Spring Breakers (2012)

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Concerning Roger Ebert

I am ashamed to admit that I never really watched Siskel & Ebert & The Movies during its original syndication on television, because my enjoyment of films weren't realized until much later, in my teen years. I found myself invested in this newly founded passion, but was at a loss in finding ways to express it. A reason for this was that I simply didn't know anyone who shared the same hobby as me; at least not on the same level.

MAD, Day VIII: Bernie (2011)

Bernie isn't exactly a documentary, because it's been reenacted by some of the biggest stars in Hollywood. It's not a mockumentary either, because many of the real-life Bernie's friends and associates are being interviewed throughout the film. Only, Matthew McConaughey is being  "interviewed" as the local district attorney like the real interviewees, so the line between what is authentic and what's not often becomes hazy.

MAD, Day VII: Five Feet and Rising (2000)

Five Feet and Rising is a short film directed by Peter Sollett, more recently unknown for the rather lackluster Nick and Norah's Infinite Playlist (2008). The film is a day in the life of Victor (Victor Rasuk, Lords of Dogtown), a twelve year-old living in New York City.

MAD, Day VI: A Town Called Panic (2009)

A Town Named Panic is a stop-animation film based off of a popular television series originating in Belgium. According to Wikipedia, every episode is roughly 5 minutes long, so a leap into a 90-minute film is a big step in terms of storytelling and structure. It's almost as if it was decided to make Robot Chicken into a feature film, which sounds like a disgusting nightmare. Hearing good things about it on the interwebs, I gave it a shot anyway. Turns out, it's actually kind of hilarious. It finds similar ground to that of Team America: World Police, although not nearly as raunchy or R-rated, but there are a couple cusses that catch you off guard and makes it all the more funnier. It's difficult to talk about it without discussing the plot a bit, so I will try to sum up it in the simplest way possible:

MAD, Day V: Love (2011)

There is a notorious story about the late Howard Hughes, and how he shut himself in a studio for 4 months, letting no one else in, and all the whole doing silly things like peeing in jars and refusing to shave or put pants on. This event was sort-of-famously depicted in Martin Scorsese's The Aviator. 

Imagine that scene, but 119 minutes long. I am almost positive it is very similar to the experience of watching Love.

MAD, DAY IV: Battle Royale (2000)

If I were a pretentious hipster, I would spend a majority of this review describing the similarities between Battle Royale and The Hunger Games, and how, like, Suzanne Collins ripped off Koushun Takami, dude. To your benefit, I won't do that, but it really is difficult to review one without bringing up the other.

MAD, Day III: Life of Pi (2012)

I was one of the millions who adored Life of Pie when the novel was released in 2001, but I instantly thought it to be un-filmable. Aside from the obvious CGI complications, the idea of watching a boy spend half a year on a boat with a cranky tiger, while at the same time not being absolutely silly seemed highly unlikely. Then came The Lord of the Rings trilogy. 

MAD, Day II: Monty Python's the Meaning of Life (1983)

Usually, people tend to have a love 'em or hate 'em attitude towards the group, and the same rule applies for The Meaning of Life: if you're a fan of Monty Python's other work like Flying Circus, The Holy Grail, British comedy, or awesome things, then you will appreciate this. If not, then stay away.

Movie-a-Day, Part I: The Conversation (1974)

Compared to many of Francis Ford Coppola's films, The Conversation is relatively tame, especially due to the fact that it was released in '74, two years after The Godfather. The film has one of those plots that are extremely simple and rather bland in theory, but if put in the right hands, it can go a long way — in this case, an audio surveillance expert who is hired to spy on a mysterious couple uncovers a potential conspiracy, and spends much of the movie deciding whether or not to close his eyes to it, or risk his life to save others.

Oh Hey, it's Been a While

Wow. So my last post was June 5th. That was nine months ago. 282 days, without writing (I did the math in seconds using a "date calculator" that I found on the internet - isn't technology amazing?). Other than the occasional tweet here and there, that was probably the last time I wrote anything more than an original paragraph. After taking several punches, I started to lose faith in myself as a writer. A battle which I'm sure any writer has gone through at least once (or so I hope). 

It began as starting a review or article that I sincerely planned on finishing and publishing, only to lose interest in it about halfway through and deleting it altogether. A half-page turned into a few sentences, and a few sentences turned into nothing. Just a blank document that I would stare for a while at and eventually walk away from. It felt like an unexplainable phenomenon that I couldn't wrap my head around. All I've ever wanted to be, for several years, is a journalist in film. I knew that the only way to keep about it would be to keep writing. Every day. But I couldn't do it. I couldn't even bring myself to watch films as much as I used to, before that dreaded day in June. I went from watching 3-4 films a week to maybe one, if I was lucky. 

