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Tag: movie

  • The Right Song, The Right Movie

    piano&script06_fixed_v1.1I love all forms of art: visual art, music, performance, storytelling, etc. Movies are great because they combine so many of them. Among the best examples of this is the use of the perfect song in a film—the right song coming together with the right image. The combination creates moments that resonate with us. They make us think about the images the movie showed us anytime we hear the song. In fact, a very strong argument could be made that these are the most cinematic moments in movies.

    There’s far too many to choose from, but let’s break down just a few memorable moments, and attempt to examine closely why it is they work so well.

    GOODFELLAS – “Atlantis” by Donovan

    Here, I could just write “the entire movie” and move on. Martin Scorsese’s always been a director famous for the brilliant use of soundtracks in his movies. Goodfellas is perhaps the finest example of that. From Tony Bennett’s “Rags to Riches” launching us into the world of the gangster, the famous dead-body montage set to the outro of “Layla”, to the schizophrenic medley of classic rock and blues hits that take us through the paranoid, unbelievably fast moving life of a coked-out Henry Hill. The music reflects the emotional and mental state of the characters throughout all these sections of the story, and that’s why it’s so effective.

    Goodfellas is filled to the brim with amazing uses of popular songs, but perhaps my favorite is the scene in which Billy Batts is brutally beaten within an inch of his life, set to Donovan’s peaceful, beautiful hippie anthem “Atlantis”.

    At first, the song is very much in the background, almost unnoticeable on a first viewing. Donovan’s poetry (no singing here) over mellow chords comes in as Billy Batts and Jimmy (Robert DeNiro) are having a seemingly friendly chat at a bar. Tommy (Joe Pesci) enters the bar, the look on his face (and the fact that he was just insulted by Batts in the previous scene) telling us that some heavy stuff is about to go down.

    The calm, gentle music makes this quick rise in tension even more unbearable. Then… as Batts notices Pesci behind him, and DeNiro grabs a hold of his neck, a powerful drum fill takes us into the chorus. The music then gets bumped up in the mix, and the combination of its serene, catchy melody with the brutal beating we’re witnessing is shocking and horrifying—as the director intends it to be. Above all, though, it’s unforgettable.

    The cherry on top comes towards the end of the scene. The music dips down a little as Pesci looks over to Ray Liotta and says “I didn’t wanna get blood on your floor,” then it picks up again as we cut from his reaction—stunned and made all the more powerful by the music’s increase in volume.

    SPIDER-MAN 2 – “Raindrops Keep Fallin’ On My Head” by B.J. Thompson

    You rarely hear pop songs in superhero movies, and if this scene is any indication of how well the combo can work, it’s a shame. To set the scene up for those of you who might not be familiar with Spider-Man 2 (and if you’re not, shame on you!), the film is all about Peter Parker’s struggle to balance his personal life (his desires) with his job as Spider-Man (his responsibility). About halfway though the movie, he gets fed up and decides he’s not going to be Spider-Man anymore. So much so that he throws his costume in the trash! Gasp! Fade to black.

    From the darkness… the most beautiful ukulele chords, followed by the sun shining brightly at us. Then, right as the vocals come in, Peter walks into frame. Smiling. Blissful. Relaxed. The first time we’ve seen him be this way in the entire film. I really do consider this to be an almost magical sequence in the film. “Raindrops Keep Fallin” has been used in a number of movies (Forrest Gump, Clerks II), but never so perfectly as it’s used here.

    The lyrics, all about a person who has decided to be happy, even if raindrops keep falling on his head, fit so well with Peter’s state of mind during this portion of the movie, it’s scary. I almost feel like I don’t need to explain any further. Just watch the scene, and you’ll see exactly what I’m talking about.

    This is true movie magic. It’s as if the song was recorded specifically to be used over this scene. I honestly can’t even begin to think of another song that would have fit better.

