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REVIEW: Milk
In the 18 years since Harvey Milk’s assassination as the first openly gay official in American history, little has changed. Homosexuals hide their orientation for fear of reprisals. Church groups continue to loudly denounce them and call for their destruction. And, amazingly, even the American constitution can be changed to restrict the rights of certain people based on their sexual orientation. In 2008. Unfortunately, discriminatory hatred and blind religiosity cloud the central issue: people have the right to be free, no matter their situation, as long as their rights do not encroach on the rights of someone else. A simple philosophy, trampled down again and again by those who care only for their own vision and beliefs.
As I’ve pointed out recently, I despise this way of thinking.
Though coming out too late to help the recent issue in California, Gus Van Sant’s brilliant MILK still manages to make the case that all men are created equal. The film focuses on the last eight years of Milk’s life, when he abandoned insurance sales and began a run for public office in San Fransisco. When we first see Milk, he is cruising a popular gay spot and picking up handsome Scott Smith (James Franco). The two quickly shack up, but soon Milk’s desire to right the injustices inflicted against the gay community in his area lead him to a series of elections. This puts a strain on him and all of his relationships, but he ultimately succeeds in attaining his goal. His victory, though, comes at a high price.
As Harvey Milk, Sean Penn delivers one of the greatest performances in a career of great performances. We see Milk range from a flirtatious pick up artist to a frustrated and angry politician eager to make a difference. Penn slips effortlessly into the role, disappearing entirely and exuding just enough flamboyance without overdoing it. It’s a stunning achievement.
The rest of the cast matches Penn note for note. Franco impresses again in a stellar year with his portrayal of the shy and reserved Scott. Emile Hirsch transforms into radical activist Cleve Jones in a remarkably physical performance. And Josh Brolin amazes as Catholic conservative Dan White, his stern demeanor concealing a deep inner turmoil.
This is easily director Gus Van Sant’s best film to date, reminiscent of Oliver Stone’s early work. Van Sant deftly steps between filmed and archival footage, giving the film a near documentary look that perfectly captures the decade. And the openly-gay Van Sant doesn’t sugar coat the gay lifestyle, either, unflinchingly gazing at the rampant promiscuity and drug-use that dominated the seventies gay scene. Even Milk himself doesn’t escape blame, as Van Sant portrays the man as a skillful politician willing to cut deals for votes and use political power against opposers. While Milk is certainly deified in the inevitably sad conclusion, the film attempts to be fair to the real man behind the movement.
Occasionally art can show us the way to better paths and higher roads to take in the efforts of all men to coexist. For instance, the James Brown concerts held during the worst period of racial strife helped everyone to see the need for racial equality. May films like MILK add their voices to this ongoing struggle for equality, so that all men - regardless of their position in life - may gain the same opportunities and the same hopes together.
A magnificent film.
Oscar Buzz: Best Special Effects
Oscar madness is beginning to heat up, so I thought it might be time to start looking at some individual categories and their possible nominees.
Categories like Best Special Effects have traditionally been like the aisle runner at a wedding; part of the ceremony, but not a particularly exciting part at all. However, in recent years, special effects have driven the industry to delirious new financial heights, so their importance is magnified.
Here is a nifty video compiling six potential nominees for this technical category:
Personally, I think it is a two horse race between IRON MAN and THE DARK KNIGHT. While films like PRINCE CASPIAN and THE DAY THE EARTH STOOD STILL have their moments, neither of them have the “wow” factor in service to a terrific, emotionally-powerful story.
Some have been discounting THE DARK KNIGHT, hypothesizing that the extensive use of practical effects might hinder its chances to be nominated. I counter that those practical effects are used seamlessly, as are the brilliant CGI effects. The film feels utterly realistic, which is the ultimate compliment to a film like this. In fact, I think TDK might take this award … although that shot of Iron Man cockily walking away from that tank as it explodes might be my favorite effects shot of the summer.
Either one deserves it.
A “Dark” Horse For Best Picture
My review of THE DARK KNIGHT used words like “masterpiece” quite liberally. Subsequent viewings only strengthened my support for this rare and brilliant summer blockbuster.
While HEATH LEDGER has received most of the attention, the film fires on all cylinders. It’s structurally and philosophically dense, with layered performances to match director CHRISTOPHER NOLAN’S brooding and meditative composition. In one stroke, it raised the bar for summer action films and changed the rules future comic book adaptations will follow.
For some reason, recent chatter about Best Picture nominees have unjustly ignored this year’s highest grossing film as a potential honoree. To these, I submit that THE DARK KNIGHT is at least as dense and as powerful as THE DEPARTED, which unfairly won Best Picture two years ago. In the past, films like STAR WARS and E.T. have vied for an Oscar, yet neither one of those films attempts the type of adult drama that KNIGHT manages easily. It would be a grievous mistake to overlook this film’s merits simply because it features a dude running around in a cape and cowl.
To amplify this, Warner Brothers has turned up the heat with a series of promos to persuade Academy voters. Revisit some of this summer’s best moments right here:
Why STAR TREK Fails
Science fiction geeks are whacking their tricorders tonight with the debut of the high def trailer for J.J. Abrams’ STAR TREK reboot. You can see that at Apple, or you can watch a lower resolution version right here:
As far as the trailer goes, it’s well cut and engaging. The special effects look flashy. The performances and dialogue, at this point, make me cringe a little bit. Overall, it looks like a very expensive car commercial that resembles that misguided LOST IN SPACE reboot from a few years back. Paramount has obviously put a lot of faith in Abrams to resurrect this aging franchise and inject it with something resembling life.