As I'm writing this, I currently have Kenneth Lonergan's Margaret rented out from Netflix since the 18th of August. Thats's seven months, 29 weeks, 208 days, 4992 hours, 299,520 minutes, and 17,971,200 seconds from now (seriously, this date calculator is sweet). I also had Sean Durkin's Martha Marcy May Marlene for quite some time, but finally got around to watching it a few weeks ago (fine flick, check it out). I now have Pete Travis' adaptation of Dredd beginning the ritual of collecting dust until it finally serves it's purpose. 

The point that I'm making with the super awesome date calculator is that I intend to make up for all those months, weeks, days, hours, minutes and seconds lost. As of today, I am attempting my very own "movie-a-day" challenge. I don't exactly know what I hope to get out of it, other than the possibility that if I force myself to watch something new everyday, and write at least a paragraph about it, I will be taking one more step towards my goal of a career. Ask any writer what the best way to get better at the form is, and all they will tell you is to write. All the time, goddammit, and don't stop. And that's what I tend to do, only I'm also throwing movies into the mix. 

My only fear is that I will wake up tomorrow, and do what I did nine months ago: not care. In another step to prevent this, I am taking a page out of Jerry Seinfeld's book, and am using his "Don't Break the Chain" method to increase productivity. I have a nice, big Boston Terrier calendar six inches from where I am sitting right now (it's my girlfriend's calendar, I swear). Every day that I complete a task (in my case, watching a flick and writing about it) I mark off the day with a nice big 'X'. The idea is to not break the chain of X's. 

It just might be too idiot-proof for me to screw this up. Hopefully, by June 5th of this year, I will have completed a nice, 83-day streak. 

First X: Francis Ford Coppola's The Conversation.

Take Shelter

In 2007, newcomer Jeff Nichols directed his powerful debut film Shotgun Stories. The film stars Michael Shannon and focuses on two separate groups of half-brothers who are at a grudgingly brutal war with one another, despite the fact that they all share the same father. The film focuses on several powerful themes, mainly the senselessness of violence and revenge, and how it can only end in tragedy. The film received much critical acclaim, and yet it still remains relatively unknown to mass audiences to this day.

The Adventures of Tintin

Lots of people might argue that legendary filmmaker Steven Spielberg has lost his touch as an artist as of late, having not crafted a film to completely woo audiences since 2003, the year both Catch Me if You Can and Minority Report were released. His works since then, like Munich, War of the Worlds, Indiana Jones and the Kingdom of the Crystal Skull,  and even his most recent film, War Horse, have all been criticized for failing to capture the same magic of hisRaiders of the Lost Ark and E.T. days. While this certainly open for debate (Munich is an exceptionally well-made film), it is difficult to have lost faith in Spielberg with his new adaptation of The Adventures of Tintin. 

The Cabinet of Dr. Caligari

Being released in 1920, Robert Wiene’s The Cabinet of Dr. Caligari was an extremely controversial and unsettling piece of work when first unleashed among German audiences. Like the many German Expressionist films that followed it, Caligari focuses on several themes that weren’t openly discussed at the time, and to some degree, still aren’t: murder, loneliness, hopelessness, and rape, just to name a few. The film has several honorable credentials up its sleeve, including for being the first of the horror genre, and is even often cited as a major inspiration for film noir, which debuted only a few years later (while the “first” film noir is debated, some consider M to hold the title, directed by fellow German director Fritz Lang). This scene, where Dr. Caligari’s puppet Cesare attempts to claim another victim, is potentially the most hair-raising of the film’s (rather short) duration. This is particularly due to Giuseppe Becce’s haunting composition, which not only holds up against many compositions to this day - it outmatches them.

Drive

If there was any doubt that only total badasses can chew on toothpicks, without the desire to clean their teeth, Ryan Gosling puts that silly rumor to rest. Despite what it's title might imply, Drive is not your typical ricer-approved action movie that we all know and love nowadays. The film is very patient and quietly paced, and proves how important and powerful the use of a camera can be if in the right hands. There are (almost) no climatic chase sequences here. Nicolas Winding Refn, director, instead relies on very steady and slow, yet controlled tension to keep us on the edge of our seats at all times. The opening scene is my testimony to this, and perfectly sets the tone for what's to come.

Super

James Gunn has quite the credentials. His first screenplay for a feature film is the critically panned Specials, starring Rob Lowe. He followed this with the live-action take of Scooby-Doo. Two years later, he must have realized what a huge mistake that crap was, because he went on to try something (slightly) more respectful and dignifying: Zach Snyder's remake of Dawn of the Dead. Looks like Gunn's career is taking a nice turn, after all! Oh...wait. Scratch that. The same year he helped scribe Scooby-Doo: Monster's Unleashed.

