Friday, December 28, 2012

2012 in Film: The Overrated...

I wrestled with even doing an 'overrated' list this year.  First of all, the very idea of such a list is to merely tell other critics and/or the masses that they are dead-wrong for liking something, which I'd argue is very different from telling someone they're wrong for disliking something.  Second of all, the Internet has become such a vast land of film criticism that few films completely escape the wrath of critical scrutiny even if the popular consensus happens to lean in the "wrong" direction.  Nonetheless, in the end I enjoy writing about the year in film, so far be it for me to cheat myself out of some arbitrary concern for maintaining the proverbial higher ground.  So, in alphabetical order as always, let's dive right in...

Brave (review/guest essay):
Had this not been Pixar's first animated feature with a female lead, had this not been marketed within the context that Princess Merida was a kind of sword-wielding/bow-clutching warrior, the the film would have been seen for what it is: a deeply problematic character drama that ignores the icky realities at the center of its tale in order to tell an audience-reassuring mother/daughter story.  The film basically tells the same character arc as The Little Mermaid but was declared a feminist milestone because the female lead A) carried a weapon and B) didn't want to get married.  But good intentions cannot get past a story line that treats mother and daughter as equally culpable even when one party is advocating forced marriage.  Make no mistake, say what you will about 'customs of the time' or 'arranged marriage versus forced marriage', the film tells a story of a child who doesn't want to get married to (and yes, have sex with) a man she doesn't know and treats it like a minor inconvenience.  There is a clear right and wrong here, but the film absolves the father of any responsibility while basically stating that the mother (who again, wants her daughter to have sex against her will) kinda-sorta has a point and that the daughter really needs to have empathy for her dear-old mum.

Thursday, December 27, 2012

2012 in Film: The Underrated and/or Unfairly Scorned...

Now we continue our 'the films of 2012' lists with another favorite, the Underrated!  And as always, this list won't just be good films that were labeled as 'bad', but also mediocre films that got unfairly pounded, or genuinely bad films that nonetheless deserved credit for one element or another.  If I do decide to compile an overrated list (still not sure, honestly), there is a good chance that many of the films on that list will still be better than many on this list, but I hope dear readers can understand the potential contradiction.  All of the films below are either worth seeing, either because they are in fact good or because they are bad but containing elements of note or are bad in interesting and/or entertaining ways. As always, the following are in alphabetical order.


Wednesday, December 26, 2012

Christmas Box Office: Les Miserables and Django Unchained blast off, but how frontloaded will they be?

The box office for Christmas day is huge (Les Miserables $18 million, Django Unchained $15 million, The Hobbit $11 million), but the best day may be behind them. The last time Christmas fell on a Tuesday, the major releases (National Treasure: Book of Secrets, Sweeney Todd) opened the Friday before while leaving Christmas day for relative lightweights like Alien Vs. Predator: Requiem and The Great Debaters. I don't recall any recent times when a major film opened on Christmas Day which was a Tuesday (when Christmas fell on a Tuesday in 2007, nothing opened that day) since the severely front-loaded Ali back in 2001.  Looking over those two respective weekends, the pattern is clear.  Even with six days to play with, all three of the above films saw massive front-loading, doing anywhere between 38% (Alien v. Predator 2) and 28% (Ali and The Great Debaters) of their business on Christmas day.  So for the respective debuts of Les Miserables, Django Unchained, and Parental Guidance (which earned $6.5 million), the bad news is that it's probable that none of these films will make more than 3.5x their Christmas number by Sunday, to the extent that it's "bad news".  The outlier among Tuesday Christmas openings is the Meg Ryan/Hugh Jackman rom-com Kate and Leopold, which did 6.8x its $2.5 million Christmas debut by the 30th of December for a $17 million long weekend (it did 15% on Christmas day).  A relative lightweight like Parental Guidance is likely to benefit more than the far-more anticipated (read - front-loaded)  major openers.  So doing the math, Les Miserables and Django Unchained is looking at a six-day opening of $48 million-$63 million and $41 million and $53 million.  Parental Guidance is much harder to peg and could land somewhere between $20 million and $40 million, with obviously a lot of wiggle room in between.