    DJANGO UNCHAINED – “Freedom” by Anthony Hamilton and Elayna Boynton

    Like Scorsese, Quentin Tarantino is a filmmaker known for the exceptional use of popular music in his films. Pulp Fiction practically invites the audience to dance at certain points. Even though his last two movies have been period pieces (this and Inglourious Basterds), Tarantino doesn’t let that be a boundary. While neither Django nor Basterds are filled with pop music the way Pulp Fiction, Reservoir Dogs and Jackie Brown are, he still does use it, and to shockingly effective degrees.

    Take this scene: Django asks a slave on a plantation if she’s seen the Brittle brothers—his former owners, and the men he is looking for. She points one of them out to Django, he takes out one of those old-style retractable telescopes, and observes. As he spots him, the song’s rhythmic drums and tribal-style background vocals kick in.

    We cut to a flashback. The Brittle brothers. Tying Django’s wife, ready to whip her. Django pleads to spare her. The music is quite loud here, but the focus remains on Django’s desperate begging, and Broomhilda’s resilient face, getting ready for what she knows is coming.

    The song continues, loud and powerful, as we cut from Django and Broomhilda getting ready to escape, to Broomhilda about to be punished and Django pleading. Then… the whip cracks. Broomhilda’s gut wrenching scream fades into the chorus, now louder and more booming than ever.

    It’s horrifying. It literally sends goosebumps up my arm every time I watch the movie. This is a hard, hard scene to watch. The music’s loud, unrelenting bass line underlines the horror of this, and is one of the main reasons why this scene is not only so tough to watch, but also so gripping.

    As I said at the beginning of this post, there are COUNTLESS other examples of great songs used to great effects in great movies. What are some of your favorites?

  • The Top 13 Films of 2013

    movietheater01Movie lovers, rejoice. Great storytelling is still alive, well, and kicking like an over-caffeinated donkey. 2013 seemed like it was going to be a year film buffs would remember almost from the start. By the time it was over, there was no doubt about it.

    Before we start the list (arranged in descending order for the most dramatic umfh), I feel obligated to say that this is all only my opinion. Film is subjective, and what I found amazing, riveting and engaging, someone else might find boring, predictable and just plain stupid.

    That said: one of the best things about movies is the discussions they open up. So, if you strongly disagree about some of my choices (or would just like to share your opinion, whatever it may be), I urge you to leave a reply below and start a dialogue.

    Finally, I did not get a chance to see some of this year’s most acclaimed movies — namely 12 Years a Slave and Nebraska — so it’s very possible I missed out on some real gold.

    With all that out of the way, let’s get on to my picks for 2013’s best films.

    13. SPRING BREAKERS

    This was one of the first movies I saw this year, and boy, did it make an impression. Unrelenting, hypnotizing and unforgettable. Like many great works of art, Spring Breakers takes a decisive moral stand. It presents the world of spring break for everything that it is – a nightmare flimsily disguised as a fantasy.

    Also, say what you will about James Franco, but his performance here is one that absolutely glues your eyes to the screen and dares you to look away. It’s a peculiar role, and one many actors would be too afraid to tackle. But he does so with a fierceness that is incredible to watch.

    12. THE WAY, WAY BACK

    Movies about angsty teenagers are a dime a dozen, so it’s always a real treat when one comes along that manages to defy expectations. This certainly does that. Just as much about the adults as it is about the teens, The Way, Way Back is funny, heartbreaking and ultimately uplifting. It’s a feel-good movie the way feel-good movies should be done.

    Special props to Sam Rockwell (who is always a joy to watch) and Steve Carell, who branches off and plays someone unlike anyone else he’s ever played — a genuine jerk.

    11. MUD

    The fact that a movie this good didn’t even crack the top 10 tells you a whole lot about film in 2013. Like writer/director Jeff Nichols’ previous work Take Shelter, this is a deliberately paced character study with a unique down-on-the-bayou feel.

    As fantastic as Matthew McConaughey is (and boy, did he have a run of quality performances this year), the real star of the show is Tye Sheridan, the young actor who basically carries the movie on his shoulders. I can’t wait to see what he does next.

