Thoughts on 2007: Hot Fuzz

I liked Shaun of the Dead. But I loved Hot Fuzz.

For most people it's other way around. Sure I like zombie movies and all, who doesn't? But being a child of the late 80's and 90's made me part of that special generation who were slathered up with high-cost action movie nonsense. And it was kinda fun. I'm glad to see that Edgar Wright thinks so too. He took that love of the high octane action movie and transported it into his sleepy little home town. It's the kind of thing every little kid imagined, walking down their suburban street fighting off bad guys with two guns blazing. It's a fun idea and and Wright pulls it off with the kind of seriousness needed to make it work. It's a tiny wonder in that way. What's more is that the film works as many genres. It's a tense murder-in-the-manor mystery, it's an out-and-out comedy, it's a satire, it's a horror piece, it's an turbo-charged thrill ride, it's a hyphen-laden-description, and it's bloody as all hell... It just so happens to be all those things at once. It doesn't genre hop, it genre blends. It's all stirred into one delicious goo of pulp movie that earns it's originality from it's devotion to it's subjects. Counting their work on Spaced it would seem that Pegg, Frost, and Wright are on a muthaf'in roll. Can't wait for more.

Oh yeah, and it has the best Jump kick ever.

And oh yeah yeah, don't miss a great cameo (look at her eyes)

Recommendtion: DAMN SKIPPY. [turns screaming and fires gun into the air]

Thoughts on 2007: Black Book (Zwartboek)

I've always really liked Paul Verhoeven. His earlier dutch career was marked with blisteringly vibrant films highlighted by Turkish Delight and Soldier of Orange. His style showed off a unique combination of frank sexuality, violence, and a thorough examination of moral ambiguity. But what made those films so engaging was his ability to ingrain these themes within his constantly compelling narratives. He tried his luck in Hollywood and thrived with wonderfully weird science fiction films like Robocop (hyperviolent!), Total Recall (grotesque!) and the most underrated film ever in Starship Troopers (satire-iffic!). He even threw in a couple way-more-fun-then-they- should-be sex thrillers with Basic Instinct and Showgirls. Then his experience with Hollowman nearly ruined his career and left him so bitter he said "fuck this shit." and went back to Holland.

His negative experiences apparently strengthened Verhoeven's resolve to commit to making truly interesting films again. The resulting Black Book is a resounding affirmation of that commitment.

Blackbook is many things: it's a WWII film, an action/suspense film, a relationship film, and it's a great mystery too. These elements combine seamlessly into a singular story with an inspired by real-events basis. Holland has always been an interesting part of the World War II. It represents the pinnacle of the great plunder of Europe, as it was an epicenter of wealth, tiny but densely populated, and relatively unarmed. It was really a hodgepodge of cultures and values, which became even more critical and divisive with the ensuing invasion. Thus, the spoils of war and profits establish themselves as the core subject here: who is benefiting and what does that say about man's values?

A great way to put the accomplishment of Black Book in perspective is to compare its thematic elements with Verhoeven's earlier work Soldier of Orange. They both explore the exact same themes only S.O.O. does it through the use of epic scope and an ensemble of characters (this character is the patriot, this character is traitor, etc). But in Black Book every character has different kinds of loyalties that are meshed into one story and fits consistently into the development of our heroine's arc. It's pretty remarkable and a sign or great storytelling.

Still, Black Book is undeniably a powerful Holocaust film. I feel odd talking about it like it's a genre, because I don't think that is an appropriate way to critique it. The Holocaust never deserves to be lowered to the status of "genre", but certainly deserves the regard of "subject". The aforementioned power comes from the way we get lost in this intricate WWII suspense film, and then really have the compelling moment come at the very end when we see that it's secretly been a Holocaust film all along. Trust me this isn't giving anything away, it's more abstract that that. See… CAUTION, THEMATIC SPOILER: After an entire life spent showing her resolve Rachel/Ellis finally breaks down asks, "When will it ever end?" A few scenes later we get a stark reminder that it never really has. END SPOILER.

Thoughts on 2007: Michael Clayton

I admit that I probably overvalue Michael Clayton. This is the result of years of actually trying to write screenplays, where the thing you really start to appreciate is true professionalism. This was a smart movie. It had great economical rhythm, a balance of character, an introverted seriousness, a visceral score and use of sound, an honest to goodness acting performance from George Clooney, a complete reinvigoration of tired genre, even some lofty aspirations, and a touch of the divine introspective. It's a rare feat and something I truly appreciate after years of figuring out how hard it is to write a compelling mainstream flick... It's hard.

So ignoring all those technical and sound reasons that I just lathered over, I'm going to just mention the two things that I felt elevated the film above that "normal movie" stuff. First off we have what I lovingly refer to as the opening "asshole" speech. Not an "opening asshole" but a speech at the opening referring to birth out of an asshole. It's a symbolic gesture representing the entire legal paradigm and comes out of the mouth of a bi-polar Tom Wilkinson. I don't think many movies would start off with such a raucous statement, but Tony Gilroy and co. understood the intrinsic value of doing so. You don't hide your ambition in a movie, especially when your ambition is your strength. That's the exact attitude that makes PT Anderson such a good artist. And luckily Gilroy knew when to employ that tactic. Second, they take a legal drama and drop a hint of the collective unconscious in there. It's not labored, it's not even the point, but it is a point and it saves a characters life. Maybe it's even what spurs on a climactic decision. Either way, I loved it's inclusion.

Recommendation: Very High. The rest of the movies I still have to review for 2007 are what I would consider "Favorites" of the year. And never will you find such a convincing argument against fighting the tide of corporate domination than this, that really isn't trying to make a point of anything... and maybe thus succeeds.

Thoughts on 2007: Zodiac

I'd argue this film isn't a film. It's more of a document, a piece of journalism, or a true non-fiction film without being a documentary.

And it also happens to be absolutely riveting.

My knowledge on the subject of the Zodiac murders was spotty at best, but still, unlike Hollywoodland, I found the "unsolved" nature of the crime to give the film a kind of immediacy, as it was not confined by the shackles of inevitability.

I recommend this film highly to anyone looking for an alternative to the traditional format, yet told with impeccable perfection.

Thoughts on 2007: The Assassination of Jesse James by The Coward Robert Ford

This is a perfect example of a movie that makes a 100% commitment. It's hauntingly beautiful, has complicated and breathtaking performances, and has long stretches of sparse storytelling. That last thing may be what does it in for some people. It seems people's tolerance for sparseness is exceptionally low these days. Plus nobody saw this movie.

That's what we call "a shame". Brad Pitt does his best work here since... um... help me out. 12 Monkeys? Fight Club? Patch Boomhauer on King of the Hill? Either way. His Jesse James is a rather interesting creation. Most notably, he's so incredibly self aware. Of his own past, demons, violence, perception in society. It's utterly fascinating. Paul Schneider shines as the charismatic pretty boy of the gang. Sam Rockwell and Sam Shepard do more of their ever dependable work.

But on to the revelation... Casey Affleck. The dude has had a hell of a year. Oceans 13 was fun pretty much solely because of him. He supposed rocks the boat in Gone Baby Gone. But most of all, there is this. He got a nod for his work here and it was very well deserved. He's incredible. The character is immediate. Vibrant. He exhibits slow transformations with a single scene. Ultimately, he makes our titular "coward" an empathetic tragedy.

There's so much to talk about... I just had to say some bits and scraps. I can't wait to see what else director Andrew Dominik will do.