Archive for January, 2012

The Truman Show

A man named Truman (Jim Carrey) has lived his entire life in the same town. He has a wife, Meryl (Laura Linney), a best friend, Marlon (Noah Emmerich), a mother, Angela (Holland Taylor), and a job working in an office. His day to day activities are largely the same, he says goodbye to the neighbors the same way every day (“In case I don’t see you: Good afternoon, good evening, and good night”), and his life is pretty good.

Unfortunately, his father drowned when he was younger, and as a result, Truman hates the water — this is the reason he’s never moved, I suppose. He’s now 30 years old, an important birthday for some people. He starts to notice that his life isn’t quite the utopia he believed it to be. For instance, he hears people talking about his commute to work on the radio, and notices that people seem to appear in the same place at set times. Maybe he’s crazy, and nobody has diagnosed him? He’s not quite sure, but he knows that something is wrong.

It turns out that he’s part of an experiment. That experiment involves more than 5,000 hidden cameras, hundreds of paid actors and a giant dome. Truman lives inside of that dome, although he’s unaware of that. It turns out, Truman is part of a reality show run by a man named Christof (Ed Harris). We figure this out far earlier than Truman does. This show, which shares the same title as the film does, is the most watched show on television. It’s broadcast 24 hours each day, and features no commercials. How does it make money? Well, there’s product placement where an actor turns to the camera and advertises whatever product they’re using. Truman has had that happen his entire life, so it seems natural to him. We start to question this practice right away.

The majority of The Truman Show deals with Truman trying to determine what is real and what isn’t. Does his wife really love him? Is his mother actually his mother? Did his father really die? Are his memories actually his, or where they things he was simply told? Once he comes to the realization that he’s being filmed at every instance, his entire world view is shattered. You can see why; I’m not sure how I’d react if I found out I was living and being manipulated just for the amusement of others, but I’m sure it wouldn’t be a good reaction.

I wonder how a situation like this would be reacted to in real life. Would the government let it happen? Would viewers actually tune in to see how a life would be led in such an artificial environment? I really don’t know. I don’t really see why it was the most watched show at the beginning of the film, as Truman’s life didn’t seem any more interesting than the average Joe’s. You go about living your life and then you come home and watch someone else live their boring life too?

It’s a good thing that’s not just what The Truman Show was about, because I would have been really bored. It only really gets interesting once Truman begins questioning his reality, which thankfully happens quite early on. It begins with simple questions and a little wonder, which is actually quite funny. Watching him try to figure out where cameras are hidden or attempting to change his life is hilarious, and it’s times like these when you realize why Jim Carrey was cast.

The surprise comes from the more dramatic sections — usually in the later moments of the film — where Carrey has to act with sincerity and gravitas. He does well in these scenes, which is a bonus. He gives it all for this role, and there’s a good chance you’ll be rooting for him to escape mid-way through the movie. He’s a likable person who, for better or worse, has been essentially robbed of 30 years of his life. We want to see him escape so that he can move on with his life, find a girl he truly loves (one of the extras who is promptly removed from the show) and maybe even raise a family outside of the public eye. At least, we hope for this, even if it might not all be possible.

Watching Truman trying to discover what his life has been about, while also watching every other character try to cover it up is both hilarious and compelling. It actually becomes quite thrilling by the time Truman is trying to escape, and because there’s the emotional backing from the audience, we become involved in his attempt to get away from this island paradise.

The best part of the film for me came at the very end, which involves a dialogue exchange between Harris and Carrey. Harris opens it up with “I am the creator,” before taking a brief pause which he follows with “of a television show.” That entire conversation, the final realization that Truman is given, is absolutely perfect. If ever I was to applaud this film — literally clap for it — it would be at this point. You’re drawn so deeply into the story that when this conversation takes place, you’re in awe just as much as Truman is.

The Truman Show is a great film because it gives us a character to empathize with, strong performances and some thing to think about. This review featured a lot of questions, and I mean every single one of them. When you finish watching, you might just want to watch it again. You’ll want to experience this film more than once — it’s just such a fun journey to take part in. And you do feel like you’re going along with Truman on his quest to discover the truth about his life. Definitely give The Truman Show a watch.

