Lambcast: The Mummy (1999)

KAMAD goes Mad for The Mummy (1999)

The Large Association of Movie Blogs | LAMBCAST #415-2: OSCARS IN REVIEW

The Large Association of Movie Blogs | LAMBCAST #415-2: OSCARS IN REVIEW: We watched the Oscars, listen to what we thought about it! A very tired and poorly Jay was joined by Audrey, Jeanette, Todd and Richard for a brief special discussion on this year’s Oscar cer…

Death Wish (2018)

I love a revenge film. The catharsis and emotional satisfaction that comes from seeing justice being played out against reprehensible people is pleasing at the most base level. I think most people recognize that films like these are fantasies and not guidebooks on how to act. I can't say on an intellectual level that vigilante action is something we should approve of, but for two hours in a movie theater it can be very therapeutic.

The original version of "Death Wish" from 1974 was one of the most controversial films of it's time. It was also commercially successful. So much so that the character returned in a series of decreasingly relevant and quality sequels. It was a film of the moment, when urban crime was overwhelming cities and turning them into dystopian outposts in the real world, not some fictional future. The script for this remake is written in a manner to play off of that paranoia, but do so in a modern context. Screenwriter Joe Carnahan has mixed the urban danger zone that Chicago has become with the suburban setting occupied by the protagonist and his family. This changes the way the character might be perceived and it allows the fear of random violence to be part of a more contemporary story.

Another important change in the plot involves the lead now being a trauma surgeon rather than an architect. The avenging grim reaper now has a pipeline of bad guys coming through the emergency room, they provide him with a link to specific criminals. Charles Bronson's character was not seeking the specific criminals that destroyed his family, he had become a moral cudgel to thrash the unrepentant criminal element in a somewhat random manner. He actually begins to bait criminals into their actions to be able to take them out. Bruce Willis does engage in a couple of random acts of vigilantism, but he mostly is pursuing leads that will bring him in contact with the particular gang that robbed and murdered at his house. The criminals in this film are an organized crew with a plan and an M.O.

Bruce Willis has been making straight to streaming movies for the last five years and his enthusiasm as an actor is not very apparent in most of this movie. He still has enough charisma to make us watch in some sequences but he seems to be disengaged in some of the others. It is only when he starts killing people that he seems to come to life in the film. His sequences with the family or interacting with the police lack the edginess and sarcastic humor that mark his other roles. Vincent D'Onofrio is his brother, and it is not clear in any way how he is essential to the plot. There are a couple of scenes near the end where the brothers confront some emotional issues between them, and D'Onofrio seems like he is effortlessly creating a character while Willis is just standing there. 

However, director Eli Roth, has managed to inject some life into this film by making Dr. Paul Kersey, a relentless inquisitor and fledgling killer. In the original film, Bronson gets inspired by a visit to Arizona where a business contact encourages him to take up shooting. Dr. Kersey goes to Texas to bury his wife, and it is his father-in-law who inspires him indirectly by pulling to the side of the dirt road they are coming back from the graveside on, and unloading his rifle at a couple of poachers on his ranch. Coincidences become the staring point for his human hunting expedition when he recognizes a trauma patient as the kid who worked as a parking valet at his families favorite restaurant. Add a cell phone and a dropped firearm and he becomes a hooded FBI unto himself.

Roth is known for the horror films that he has made and his touch with gore is clearly visible in many spots in this film. Kersey as a doctor, knows exactly how to torture someone to get information that he needs and Roth is happy to show us the process. There are brains splattered in a couple of scenes so the violence quotient is pretty high. Early in the film, there is a set up of a device that becomes pivotal in the climax of the story. Progressives are going to hate this film but the NRA might want to use it as a commercial for membership. The unfortunate real world events that have brought gun issues to the center of national attention recently, may find that the narrative they are creating about semi-automatic weapons, will be problematic to those who have an interest in owning them for a variety of reasons other than creating mayhem.

The film lacks the grit and social relevance of the 70s original but tries to compensate with plot twists and higher levels of violence. The cop character in this movie is not as interesting as the Vincent Guardina cop in the original, but the perspective is effectively conveyed in a much more casual and subtle manner. If Bruce could manage to put just a little more effort into the non-action scenes, this could potentially be another franchise for a few years. Whether or not that happens, the revenge story is basic, brutal and as politically incorrect as you can imagine. All reasons for me to like the film at least.
 

