular Americans' against openly corrupt federal government forces who threaten their freedom to uh... bootleg.  I frankly hope the film is indeed intended to be read as such, as I'll take a bad film that's at least about 'something' over a pointless exercise in he-man violence.  At the very least, it stands as John Hillcoat's happiest film yet.  Unlike The Proposition or The Road, you won't exit theaters in a soul-crushing funk.  But unlike those two films, it's not a very good movie at all.  I suppose that's the trade-off, no?  Still, either way, Lawless is depressing all the same.

How a severe lack of 'cause and effect' undoes all that is good about The Dark Knight Rises, and why its alleged political underpinnings are merely a smokescreen.

It's not the plot holes or periodically silly coincidences.  This will not be a list of 'things that don't work in The Dark Knight Rises' but rather an old-fashioned essay (shocker!) concerning what I feel are the overall screenwriting flaws that tear down and ultimately destroy what otherwise is a technically fine motion picture.  Obviously it's pure unapologetic spoilers after the jump, so tread no further if you don't want to know.  But the short version is that, aside from certain logic issues, almost nothing that occurs during the first 150 minutes of the film truly matters in regards to how the story ends.  And moreover, the unwillingness to focus on the people actually being affected by the (mostly off screen) chaos renders the film's token topicality not only politically irrelevant but dangerously close to exploitation.  To wit...

Weekend Box Office: Seemingly affected by frontloaded anticipation more than tragedy, The Dark Knight Rises opens with $160 million, good for third-best debut ever.

When a heavily-anticipated film debuts alongside a mass murder that takes place during a midnight showing of said film, it's difficult to know how to analyze the opening weekend figures.  Under normal circumstances, the fact that The Dark Knight Rises (trailer/review/spoiler thread) debuted with $160 million over the weekend would lend itself to the usual analysis, dealing with weekend multipliers, midnight-percentages, comparisons to The Dark Knight and other recent blockbusters, and a guesstimate in regards to final domestic outcome.  But it is impossible for now to know what the effect of the shooting had on the film's short term or long term box office performance. So for the sake of this calculation, we will basically presume that the shooting had little quantifiable effect on the numbers.  Quite frankly, looking over the data, I'm inclined to believe as much.  The film did about as well, give-or-take, as it would have been expected to do.  But the numbers, presuming little-to-no effect from Friday morning's tragedy, means that the third Chris Nolan Batman film was a slightly less anticipated affair than the last go-around, which will likely bode (comparatively) ill for long-term grosses.  Basically, horror of horrors, The Dark Knight Rises might just perform like a normal quick-kill mega-blockbuster.

The Dark Knight Rises spoiler discussion thread...

So it's midnight on the West Coast, which means the first midnight showings are just letting out on the East Coast.  Okay, you know the drill.  Here's hoping I have more comments here than I did for The Amazing Spider-Man.  Anyway, I'm actually going to be away from my keyboard for a couple days, but I'll *try* to do a weekend box office write-up on Sunday morning.  Until then, it's officially open season for anyone who saw the third and final Chris Nolan Batman film.  You've heard my thoughts, now time to share yours, in as much detail as you desire.

Scott Mendelson

Review: The Dark Knight Rises (2012) is the least of the Nolan Bat-films, continuing the curse of the comic book threequels.

The Dark Knight Rises

2012
165 minutes
rated PG-13

by Scott Mendelson


First and foremost, I cannot decide at the moment if The Dark Knight Rises (trailer) is a 'better film' than Spider-Man 3, Batman Forever, and/or X-Men: The Last Stand.  The fact that I have to outright state as much should tell you what a comparative disappointment this film is.  Overall, its many storytelling flaws bring the picture down, offering only engaging acting, entertaining character interaction, and the kind of empty-headed (but oft impressive) action spectacle associated with more conventional blockbusters.  It is a hodgepodge of several classic Batman stories squished into one chaotic narrative that ends up resembling a mash-up of Transformers: Dark of the Moon and Rocky III. There are moments of emotional engagement in the first third and the final moments pack an appropriate wallop.  But the film frankly drags for much of its middle 90 minutes on its way to a surprisingly unremarkable climax.  Save for mostly fine performances, including a terrific supporting turn by Anne Hathaway, and some wonderful character beats scattered throughout, this is sadly the very definition of an unnecessary sequel.