    10. AMERICAN HUSTLE

    Let me get this out of the way: This is a flawed film. HOWEVER — and this is a big however — if you gave me Blu-ray copies of every movie on this list, I’d probably pop in American Hustle more often than any of them.

    It’s a blast from start to finish, a treat for both your eyes and ears, and one of the most enjoyable movie going experiences I’ve had all year (twice). In particular, I want to point out the opening scene which is simply Christian Bale (who in my opinion gives the performance of the year here) putting on a hair piece. It’s so simple, yet so effective in telling you everything you need to know about the character. Brilliant storytelling, and a whole heap of fun, even if the entire package is slightly uneven.

    9. BLUE JASMINE

    Man, Cate Blanchett really killed it here. We all know she’s going to win the Oscar, and damn right, if you ask me. She’s impossible to take your eyes off of. I’ve heard a lot of people say this is a return to form for Woody Allen. I can’t speak to that, as I’ve only seen half a handful of his movies, but for a movie that is essentially people in rooms talking for an hour and a half, this is a blast.

    You’ll laugh, you’ll cry, you’ll thank your lucky stars your life isn’t as dysfunctional.

    8. THE HUNGER GAMES: CATCHING FIRE

    As great as so many movies were in 2013, one genre seemed to disappoint: the blockbuster. I’m sure many of you will disagree, but personally, I found practically every big-budget extravaganza disappointing. In particular, Thor: The Dark World, The Great Gatsby and especially Star Trek Into Darkness.

    So by the time The Hunger Games: Catching Fire rolled around, I had lost a lot of faith in big-budget/special effect pictures. And then I watched it. Holy crap.

    This is top-tier filmmaking from first frame to last. I won’t say much more about it, in case you haven’t seen it yet, except SEE IT. The first Hunger Games was a really solid teen action-drama, but this transcends the genre. It’s The Dark Knight of teen sci-fi/action movies. If you still can, definitely try to see it on the big screen.

    7. KILL YOUR DARLINGS

    This was yet another surprise. I saw this for one reason: Dane DeHaan. He is someone I consider to be amongst the finest actors working today, especially for his age. And while I certainly got a great DeHaan performance, I also got a whole lot more.

    This is a dark, engrossing film that pulls no punches and makes no apologies. If you enjoy films that deal with the darker side of youth, and explore interesting subcultures, this is for you. Check it out. Really great editing in this, too.

    6. DALLAS BUYERS CLUB

    Now we’re really talking. This is one of the finest character arcs I’ve seen in a very long time. Most great actors give an award worthy performance once every few years – this year alone, Matthew McConaughey gave three (we’ll get to the third). He’s unbelievable in this, as is Jared Leto, who transforms himself in the role of a pre-op transgender woman.

    Those two performance are worth the price of admission alone, but Dallas Buyers Club also has an incredibly tight, smart script that’s only made better by Jean-Marc Vallée’s confident direction.

    5. HER

    Romantic movies aren’t usually my thing. Sure, there’s plenty I do like, but for the most part, I find them to be very typical and not particularly interesting. Spike Jonez’s Her almost seems like a response to that complaint.

    The film follows genre tropes more closely than you might expect, but it does something utterly fresh and unique with them. Perhaps what I enjoyed most was the subtle sci-fi setting, which while a major part of the film, never overbears the characters, as it does in so many other sci-fi movies.

    Though a few moments might not land as well as intended, this film is really something special.

    4. MONSTERS UNIVERSITY

    Prequels are hard to get right. Actually, I take that back. Prequels are almost impossible to get right. After all, movies are all about change — characters going through arcs — and by definition, a prequel means we will be seeing characters that have yet to go through the change that drew us to them in the first place.

    The result is usually sloppy, unnecessary and most of all not nearly as interesting as the previous movies. But somehow, Pixar pulled it off.

    Monsters University has no right to be as good as it is. Yet, it is. It really, really is. It stands shoulder to shoulder with almost any of Pixar’s best, and like them, it is a spectacular achievement – made all the more so when you think about how much of a train wreck it could have been.