[Sunday Screening, Late Post]

AMC Best Picture Showcase Day 2

So just a few random thoughts on the Best Picture Selections this year. Last week we watched two films with Lucas Hedges back to back. He was in "Lady Bird" and "Three Billboards". Timothée Chalamet was in "Lady Bird" and today's "Call Me By Your Name".  Nick Searcy was in "Three Billboards" and "The Shape of Water". Today we had Bradley Whitford in back to back "The Post" and "Get Out". Finally Michael Stuhlbarg was in "The Shape of Water, "Call Me By Your Name" and "The Post". These actors have got to have great agents to get into the top pictures of the year not just once, but two and three times.

"Phantom Thread" and "The Post" were the two films I needed to catch up on, and while I admired them both, I don't see either of them as a likely winner in the big category. "Phantom Thread" lacks anybody likable in the cast of characters, and "The Post" is so traditional that it won this award two years ago when it was called "Spotlight".

Speaking of actors who appeared back to back in some of the films on the program, we had a historical event do exactly the same thing. "Dunkirk" was followed by "Darkest Hour" and it was almost as if Joe Wright's film was just another segment of the Christopher Nolan film. It's Title Card would read Parliament: Two Weeks.

I feel confident in my choice of "Dunkirk" as the best film of last year but I am not at all confident that the Academy will go along with me. 

Dunkirk   Christopher Nolan's film was the most visually impressive, forward moving, and meaningful film of the lot. Listening to the score and watching how he masterfully integrated three separate time lines into a single narrative with clever overlaps and great timing, I know that this was the best directing job this year. Nothing against Guillermo Del Toro, but this complex story, logistical nightmare and historical memorial is simple better constructed than the odd fish love story. This is a film that tells a real historical story that will last long after the fashion of the fairy tale set in a mythological era in U.S. history, is a charming oddity. 

Some people complain that the characters here are not well developed, that is true. This however is not a character piece but a prism on the events that were taking place during a military disaster that became a turning point in a manner that was most unexpected. 



Darkest Hour  This film was even stronger the second time I saw it. The first viewing I was overpowered by Gary Oldman's performance. He will surely be the winner in the acting category. I admired the film before but I have come to really respect it on this second encounter. Joe Wright manages to make a tale of political intrigue into a fascinating study of a character and the country who's character he came to represent for the duration of the war. The one clumsy moment is a scene set in an underground train car. The only reason it is clumsy is that it feels so distinct from everything else, like a deliberate movie moment. That shows that the rest of the movie does exist as something more than the typical fare.  But even that scene works emotionally because it bespeaks of a real sense of what the British people felt at the time. 





Call Me By Your Name  I am being a little facetious when I say this film is a pain in the neck. That's because in the first half I went to sleep and got a crick that is staining my muscles still. My least favorite of the nominees, this film is slow moving, meandering and confounding. I felt like I was listening to a play frequently, with dialogue written eloquently but sounding artificial. A couple of podcasters that I listen to love this film and especially the sequence with Michael Stuhlbarg as the father of Elio, consoling his son on the "special" friendship he had with Oliver. It ends on s deliberately false note when the Dad tells his son that he doesn't think that Mom knows about the nature of their friendship. The mom had just picked up a near weeping Elio at the train station and she dropped hints for the previous hour that she knew how special Elio thought Oliver was. When Mr. Perlman says he never had a relationship with anyone like Elio had with Oliver, we can believe him because he so obtusely ignores how insightful his wife is. This will probably win the Screenplay Award, and it shouldn't, if it takes the big prize I might yell loud enough to ruin my voice for a month.  

The Post  So this was the one new film we saw on day two. This has the phrase "Oscar Bait" pasted all over it. It features Tom Hanks, Meryl Streep, a ton of high end supporting players and it was directed by Steven Spielberg. The subject matter concerns the fight of the press against preemptive shut down of news publication. It is a first amendment issue that was understandably important, yet at the same time it ignores some pretty egregious behavior. We can always applaud someone after the fact when their actions seem just and there was no blow-back,  but there were issues regarding the acquisition of the Pentagon Papers that probably still need to be discussed.  Spielberg and co-screenwriters Josh Singer and Liz Hannah, manage to make a bureaucratic legal process look and sound like a courtroom drama with some mystery tied in.  Singer in particular is working on familiar ground since he won an Academy Award two years ago for a very similarly structured newspaper story "Spotlight".

