There is an authenticity to a film based on Chinese culture and mythology with most of the roles filled by Chinese actors. “Shang-Chi and the Legend of the Ten Rings” is that film. Much like The Black Panther had an all African or African American cast.
The authenticity is one of the things I like most about the film. It just wouldn’t work well if there where a Korean or Japanese actor playing a role meant to be Chinese. Or a Caucasian portraying an Asian, which has been done throughout Hollywood’s history.
For example, David Carradine played Kwai Chang Caine in the 1970’s television series “Kung Fu.” Famously (or infamously depending on your point of view) the legendary Mickey Rooney portrayed a very stereotyped Japanese character in “Breakfast at Tiffany’s.”
By casting Awkwafina, Simu Liu, Tony Chiu Wai Leung, Michelle Yeoh and other Chinese actors in principle and supporting roles, Marvel has broken an old Hollywood practice. Yet, it is not the only reason I enjoyed this film.
The fight scenes are a culmination of many films to come from Hong Kong in the last thirty years. Specifically, different fighting styles used in films like “Crouching Tiger, Hidden Dragon,” “Rumble in the Bronx,” or a more recent Hong Kong epic, “Shadow” are all present in Shang-Chi and the Legend of the Ten Rings.
When Shang-Chi is first confronted by his father’s men while riding a bus, he fights in a way very similar to Jackie Chan in “Rumble in the Bronx.” He is quick and acrobatic, slipping in and out of broken windows to evade his enemies, or spinning around a bar for an unexpected attack.
In a scene where Xu Wenwu (Leung) meets Li (Fala Chen) for the first time, the fighting is beautiful, powerful and seems as though they are dancing rather than battling one another. You get the impression they are making a deeper connection through their Kung Fu. It becomes clear with each attack, every counter, each is falling in love with the other.
In larger battles the fighting style becomes more warrior like. Precise and deadly.
Each of these styles are a treat to watch. More so if you have any Martial Arts experience.
I enjoyed the story most, but I have always been a fan of “the hero’s journey” it is a theme used in “Star Wars” “The Matrix” and even “Gladiator.” Famous novels have made use of that type of story telling and it makes sense to use it for this film.
We follow Shang-Chi, introduced to us as Shaun, a valet who works with his best friend, both content with doing as little as possible and singing Karaoke. Until Shaun is forced to confront his identity as Shang-Chi, his past and the legacy of Wenwu. Along the way, he and Katy each discover their destiny to become heroes.
Marvel truly hits the mark with Shang-Chi and the Legend of the Ten Rings. The fight scenes are exciting, the visuals and cinematography are fantastic and mesmerizing, the humor entertaining. This fan is not surprised the film has broken box office records for Labor Day weekend. Since opening, it has grossed $90 Million in the U.S. and Canada and $146.2 million worldwide according to IMDB and Box Office Mojo.
If you missed it this holiday weekend, check the film out this Friday or even on a discount night. It is well worth a family night at the movies, or a group outing with friends.
Amidst the usual summer blockbusters, A24 Films presents us with “The Green Knight,” an epic, dark fantasy tale plucked from Arthurian legends.
The story of Sir Gawain; King Arthur’s nephew, is a brooding one. Here we have a young man living in the shadow of his Uncle, the heroic deeds of the Knights of the Round Table and his own desire to be more than he is, unable to see greatness within himself. A greatness even King Arthur sees in him.
Gawain’s opportunity to be a legend comes in the form of The Green Knight. A mystical creature brought forth to offer a challenge to any of Arthur’s knights. A challenge Gawain accepts thinking his moment had come, only to doom himself.
As compelling the story of Sir Gawain is, it isn’t the main reason I consider this film a masterpiece of cinema. I call it a masterpiece because of how the combination of cinematography, script, editing and directing comes together in this particular film.
The imagery alone was enough to have me fully immersed.
There are many examples of spectacular use of practical and natural light and the contrast between light and shadow throughout the film, but my favorite comes near the beginning with an establishing scene.
