Tuesday, July 22, 2014

Post #3 on Hercules at Cinapse!

http://cinapse.co/2014/07/21/the-champion-of-men-hercules-the-hollow-humanitarian/

Cinapse Ho!  Get thee to yonder website and make read of it!

Only a couple days left before we finally receive the latest iteration of Hercules, so it's time to catch up with what has happened in the 90's and later.  Click the link, read my editorial, and let me know what you think by leaving a comment.

Special bonus: a likeness of Hercules I graphically designed.


I know.....

I'm brilliant.


My review of the new film will be online Friday afternoon.

Thursday, July 10, 2014

Editorial posted at Cinapse!






Hey Everybody!

For those of you I am unable to bug through facebook: new column over here...


Give 'er the old click treatment, and read the first of three write-ups on Hercules in Cinema.  




Tuesday, July 1, 2014

Red, Black and Blue: A 4th of July Action Marathon Curated by The UCM


White House Down (2013)
            Roland Emmerich
Rambo III (1988)
            Peter MacDonald
Team America (2004)
            Trey Parker
Independence Day (1996)
            Roland Emmerich

            This Friday morning, when you greet the blood-red dawn by leaping out from under your American flag comforter, landing feet-first in your American flag thongs, clutching your limited edition Lynyrd Skynyrd alarm clock by the testicles and smashing it against the wall nearest you like it called your father a coward, then I know you know what time it is.

...and that’s a real weird existence you’ve got there, partner.

But damn, have I got the ultimate cinematic experience prepared for the greatest birthday on earth(second only to that of Jesus Christ, our Lord and Savior, of course): Inde-fucking-pendence Day!  Four films have been hand-selected by The UCM in honor of the four most important days in the history of the entire 6,000 year-old universe: July 1, 2, 3, and 4!  Strap in, beer up, and burger out, because it’s time to watch Old Glory teach the world, and anyone foolish enough to invade: they best behave.

