22 June 2010

Try Harder

I’ve been pretty out-of-the-loop as to which films the kids are talkin’ about these days… but for whatever reason, one film has awkwardly wedged its way into several conversations with an alarming frequency in my social life. The film in question: The Human Centipede. Unfortunately for me, The Human Centipede happens to be one of maybe four 2010 cinema releases I’ve actually seen, thanks to a misguided recommendation (thanks, Mike!). From these conversations, I’ve gathered that most people haven’t actually wasted the hour-and-a-half I have but likely viewed the trailer or read Roger Ebert’s zero-star review of it. Yet every time I give my look of disgust at its mention, I notice the faces of the people I’m talking to morph into a look of depraved elation. “You’ve seen it?? Is it totally gross?”

Maybe I’ve officially grown out of the phase when one enjoys grotesque films, but I don’t understand how anyone–whether you’ve grown out of that phase or not–derived any amusement from The Human Centipede. If you know the premise, you’ve pretty much seen the film. The simple idea of the human centipede is enough to either nauseate or perversely excite you, and watching the film will do little to change those sensations… unless of course you were expecting anything more. The Human Centipede is an artless film, which isn’t in itself a bad thing, but it is nothing more than a simple disgusting thought turned into a humorless ninety-minute test of one’s patience. Subtext, allegory, motive and tension are all woefully absent, but so is the sort of bloodlust and iniquity that The Human Centipede’s target audience would expect.

I doubt my disgust in The Human Centipede will sway anyone in either direction. The most I can hope for, I suppose, is that the sorry individuals who will make the same mistake I did will share my sentiments and demand more from their trash cinema.

10 June 2010

For the love of Jurassic Park III

Jurassic Park III
2001
USA
Dir: Joe Johnston

When it comes to Hollywood movie franchises, there always seems to be bizarre patterns of success involved. For anything starring Jason Statham, the second incarnation always stands above the others (I know this to be true of The Transporter, but I’ve heard from various, reputable folks that this is also true of Crank). For a number of the trashy horror chronicles, the Jason Statham rule also proves true (see Final Destination or Rob Zombie’s Halloween… also, outside of the horror genre, the X-Men films), but conversely there’s also the 1 and 3 rule, which applies to two of Wes Craven’s series: the original Nightmare on Elm Streets and Screams (you can argue against Scream 3 being good, certainly, but it’s hard to say it isn’t at least somewhat of an improvement over the 2nd). After indulging for the first time in the third of its series, I would contest that the Jurassic Park series (I’d say trilogy, but I’ve heard another one is in the works) falls into the 1-3 rule, though I know neither of its sequels are held in particularly high regard.

The Lost World: Jurassic Park will always be a notoriously memorable viewing experience for me or, in other words, one that marked a special turning point in my youth. The summer movie season of 1997 will be remembered best as the summer where I first recall truly loathing films of any sort, though it seems hard now to imagine that I was ever “easy to please.” The epic disappointment of The Lost World in May was quickly followed by the colossal disgust of Batman & Robin. Hollywood, for the first time I can remember, has failed this thirteen-year-old with their embarrassing sequels to films I had thoroughly enjoyed during my childhood. Needless to say (perhaps), I decided against seeing Jurassic Park III at 17, already fully jaded, expectedly angsty and unjustifiably haughty; I do know a few of my friends got really stoned and laughed their way through it, but I think I was even “too cool” to get high at that age.

The decision to watch Jurassic Park III nine years later proved to be a fortuitous one. I don’t think that sober, snotty seventeen-year-old would have been half as amused by its ridiculousness (or by the great Téa Leoni!) as this twenty-six-year-old admirer of the low-low-brow was. Like the hilarious and peculiar consistency in which Nicolas Cage has been playing characters with money troubles, Sam Neill returns to the series as Dr. Alan Grant after skipping out on The Lost World and gets tricked into returning to the dinosaur-infested island by a couple of zeroes and a dollar sign (well, as he points out at some point in the film, it’s a neighboring island from the one in the first film, one that’s become overtaken by wild dinosaurs). He’s tricked by a bumbling pair of loons–played by William H. Macy and Téa Leoni (whose hair was clearly styled by the world’s most dedicated Chynna Phillips fan)–whose son (Trevor Morgan) has gone missing on the island after a hang-gliding disaster with the teacher who fucks Reese Witherspoon in Election, who I believe is supposed to be Leoni’s new husband but looks convincingly enough like the town pederast. That the guy from Election shows up, not to mention Laura Dern in a thankless cameo, makes sense when you see Alexander Payne and Jim Taylor’s names appear in the end credits as co-writers. Unlike a lot of other writer-for-hire jobs, Payne and Taylor’s involvement isn’t mysterious or lost in translation, as their contribution can be seen entirely in Macy and Leoni’s characters, who appear to have been magically transported from a very different movie about goofy, bickering exes who inevitably fall back in love with each other. (In a perfect world, Dern would have reprised her role as Ruth Stoops instead of Dr. Ellie Sattler and been cosmically transported into Jurassic Park III).