We see what can be described as a snapshot of medieval times. There are farm animals and a peasant gathered near a wall which separates the inner city from the village. In the background, we see a larger building. The sky is grey and foggy. Next, another snapshot of the setting. Our only clue time has passed is the animals and the peasant have moved and the taller building is smoldering. Another shot and the flames have gotten bigger. Yet another and the flames are higher still, the roof of the building almost completely engulfed. A man and a woman enter the shot, changing this static scene to one with movement. Something is happening here, perhaps these two are responsible for the fire as we see the man draw his sword to confront whomever is coming after them.
We can only imagine the outcome of that scene because the camera moves, revealing the window we’ve been peering through. As the camera dolly’s backward, we are introduced to Sir Gawain whose face we can just make out because of the highlights on his profile and shoulder. The rest in soft shadows cast by the morning light.
Yes, the pacing is slow, but it is deliberate. A testament to Director David Lowery’s dedication to telling the story without rushing it. There are no hyperactive action sequences or quick pans. Every scene, every piece of dialogue is integral to the story and Lowery knows this.
Patel’s performance as Gawain is both energetic and natural. He never oversells the emotion of his character. It is his embodiment of Gawain which further immerses the audience in the journey the young knight must take to face the inevitable consequence of his own actions.
Harris is equally captivating as King. He gives us a wearied Arthur-we all know he’s King Arthur, yet his official role is simply King- time has caught up to the once and future king, no longer a young man uniting all of Britain with Excalibur held high. Yet, in his performance, Harris appears a wearied, world-worn King who is still nothing short of legendary, who does not take pride for himself, but champions his companions; the men who’ve fought with him and stood by his side. He shows us an aged King filled with compassion for his nephew, wanting Gawain to find the greatness within himself.
It is the combination of the elements I’ve described, along with a decisive editing style from Lowery and unparalleled cinematography by Andrew Droz Palermo which cements “The Green Knight” as a masterpiece in my mind. The film is mesmerizing, captivating, artistic and moving all at once. If you haven’t seen it yet, might I suggest you make a trip to your local theatre and treat yourself to a cinematic event.
How many times will a man attempt to escape from an island prison in spite of the fact that with the first attempt, he will be placed in solitary confinement for two years and each subsequent attempt will earn him an additional year added to the initial amount of time? In the film Papillon, released in 1973 and directed by Franklin J. Schaffner, the title character makes three attempts. According to those who made the film, which was based on the book; the actual number was nine. Do the math. Papillon spent a majority of his life sentence in solitary confinement.
True, there is some of that spent in relative freedom and that is shown in the film, but the most interesting aspect of this film is not the attempts themselves, but the extent to which Papillon, portrayed by Steve McQueen plans each escape only for the majority of them to fail and land him right back where he was trying to leave in the first place.
So then; why, after a multitude of failed escapes would he continue a seemingly fruitless endeavor? It could be that he has nothing better do, or he enjoys the challenge. The latter is in fact how McQueen portrays his character. Indeed, each plan of flight from the inescapable prison becomes more and more elaborate. From making an all out run for it, to filling a burlap bag with coconuts as a makeshift raft and jumping into the sea from a cliff.
A long the way, Papillon conspires with compatriots and sympathizers to his predicament. After all, Papillon’s single motivation is the fact that he is an innocent man wrongly accused of murder. By all means, this would be a reason for anyone of us to have the inclination to abdicate from captivity. Papillon’s apparent innocence is the cause for his fellow inmates commiseration to the idea of liberation.
Not only fellow prisoners, but even some conscripted to enforce the resolute confinement of the penitentiary appear willing to aide our would be escapist. Perchance they find it amusing and only do so for entertainment amidst the melancholy of their daily routine. This penchant for insincere support is illustrated in a scene where Papillon, Luis Dega-a part specifically created for Dustin Hoffman-and one other convict arrive at a location where a boat and supplies are said to be placed, only to discover that said provisions are either fake or in such ill repair as to be ineffective.