             To be earnest folks, I devour the hours leading up to any holiday planning how to best celebrate it.  I’m a dweeb that way.  I devote as much October time as possible to watching Horror movies.  When Christmas comes along, I do all the Christmas things all the Christmas time.  Hell, even St. Patrick’s Day receives a solid 16 hours of my aural attention by way of The Chieftains, or some other Irish ensemble.  Why should The 4th of July be any different?  You’re not working (unless you’re in retail…sucker), you fear the outdoors, and you find that packing a holiday full of art and culture speaking directly to the chosen day’s values is the best way to get at its significance.  I doubt many of you are making plans for vigorous flag-waving, or even launching fireworks, but it doesn’t matter.  You don’t have to be a patriot, or a war hawk, or in any way fond of your home country to find enjoyment in studying its people’s outlook on Independence Day through cinema. 
            Not every film I have selected takes place on, or around July 4th (okay, only one of them does), but they all dig into a certain American experience… mostly the one that involves handing someone their own ass.  Coincidentally, I have assembled a playlist offering each of America’s major political associations: Democrat, Republican, Libertarian(ish) and… what I like to think of as… U.C.B.P. (United Confederates of Bill Pullman).  Whatever flavor citizen you might be, I think watching these four movies in succession will lend a good deal to mull-over… and laugh at.
            I recommend we begin with White House Down, the latest work from apparent left-wing nutcase, Roland Emmerich.  You may recall this movie’s quiet arrival and quieter exit one year ago… and you may not.  Nobody saw this thing, and what a shame!  The film begins harmlessly enough, telling the story of the Speaker of the House’s bodyguard (Channing Tatum) who dreams of joining The Secret Service.  He takes his daughter on a tour of The White House when it is attacked by American Terrorists, and he is The Only One who can save President Jaime Fox, or whatever his name is.  It offers loads of fun, charm, and dumb, and then it loses its damn mind.  Saving the finer details for your maximum viewing pleasure, I will tell you the third act closes on what might be considered the Democratic antithesis to the Rambo franchise.  This is an almost hateful liberal action fantasy.  Imagine if Fox News supported the Obama Administration and made movies… instead of whatever it is they think they’re currently doing.  I was struck by irrepressible claughter (simultaneous laughter and clapping) at the climax, and it was just my girlfriend and me at home on a Sunday.  I can’t imagine what it would be like seeing it in a crowded theater.
            From there, let us gleefully tote our hand grenades across the aisle, and catch up with the 80’s.  The Rambo series was a Rocky one (heh… see what I did?).  First Blood is still an excellent film (and oddly anti-war, or pro-veteran?) and it deserves your attention.  Rambo: First Blood Part II is boring and sooper stoopid.  Rambo, however (That’s the fourth one… are you keeping up?), isn’t bad either, and in many ways, treats warfare with more respect and honesty than even the first installment.  That leaves us with the least honest, yet most reasonably titled film in the franchise: Rambo III (you see, because it is the third one).  Watching this film is a bizarre experience for my generation; like a violent episode of Sliders staged in an alternate Iraq war, but this movie takes place in an historical conflict observed at the time of its release.  During the Soviet occupation of Afghanistan, John Rambo (Sly Stallone) has to stop stick fighting and building Buddhist temples in Thailand because his buddy was captured in a secret attempt at foiling the Russians.  In Afghanistan, Rambo’s buddy is being tortured and spouting criticisms at his Soviet captors which sound eerily similar to those brought by the voices against the war in Iraq a few decades later.  Meanwhile, elsewhere in Afghanistan, Rambo is learning all about the rich culture of their people and their weird dead goat polo game.  Oh, and 'how brave this child soldier' is!  I don’t want you to think I am saying Afghanistan and Iraq might as well be the same country, and I am certainly not saying the two military events were the same conflict.  The similarities are found within this work of fiction, and that, coupled with some powerfully outrageous violence, makes it a lovely addition to this marathon.
            Now that you are hopefully 10 beers deep, it’s time for a short detour into (intentional) comedy, where we find what I still believe is one of the funniest political satires since Dr. Strangelove.   Team America: World Police was released a decade ago (Oh lord… I’m old.), and although I admit it doesn’t hit quite as hard as it did when I was 17, it remains a damn smart movie, and an interesting time capsule remembering a moment in a war that may never end, but looks completely different today.  I consider this the closest thing to a libertarian outlook (one that best fits the tone of the marathon overall), by virtue of its creators’ regular use of a meet-in-the-middle, nothing is black-and-white voice of reason.  By the time the “Dicks, pussies and assholes” monologue is delivered a second time, it’s perfect accuracy is almost frightening.  From its merciless send-up of both America’s propensity for military hand-slapping, and Hollywood’s often numbskull brand of action cinema, you find yourself wishing Stone and Parker would move away from South Park to make more movies and musicals.
            Although these selections may seem obvious, I did not come to this assortment rashly.  I realized I had never caught an entire Chuck Norris movie, so Missing In Action was my maiden voyage into his hairy-shouldered world.  If you thought Rambo had a neurosis over the “unfinished” war in Vietnam, Norris’s James Braddock is certifiably insane by comparison.  I also watched White House Down’s darker twin, Olympus Has Fallen, and I considered The Patriot, but none of these movies met the mark, and couldn’t even aspire to the fun-levels achieved by the “title track” of this E.P. of super-patriotism.
            I have always loved Roland Emmerich’s entertainment masterpiece, Independence Day.  It is appropriate that we should bookend our 4th of July with films directed by a German dude who loves America in the weirdest ways imaginable.  I saw this in theaters when it was released, and at age 9, it was tailor-made for my attention span.  What a clip!  At only 13 minutes, the aliens have already arrived.  It’s party time from beginning to end.  The characters are appealing, though mostly one-dimensional, the action sequences are unique visions of epic destruction, and the jingoism is ripe and bountiful.  Some of the effects work might not have aged well, but the nationalism is just as cuckoo and delicious as it was almost 20 years ago.  The rest of the planet wasn’t exactly sitting around waiting for America’s word to start fighting the invaders, but they sure are excited that we have a plan to lead a world-wide counter-strike!  “Sure, America!  We will immediately jump into whatever preposterous strategy you have, current enemy/current-and-somewhat-trusted-ally!  Thank God for you!  No qualms here, smartest country on earth!  We are so lucky your M.I.T. graduate cable repairman is the only science person around who could think of using a computer virus to bring down force fields.  Boy, it’s fortunate those alien operating systems apparently function pretty similarly to ours!  Makes perfect sense to us!”  Of course, the best part for all those other countries is now, they get to celebrate the best holiday ever, as was so eloquently expressed by Bill Pullman at the final battle’s dawn.