Rango: An animated surprise I almost missed

I finally sat down with a copy of Rango in hand the other day expecting to be bored out of my mind.  I try hard not to go into a film thinking like this, but I haven’t really felt energized by an animated flick in quite some time.   Rango looked to be another Dreamworks attempt at making me chuckle in the moment but quickly forgotten about afterwards.  So needless to say that I was a bit surprised to find it on The Mike’s Baker’s Dozen List for 2011.  Figuring that The Mike would never lead me astray–except that one time he made me watch Wes Craven Presents Carnival of Souls —oh and that other time he made me watch JCVD —um, well, the point is that I watched Rango.

Rango is the family tale of a lizard who lives his life behind a the walls of glass fish bowl.  He entertains himself by acting out his favorite fantasies with his make believe friends but thanks to a tragic roadside accident he is left in the middle of the desert.  The hot sun leads him to a small old west town of lizards and critters where water is scarce and treated like gold.  Rango, trying to show off to his new found audience finds himself earning the spot as town sheriff and is dropped right in the middle of conspiracy to dry up the town and make it a ghost town.

What I like about Rango is that it is a kids western.  Despite the animation and the cast of critters in various roles, Rango plays out like a  classic Eastwood or John Wayne film.  It’s hard to make a western that is enjoyed by adults and kids but director Gore Verbinski of Pirates of the Caribbean fame leads this flick down the right track.  Casting Johnny Depp as Rango and giving it the look of an emulated Tim Burton feel should have actual deterred this film but somehow enhances it instead.  You fall in love with Depp voicing Rango and he seems to be the perfect fit for the role.  Isla Fisher, Ned Beatty, Abigail Breslin, Bill Nighy, Alfred Molina, Stephen Root and more round out the voice cast for this fun little flick.

Perhaps my favorite part of Rango was the villainous rattlesnake Jake, a hired gunslinger who was known to be the baddest in the land.  His gattling gun tail and ominous approach as he slithers into town made for wonderful screen time.  He was the perfect villain for kids and just creepy enough to make the adults attention as well.  In fact, parts of Rango are just all out a little intense for some youngins.  Yet despite the content, Verbinski keeps things in check so it doesn’t go over board and give the little ones night mares.

I’ll be the first to admit that I don’t know a ton about rendering graphics and computer based animation but I really though the makers of Rango had it together on this film.  Things looked great, set pieces were constructed wonderfully.  They were lit just right and were pleasing to the eye while setting the tone for the entire film.  Characters looked like they matched the voices and were convincing set pieces for their roles in the movie.  All in all, Rango is a film that makes a perfect use of muted colors and tones mixed with a bit of bright pastels at just the right moment.  The animation sets the tone for the entire film, and in the case of Rango I feel that they hit the nail right on the head.  Dreamworks may actually be giving Pixar a run for their money and actually deserve top honors at the Oscars this year for this film.

Rango really doesn’t bring anything new to the table in the story department, but you really don’t care.  It’s the classic western tale about troubled town with an evil rich man trying to buy up all the land and forcing people out of town.  Along comes a drifter and cleans things up with a high noon show down.  The reason this one works so well is the way that they took this tale and twisted it to adapt to their needs and goals.  Rango reintroduces the classic western to a whole new audience- kids and their fathers. It’s fun for the whole family, it’s vibrant and worth a watch.  If you get a chance, check it out.

Big Miracle

Set in 1988, Ken Kwapis’ Big Miracle starts off with a basic premise (trapped whales), adds in a great deal of colorful characters all at each other’s throats, and tops it all off with the worst possible things happening at the worst possible moments. Here is a movie about rescuing animals that becomes far more political than one might expect, while also including real human beings for characters instead of genre archetypes.

We begin in the Arctic, shooting in the town of Barrow. Our lead is Adam Carlson (John Krasinski), a likable man whom we first meet doing a news story on a Mexican restaurant. Way up in one of the northernmost cities in the world, it takes four plane rides to acquire an avocado. Adam’s sidekick is a young boy named Nathan (Ahmaogak Sweeney), a kid who isn’t too fond of his native heritage and traditions. Adam is planning on leaving the town before the week is up, but after being coerced into doing one more story, he soon discovers that whales have become trapped in the ice.