As if by grace a new ally emerges to accommodate Papillon and his companions with a better means of transport and the trio eludes capture. At least until they reach land fall. The flight to freedom turns into a blunder as they almost literally stumble upon a group of police from another country who are escorting a prisoner of their own. The situation worsens when Papillon hurls an ax at the men, resulting in one guards death. Luis Dega is wounded and can’t run away and the third member of their tiny troupe is wounded by gunfire, leaving Papillon to his own devices. Especially once the prisoner belonging to the new set of guards mets a savage demise.
At this point in the film, we are certain that Papillon has accomplished his goal. After some time passes, another bungle by the antagonist leads the Frenchman straight into the waiting jaws of the Spanish police who ship him to the French prison from which he had gone AWOL. Maybe this will finally convince the man that avoiding his prison time just is not going to happen. For the third time escape is thwarted and our upstart hero is thrust back into solitary and when we see him again, he’s an old man.
One would think that being old would slow such a man as Papillon down. Not likely. Instead he continues his quest for freedom despite being reunited with Louis, whom he had thought to be dead. It is here that we see just how calculating Papillon is as he studies the tide patterns of the small and very dangerous cove near his dwelling quarters and discovers an incredibly risky chance at freedom-if he can only manage to elude the inevitability of being dashed across the rocks below. We will live this bit a mystery as to persuade those reading this to view Papillon.
Although Papillon appears to be a sprawling drama, it is in truth a comedy of errors. This is evident by the number of failures Papillon endures in spite of-perhaps in mockery- of his apparent cleverness, reducing him in those moments to a blunderer. One may feel sad for the man who continuously beats feet for the wide open world, refusing to stay in his cage, but will find the absurdity of it all worth a few chuckles minimum.
Whether it is to see Steve McQueen and Dustin Hoffman in roles that seem unlikely in contrast to their repertoire, the immaculate cinematography, or to simply view a classic film, Papillon is a cinematic adventure, which merits inspection.
“The greatest thing you’ll ever learn; is just to love, and be loved in return.” This is a quote from the song Nature Boy written by Eden Ahbez and made famous by Nat King Cole in 1948. This single line from the composition is the central theme in Baz Luhrmann’s Moulin Rouge, surrounded by a myriad of ideals about love, freedom of expression; an homage to the first days of film and even a rekindling of an old American past time-the musical.
What makes the line from Nature Boy such a central theme is that the quote-slightly paraphrased in the film-is said numerous times throughout the movie. We first hear it in the very beginning of the film as a kind of introduction to the story as Toulouse-Lautrec (John Leguizamo) sings; “There was a boy. A very strange, enchanted boy. They say he wandered very far. Very far, over land and sea. A little shy and sad of eye, but very wise was he. And then one day, he passed my way. While he spoke of many things, fools and kings; this he said to me, ‘The greatest thing you’ll ever learn, is just to love and be loved in return.’” as if summarizing the events about to unfold before our eyes in an explosion of music, singing, color, comedy, drama and tragedy. At the same time the last sentence is spoken by Christian (Ewan McGregor), a central character in the story as he types the very words we hear. It is here we learn that the story of Moulin Rouge is his story and the prophetic sentence his message to us.
The sentence is repeated again by Christian, as he explains his idea for a play to the group of Bohemians who recruit him to replace their writer. Thereby supporting the previous affirmation and its importance to the story. The third and final recitation of the chorus to Nature Boy comes at the end as a curtain- not unlike the ones found in old 1900’s theaters and the very same one which opens as the title credits roll-closes over the final shot of the film. For the viewer, this creates the sense of closing a book, as if we had just read Christians story and are about to return it to the shelf.
The very act of repeating this theme three times emphasizes its importance and centrality to the story of Moulin Rouge. However, emphasis may not necessarily be Luhrmann’s goal. Instead, the director wants the audience to remember; above all other themes and messages within Moulin Rouge, this one particular phrase. Hence, it is thrice conveyed to us.