This is supposed to be a resistance film, about the Media vs. the President in a time when everyone wants to be standing up to the current administration. The parallels are not really there to give this much resonance. This is a two hour commercial for the Washington Post and the heavy handed feminist slant in some of the visuals makes it feel too much like a lecture at times. That said, it is well made and the John Williams score is excellent as usual. Because "Bridge of Spies" and "Spotlight" are just a couple of years old however, this feels like it is old territory and not quite as distinctive as it needs to be. 

Get Out  This one is the outlier. You rarely get a horror film nominated for Best Picture, but if you do, it is usually more of a big budget film. This Jordan Peele written and directed film seemed to come in under the radar, it made a huge splash, and it is getting some end of the year accolades. The intersectionality of this film is in keeping with all the film buffs who are much more woke than I am. I just enjoyed the twist and the characters in the film. Rod from TSA is a saving grace that adds more straightforward humor to the mix. Instead of a haunted house we get a upscale suburban plantation. The need for subtlety on the race subject is probably eliminated by the DNA of the movie. Being an outsider in an nearly all white environment makes Chris, our lead character played by nominated actor Daniel Kaluuya, mildly uncomfortable but also keenly aware of how different the culture he is visiting is. 

While most people will consider the "Sunken Place" to be the most horrifying image in the film, to me it is the silent auction with bingo cards. We still don't know what is going on, but the suggestion is truly awful. Seeing it for a second time, I could pay more attention to some of the interesting choices that were made. Grandma and  Grandpa are certainly clever twists, although it seems strange that for the duration of Chris being a guest, the force required to hold those characters would be counter-intuitive to the actual plan. The creepy factor also takes Chris a little too long to respond to. His buddy is right, and he should be listening to him sooner. There is an outside chance this could take the award, the voting system gives weight to the number of ballots a film appears on, and this would be a popular ad to the list but not necessarily high on the list. Should it when I expect to see some "Get Out" Memes that mine the fertile teen speak use of the terminology. 

As an aside, let me rant about the misquotes being used to decorate the entry way to the theater. Both "Cool Hand Luke" and "Jaws" are misquoted in the floor below. 

2018 Oscar Nominated Shorts: Live Action

DeKalb Elementary

Three of the shorts this year are not short on one thing, and that is tension. This film focuses on what is essentially a two person sequence that could easily have been a massive tragedy. A disturbed young man arrives at a school and a confrontation ensues with the school's receptionist playing mediator. This is apparently based on an actual 911 phone call, the two actors are excellent but special mention should be made of actress Tara Riggs who maintains a level of composure while also being frightened to death. Her character is the kind of everyday hero we hope is present in our lives somewhere. 

The recent shooting at a school in Florida will be on everyone's mind right now and the tie in to this movie is unavoidable. Because of the timeliness, I suspect this must be the film that will be favored for the award next Sunday.

The Silent Child

It turns out that this movie is basically a public service announcement, disguised as a drama. There is a disturbing phenomena among families with children who have special needs and the schools they attend. This is a British film so it may model the culture and schools there more than it does in the U.S. Here I see parents who are aggressively assertive in trying to care for their children's needs. Our school system creates an expectation that all are welcome. It was a little hard for me to believe the character of the mother in this story, although I am sure there are instances like this. In the U.S. the Social Worker would file a report that accuses the parents of neglect and the story would proceed in a very different manner. We are less polite. 

Because it seems so unique an anecdote, I don't know that it is as convincing as it wants to be. The special needs tutor and the little girl in the story are both very solid. I thought the child performance seemed really effective for the circumstances. Everyone else came across as a little too pat and almost caricatures of indifferent people.  

My Nephew Emmentt

This is another historical film based on an actual incident and it is one that most of us will have heard of. The murder of Emmentt Till, a young black man from Chicago who has moved in with his family in Mississippi is one of the turning points of the civil rights era. The facts that took place after his murder are not the subject of this startling film. Rather this story focuses on the sense of impending doom that a family could feel and do nothing to prevent.