            By now, if you’re doing it right, you have narrowly escaped alcohol poisoning, and consumed so much red meat, you resist a supernatural urge to “moo”.  As much as I would have liked to present you with something thoughtful… some sort of thesis to prove about Hollywood’s skewed position on our military might, perhaps… that just wasn’t my plan.  I wanted to recommend a perfect day of America-centric patriot-sploitation for your eyes and hearts to munch.  Congratulations, U.S.A.!  You lost the World Cup (2014), but you could still win your freedom from Britain if you somehow lost it again!

Sunday, June 22, 2014

Update on Absence

Readers,

On the off chance some of you have found your way to my blog somewhat miraculously, that is to say... via aimless internet wandering, rather than a friend I regularly coerce into reading my occasional post, I thought I should address you complete strangers who are free from my direct
Facebook harassment.

Canadians, Spaniards, Germans, and South Koreans...

Hi!

I like you!

I have been away from weekly reviews of new releases because I am gearing up for some more extreme franchise/genre-specific wordsploitation for both my humble blog, and a website in Austin, TX. 


 Please visit this website:
www.cinapse.co


 They are nice to me and they like movies.


For The Underemployed Cinema Major, you can be looking forward to:

"Red Black and Blue: A 4th of July Action Marathon Curated by The UCM".

At Cinapse, I will be contributing a few pieces covering Greek Mythology's greatest hero, Heracles (Hercules to the Romans), in anticipation of the Bret Ratner(fart sound)-helmed Hercules, starring Dwayne "The Rock" Johnson(applause sound and fainting).

Keep the looks out!  And, if you have not already, please visit my Facebook page and like the shit out of me!
https://www.facebook.com/ryanucm


Monday, June 2, 2014

"A Million Ways to Die in the West" Review


  • Release date: May 30th, 2014 (U.S.)
  • Director: Seth MacFarlane
  • Writers: Seth MacFarlane, Alec Sulkin, Wellesley Wild
  • Editors: Jeff Freeman
  • Score Composer:  Joel Mcneely
  • Cinematographer:  Michael Barret
  • Budget: $40 Million
  • Domestic gross: unknown
  • Material: Digital
  • Aspect ratio: 2.35 : 1
  • Running time: 116 minutes
  • Current Tomato Meter: 34%


            When I first caught the redband A Million Ways to Die in the West trailer, I was immediately concerned by how funny it was.  In my experience, a trailer packed to its limits in funny, means every good joke has already been used.  The first example springing to mind is Wayne’s World 2.  That’s a damn funny trailer, because the entire movie is contained within.  You will most certainly get a good laugh out of seeing this trailer, but you will have made viewing the film obsolete by doing so.  I am happy to say AMWTDITW (...Jesus) is not entirely guilty of that sin.  This is a comedy with laughs to offer well beyond the two-minute contents of its advertisement, but not quite two hours worth. 
            Seth MacFarlane stars in his first big screen role as Albert, a cowardly, pessimistic sheep farmer who loses his girlfriend (Amanda Seyfried) to mustachioed douche bag, Foy (Neil Patrick Harris), and challenges him to a gun fight to prove himself on the overzealous advice of western She-Ra badass, Anna (Charlize Theron) who is somehow under the thumb of meanie-pants outlaw, Clinch Leatherwood (Liam Neeson).  I am caging all of that in one sentence, because it is a high school movie and not very interesting.  Elements of Better Off Dead, and She’s All That (just to name a hundredth of teen movies to which it compares) are ushered with such familiarity, the arrival of certain story beats is almost cringe-worthy.
            That genre’s functions are really not the film’s problem, however.  The framework of this “drama”, where MacFarlane and Theron obviously fall in love, allows for surprisingly charming performances by both leads.  Strangely, what causes more damage than the borrowed plot is Macfarlane’s apparent admiration for Western’s.  He spends a lot of time paying homage to the genre’s classical form.  The opening credits drag over shots of Monument Valley sweeping enough to make John Ford swoon.  There are fabulously well-shot (but, admittedly anti-climactic) chase scenes on horseback.  There is a run-in with Native Americans, a hoe down scene, and a homestead that appears to be an exact replica of the one from Shane.  That is all cool!  None of that is funny!  Well, the stuff that has more to do with the historical realities of the old west is pretty funny.  Okay, and so is the scene with the tribe of natives, lead by the great Wes Studi, but that bit slinks along following the movie’s biggest boo-boo.
            Let it be known: this is a damn funny movie.  Sure, not every gag will require a change of underwear, but when it hits, it hits hard.  I saw this in the company of a gentleman who, like myself, tends to laugh like a hyena when he really gets wound up.  Our fellow patrons must have thought they were being hunted at times, because we sounded like we were on the fucking prowl.  Unfortunately, the film sets up this gunfight with Neil Patrick Harris’ character, like the ultimate punch line to what should be a 90-minute joke.  We get there, where we get poop jokes, and we are done with the gunfight… and the movie keeps going.  As the last 30 minutes trudge by, you find yourself just waiting for it to end.  People even walked out during the acid trip sequence.  Yeah… after we’re ready for the end… we have a hallucination featuring pissing sheep.  It is definitely funny enough for a rental, but don’t drop 10 bones on this one for the theatrical experience.

