Month: July 2011

Cold War Update: Michael Bay Rules the Summer, 007 Marries, Plus New Trailers for The Iron Lady, 5 Days of War & More!

Michael Bay & Co. premiere "Transformers: Dark of the Moon" in Moscow.

By Jason Apuzzo. • Libertas is about to break some major news regarding one very big, forthcoming movie related to the history of the Cold War, so stay tuned …

• .. although of course, the biggest Cold War-related news of late is the whopping debut of Transformers: Dark of the Moon, a film steeped in the lore and romance of the U.S.-Russia space race (see my review of the film here). Dark of the Moon had its huge, worldwide premiere just over two weeks ago in Moscow, and as of the writing of this post is already approaching the $500 million mark at the worldwide box office.

I’m liking this film even more as I ruminate over it – and over the entire Transformers series, which snuck up on me unexpectedly, in so far as I only ever saw the first two films on DVD. Some of you might ask, is it possible – or even healthy – to ‘ruminate’ on a Michael Bay film about giant toy robots? I’d say ‘hell yes’ it is, when the films are as well-crafted, warm and human as these are – not to mention freedom-loving. And although Dark of the Moon to some extent surrenders to its (admittedly fantastic) technology in the third act, it only feels that way because – once again – Bay does such a nice job setting up his characters in the film’s early sequences. This is the aspect of Bay’s work that is so consistently underestimated by critics: his ability to create sympathetic characters, who bring a human dimension to the mayhem that otherwise transpires in his films. Believe me, f this were an easy thing to do, more directors would do it.

Incidentally, it looks like Bay may actually complete the trifecta here. Both previous Transformers films were the top grossing films in their year (in part due to Avatar straddling 2009-10), and it looks like Dark of the Moon may complete the hat trick. I don’t think anybody’s done anything like this since the Lucas-Spielberg heyday. Dark of the Moon is also is tracking young, which has suddenly – and mysteriously – become Hollywood’s big problem this summer; plus, the film is also blowing up all of those silly, premature burials of 3D – most of which were based on bad 3D conversions.

In related news, Michael Bay talks-up the native 3D aspect of the film to The New York Times, Rosie Huntington-Whiteley talks about working with Bay, and Shia LaBeouf does this extremely colorful interview with Details. He apparently landed both Megan Fox and Isabel Lucas while making these films. That’s heroic. They’re not paying this kid enough. Continue reading Cold War Update: Michael Bay Rules the Summer, 007 Marries, Plus New Trailers for The Iron Lady, 5 Days of War & More!

LFM Mini-Review: Cars 2

By David Ross. THE PITCH: Hayseed tow-truck gets mixed up in international espionage. Strange alternate universe in which cars behave like people. No explanation. Kind of creepy.

THE SKINNY: Cars 2 brings Pixar’s exuberant twenty-five-year spree to a grinding halt. Call it a mid-life crisis. The problem is not moral – the usual descent into greed, cynicism, and indifference – but conceptual. The plot is a confused and hyperactive whirlwind of genre elements and action sequences, perhaps amenable to the ADHD generation, but constantly preventing the film from taking emotional or moral root. Monsters Inc., The Incredibles, and Toy Story 3 – Pixar’s three incontestable masterpieces – are likewise action oriented, but they have a certain organic rhythm, a pattern of pause and eddy. They feel human, in short, while Cars 2 rushes in unremitting machine rhythm, much like a NASCAR race.

WHAT WORKS:

• Pixar’s technical genius has reached new and incredible heights. In the opening sequence, Finn McMissile – a 007-style Aston Martin played by Michael Caine – plunges off an oil derrick into a stormy ocean. The rolling, frothing, thoroughly natural wave dynamics are pure geek showboating. Pixar has evidently conquered all the primary technical challenges of computer animation: water, fire, wind, hair.

• Larry the Cable Guy is full of hillbilly fun as the loyal bumpkin Mater. Olivier he’s not, but then again he’s playing a buck-toothed tow-truck. Apprenticeship with the Royal Shakespeare Company not required.

