|
Beowulf
GRADE: M=3, F=2
The trailers leading up to the release of this movie had me less
than psyched to see it. I read “Beowulf” back in high school, but
the only thing I remembered were the names Grendel and Beowulf. That is not to
say I had no interest in the story because I did not enjoy reading it. On the
contrary, I really love the story. When I first saw a trailer, before I realized
it was animated, I was thrilled. That excitement turned to indifference when
I realized it would be in motion capture animation technology. First seen mainstream
in “The Polar Express,” Robert Zemeckis is taking a second pass at using the technology. The trouble is that it has not improved in the most important area.
Sure the people have lifelike movements (seeing as how they are computer images of the actual movements of the actors),
but they still have not improved the quality of the eyes. Maybe there is some
truth to the saying that eyes are the window to the soul. These animated characters
have dead eyes. Like Tom Cruise.
I could not get past the commercials for “The Polar Express” because those eyes creep me out so much. It is a little too undead for my taste. However,
after hearing how fantastic the movie was, I had to give it a shot. I’m
glad I did. The story is still pretty good (if it veers off from the book, I
couldn’t tell you), and the voices are pretty solid. I could have done
without Winstone repeatedly yelling “I am Beowulf!” every few seconds, but other than that, he made a great Beowulf. I admit I had a “Robot Chicken” moment and imagined Beowulf going to various
places yelling his name (a la the great “300” sketch they did). Other
than that, my brain managed to remain on task and watch the movie.
Did I like it? Overall yes. Would
I have loved it if it had been live action instead? Probably. I’m still not a convert to this form of animation. I
can’t get past the dead eyes. Excluding that, the movie moves quickly and
never bores. Angelina Jolie is great as Grendel’s mother and oddly enough,
that was the only character that appeared to not be animated at times. I think
that is a testament to the perfection of Jolie’s skin more than anything. Even
blemish free animation can not improve upon it. Anyhow, Jolie is the perfect
mix of sex mink seductress and baby crazy evil doer. Winstone’s voice is
commanding, as it should be, and Anthony Hopkins makes a fine Rothgar. Although
Hopkins’ animated self is quite unflattering. Considering the figure cut
by John Malkovich is so young and svelte, I think they could have helped Hopkins out a little bit.
Beowulf is a great tale of the foolishness and the weakness of man. It
is also a great story of facing your fears and righting your mistakes. That is
lot to put into an animated film. This film would have been much better serviced
as a live action telling, but as it is, it is a pretty swell ride. This is particularly
true if you catch this in 3d or better yet, Imax 3D. This isn’t for young
children by any means though. The violence is not hidden and for the 3D effect,
it is often stressed and exaggerated. Of less concern is the nudity. Animated junk is not something you come across often, and that is probably how it should be. Let’s leave that up to Japanese animation, shall we?
|
 |
|
|
Sunshine
Grade: M=3; F=3
I think there is this weird dichotomy between science fiction
and horror films. People who prefer Sci-fi are seen as more intellectual, while
fans of horror as seen as more base and animalistic in nature. It is bullshit
really. Both genres have their draw. You
can enjoy both. I do not think the preference of one defines your personality
or intelligence. You can have a horror film that makes you think, and you can
have science fiction that makes you feel bloodthirsty. Rarely do the genres marry,
and when they do, most discussions about the film are whether it is a horror movie or whether it is a science fiction film. Need an example? “Alien.” Teachers, break your students into discussion groups now. *TONE* Welcome back.
Anyway, the point I am trying to make is that the two genres may have common ground, but people do not really like
to see them as a hybrid. The majority viewpoint is that they are mutually exclusive. I disagree.
Fresh to this debate is the new Danny Boyle eye candy “Sunshine.”
Boyle, best known for making me want to throw up (in a good way?), helms this Horror-Sci-fi hybrid. Now, you can debate which it is but the fact remains that the arguments on both sides are too powerful
to ignore. This can really only be called both.
I could go into the where and why, but as every review I have seen for this gives away the ending in part because of
this debate, I will refrain here. If you want to discuss this with me, email
me with your howdy and well reasoned case. For those of you who have not seen
the movie but know of the ending I am talking about, let me assure you, they only told you part of it. The truth is that this movie does have some twists and surprises.
While I may be in the camp who felt the ending was a cop out, I certainly understand why it may have been necessary. First and foremost, the ending would have been in severe danger of being wildly anti-climactic
without something new to shake things up. It is because I see both sides that
I can recommend this film. Well, that and the direction.