    3. INSIDE LLEWYN DAVIS

    Like Monsters University, Inside Llewyn Davis is a movie that shouldn’t work. It has no real plot, its protagonist doesn’t really change at all by the end, and yet… it is never once dull, never once pointless, and never for a moment not compelling. Indeed, it is the exact opposite.

    If Coen brothers’ humor is your thing, you’ll probably find this a melancholy, but hilarious movie. If it’s not, you’ll probably be depressed for days. Either way, you’ll likely find yourself sucked into the cold world of the early 60s New York folk scene.

    And if you wanna talk about Oscar snubs, few things fit the bill better than Oscar Isaac not getting nominated for his performance here.

    2. THE WOLF OF WALL STREET

    Once again, Martin Scorsese shows all the kids how it’s done. The legendary filmmaker may be 71 years old, but here he has crafted a film more full of unrelenting life and energy than anything even remotely comparable by his much younger peers. This is Goodfellas for the 21st century.

    The fast pace, almost constant voice over and subject matter certainly makes this a spiritual successor to both Goodfellas and Casino, but thanks to an entirely different cast, scriptwriter and cinematographer, it manages to stand on its own.

    Like in those films, Scorsese takes a strong moral stand while also presenting these characters with absolute honesty. The Wolf of Wall Street is not for the faint of heart, but if you can handle it, this is a movie that will entertain you like crazy, then make you hate yourself for being so entertained in the first place. It’s riveting stuff that will stay with you long after the credit rolls.

    PS: Though he’s only in the film for the first 20 or so minutes, Matthew McConaughey hits his third home run of the year here. Well done, Matthew. Now leave some work for the rest of Hollywood.

    1. THE PLACE BEYOND THE PINES

    I went to the theatre to see this movie early in 2013, knowing next to nothing about it. By the time the lights came up, I knew I had witnessed something really special. This isn’t just the best film of the year. This is the best film of the last several years. Walking out of the theatre, I knew there was hardly any chance I would see a movie this good by the time 2013 ended. While The Wolf of Wall Street made me doubt that, in the end, I had to give it up to Pines.

    To me, this is nothing short of a modern American masterpiece. It features career defining performances from all the leads — especially Eva Mendes and Bradley Cooper – and is the quickest 2 hours and 20 minutes you’ll have at the movies this side of The Dark Knight.

    It’s the kind of movie that won’t do the math for you. It forces you to think, to put the dots together in your head, and it refuses to succumb to your expectations. A lot of people will be turned off by some of the directions this movie goes in, but all that means is that this is a movie that takes real risks. And oh lord, is it refreshing to see that.

    From the acting, to the gorgeous cinematography, haunting score, and razor sharp editing, The Place Beyond the Pines is indeed a cinematic masterpiece.

    Also, although this is predominately an actor’s movie, I don’t consider it an overstatement to say it features the finest chase scene I have ever seen.

    If you haven’t checked this movie out yet… do it.

    The chances we’ll get a year so full to the brim with great movies is rare, but let’s just be grateful we got this one, eh?

    What were some of your favorites from 2013?

  • Books are Books, Movies are Movies, and Now the Twain Shall Meet

    Life of Pi vs. Life of Pi
    Life of Pi Book vs. Film Adaptation

    I know what you’re thinking. Ho-hum, another books vs. movies debate. But don’t stop reading yet! This is not a debate. I love books. And I live movies (no, that’s not a typo.) And I’m tired of people pitting the two against each other.

    Think about it. Both books and movies demand a significant amount of effort in bringing them to life. Both are mentally stimulating and emotionally engaging. I was only ten years old when I read Life of Pi. In case you haven’t heard of Life of Pi yet, it’s a story about a teenage boy who loses his family, loses his home and finds himself stranded at sea with only a ravenous tiger for company. But when I tried explaining the story with my best friend at the time, she scoffed and said “I can’t even imagine that.”

    But that’s exactly the point.

