If you read only one blog full of ranting and raving about sports (local and otherwise), movies, TV shows, miscellaneous pop culture, life and other assorted flotsam and jetsam, make it this one!
Showing posts with label Avatar. Show all posts
Showing posts with label Avatar. Show all posts

Saturday, August 18, 2012

Quick Reviews: Bourne Legacy, ParaNorman

There's an inspired line of thinking in this article I came across the other day. It discusses the Simpsons episode where the "Itchy and Scratchy" studio, trying to reinvigorate the ratings of their tired cartoon, introduce a new character: Poochie, the rapping dog (voiced by Homer). Poochie is an amalgam of test-marketed "hip" cliches. The first "Itchy and Scratchy and Poochie" show gets tons of eyeballs, but everyone (except Homer) hates it. The studio ends the Poochie experiment quickly.

The article points out that Hollywood has taken the "Poochie" strategy to heart. Desperate to keep franchises alive, new (or sort of new) characters have been introduced in the most recent "Indiana Jones" and "Men in Black" sequels, and even a plot twist at the end of "The Dark Knight Rises" can be seen as an introduction of such a character for future films, although since Christopher Nolan is done with Batman, it's not too likely that anyone will follow up on that particular twist. But the article's prime example is the just-released "The Bourne Legacy," in which we learn that there's more than one black ops program in which super-soldiers were created. This is convenient because there's no Jason Bourne to hunt down, as Matt Damon refused to sign on for another sequel. So we have Jeremy Renner as Aaron Cross, who has to take pills to enhance his physical and mental abilities, on the run after Bourne's actions lead to the elimination of Cross's program -- and his life, if he's caught. The movie looks less jittery but is more confusing and generic, despite Renner's best efforts. And they still had the nerve to use that same Moby song at the end. My grade: C-minus.

On a brighter note, despite being somewhat darker in tone than the trailers led us to believe, is the animated (and 3D) "ParaNorman," which ostensibly is about a kid who talks to dead people, and has to use this ability to save his town from an ancient curse. Yet, while there's all that, and a good amount of humor, at its heart it's really an anti-bullying, we-should-embrace-our-differences movie. Whether it's the witch whose death leads to the curse, or Norman himself, seen as a weirdo because, to everyone else, he's talking to himself, the bullying angle is prominent. The film works on pretty much all levels, though, except for that 3D crap. I really dislike 3D. Wearing 3D glasses over my glasses is not particularly comfortable. 3D is not necessary except in rare cases -- the only film I've seen where the 3D really impressed me was "Avatar," which had other problems, such as plot silliness -- and it's mainly a way for the studios to make more money. My grade: A-minus.

Saturday, March 6, 2010

Quick Reviews (Oscar edition): The Hurt Locker, A Serious Man

This week I finally completed my mission of seeing all ten Oscar Best Picture nominees. I had to settle for watching "A Serious Man" at home on pay-per-view because it wasn't in any theaters, but I got the full movie experience (so to speak) from "The Hurt Locker."

Breaking my usual format, let me say right up front that my grade for both films is a B-minus. What was interesting was that they got to that destination from different directions. "The Hurt Locker" follows a U.S. Army bomb squad as it defuses explosive devices in Iraq in 2004, but it doesn't really tell a focused story. We see a series of incidents in which the unit is working, and an on-screen caption of how many days remain in their current tour of duty, and some off-duty activity. The sergeant who physically works on the bombs (Jeremy Renner, Oscar Best Actor nominee) gets most of the attention because of his unorthodox ways of working that the other members of his unit feel are too risky. It was tense at times, but sort of meanders along, and it ends sort of as it begins.

There is a tale to be told in "A Serious Man," a dark comedy written, directed and produced by the Coen brothers. In 1967 in suburban Minneapolis, the life of college professor Larry Gopnik (Michael Stuhlbarg) is unraveling. At work, a student complains about a failing grade and leaves behind a cash bribe, and the student's father follows it up with a threat to sue if Larry doesn't take the bribe and change his son's grade. Larry's up for tenure but someone's sent anonymous letters to the school that may be a problem. At home, his wife wants a divorce so she can be with a widowed family friend, his son's about to complete his bar mitzvah but he secretly smokes pot, his daughter seems to be stealing money from his wallet...the problems keep piling up. Larry seeks answers from three different rabbis, but for varying reasons none are able or willing to provide solace. This tale was much more engrossing than "The Hurt Locker," and the use of Jefferson Airplane's "Somebody To Love" was creative, but the end was jarring, a real "WTF?" kind of ending.

So, now that I've seen all ten nominees, this would be my Best Picture ballot (the new rules ask that voters rank the nominees from 1 to 10, and a formula using those rankings is applied if one film doesn't win a majority of first-place votes) if I had one:

1. Up In The Air
2. Precious
3. Up
4. District 9
5. An Education
6. Inglourious Basterds
7. The Blind Side
8. A Serious Man
9. The Hurt Locker
10. Avatar