Actors Against Acting Athletes with Gary Oldman...

I'm not sure how big of a problem this is offhand (Space Jam was sixteen years ago and Michael Jordan wasn't half-bad playing himself, while Steel was fifteen years ago this summer) but this is utterly wonderful anyway.  At the very least, it's a fun thing to see Gary Oldman actually speaking in his own voice for a change.  And he doesn't even die at the end!  Now I want to see the Morgan Freeman version.

Scott Mendelson

Watch/Discuss: The Dark Knight Rises panders to the 'I want it now!' crowd, gets one more (generic) trailer.

This smells desperate, folks.  With just a month to go, Warner Bros. drops a third full-length trailer for The Dark Knight Rises. This bothers me on two levels, neither of which are related to the film itself (the film is what it is and we'll know soon enough).  First, the near-daily stream of television spots, some of which are quite spoiler-y, followed by a release of a third trailer, reeks of desperation.  Not about the film per-se, but about the apparent need to stay relevant on the film blogs (which in theory translates into mainstream interest by playing the 'show them everything 30-120 seconds at a time' game that has been the status-quo this year for tentpoles.  Next I assume Warner Bros. will start releasing clips to boot.  Point being, they don't need to play in the mud with everyone else.  The Dark Knight Rises would have been a mega-smash if they didn't realize anything other than a teaser and a one-sheet.  To see the marketing department unwilling to follow their own pitch-perfect template from The Dark Knight is not a little dispiriting, akin to Michael Jackson's later albums not breaking new ground but rather aping the younger musicians who followed in his footsteps in a bid to stay relevant.  This new trailer represents a lack of faith and I'm disappointed.   My second gripe is with the trailer itself.

In post-Potter exile no more: Evanna Lynch, who was almost *too good* as Luna Lovegood, joins Monster Butler.

Last year, when Harry Potter and the Deathly Hallows part II opened in theaters, Elisabeth Rappe did a slideshow regarding what was next for the various Harry Potter alumni.  To my shock, the only major cast-member with nothing on his/her plate was Ms. Evanna Lynch.  As I discussed during last year's Harry Potter retrospective, Lynch pulled off the rare feat of actually improving a character from the source material.  Going into Harry Potter and the Order of the Phoenix, I barely remembered Luna Lovegood from the book I had read four years prior.  But Lynch's terrific 'shoulda-been breakout' turn was so dynamic and engaging, her chemistry with Daniel Radcliffe so potent and convincing, that she basically torpedoed Harry Potter's romantic arc of the last four movies.  Without being mean about it, why would Harry Potter be chasing after the deadly dull Cho Chang or even the attractive but thinly-written Ginny Weasley (who was neutered in the film translations) when he obviously got along so well with the smart/funny/wise/kind/hot/etc. Lovegood?  My wife and I both spent large chunks of the fifth and sixth films wanting to grab Harry and smack some sense into him.  So it is with token relief/approval that, so says The Hollywood Reporter, Evanna Lynch is joining the cast of Dough Rath's Monster Butler.  Based on a true story of a murderous con man played by Malcolm McDowell, the film also stars Gary Oldman and Dominic Monaghan.  I have no idea if she has any star power behind what may have been a tailor-fit role for her, but I'm happy to get a chance to find out.  The rest of the Potter cast has so far done well with finding work post-Potter, and it's good to see that the one holdout is finding her footing as well.

Scott Mendelson

The Dark Knight Rises gets a pretty solid theatrical one-sheet and six rain or snow-soaked character posters..