You could go see Maleficent… I hear that is kind of good in a way.

Friday, May 30, 2014

"Under the Skin" Review


Release date: April 4th 2014 (U.S.)
Director: Jonathan Glazer
Writers: Jonathan Glazer, Walter Campbell
Editors: Paul Watts
Score Composer:  Mica Levi
Cinematographer:  Daniel Landin
Budget: 13.3 Million
Domestic gross: $4,422,354
Material: Digital
Aspect ratio: 1.85 : 1
Running time: 108 Min.
Current Tomato Meter: 86%

            Now that David Cronenberg has unofficially passed the body horror/sci-fi weirdo freak-out torch to no one in particular, it’s an unequivocal joy (for me, at least) when another filmmaker seems to have momentarily snatched it up.  Current snatcher is Jonathan Glazer, sporadic director of feature films (Sexy Beast and Birth), and somewhat prolific director of television commercials and music videos.  Glazer, calling on his versatile filmmaking tools, has filled the Cronenbergian void, not with a perfect fit, but with a complicated one.  Under the Skin is a film which explores questions of sex, without any intention of answering them, and the viewing experience is all the better for it.
            Scarlett Johansson plays a woman… or something posing as a woman, cruising Glasgow in search of men in her giant white van.  She faces little trouble in her search, because an attractive forward woman looking for a companion in any vehicle is rarely refused.  Some men are a slightly wary of the situation, and one doesn’t trust her for a moment.  Regardless, any dude willing to take a ride is delivered to… somewhere… and basically sunk into… something.  I am being intentionally vague because I wish to mirror how I witnessed the events (and knowing as little as possible about a movie is always the best way to see it).  What might be happening to these injudicious fellows is revealed only suggestively, and it allows the mind to run as wild as the film’s dense and abstract score.  Under the control of a stoic man (or, something posing as a man) Johansson’s character remains eerily focused on her task until meeting a lonely, disfigured twenty-something.  This tosses her into a kind of human experience crash-course as she goes AWOL on her cryptic assignment.
            At this point, I started thinking, “Haven’t we already seen enough movies about what it means to be human?”  From androids, to aliens, to that goofy live-action Jungle Book movie, we have watched that story told in countless films, most notably in the sci-fi genre.  Then the movie takes another, more focused turn, when Johansson discovers her womanhood.  While making her first attempt at doing the deed she appeared to be promising earlier, she realizes what this thing between her legs is capable of and is completely startled.  She examines her nude body in the mirror, pondering its form and abilities, and we start treading the territory of feminist film theory… but that is a whole other blog.
            As much as I would love to say more, I would rather not share all of the film’s contents, and it would be difficult to discuss it analytically without mentioning every detail.  Lucky for me, because I am not exactly prepared to write my dissertation on this frightening, beautiful, and complex work.  If you have heard anything about this film, it is most likely that several critics have mentioned that it is almost like watching a nightmare about what it is like to be Scarlet Johansson.  This is a beautiful woman utilized by men to lure other men for personal gain.  It could be the story of any female sex icon.  Even that concept is merely a starting point: one of many directions from which to enter this cinematic black hole.  No matter Glazer’s intentions, we can be certain he didn’t make this film now, amidst an intense debate over women’s rights, the heated discussion of rape culture and the furor over the “YesAllWomen” hashtag for no reason.  Still, the filmmakers don’t seem to have any intention of making a final statement on any of this.  There is no essay-like through-line I was able to navigate (due to a really dark scene involving an abandoned baby and several other moments).  To me, this is a twisted satire of any woman’s tragic experience negotiating sexual politics in the world today.  This is a challenging journey through an upsetting time, benefiting deeply from Scarlet Johansson’s flawless performance, and should you choose to enter the void, making it to the other side will leave you with a film you’ll be thinking about for years.