For a short film, this one felt the most deliberate and slowest. The actor playing Mose Wright, the Uncle, looks dignified but also beaten down by time. He can sense doom coming but despite the nightmares and the reasoning, he ends up in a defensive position with survivor's guilt to come. This movie looks like it was shot through a bronze filter in some of the night time scenes. It is even more haunting as a result.  

The Eleven O'Clock

This was a straight out comedy. It feels so different in tone that you might wonder how it got nominated, but I can actually explain this pretty well. The actors have incredible timing and they play their parts to a tee. The script reminds you of a screwball comedy, with maybe Cary Grant and the Marx Brothers thrown in for good measure. It gets to the point and makes you laugh without having to have a lot of exposition. It is like a very well told joke, with just the right amount of detail thrown in to make it sparkle.

Mistaken identity plots have been around for as long as there have been movies, so you may be able to tell where this is going after a few short minutes. Don't worry, that will not detract from your enjoyment of the film at all. The escalating frustrations of the two main characters is simply great to soak up and laugh at. 

Watu Wote

This is another film that builds tension for it's whole duration. The story does have to rely on a series of title cards to set up the events we are going to witness. It is a harrowing trip being taken by people who just want to get on with their lives, but they live in a part of the world where bad things happen everyday and everywhere. This is also a film based on real events and to think that these things happen in the world we live in is frightening. The subject concerns conflicts between Islamist terrorists and Christians living in Kenya. 

A simple bus trip is never going to be simple in the part of the world where roads are not always paved, there may not be a hotel available, and you pray for an armed escort getting on the equivalent of a Greyhound. People with different faiths are all subject to risks in this world. One woman's experiences of tragedy sometimes blind her to the wellspring of human decency that can pop up anywhere. The film is dedicated to a man who stood up to oppression and represents the faith he adheres to in a most reasonable manner. If the Award is going to go to a politically and socially charged film, this could also be a dark horse.  

2018 Oscar Nominated Shorts: Animation

I did not make it to see the documentary shorts but I did see the animated films and the live action films. If you click on the link here, you can go to ShortsTV and find the films that are available on line or where they might be playing near you.

The Animated Shorts

"Dear Basketball" is the Kobe Bryant created film. There is some pushback from the #metoo movement because of Kobe's rape charge. This film however was directed by Glen Keane, an old hand at Disney. The music is from John Williams, so the film has a pedigree. Kobe narrates an ode to the sport that he loves and some lovely line and pencil animation accompanies his words. The simplest of the designs but still very effective. It is almost enough to make you like him if you did not already. 

"LOU" is the charming Pixar film that played in front of "Cars 3" last summer. It is a brilliant realization of how story can be told without dialogue and through character. There is a lot of humor but also a touching moment or two in the seven minutes that this runs. Because John Lassiter is currently in the dog house with #metoo, this film probably has a reduced chance at taking home the award.

"Negative Space" represents a claymodel approach to animation with a somber mediation on a father son relationship. The design is a bit odd but the story works and the payoff is a bit heartbreaking. It does however hold some very practical advice for packing your luggage, so if you are traveling, make sure to check it out.

"Revolting Rhymes"  Here is a twisted take on fairy tales that will give the little ones nightmares but offers a lot of humor that adults will appreciate. One of the voices was from Tasmin Greig, an actress that I know from the Showtime series "Episodes". Let's just say that Red Riding Hood and Snow White have more elaborate finishes to their stories than "Happily Ever After". 

"Garden Party" This short starts out as a frolicking nature film. It has distinctive animated animals as characters and there are several whimsical interludes. In the background however, we begin to see signs that things are not exactly as light as they may seem. The computer animation on this is gorgeous, it reminded me quite a bit of "Rango".  The last shot in the film also makes "Revolting Rhymes " only the second most gruesome of the five nominees. 

Because the animated films are all relatively short, the program included three additional and worthy Honorable mentions to go along with the nominees:

"Lost Property Office" is a cardboard and claymation film from Australia that focuses on a lonely man responsible for a lonely job in a lonely location. Everything turns out better than you might hope. Dialogue free and easy to underestimate.

"Weeds"  This is the little flower that could story that might be a little cloying but ultimately has it's heart in the right place. It is inspiring to kids but a nightmare for homeowners trying to keep a yard in ship shape. 