What is there to do? The natives have an idea: Harpoon the whales and eat them. Adam’s ex-girlfriend, a Greenpeace activist, hears about the story and flies up there — after berating Adam for not telling her himself, despite her orders to never call her for anything. “This is different,” she exclaims. There’s some tension between them, we learn, and instantly we know that they shouldn’t be together. She wants to figure out a way to save the whales, most notably by mobilizing the National Guard.

Soon enough, Adam’s story essentially goes viral (if such a thing could realistically happen in 1988). It plays on national television, and soon enough, every major network is sending reporters to cover the whale story. One of these reporters is Jill (Kristen Bell), whom Adam has had a crush on for some time. They hit it off after meeting, and spend a great deal of the film together, even though the character of Jill vanishes for a thirty minute stretch, eventually leading to her becoming unnecessary.

Meanwhile, the whale story has become a worldwide phenomenon. Everyone tunes into their television sets in order to bear witness to the events that are happening in northern Alaska. Even President Reagan gets involved at one point. The decision is made to haul an oil drill to break through the ice surrounding the whales so that they can swim to the sea. But currently, they’re trapped with only a patch of visible water to breathe out of, and it’s closing up fast.

Much of Big Miracle is concerned with keeping these whales alive. Taking place in a subzero climate makes it difficult to keep the ice from freezing, although various methods are tried. The whales’ condition eventually worsens, other things go wrong, and a lot of improvisation takes place. Some of the tactics work, while others fail. It’s surprising just how much tension can be generated when you put a few animals in a perilous situation, and Big Miracle milks that for all it’s worth.

Despite the ever-present whale situation whose news sweeps across nations, there is also a human element to this production. It’s refreshing to see your typical bad guys (the uncaring profit-driven oil driller, the Russians, and so on), put aside their differences in order to help these poor creatures. But they don’t do this by completely switching around their characters, either. The businessman still doesn’t like the Greenpeace activist, for example. Differences are put aside for these whales, but the whole situation doesn’t define, nor is it the sole motivating factor, for these people. They’re all very human characters, filled with flaws and strengths just like anyone watching the movie.

It’s difficult to set a movie in the arctic and not make it atmospheric, so it should come to no surprise that Big Miracle is just that. You feel cold while watching this film, even if it’s a little difficult to believe that the characters would be able to perform just fine in -50C weather without something to cover their faces. This is a movie that felt authentic and that everything that happened, no matter how crazy, really could (and did) take place. When you base your film on true events, this is important.

Part of what makes this film successful is the amazing job done with creating lifelike whales. While we rarely see the full creature (usually one will just come up for air and we’ll see its head for a couple of seconds), one could be mistaken for thinking that real whales were used. All three of them are given different bodies so that we can tell them apart, and they function well enough as their own characters.

Where Big Miracle falters is in its actors and in its story, although the latter is less of a fault and says more about a potential viewer than it does of the film. Firstly, the acting is all over the place, although it gets better as the film progresses. In the first half, most of the actors seemed to struggle with their delivery, and nobody was terribly convincing. As it progressed, the acting go better. Secondly, it would be nigh impossible to tell this story without it coming across as cheesy. If you can’t handle a cheesy story, then you’ll want to skip this movie. This is more of a way to narrow down a target audience than a real fault, but it bears mentioning.

When it comes right down to it, Big Miracle is an enjoyable movie. It manages to overcome spotty acting and a corny script to become a smart film with deep-enough characters and some tension thanks to everything that just has to go wrong at exactly the worst time it can. It’s worth watching if you don’t mind a corny story and can handle some poorly acted scenes, especially if you want to see some very lifelike whales and learn about the real story that took place in 1988.

Bandslam

Poor Will Burton (Gaelan Connell). His school sucks, he’s constantly bullied, he has no friends, and he writes daily emails to David Bowie (which serve as our voice-over narration), but is never given a response. The day we join him, he’s knocked down by one of the jocks, called “Dewey” and then has a water balloon dropped on him while he was on the ground. After getting home, his mother (Lisa Kudrow) asks him what she can say to make it better. He tells her that he wants her to quit her job and have them move. So that’s what happens, as she had already quit her job (for whatever reason).