I seem to be in the minority, but I rather like this poster.  Unlike the two key posters for The Dark Knight, there are no nonsensical tag-lines ("Welcome to a City Without Rules"), no odd imagery of Batman standing in front of a burning building as if he's claiming credit for said explosion, and no odd placement where the point of visual focus is a giant wheel from that silly Bat-Pod.  It's just Batman himself, appropriately brooding with the unofficial logo for the film (the buildings of Gotham collapsing into a bat-symbol) and a variation on the "The Fire Rises" would-be catchphrase (doesn't quite have the same ring to it as "Why So Serious?").  Of note, Anne Hathaway gets billing above Tom Hardy implying either Hathaway is the obvious bigger star or Bane's role is smaller than has been let on.  I remember being shocked when Tommy Lee Jones got billing ahead of red-hot Jim Carrey in Batman Forever only to realize that Two-Face was actually the primary villain as opposed to The Riddler.  UPDATE - Warner Bros. dropped three moody and rain-soaked character posters and three less impressive snow-drenched character posters this morning, so I'm adding them below the jump.  Anyway, there isn't much left to do but speculate until this starts screening toward the very end of June, with junket screenings likely falling before July 4th weekend and regular press screenings starting about 1.5-2 weeks before July 20th.  Am I as excited for this as I was for The Dark Knight four years ago?  Not even close, but I have no reason thus-far to believe that The Dark Knight Rises won't be an awfully good action-drama.  As always, we'll see...

Scott Mendelson

The final trailer for The Dark Knight Rises finally sells me. I'm officially excited again. It feels good to be back on board.

I'm frankly a little disappointed that Warner Bros. didn't have the courage to just wait a few days and debut this thing in theaters attached to The Avengers.  This is a big-scale trailer and deserves to be seen in theaters before dissecting it on a computer-screen.  Unless they were trying to slightly chip away at The Avengers's opening weekend (re - repeat viewings from those who've attended press/preview screenings), I really don't know why they chickened out at the last minute.  But having said that, this is a pretty terrific trailer.  Yes, much of the material in the first 2/3 is merely extended glimpses of what we've seen before, but this looks like exactly what it needs to be: an emotionally-powerful, socially-relevant action-drama that happens to take place within the world of Batman.  The clip uses the slow rising towards the familiar Batman Begins theme to literally raise goose-bumps.  Bane looks more imposing in action, Hathaway's Catwoman feels surprisingly appropriate and at home in Nolan's Gotham, and Joseph Gordon-Levitt seems to be filling the role of the 'hope' that Jim Gordon has apparently lost (his lack of screentime here makes me all-the-more concerned that he dies in the first act, which in-turn spurs Bruce out of retirement).  Kudos to Warner and Nolan for crafting three trailers that, like The Dark Knight four years ago, only reveal the barest bits of plot and story.  I don't expect this to be a game-changer like The Dark Knight, and I don't expect it to appeal to the inner-Bat geek in me as much as the last iconic Batman/Gordon vs. The Joker epic did.  But there now seems little doubt that The Dark Knight Rises should at least be a damn-good motion picture and a hell of a series finale.  This one drops July 20th.  As always, we'll see, but I'm back on the 'happy train'.

Scott Mendelson 

John Hillcoat's Lawless gets a just-plain fun trailer.

Let's not pretend that this looks like high art just because it has a terrific cast and a period-set American crime story at its center. But I also won't pretend that this doesn't look like quite a bit of fun. Shia LaBeouf's career as a genuine leading man will live or die based on his reception here, but the cast he is surrounded by (Tom Hardy, Jessica Chaistan, Gary Oldman, Guy Pearce, Mia Wasikowska, Noah Taylor) is so bloody terrific that all he has to do is keep his head above water. The narrative is pretty generic, but this is yet another one of those 'old fashioned movies' that I've been talking about. Real actors and movie stars in knotty, presumably character-driven narratives that don't cost so much that they can be profitable without blockbuster status. There are those who will hyperventilate and swear that Lawless (formally titled The Wettest Country) will be one of the best films of the year, and it very well may be. But for now, let's just take a breath and acknowledge that it looks like an awfully good movie. Lawless debuts courtesy of The Weinstein Company on August 31st. As always, we'll see.

Scott Mendelson

Dear genre filmmakers - If you want your surprise reveals to be surprising, don't make the opening credits the ultimate spoiler.

SPOILER warning - this post contains third-act spoilers for a handful of recent and not-so recent thrillers, including Safe House, which just opened on Friday.