WHAT DOESN’T WORK:

• In my un-American, dubiously male opinion, cars have ruined the world with their noise, pollution, and facilitation of urban-suburban sprawl. Imagine a time when it was possible to open one’s front door, pick a direction, and walk for twenty miles without fear of being flattened or suffocated in toxic fumes. In light of which, a world consisting entirely of cars – a world that is already ours in some sense – is intrinsically obnoxious and unsettling. How about a world consisting of humanoid retroviruses? Anthropomorphized Iranian centrifuges? Continue reading LFM Mini-Review: Cars 2

The Price of Liberty: LFM Reviews Ironclad

By Joe Bendel. The price of liberty has always been high, in both blood and treasure. It was true during the revolution we just celebrated on the Fourth of July and it was true during the Baron’s Revolt against King John, which led to the Magna Carta – a flawed but important document that informed our founding fathers’ conception of constitutional rights. Preferring the divine right of kings to the rights of man, John tried to reassert his absolute rule and nullify the Magna Carta, but an intrepid band of warriors will defy him, to their last breaths, in Jonathan English’s rip-roaring Ironclad (trailer here), which opens this Friday in New York.

Tired of his cruel and erratic rule, England’s barons rose up against John the First (and only), but for political reasons, they left the weakened despot on the throne after securing his signature on their revolutionary document. Unfortunately, many were lulled into a false sense of security. When John makes his play, assembling a mercenary army and securing Rome’s support, he catches most of his foes unawares. Only Rochester Castle stands between him and London. However, twenty men assembled by Baron Albany are determined to hold it at all costs, in hopes that the French will arrive to install a proper monarch.

One of those men is William Marshal, a Knight Templar recently returned from the Crusades. Like the Twelfth Century equivalent of the IDF, the Templars are well accustomed to facing numerically superior enemies. Granted twenty against one thousand is a tall order, but thanks to its construction, Rochester can be ably defended by a small force. Yes indeed, the siege is on.

Ironclad delivers plenty of old school hack-and-slash action for Game of Thrones fans jonesing for a fix. However, equally striking are its scenes of the aftermath of battle, conveying the pain and bone-weariness of the warriors. The film also presents the best depiction of medieval siege techniques yet captured on film.

While the action is thoroughly satisfying, Ironclad proves to be a film of unexpected substance. The screenplay by Jonathan English and co-writer Erick Kastel (based on a first go-round by Stephen McDool) takes notions of faith and freedom deadly seriously. Marshal explicitly states that there is nothing noble about war, ever, yet some things are still worth fighting for—in nearly those exact words. Continue reading The Price of Liberty: LFM Reviews Ironclad

LFM Review: Battlefield Heroes

By Joe Bendel. War, what is it good for? The conscripts from Baekje have absolutely no idea. They perfectly demonstrate the superiority of a volunteer army. The men (and at least one woman) of the still independent (just barely) Goguryeo Kingdom are hardly there by their own free choice, but they have a stronger motivation to fight. Yet they will still do all the dying while the glory will be reserved solely for the officers in Lee Joon-ik’s caustic farce Battlefield Heroes (trailer here), which screens during the 2011 New York Asian Film Festival.

Prepare to get muddy, bloody, and absurd. If Brecht recast Braveheart in the Seventh Century Korea, it would look a lot Battlefield. Of the Three Kingdoms of Korea, Baekje has fallen to the Chinese-aligned Silla. The Tang Dynasty has enlisted the wary Silla in its campaign against the weakened Goguryeo. However, the crafty Silla general Kim Yu-sin is only biding his time.  He might look like an addled old coot, but he’s crazy like a fox.

None of these grand macro schemes matter to “Thingy,” a dirt poor disrespected serf from former Baekje. In fact, when he accidentally defects to Goguryeo, it would only mean switching from a besieger to the besieged, were it not for Gap-sun. Meeting the ardent Goguryeo lady warrior makes quite an impression on Thingy. Needless to say, it is not mutual.