The Beaver

Whatever your opinions are about fellow actor and director Mel Gibson, it's difficult to deny that inside that very disturbed and perhaps disfinctional brain of his, there is a portion of it that is actually quite talented. Maybe even, dare I say, quite brilliant. His directing abilities demonstrate this, because Apocalypto is a serious (and gorgeous) feat to behold. His acting performances are almost always rather powerful, although they certainly have their ups and downs. I will, until my last dying breath, defend the awesomeness of Payback. It is a constantly overlooked modern take on the film noir genre, and Gibson is top-notch. Call it a guilty pleasure, Rotten Tomatoes be damned. Despite this, his "retribution" has still yet to make an appearance. At least, in the eyes of the public. However, there is little doubt that his performance in Jodie Foster's The Beaver sought to change that.

Hobo With a Shotgun

Watching the trailer, one might wonder how a trailer so gory, so violent, so grotesque and so tasteless could possibly be stretched out into a 90 minute feature. Not only does it deliver to your disgusting needs, it shoots you in the balls with it. Still interested, sicko? Well, once upon a time in Hollywood, directors Robert Rodriguez and Quentin Tarantino wanted to make a film that would be a throwback to the "classic" grindhouse features, which mainly consisted of exploitation B-movies.  An exploitation film is essentially a genre that one-ups another to the point where if the film could vomit, it would vomit that genre into your eyes forever. So, the two collaborated to release Grindhouse, a double-feature including Planet Terror and Death Proof, directed by Rodriguez and Tarantino, respectively. If you saw the film in theaters, you got a special treat. Before the opening of each film, a series of fake trailers were shown, each offering something more ridiculous and insane than the features succeeding them. What's special about these trailers is that they were significant efforts by some famous names. Such trailers include Werewolf Women of the SS, directed by Rob Zombie and starring Nicolas Cage; Thanksgiving, directed by Eli Roth; Don't, directed by Edgar Wright, and Machete, directed by Rodriguez himself. As you might know, Machete was later made into a feature film, because of the praise received from the trailer. As you might not know, the script for Machete was actually already written several years prior to the release of the fake trailer, which rekindled his interest in finally bringing it to the big screen. The last fake trailer to precede Grindhouse wasn't created by a famous director, but rather a winner of Rodriguez's "South by Southwest" contest. The winner's trailer would be featured in Grindhouse. As you might have guessed, the winner was Hobo With a Shotgun. Obviously, someone must have appreciated the trailer, as it too was later shot as a feature-length.

The Dollars Trilogy, Part III: The Good, the Bad and the Ugly

Wow. So, yeah. With The Good, the Bad and the Ugly, Sergio Leone proves not only that is he not a crock (as if anyone doubted it), but he is a master of the craft. This is entirely predictable with just the opening credits, which has jumped to my top ten opening sequences ever. Although it is only an animated sequence, Leone's use of sound and Ennio Marricone's incredible composition is absolutely brilliant. This is easily the best use of my newly acquired surround sound system, and reminded me of why I installed it in the first place. In my review for the previous film, I stated that For a Few Dollars more essentially one-ups A Fistful of Dollars in every way. It is more than fair to say the same for The Good, the Bad, and Ugly. Leone takes the trilogy to places that I never expected it go.

The Dollars Trilogy, Part II: For a Few Dollars More

For a Few Dollars More, the second entry in the "Dollars Trilogy", essentially one-ups it's predecessor,  A Fistful of Dollars in almost every way. It is clear that the sequel was granted a much bigger budget than Fistful. The set pieces are noticeably bigger, and we get a lot more triumphant explosions. Director Sergio Leone wittingly held onto Ennio Marricone, who managed to top himself and create another incredible score. There is not much else to say about the film, other than it has everything you could expect from watching the previous film, but overall more entertaining and satisfying. The script is much tighter and its characters show much more emotion and depth. It is arguable that the audience will have more investment in El Indio, the antagonist of the film than any other character. He is not as shallow of an evil character as Ramón, from the last film. Not to say that El Indio isn't a villainous bastard, because he is. He deserves everything he has coming to him, and more. The difference is I didn't feel like El Indio was mindlessly thrown into the script. When they get deeper into the film, he audience eventually gets a sense that he has actual emotions and thoughts, as opposed to Ramón, who killed people because, well, it's just so much fun being bad! He is also not an idiot, and is simply a worthy contender of the stranger, now known as "Manco". Manco is as intimidating and mysterious as we were first introduced to him in Fistful, and no one is complaining. To top it off, a third player is also thrown into the mix: hit man Colonel Douglas Mortimer, perplexingly played by Lee Van Cleef. Thanks to his deceiving eyes and menacing smile, it is never exactly clear for some time where his true allegiance lies: with "Manco", El Indio, or himself. I found myself constantly guessing at what he was going to do next.