"Achoo" I was really surprised that this was not one of the nominees. The animation is excellent, it tells a cultural story and it is pretty funny as well. 

It's late, so I'll wait and do a second post on the live action shorts tomorrow. 

AMC Best Picture Showcase Day One

As is our custom , we visited the Best Picture Showcase to catch up on all the films nominated this year. Also as usual, we have already seen most of them so it is a revisit for some of these movies but each day of the showcase this year will feature a movie that is new to us. 

Phantom Thread was maybe the most divisive film my family seen this year.  My daughter loved it  and so did I. My wife hated it, she compared it to "The Tree of Life" a film that I personally also I hated.  The film is extremely funny but also extremely tight and I mean that in a literal sense. Daniel Day Lewis' character is so tightly wound that he could fracture at any moment, he makes Samuel Jackson in "Unbreakable" look positively rubber like.  I'm not sure if the film is supposed to be a comedy but it definitely played incredibly humorous.

The story is hard do explain. Reynolds Woodcock is a dress designer at the highest level of passion who has difficulty relating to anything except his own self interest. He finds a woman that he falls in love with for reasons that are hard to understand. Both he and his work are effected by her for her.  Everybody experiencing his personality would be incredibly frustrated and angry. If our partners behaved in the manner that either of these two engage in, the relationship would end, but somehow it brings them closer together. I thought that the whole point ultimately was for the film to show how meticulous they are in their relationship, in the same manner that he is meticulous in the dresses that he makes. I can see however why my wife found it frustrating be because it is incredibly slow moving and deliberately paced. 

Obviously the dress design are fantastic but the film barely lingers on them instead it focuses on the quirks and idiosyncrasy of Daniel Day Lewis' character and his relationship with Alma the woman that he may be in love with. It turns out to be one of the most amusing and twisted love stories you will ever see, and it is directed by Paul Thomas Anderson, who knows how to make even a slow moving train [of a gown] look compelling. 

Lady Bird  So I liked this film much better the second time then I did the first time I saw it.  I think I came in better prepared to appreciate the characters and since I knew what the story involved I could pay attention to the details of how main characters interacted instead of worrying about the plot. Both actresses are excellent and Laurie Metcalf especially impressed me more as her character truly does act in frustrating ways but also in very loving ways.  I do think that if I were Sacramento I'd be a little bummed out about the way I was referred to by Lady Bird. At the end of the film there is a nice pay off and maybe I could be more forgiving just as Julie is when Lady Bird returns to her and tries to renew their friendship.  

Once again my favorite scene in the movie remains the prom moment when the two girls re-established their friendship.  It felt real in very satisfying coming of age manner.

Three Billboards Outside Ebbing Missouri   My level of respect for this film went up seeing it a second time and I already thought it was one of the better films at the last year. Francis McDormand is clearly the future Oscar winner. I think Sam Rockwell will definitely win this year is well,  which is too bad because his competition includes his costar Woody Harrelson. Harrelson is really excellent in this film and deserve the nomination. I also think that the theme of the movie is a little different on my second go round. While it may be hard to believe,  I do think that the movie has something to say about forgiveness.  There at least four major character who have to make a decision to forgive something. That act does not come for each character in the same place and for the same reasons but it is critical to appreciating the characters who are not all likable. 

I still think the film is about the rage Francis McDormand's character goes through passions that are conveyed in her eyes and vocal tone.  The film does have redemptive arcs but they do not attempt to whitewash the negative characters but rather they are presented as much more complex than we might have thought. "Three Billboards"  remains a film that goes in directions that you never expect.

The Shape of Water  I suspect this will be the eventual Best Picture Winner. I say that not as an advocate of the film itself but rather as an analyst of Academy tendencies. This fairy tale, told with extreme moments of unpleasantness interspersed with moments of great beauty has the qualities the Academy will want to award. It has a director with a background in foreign films and independent movies, who also happens to not be the least preferred heritage of the moment. 

There are several heavy handed moments and a very clunky musical interlude that detracts from the tone the film developed. The imaginary oppression in this film is a surrogate and companion for actual oppression that is shown in the movie. The actors are all very good but their parts are a little too on the nose when it comes to the themes. The production design is really top notch and the movie looks great. If there is a film that will deny Roger Deakins his Oscar, it will be this movie for the work of Dan Laustsen.