    So many of the world’s stories are about worlds and times that most people consider to be beyond the realm of human imagination. Books deemed “unfilmable” by book and movie lovers alike. The Hobbit. Harry Potter. Game of Thrones. The magic realism that characterizes Pi’s story – and Harry’s, and Frodo’s, and Tony Stark’s – sets them apart from stories closer to home. But it is the “unfilmable” and “unimaginable” nature of these stories that make them the stories most worthy of being imagined. Brought to life.

    And what better way to do that than through film?

    Book lovers insist that the movie can never be the same as the book, but does it have to be the same? If the movie was meant to be the same as the book, it wouldn’t be a movie. For me, the point of a movie adaptation is to re-imagine the story of the book without overwhelming it. I grew up with Harry Potter, and reading Life of Pi changed my life forever. And the film versions of those books didn’t match up with the little movies I’d already made in my had while reading them.

    But this little film I already made in my head while reading the book Life of Pi is one of those rare examples of a movie whose 3D visuals don’t overwhelm its storytelling but enhance it. It’s about that flawless balance between world and visual, capturing the complexities of a character’s world and the the viewer’s mental world.

    That said, even if the screenplay is amazing and the visuals are flawless, much of the audience’s decision about whether or not they like the film relies on their own emotions. Their own story. Having read the books for all the adaptations I’ve watched, I never walked into a movie thinking it would make me feel anything new. But each and every time, it did. And that’s what makes me believe in film as the book’s friend rather than its enemy. It’s the only medium that has the power to take an existing experience, reshape it and make it visceral in the way no other medium can.

  • The Hobbit: An Expected Review

    When I was a little kid, my father collected me, my little brother and sister, and a huge silver Casio tape-playing boom box, and set us all down around the fireplace. He turned the overhead light out and an orange glow from the fire cast itself onto the carpet, illuminating the tape deck.

    “What we’re about to listen to is a very special story,” he said. “I read this story a long time ago, and I enjoyed it so much I want to share it with you kids. If it gets too scary we’ll turn it off.” We all looked at each other and he hit the play button.

    Listening to The Hobbit in the dark around this light is one of my favorite memories. The recording was produced by The Mind’s Eye, and was a full production, complete with multiple talented voices, an extensive sound effects library, and an impressively orchestrated score. The recording originally aired in 1979 on NPR Radio, and it had finally made its way to three children listening by a hearth, the dog asleep in the corner.

    I loved this story, specifically this telling of it, so much so that in middle school I stole it out of my father’s closet and would play each tape to put me to sleep, every night. When the series ended I just started the 6 hour adventure from the beginning again. This continued for an embarrassingly long time, to the point that even today I can anticipate most lines and recite many of them. You must understand: for some reason, maybe the fact of how my journey with Bilbo started in our family room, I was a little obsessed with Tolkien and his world of Middle-Earth

    In 2000, I went to a movie. I don’t remember what movie–it doesn’t matter. What mattered was the trailer. It was a teaser, and it opened with a New Zealand hill top covered in dry grass, black rock, and mountains in the background. Epically adventurous music began, and up over the hill came a tall bearded man in a pointed grey hat and cloak carrying a wooden staff. At this point I was too excited to sit still, because I thought, oh wow, the next thing to come over the hill is going to be 13 dwarves and a hobbit and I’m going to go nuts. When the pointy eared elf walk over next I thought, that dwarf looks unusually high. Then came a character who could ONLY be a dwarf, followed by some obvious hobbits, and then some other tall people I couldn’t place. If you can’t tell, I had not read Lord of the Rings, but I knew of it. Though I was looking forward to the film no doubt, I was crushed it wasn’t The Hobbit.

    Fast forward through movies of Fellowship and Two Towers, and I’m a true LOTR fan. When the release day for Return of the King arrived I thought it was the end of the age of Middle-Earth, a three year movie-viewing journey. I waited in line with other enthusiast friends opening day and took it in, taking a mental picture in my mind. It was a special day, a great day, and a sad day all at once. It was worth the wait, heck, the wait enhanced it, but knowing it was over was tough to stomach.