Boyle created some of his most beautiful visuals to date here. In addition,
he directed not only a fully capable cast, but his direction was so masterful that he actually made the crewmembers almost
a supporting cast. How was this possible?
The Sun. It is the focus. The
purpose. The mission. It is the
main character and it commands respect and attention. Boyle manages to convey
that feeling throughout. I actually believe it was a rather subtle bit of work
on Boyle’s part because it was not necessarily noticeable while watching the film.
It was only after that I noticed and it was only because a friend asked me how Cillian Murphy was in the film. When I thought about it my only response was “well he was in it. And he didn’t suck. But he was kind of not the main character.
In fact, nobody was.” That is when it hit me. Of course they were not the main characters. This film was
not really about them. This film was about life and death. There is no greater or more powerful example of those concepts than the Sun itself. The Sun was the focus. What a beautiful concept. It is precisely because of this conclusion that I had to reevaluate how I felt about this film. On visuals alone I feel I could recommend it. The soundtrack
makes a mighty argument as well. Even the concept of the script, strange as the
end may be, was intriguing. Perhaps another draft could have made it work better,
but as it was, I think I liked it. I would have liked a little more foreshadowing
of certain concepts and ideas that the second half yearned to illustrate, but as it was, I think it worked for me. However, I do not believe it will work for most people.
This is definitely a niche film. Haunting at times and breathtaking in
other moments, the majority of moviegoers will not be satisfied with the end. However,
I can not in good conscience tell anyone to pass on a movie this starkly beautiful.
Please see it. If for no
other reason than to debate what genre of film it is.
|
|
|
|
|
|
|
Halloween
Grade: M=3; F=2
To this day I find it hard not to watch “Halloween”
when it pops up on cable. All it takes is two seconds of the familiar tinkly
piano theme and my remote control drops from my hand, and my eyes glaze over. Such
was my love for the series as a child that I must have seen “Halloween 3: Season of the Witch” at least a dozen
times. Worse yet, I’m one of two people who actually liked that movie. Despite the absence of Michael Myers. Although
my obsession ventured no further than the first three of the series, the specter of Michael Myers left an indelible imprint
on me. The series, especially the first one, was a perfect blend of thriller
and realistic violence. Though Myers fortitude lasted to almost comical proportions
in later movies, his presence in the first film felt all too real and all too frightening.
What Rob Zombie has done with this remake is to remain true to the mix of the first “Halloween,” while
at the same time making additions to the movie that make it more terrifying in several ways.
The first “Halloween” opens with little Michael Myers killing his older sister. His parents come home to find him catatonic on the front steps. Cut
to the future and Michael is busting out of his home at the mental institution. John
Carpenter created a frightening monster in Michael Myers. Not only because the
mask shows no emotion and not only because Myers moves at a deliberate pace, taking his time.
No, the source of most of the audience fear is in the atmosphere around Michael Myers, which includes a haunting and
unforgettable theme song and the quiet calm of the suburbs. The atmosphere made
the story more effective, even though the script alone was chock full of thrills on its own.
Carpenter created a masterpiece of suspense and one of the most memorable monsters of all time.
What Rob Zombie has done here is go back to the roots of the story, and in particular, the roots of Michael’s
past. While Carpenter may have spent 5 minutes in the past before shooting ahead
to Lori Strode’s present day world, Zombie takes his time exploring where Michael came from. Knowing the original as well as I did, I have to say I felt the opening to drag a bit. But as I soon realized, I was wrong. What Zombie did here
was actually quite masterful. Michael Myers is a monster. There is no disputing that. But what Zombie did was give him
a human side as well. And this made the character all the more terrifying because
it made him all the more real. Myers is not just a monster. He is a man who is a serial killer. He is not totally faceless. You don’t sympathize with the character, but it sure makes you wonder if there
is a Michael Myers out there. Not the unstoppable, virtually immortal ones of
the series, but the psychotic, serial killer you see in this remake. Rob Zombie’s
version is probably more effective in conveying the fear and possibilities than the original, and for that, this remake is
both masterful and horrific.
Though the end went on a bit too long, that was only a minor quibble. Zombie’s
remake was an imaginative and modernized update to the classic version. Gory
and suspenseful, anyone who enjoys the original or anyone who enjoys a solid, well written horror movie will enjoy “Halloween.” There are some nice surprises for the well versed, and some good homages to the original
that the newbies will enjoy seeing for the first time. Zombie wisely kept the
strengths of the original while updating the story for the modern day. If you
can get past the blood, you will find a great thriller that could be a classic all on its own.
|
|
|
|
|