I'm not going to go into too many details about Safe House, but I will say that it's such a painfully conventional thriller that it could have been written in a Mad Libs book.  If I crack that it would have possibly been a riveting thriller in 1988, that's not entirely an insult.  In 1988, the film would have seemed a little less boiler-plate and its now-standard political cynicism wouldn't have been quite as formulaic.  Moreover, the picture likely would not have been shot with a puke-filter over the camera and wouldn't have been edited within an inch of its life, rendering its shoot-outs and fight scenes incomprehensible.  It's not especially more violent or action-packed than something like Andrew Davis's The Package (another genre entry that also somewhat deals with getting a dangerous prisoner from point A to point B), but the moments of action and violence were cleanly shot and coherently edited.  But its most frustrating element is something that has been a problem for decades.  Like so many thrillers over the last 20-30 years, a large chunk of the tension in Safe House depends on trying to uncover which of the alleged good guys may actually be a bad guy.  And like so many genre entries of late, the would-be mystery is anything but mysterious due to some inexplicably obvious casting.

The Dark Knight Rises gets a moody and refreshingly cryptic trailer. It stills seems to be pointing at Chris Nolan's version of The Dark Knight Returns.

There was absolutely no way that this trailer was going to excite me as much as the first glimpse of The Dark Knight four years ago.  As I've written before, that was basically THE Batman movie that we had been waiting our entire geek-lives to see, a street-level crime epic pitting Batman, Gordon, and Dent against The Joker for the moral soul of Gotham.  So what is this one exactly?  Well, Nolan is obviously going for a pretty grand-scale finale, and the scope is relatively impressive thus far.  I could carp that the attack on the football field is the kind of implausibly weird thing that happens in a C-rate episode of Justice League or in a Transformers movie, but oh well.  Football fanatics, does that still count as a legitimate touchdown?

Weekend Box Office (12/11/11) New Year's Eve and The Sitter open weak while Tinker Tailor Soldier Spy and Young Adult open huge in limited release.

In what one might call 'the calm before the storm', two middling wide releases debuted to relatively middling numbers.  Next week sees a flurry of major wide releases over the last two weeks of the year, so this frame was a bit of a breather.  The top film was New Year's Eve, which debuted with $13.8 million.  That's one of the weakest #1 debuts of the year, and about $1 million less than Valentine's Day grossed on its first day back in February 2010.  That film scored the record for a romantic comedy debut with $56 million over Fri-Sun.  Of course, that film had romantic comedy heavyweights like Julia Roberts, Anne Hathaway, Queen Latifah, and Jennifer Garner.  This film had a slightly lower-wattage cast, with only Katherine Heigl and Zac Efron qualifying as box office draws.  The newbies this time around (Michelle Pfeiffer, Robert De Niro, Hillary Swank, Jon Bon Jovi, Halle Berry, Lea Michele, etc) are names, but not actual 'bring them to the theater' movie stars.

Review: Tinker Tailor Soldier Spy (2011) is Smart, Suspenseful, Engaging, Terrific.

Tinker, Tailor, Soldier Spy
2011
128 minutes
rated R

by Scott Mendelson

Tomas Alfredson so badly wants to concoct a 1970s-style thriller that it would be laughable if the final product weren't so darn good.  From the somewhat hazy cinematography to the John Barry-ish score to the overtly cold and clinical nature of the narrative, this is a film that (appropriately) wants to take us back to what many consider to the peak of mainstream adult filmmaking.  What makes the picture work as more than just an acting-treat or period-homage is the undertone of impotence and irrelevance that makes the film into a grand tragedy.  By retaining the 1970s setting, Alfredson makes potent commentary about the futile and possibly irrelevant nature of modern espionage.  Point being, forty years later, none of the secrets that were fought over mean a damn thing anymore.

The Dark Knight Rises gets a sloppy, lazy teaser that looks like a bad fan-edit.