    After its successes, we learned Hobbit was being talked about, and that was a giddy feeling. Then I caught wind of Peter Jackson’s awful relationship with New Line Cinema, and how it might jeopardize him directing, which sounded sacrilegious and a big blow to a well-defined series. Then there was the notion it might not have the same actors, or even be done at all. Years went by with nothing but rumors and hope (whispers of a nameless fear?). When it was evident Jackson was back on board, and when casting finally started, and when filming actually began, each stage brought this feeling of relief. I was there, and now would go back again.

    Only this time I would go back to an unknown sight. 48 frames per second. Twice the frames for double the clarity. You see, 3D is an issue for some. Fortunately I don’t get 3D sick, but I do heavily notice, with the fields being arranged the way they need to be for stereoscopic filmmaking, the picture taking a big hit in crispness and brightness. It is the nature of the beast, and the price for 3D. Jackson announced his belief that 48fps would be a better way to view the film. With this high frame rate (look for “HFR” in the marquee at the theater) we were going to break from that ever traditional and cinematic 24fps we’ve come to know, love, and get used to. The reaction from Comic-Con couldn’t be more deafening. I read in the news the crowd was nervous, hyper, then outraged at the clip they were shown, and how it looked more like a soap opera on TV than a throwback to the Shire.

    Whatever. At least they’re making it, I thought.

    I tried to avoid the screenshots, the behind-the-scenes clips online, and the eventually released trailers, but I failed miserably and was unable to help myself. All the while knowing this story I have waited 9, no 12, no 22 years for, was going to be told in a revolutionary new format. Pioneering new territory is thrilling, and as a filmmaker, I am always grateful to ride the wave of the new, scary as it may be. With the release of digital video, then DSLRs, then FCPX, the end of manufactured film cameras and the slow decay of celluloid overall, I’ve been privy to some fascinating, industry-changing events. I must be honest, though: as we got closer and closer to December 14th, I legitimately became nervous about this new frame rate, and worried it would spoil something near and dear. All I had to go on was that its Peter Jackson we’re talking about. Middle-Earth is his baby after J.R.R., and I just need to trust he wants to do the film justice.

    This evening, I again found myself in a line for another adventure. Joined by my brother Sam, who picked up tickets the day before, we arrive an hour early to already find a line of 50 people. When we got through we had to wait in another line outside the theater doors. When finally we were loosed, we found some seats in the exact middle, and settled in immovably.

    This was indeed the experience I wanted. The HFR version is different, and will look slightly strange to those not expecting it, but it truly does fade away. I plan on seeing it again in the other formats to compare, but as far as content I couldn’t be happier. I won’t spoil anything for those who haven’t seen it or who don’t know the story (what are you waiting for?), but take it from a very critical filmmaker and an even more critical fan that this movie is definitely worth seeing.

    My advice is to know what version you are walking into. There are a least 5 different versions: IMAX 3D, RealD 3D (RealD is a different 3D technology than IMAX), RealD 3D HFR (48fps), IMAX 3D HFR (48fps), and 2D Digital. For the most familiar cinematic look, your best bet is probably the 2D digital, but I want to verify this before committing to that claim.

    I’ve heard multiple complaints about too much CGI, but we all saw that coming. Personally, I too prefer great robotics and puppetry done right (Jurassic Park anyone?), but to get here at all was an elating experience in itself. I give the movie an A, mostly because I felt the Goblin King needed some major advice and reconsideration in the 3D modeling department, but moreover because I don’t think anything can really top what’s in the mind.

    It is absolutely a must-see this winter, though, and I hope you enjoy An Unexpected Journey as much as I did. It has rekindled the same magic I felt at the beginning of the LOTR run, where you had to wait a whole year before you could continue the quest, but the pay off was practically tactile. That feeling that I thought was a one-time occurrence is now present again, and it is this weird sensation of reliving the greatness of the LOTR span, but with a new, unseen yet equally epic set of films. And while it brought me back to all these memories, it mostly put me right back where I started, right next to that fire so many years ago. It was warm, and invited me right in.