They move, and he gets to a new school. A fresh start could do him some good, we figure. At lunch, a band begins playing, and we’re told that in 3,600 hours, an event called “Bandslam” will take place. Everyone but Will and a girl named Sa5m (Vanessa Hudgens) go up to the stage and cheer. She explains that the “5″ in her name is silent, and that they have one class together. They partner up for a project, and their friendship begins. They both hate the mall, they’re both largely antisocial, and they seem to get along quite well.

The next day, Will is approached by the popular Charlotte (Aly Michalka). She’s in a band, and has him tag along to rehearsal. Before he knows it, he’s making suggestions and is told that he’s the new manager. They’re going to try to compete in Bandslam, even though the high school is already entering one band, led by Charlotte’s ex-boyfriend Ben (Scott Porter). Will is more popular than he’s ever been before — he does have two whole friends now — and he’s having the time of his life. What could go wrong?

Well, for a lot of the time, not all that much. things go swimmingly up until the final half hour, or thereabouts at least. I won’t spoil what exactly happens, but characters switch around in ways you may or may not expect. Unfortunately, these changes don’t last all that long, usually reversed in the next scene or sometimes two scenes down the line, and they end up not amounting to much. That’s too bad, but it allows the characters to grow without expanding the runtime a great deal, which means that Bandslam doesn’t feel too bloated.

So, yeah, it’s a coming-of-age comedy involving two former Disney stars and a largely unknown actor. It feels a lot life a Disney film, except that the dialogue isn’t as frothy as you’d expect from that type of film. For instance, Sa5m thinks that “emotion is overrated,” while Will asks David Bowie “how do you tell Pinocchio he’ll never be a real boy?” after first seeing Charlotte’s band. the dialogue was actually quite well-written, and for the most part, I enjoyed listening to these characters interact with one another.

It should be noted that there are some musical numbers within the film, although apart from the Bandslam at the end, they only occur during practice, and they don’t last particularly long. It isn’t a musical where characters burst into song whenever they feel like it, but those of you who dislike singing in movies will get annoyed by Bandslam. At least the two singers (Michalka and Hudgens) actually are singers in real life, and that actually helps lend some credibility and believability to their roles.

Eventually, things degenerate into melodrama without much actual reason for it. A blown-off date (to see Evil Dead II, I might add), a death in the family, and suddenly Will has messed everything up. But, like I mentioned earlier, things seem to fix themselves too quickly for it to make much of an impact. I get that it helps the pacing, but sometimes time needs to be spent in solving the problems instead of just allowing them to arbitrarily solve themselves. Although, since it became a problem without much reason, I guess solving it that way sticks with that idea.

Maybe their sudden turns would have made more sense if their characters were more developed. Will is the loner kid, the one that nobody should like, and I understood why. Even when he was hanging out with two of the prettiest girls in school, he was still complaining — although the “why” to his complaints was overlooked. Charlotte is just really nice for most of the time, but then has a turn later that makes little sense. Sa5m’s switch around kind of makes sense, as she’s not one to sing to sky to begin with, but the turnaround afterward doesn’t ring true to the note she was playing. We needed more depth to these characters, and while there’s ample opportunity to give it, that never happens.

For a large portion of the film’s second act, nothing of importance happens. Relationships develop, sure, but in terms of plot, there isn’t anything. We could have been given hints regarding these characters or been told something about them that would make later actions make sense. But nothing of the sort happens, and we meander around for more than half of the film, not accomplishing anything. We still enjoy the time because the dialogue is funny and these people are likable, but their surface-level in terms of depth.

Bandslam is a watchable, family-friendly experience that will actually be watchable for most of the adults as well. Or, it will be unless you hate musical numbers in films, because there are a few here. At the very least, it has likable — albeit shallow — characters and some intelligent dialogue. Oh, and there’s also a David Bowie cameo. If nothing else, you might giggle with glee when that happens.

Ghost Rider

Ghost Rider fans, tell me that this film isn’t the pinnacle of the franchise. Reinforce the fact that this is a character that deserves a film that does him justice. This is supposed to be a “cool” character, isn’t it? Why has it been given such a terrible film? I got a headache after watching Ghost Rider. This is a mess of a movie that tells a story that could be contained to a 15-minute Saturday cartoon if it didn’t have so much pointlessness.