Scott Mendelson

2012 in Film: Good Films You Probably Missed in Theaters.

And so begins my annual 'films of 2012' list round-up, where I try to do more than merely compile the '10 best and 10 worst' of the year.  It's often just as much fun to talk about films somewhere in the middle, the underrated gems, the hidden gems, and the overrated would-be critical darlings.  This time I'm starting it off with a list of ten very good or great films that you probably didn't see.  This is often among my favorite lists to compile, as it allows me to shine a spotlight on films that perhaps didn't get the attention they deserved.  These are not "underrated" per say.  Most who did see them in fact enjoyed them, but the audience was too small in number for all of the films mentioned below.  As always, the following are in alphabetical order.  So, without further ado...

Detention:
Joseph Kahn's genre-twisting and post-modern horror freak-out had the bad luck to open in limited release on the same weekend as the wide release of another somewhat more mainstream self-aware horror exercise.  Of course, opening a youth-skewing genre film in limited release is pretty much box office death anyway, since those who might see it won't know to seek out an art-house and those who frequent art-houses aren't going to see a movie like Detention.  This future cult classic is a completely whacked-out little film, basically playing the conventions of horror films against the hyper-connected constant-communication age that is today's youth.  That's somewhat of a simplistic reading of this film, which blends 90s-era nostalgia with modern-day apathy in a way that comments on both, but I don't want to give away too much.  Let's just say the film goes in completely unexpected places in its final half and it's a hell of a ride.  Does it all work?  Not entirely, but the effort and ambition deserves notice and I can't wait to see what the director of the slightly underrated Torque does next.

Monday, December 24, 2012

Brandon Peters returns! Brandon Peters dissects the Dirty Harry franchise III: The Enforcer (1976).


The Enforcer
1976
Director:  James Fargo
Starring:  Clint Eastwood, Tyne Daly, Harry Guardino, John Mitchum, DeVeren Bookwalter
Rated R

Dirty Harry falls prey to the curse of the third film in a franchise in The Enforcer.  Intended as the final chapter to the series, the film comes off cheap, amateur, outlandish and dated.  The film’s themes and plot’s believably may have sold better in 1976, but even then it had to have seemed a bit cartoonish and laughable.

Two fans of the first 2 films in the series took it upon themselves to write their own Dirty Harry film, Moving Target and by chance got it through to Clint Eastwood himself.  Eastwood thought it needed work, but took it to Warner Bros.  Warner had already begun work on a script for a third picture called Dirty Harry and More.  The villain plot of Moving Target was combined with the female partner angle of More and thus the film with the working title Dirty Harry III (later renamed The Enforcer, as Eastwood wanted each film to have a standalone name) was put into production.

Review: The Impossible (2012) is a disturbingly whitewashed, yet unquestionably effective disaster drama.

The Impossible
2012
105 minutes
rated PG-13

by Scott Mendelson

As a technical exercise and an acting treat, The Impossible is pretty terrific. You want an authentic look at both the 2004 Indian Ocean tsunami and what it was probably like to actually survive such a thing?  Juan Antonio Bayona gives you exactly that.  The film is a peerless technical representation of mass disaster and a wonderfully acted melodrama.  The big question, and this may well be a deal-breaker for many, is whether one can justify the relative white-washing at play.  In short, while the lead family has been altered from Spanish to British (ie - somewhat Caucasian to lily-white Caucasian) the bigger and more disconcerting issue is how the indigenous locals have been turned into cameo players in their own story.  I don't know the details of what actually occurred at that exact location in Thailand back in 2004, nor do I know the exact demographic make-up of the affected population at this specific area (that specific area being a new tourist-friendly hotel frequented by traveling Europeans).  But it's hard to ignore not only the overt whiteness of the lead family but the film's continual cutting to white victims and white mourners over and over again, while the actual Thailand population is reduced to faceless corpses and proverbial caretakers.  That I can possibly look past this in good conscience is due to the sheer quality of the film itself, and my own ignorance of what is fiction versus non-fiction in this allegedly true story.


Sunday, December 23, 2012

Weekend Box Office (12/23/12): Hobbit tops, Jack Reacher leads new releases in pre-Christmas pile-up.