All of the big dinosaur attacks, once Neill lands on the island with his protégé Alessandro Nivola and the Macy/Leoni odd couple, resemble little of what happens in the first two films, as new director Joe Johnston (the man responsible for such gems as Honey, I Shrunk the Kids, The Rocketeer, The Pagemaster, Jumanji and most recently The Wolfman) shows more of an affinity for the Turok video games than the filmmaker he’d worked under for years. As is always the case for sequels, the stakes are higher, which here translates as the black guy getting offed earlier than he usually would (it takes a little longer for Michael Jeter to bite it). Of course, Macy and Leoni’s far-fetched-in-the-real-world but sure-to-be-true-in-the-movie-land notion that their child is still alive proves true, and of course, the kid is magnetically drawn to the otherwise misanthropic Dr. Grant… and thankfully isn’t half as irritating as the two writer’s contrivances that pass as Richard Attenborough’s grandchildren in the first film (the children of neurotic parents always turn out a lot saner than usual in movies, don’t they?).

At just ninety minutes, Jurassic Park III’s climax smells like the trenchant cocktail of screenplay revisions and budget-cuts, but that’s hardly a setback. Jurassic Park III provides more entertainment than it ever should have; placing a bunch of respectable actors in the broken back half of a jet that’s being tossed around and smashed by a dinosaur has never been a bad idea in my mind, and when those actors happen to be a desperate Sam Neill, a hot Alessandro Nivola, a mustache-donning William H. Macy and Téa Leoni (no adjective needed), I’m sold.

All three Jurassic Park films are available on DVD from Universal everywhere; Blu-rays have yet to come out for any of them.

Suave

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01 June 2010

Down... on the Ground

This post was intended to analyze the similarities and differences between Up in the Air, Fish Tank and An Education, but unfortunately it proved to be a rather uninteresting exercise in surface observations and difficult prose. So I scrapped the idea, but salvaged the only thing worth taking from it: my disdain for Up in the Air. So apologies for the jumpiness and inconclusive arguments, but I thought it might be of some interest regardless. For those who haven't seen the films, I wouldn't recommend reading as this is infested with “spoilers.”

As we’re nearing the half-way point in 2010, I took a look back at what few ’09 releases I actually saw, and one trend really stood out: marital and parental escapism. In three of the notable award contenders of 2009—Jason Reitman’s Up in the Air, Andrea Arnold’s Fish Tank and Lone Scherfig’s An Education—the very same third act revelation appears as the protagonists make an uninvited visit to the homes of their respective lovers, discovering that their romantic flames are not only frauds, but frauds with spouses and children.

For Up in the Air’s Ryan Bingham (George Clooney), a man whose views of romance are mirrored (of course) by his on-the-go career which keeps him in transit for the majority of his time, a hotel bar encounter with a woman like Alex Goran (Vera Farmiga) leads to the most ideal of no-strings-attached affairs. Alex is a woman, seemingly, like Ryan: professional, mature, horny and uninterested in anything related to our traditional notions of maintaining a romantic relationship with someone. Through several different scenarios where Ryan is forced to interact with people whose notions of relationship stability greatly differ from his own, he undergoes a change of heart and falls for Alex in a way he’s likely never felt for anyone else.

In an attempt to compare/contrast An Education and Fish Tank, I hit a dead end, as they’re almost too similar. Both feature teenage girls as protagonists, their older love interests (Peter Sarsgaard, Michael Fassbender) are deceptively charming and both films happen to be directed by women. The only thing truly dividing them from a narrative perspective is their place in time and the issue of class. An Education’s Jenny (Carey Mulligan) comes from a typical middle class English family in the early 1960s, while Fish Tank’s Mia (Katie Jarvis) lives in the outskirts with her young, hot, single mother (Kierston Wareing) and little sister (Rebecca Griffiths). Their differences in quality, which is a steep one, can best be chalked up to the flatness and dryness of Scherfig’s images against the vividness and vibrancy of Arnold’s.

With surprising consistency, Jenny, Mia and Ryan’s worlds are all crushed through uninvited visits to their respective lovers’ homes. It was, after all, too good to be true for each of them, but the lessons aren’t all the same. For Up in the Air, Alex’s “other life” becomes just one of the film’s infuriatingly heavy-handed views of the traditional family structure. Alex is not only villainized through the revelation but all of the refreshing qualities that Ryan found in her morph into the traits of an unhappy wife and mother acting out. While it seemed relatively clear that Ryan’s young co-worker/traveling companion Natalie Keener’s (Anna Kendrick) function in the film was to give (false) validation to Ryan’s beliefs, Natalie’s purpose changes when the film places its scarlet letter upon Alex, as she starts to work as a defense for the screenwriters (and novelist, I suppose, though I haven’t read the book) in showing us that all women aren’t cruel, manipulative, heart-stomping adulteresses. It’s hard to determine whether the simple, vile justification of Alex’s away-from-home behavior or the nauseating placement of the interview footage of the real people laid off from their jobs where they all emphasize the importance of family is what ultimately destroys Up in the Air, but both elements certainly succeed in ridiculing the protagonist… or maybe we should have never trusted a filmmaker who tried to garner sympathy for a character who crushes other people’s lives as a trade.

All three films are available on Blu-ray and DVD in the UK. Up in the Air and An Education are available on Blu-ray and DVD in the US, and Fish Tank will be released by Criterion later in the year.