We open with such an overlong introductory sequence that I feel bad for even having to describe it. Essentially, a kid named Johnny Blaze (he grows up to be played by Nicolas Cage) and his father do stunts on their motorcycles at a carnival. His father has cancer, but the Devil (Peter Fonda) shows up and tells us that Johnny can sell his soul and have his father’s cancer cured. Johnny does this, but the next day his dad dies. Not from the cancer, but because of an accident. Johnny blames the Devil, but the Devil says that he cured the cancer, so the deal is still solid. Johnny’s soul now belongs to him.

Clearly traumatized by the event, Johnny rides off, leaving the love of his life, Roxanne (Eva Mendes) at the carnival. He then grows up to be a professional stunt rider. Like I said, his father’s accident clearly had an effect on his mental stability. He’s the best in the world, somehow, and even after he fails at one of his stunts that would likely kill a normal man, he survives. Why? The Devil is keeping him alive, that’s why! Meanwhile, Roxanne is a news reporter and is in-town for the current stunt show. The two, after not having talked in years, make plans for dinner.

Mr. Blaze isn’t going to make it to dinner. See, the Devil kept him alive for one purpose: Turning him into the comic book character “Ghost Rider” in order to track down a contract containing 1,000 souls in order to stop a man named Blackheart (Wes Bentley) from getting it first. Or something like that. I hope that summarizes it well enough. It’s ridiculous, but this is a comic book movie involving the Devil and a man who turns into a flaming-skull-dude at night. Of course, this is only revealed on the night of his big date, and because he has no control over his body while in this “Ghost Rider” state, he doesn’t make it.

Of course, I wouldn’t want to show up to a date with the flaming-skull-head that Johnny ends up acquiring. Not because of the potential fire hazard that comes from such a thing, nor because everyone would be terrified to even come near me. No, I would be ashamed because of the terrible CGI used to give me such a head. To call this the worst big-budget rendering of a character in the 21st century might not be exaggerating. It looks awful. I’ve seen better-looking computer graphics in PlayStation 2 games! This is a 2007 film, and it looks worse than something like Spawn, which came out a decade earlier!

Moving on from the terrible CGI-head, the other special effects are not quite as terrible, but they come close. It seems that Ghost Rider can’t go five minutes without shoving CGI in our face. The only thing that looks all right is the fire effects used on Johnny’s bike, but considering how often poor/lazy CGI is used in this film, this is hardly a saving grace.

The police also get involved at one point, attempting to pin a murder on Johnny Blaze. We saw his “Ghost Rider” persona kill the guy (although he was a criminal, so it’s okay), but Johnny denies it. The cops actually go to Roxanne at one point and try to get information from her. At this point, I said out loud that once Johnny inevitably escapes from the cops, we’ll never see them again. I was, unfortunately, right, and it turns out that subplot was just a waste of our time.

So is Roxanne’s. There’s supposed to be a lot of tension between the two, especially considering Johnny left her while they were in love and then later stood her up after getting his second chance, but that’s resolved in a matter of moments without any prior motivation. It’s then when Roxanne becomes Generic Love Interest and we lose any reason to care about what happens to her because she’s now a stock character. Worse, in fact, as she has no personality and is played by Eva Mendes.

Oh, yes, there’s also another pointless addition in the form of the “Caretaker” (Sam Elliott), who knows way more about being a “Ghost Rider” — there have been more in the past and presumably will be more in the future, we learn — than Johnny does. So, he acts like a mentor except he only appears about four times, one of which has him get on a horse, ride with Johnny for some of the distance they have to travel, and then stop and say: “Good luck, kid, but I’m not going any farther. That’s dangerous!” Or at least that’s what it seemed like. I’m not sure anymore. I’m still hoping I dreamt the entire thing and that my subconscious isn’t a very good storyteller.

Ghost Rider is an absolute mess. It has no coherency, little clarity, is without a single point or purpose, and contains terrible special effects that it seems very proud of despite being worse than films a decade earlier. You can usually rely on these superhero films to at the very least look good, but Ghost Rider doesn’t even satisfy my desire to see good special effects. This is one of the worst superhero movies I have ever seen, and I can’t recommend it to anyone, even if you’re a die-hard fan of the character. You’ll just wind up disappointed and crying, wondering what you and other Ghost Rider fans did to deserve this atrocity.

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