However, the problem with STAR TREK isn’t age, or even a lack of audience interest in science fiction. The problem rests with the premise itself.
What The Deficit Means To You
Lovely news today … the budget deficit this coming year will reach 1 trillion dollars.
In short, we’re fucked.
The only hope for mankind is a Roland Emmerich-style disaster that will put us out of our misery quickly and painlessly. Unfortunately, it doesn’t look like it’s coming anytime soon:
Stealing Movies
I stole a movie a few nights ago, and I’m not sorry.
I begged and pleaded with Magnolia Studios to release the Swedish horror film LET THE RIGHT ONE IN here in my hometown, as they had no plans to do so. The already-planned Hollywood remake is being prepped to replace the original, threatening my opportunity to see what everyone agrees is a brilliant original film.
So, my hand forced, I went out onto the internet and stole it. And like I said, I’m not sorry.
Review: Let The Right One In
Since the invention of film, there have been movies about vampires. Few movies, however, have ever gotten their story right.
Vampires, even in traditional literature, are creatures of feral power and insatiable hunger; they are more like mosquitos in human form than artistrocratic gentlemen. Hence their appeal to audiences: they are “other”, possessors of a power and freedom that we humans lack. Unfortunately, most film adaptations of the vampire myth tend to either romanticize or modernize their plight, effectively eliminating the fear of their true nature at the very heart of the story. In my mind, NOSFERATU (1922) comes closest to presenting a vampire as a powerful, malignant creature who has an unstoppable will to survive.
That is, until now. LET THE RIGHT ONE IN is one of the greatest vampire films of all time.
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Star Wars Acapella
Somebody has taken that perennial fanboy favorite - humming the theme to STAR WARS and other John Williams classics - to the next logical level. With an liberal dose of effects processing, this 21 year old guy named Corey has produced a song about STAR WARS, which in turn utilizes some of Williams’ most familiar tunes.
The Day The Earth Yawned
CLOSE ENCOUNTERS OF THE THIRD KIND showed awestruck humans facing the first contact by an alien race. INDEPENDENCE DAY gave us a full-scale alien invasion. So what does the new version of THE DAY THE EARTH STOOD STILL have to offer that we haven’t already seen?
From the looks of this new, extended trailer, not much.
Keanu looks like Neo on Prozac. Gort the robot looks like a lamer version of the new Cylon warriors from BATTLESTAR GALACTICA. The entire movie looks like a series of open-mouthed shock shots from a Spielberg highlight reel.
Yawn.
Unforgiven 2: Gran Torino
Clint Eastwood is a cinematic legend, and he could probably rape puppies onscreen and win Oscars for it. But rather than sit back and coast into the sunset on his respected reputation, Eastwood continues to push himself artistically.
Well, until now. Like some sort of cross between UNFORGIVEN and FALLING DOWN, his newest film, GRAN TORINO, features Eastwood as a grizzled old man who must unwillingly protect his neighborhood from the local gang. It feels small. Weightless. It is certainly a well-travelled trail for the Eastwood persona, while still managing to seem inconsequential.
Here’s the brand new trailer:
Full SPEED Ahead!!
After the Wachowski Siblings released the first trailers for their upcoming live action version of the seventies cartoon classic SPEED RACER, many movie fanboys spent far too many hours bashing the kaleidescopic visuals. Nevermind that most of these fanboys were yet to make an appearance as anything other than watery ejaculate when the cartoon was at its peak.
I, on the other hand, was a five year old boy during this time - thank goodness LOGAN’s RUN never came true! - and I know as well as anyone what made the cartoon work: THE CAR, THE CAR, THE CAR.
The characters were basically non-existent, the animation barely moved, and very little of the weekly story made any sort of sense. Yet, that damned car fueled the imaginations of an entire generation of boys in America. “What could you do if you had Speed Racer’s Mach Five?” we would ask ourselves. The answer was, as always, “anything we damn well pleased.”
And yeah, we used the word “damn” at five years old. When Mom wasn’t around, that is.
As a long-term/ancient fan of the cartoon, I was filled with apprehension after watching the trailers. It seemed to me that the Wachowski Siblings spent too much time trying to emulate the crappy animation of the series - something that nobody fondly remembers or ever wanted to see again. Additionally, the Mach Five never really made much of an impression in any of the trailers … and as I’ve made clear, that’s the whole point.
Well, I am happy to report that they have fixed this little glitch with the new domestic trailer for the movie. Not only do we get to see the Mach Five in its full glory - complete with that “yawnk yawnk yawnk” sound we love so much - but we also get to see the characters interact on a personal level.
Here is the brand new trailer for SPEED RACER:
Here it is in HIGH DEF!
I think Susan Sarandon looks much better in the Mom role than I had feared. I also thought the action scenes made much more sense visually than I had seen them represented previously. While the plot still sounds like limp catshit, the Wachowski Siblings appear to be on the right track in capturing the feel of racing with this movie.
FULL SPEED AHEAD INDEED!!!