Frankly, even as a medieval keep under attack, Pyongyang was probably more livable then than now. However, Battlefield is seen as something of an allegory, with the plucky but riceless Goguryeos signifying the North, the devious Sillas serving as the South, and the Chinese Tangs functioning as stand-ins for the good old USA. Yet, as Lee must understand, North Korea is not starving because of a Southern blockade, but through the deliberate policies of its government. Not to sound churlish, but good luck making veiled political commentary in the tightly regimented DPRK. As for the imperialist Chinese, perhaps they better represent, you know, China. Continue reading LFM Review: Battlefield Heroes

4th of July Classic Cinema Obsession: An American in Paris

By Jennifer Baldwin. I’ve been thinking lately about how art is often more “real” to me than real life. As Truffaut said: “I have always preferred the reflection of life to life itself.” One of the reasons I spend so much time watching movies, in fact, is because after I’ve watched a good movie I feel renewed. Beautiful art has that ability to renew and enliven the spirit. Highbrow, lowbrow, middlebrow – to me it really doesn’t matter as long as I get that kick of delirious pleasure.

An American in Paris gives me that kick. It’s everything that’s great about mid-century American popular culture, fusing elements of high art with low art to create a joyful, exuberant experience. American pop art at its best is confident, playful, eclectic, improvisational, and spontaneous. It has energy and rhythm, a freewheeling delight in its own creativity. An American in Paris, at its heart, is about our relationship to art, about our desire to be renewed and enlivened by it. Continue reading 4th of July Classic Cinema Obsession: An American in Paris

Classic Movie Journal: It’s Hard to Say “So Long” to TCM Star of the Month Jean Simmons

By Jennifer Baldwin. When featuring an intriguing star, TCM’s Star of the Month tribute is an overdose of straight-up, hardcore, pure pleasure. For one night each week, the month is turned over to a movie star and we witness, with relentless intensity, every curve and turn and height of the star’s career – until the month ends and we feel indecent over how much we’ve come to know this person.

We don’t really “know” them, of course. We only see their performances. But film is funny in its deceptive intimacy, and saying farewell to the Star of the Month is like saying farewell to a summer camp best friend or a wartime romance: “It was wonderful, darling. I’ll never forget the good times we had. We’ll always have that April on TCM!” The star is in your life, in your living room, for a whole month and then, suddenly, the star gets snatched away. The light goes out.

Of course, some months I’m just not interested in the chosen one. Singing Cowboys in July? Don’t fence me in, baby, I’d rather be out playing beach volleyball at the park. But just this past month of June, Jean Simmons had me glued. I hadn’t realized it until she passed away last year, but Jean Simmons was around a lot in my teenage years. I really identified with her, with the intelligence, strength, and vulnerability she brought to the screen. Young Bess at fifteen; Guys and Dolls at sixteen; Elmer Gantry at seventeen. I must have watched these movies on an endless loop when I was in high school.

When I finally got around to Angel Face in college, it bothered me for weeks. I told friends and family and random people on the street about this movie, about this character — Diane Treymayne — and how I just couldn’t shake her. She creeped me out, and I just couldn’t shake her. She was a murderer, a psychopath, but I just couldn’t let her go. I SYMPATHIZED with her. It was disturbing.

You’re not supposed to sympathize with the Spider Woman. Sure, you can understand her motivations, even get some perverse pleasure out of her power and wicked determination, but you’re not supposed to feel bad for her. But there I was — and here I am — feeling sorry for Simmons’ Diane Treymayne.

And that ending! That last, stomach-shocking scene, throwing all my emotions for a fireball crashing loop. Every time I watch the finale in Angel Face I go, “Oh my God! What the hell?!” Every time. Every single time. And I’ve seen it at least a dozen times. Continue reading Classic Movie Journal: It’s Hard to Say “So Long” to TCM Star of the Month Jean Simmons