 As I have been warning about for months, 10,000 releases all opened in this very weekend, with another 5,000 coming on Tuesday.  Let's just get right into it.  The top film of the weekend was once again The Hobbit: An Unexpected Journey (review), but it actually took a massive dive from last weekend.  The film earned $36 million, or down 59%.  It's tough to compare this to the previous Lord of the Rings films because they all opened on *this* weekend and had the unbeatable holiday cushion to keep them afloat.  Still, the film has $149 million in ten days, or well below the respective ten-day totals of The Two Towers ($168 million) and Return of the King ($190 million) and very much behind where they were at the end of their second weekends (IE - 12 days as they all opened on Wednesdays - $168 million and $200 million respectively).  It's not bombing, but it's already proving that it's not the box office second-coming ala Star Wars Episode One: The Phantom Menace.  Come what may, just with this year's Spider-Man reboot, what was once the biggest franchise of all is now just another large fish swimming in the blockbuster pond.

Saturday, December 22, 2012

Review: Amour (2012) is an unflinching, devastating, but ultimately humane look at what awaits us all.

Amour
2012
127 minutes
rated PG-13

by Scott Mendelson

Michael Haneke's Amour is among the best films of the year, yet I'm not entirely sure who I would recommend it to.  It is fearlessly acted by its leads (Jean-Louis Trintignant and Emmanuelle Riva) and it is insightful in ways beyond the mere clinical exhibition of its subject matter. It is the best film about aging since Sarah Polley's Away From Her and even that Alzheimer's drama has a few moments of release that Haneke is unwilling to provide here.  But it is almost cruel in its depiction of the inevitable and for those not predisposed to seek out cinema for cinema's sake, it is a film that will bring only discomfort and pain.    It is arguably a masterwork, but it's not a movie I ever intend to watch again.  Whether you feel the need to watch it once, that's up to you.


Friday, December 21, 2012

Review: Django Unchained (2012) entertains but is oddly generic and surprisingly conventional.

Django Unchained
2012
165 minutes
rated R

by Scott Mendelson

Quentin Tarantino arguably made Django Unchained (teaser/trailer) because he wanted to try his hand at a Spaghetti Western, and that's basically what he has done.  Alas, the film is little more than a genre exercise, with little more than the obvious role reversals to justify its artistic existence.  That is is mostly entertaining and well-acted across the board goes without saying, but after the slyly subversive Inglorious Basterds, I frankly expect more from the filmmaker.  For a filmmaker known for narrative surprises and challenging the expectations of his audience, his newest entry is oddly conventional and almost timid in terms of how it approaches its subject matter.  Oh, it surely qualifies as another film focusing on revisionist revenge-fantasy history, as well as how we often use the cinematic lens to comprehend the least savory parts of our history, but as a stand-alone film it is lacking in substance.  It is a good movie, for sure, but it is quite frankly not a very good film.

Wednesday, December 19, 2012

Review: Jack Reacher (2012) is a mostly satisfying old-school 90s-style genre-throwback.

Jack Reacher
2012
130 minutes
rated PG-13

by Scott Mendelson

Writer/director Christopher McQuarrie's Jack Reacher (trailer) is such an authentic bygone relic that I'm not entirely sure it takes place in the present day.  The picture looks, sounds, and feels like a relatively high-quality action thriller from the mid-1990's, which is mostly a compliment.  I could be mistaken, but I don't recall a single scene where a character uses the Internet and/or uses their cell phone for anything other than *talking* (the title character even uses a pay phone on several occasions).  But, thank the heavens, this is not some kind of 'let's make a 90's thriller' technical exercise, but it merely inhabits a mostly forgotten sub genre so successfully that it becomes something of a time capsule piece.  For those not interesting in examining it as a kind of relic, it fortunately also operates as a consistently entertaining and intelligent procedural.  It is strongly acted by all, with pulpy dialogue which I presume comes from the Lee Childs book (One Shot) from which it is based.  It has issues of length and tone, but it mostly entertains and is the rare would-be franchise starter for which I'd gladly see a sequel.

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