I admit, I did watch the bootleg version of this over the weekend, but I didn't want to comment too much until I had seen the official version.  Well, I've seen the official version.  It still looks like a half-assed fan-edit preview.  The two telltale signs of a fake preview have always been cheesy onscreen text and the use of copious footage from previous films of a given series. This has both, insultingly reminding us that 'every hero has a journey' (thanks Campbell) and every journey has an end (also knew that, but thanks).  The first 45 seconds is nothing but footage from Batman Begins, with a dash of The Dark Knight thrown with Liam Neeson's narration tossed in.  The only new footage we get is Gary Oldman lying in a hospital bed whining about how Batman left us, evil rose, and now Batman must Return.  We do get a brief shot of someone climbing up a well (the Bat Cave hole?), a worn-down Batman facing down a mostly offscreen Bane, and a single close-up of Tomas Hardy as the villain of the day, Bane.  Are we thrilled yet?

Sean Bean is the new Gary Oldman!

See Sean Bean perish onscreen 21 times.  Thanks to Comic Book Movie for the list of films.

00:07 - Don’t Say a Word (2001) 00:24 - Equilibrium (2002) 00:33 - Outlaw (2007) 00:39 - Airborne (1998) 00:43 - Red Riding: In the Year of Our Lord 1974 (2009) 00:51 - Essex Boys (2000) 00:57 - Ca$h (2010) 01:02 - Patriot Games (1992) 01:14 - Black Death (2010) 01:28 - Henry VIII (2003) 01:39 - GT 01:45 - The Island (2005) 01:58 - Clarissa (1991) 02:03 - Caravaggio (1986) 02:08 - War Requiem (1989) 02:20 - The Field (1990) 02:41 - Lorna Doone (1990) 02:47 - Scarlett (1994) 02:56 - Lord of the Rings: The Fellowship of the Ring (2001) 03:14 - Goldeneye (1995) 03:30 - The Hitcher (2007)

Scott Mendelson

A look back at Harry Potter part V: Order of the Phoenix proves value of editing, creating one of the best films from the worst book.

This will be a six-part retrospective on the Harry Potter film series, covering films 1-6 (I think most Potter fans can remember the one that came out eight months ago...).  This essay will be covering Harry Potter and the Order of the Phoenix.

In my humble opinion, Harry Potter and the Order of the Phoenix is the worst book in the seven part series.  It is obscenely long, endlessly padded, and painfully frustrating.  Yes, the frustration thing is intentional, as we're supposed to empathize with Harry as the original 'order of the phoenix' ignores him, as Dumbledore inexplicably avoids him, and as Dolores Umbridge torments him.  But the book is nearly 900 pages long, and the original novel plays out like one long waiting game before what is sure to be a massive climactic event and/or revelation.  As we all know, there is a big climactic event, but the revelation is halfhearted (wait... so Voldemort watched Gargoyles in the 1990s?) and undermined by an even more tantalizing reveal (that Neville Longbottom is actually the chosen one) which is shot down moments after it is introduced.  But the longest book is the second-shortest movie at 138 minutes (behind the series finale, which runs 130 minutes, although it's technically half of a single book).  Making his series debut, David Yates and screenwriter Michael Goldenberg (taking over for Steve Kloves just this once) trim every drop of fat from the overlong text, shaping a lean and potent bit of pop fantasy that is easily one of the best films in the series.

Trailer: Tinker, Tailor, Soldier, Spy showcases old-school thrills with character actors (Gary Oldman! John Hurt!) galore!

I have not read the John le Carre novel that this film is based on.  But just the cast (Gary Oldman, John Hurt, Thomas Hardy, Mark Strong, Colin Firth, etc!), the director (Tomas Alfredson, who helmed the original Let the Right One In), and genre (old-school spy thriller!) puts this one near the top of the must-see list.  We can all decry the unending parade of remakes, sequels, and fantasy films, especially in the summer time.  But as long as stuff like this is still being made and being given a wide release, then the game is not lost.  Let us hope that John Hurt provides the exposition, while Gary Oldman again plays with low-key anguish, which has become his strength of late.  And since I have not read the novel or seen the 1979 miniseries, I do not know if the film continues the classic Gary Oldman tradition.  Ironically, Focus Features is putting it out on November 18th, against Happy Feet 2 and The Twilight Saga: Breaking Dawn part I.  So while it won't win its opening weekend, it will likely far outpace its rivals on the Tomato-Meter.  

Scott Mendelson