Why this single phrase? Why this one in particular? Perhaps there lies an answer within the body of the film and in how it is told to us. Luhrmann does not simply present an age old love story, though in many ways Moulin Rouge is just that. A love story.
Consider this. Christian falls in love with Satine (Nicole Kidman) at first sight and she with him. There love is strong and unwavering it seems. At least until the Duke (Richard Roxburg) sinks his teeth into Satine. As the story goes forth, Satine breaks Christians heart, claiming to love the Duke because of the security he can provide her with his riches. By the end, the Duke turns out to be filled with lust and desire rather than love, treating Satine as something to be possessed and she goes back to Christian. Thus, we have what appears to be the classic boy meets girl, boy and girl fall in love, boy loses girl, boy wins girl back formula, but this is not so. Moulin Rouge is not a story about romance and finding the love of your life. It is a story about love itself. Its power. Its endurability. Its risks.
When we take into account the numerous anthems of love infused into this hyper active spectacular, spectacular musical unlike any before it or since, we can truly see the tapestry being woven before us. Not unlike a quilt, Luhrmann patches together the best bits of some very famous songs to tell the story of Moulin Rouge and does it well enough that the songs become part of the narrative itself.
When Christian first realizes his feelings, he woos Satine by serenading her with Elton John’s “Your Song”. Later he convinces her of his love with such anthems as “All You Need is Love”, “Love Lift Us Up Where We Belong”, “In The Name of Love” and even “I Will Always Love You”. As much as she resists, Satine soon comes to realize how wonderful life is now that Christian is in the world.
As Christian accompanies the Bohemians to the Moulin Rouge for his meeting with Satine, songs like “Smells Like Teen Spirit”, “Diamonds Are a Girls Best Friend” and “Material Girl” serve as part of the entertainment at the…Cabaret burlesque show. Likewise, the lyrics to Queen’s “Show Must Go On” are a poignant sentiment to the feelings of Zidler (Jim Broadbent) and Satine as both succumb to the wishes and dominance of the Duke. Never the less the purpose of these anecdotes is only to push the narrative forward if only to enhance its theatricality.
Surely one can lose themselves in the attempt to name every popular song used in the film, but that would quickly become a distraction from the true meaning and message that makes a film like Moulin Rouge even remotely relatable. The message of love and what love must sometimes endure before gaining absolution. As if love needed such a thing as to be absolved.
In a sense, Christian is the embodiment of love. It gives him energy, drive, it comes easily to him. Perhaps naively so. After all, it is Christian’s relentless devotion to the power and promise of love that causes him to persuade Satine to rethink her aversion to the idea of being in love, because of its absence in her own life. Here is love at her doorstep and her instinct is to push it away, except that she has never really known love and as much as she’d like to, she cannot deny her need to have it in her life.
Perhaps Satine’s realization that her existence has been bereft of love is what drives her into Christian’s arms and to cherish him so completely, she is even willing to betray him to save him. Yet love-Christian-never wavers. Staying by her side in spite of the Duke. Vying for her right to be happy, to have joy, to have love. Even when Christian finally reaches his breaking point and confronts her, thanking her for curing him of his “…ridiculous obsession with love.” Satine then realizes that the only reason Christian’s heart broke so utterly, is because he loves her body and soul and that her own heart is breaking on the inside, because she truly loves him and she may have lost him forever. Precisely at this moment, when we believe all hope is lost; is when we are reminded that “The greatest thing you’ll ever learn, is just to love and be loved in return.”
For all its theatricality, raucous pomp and comedic bravado, Moulin Rouge is now a classic film of the post-modern era and in spite of its hodgepodge of pop culture romanticism, the films message that love endures all things; even time and tragedy, is not missed by the audience. It stands as a resonant beacon for that timeless of all emotions-love.
Two weeks ago, a film about a gigantic reptile with nuclear breath and a very recognizable scream was released into theaters. The films name? Godzilla. The film is an American reboot of the enormously famous and successful franchise which stars Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston and Ken Watanabe; Directed by Gareth Edwards. But first, a little history before delving into a discussion concerning the reboot.
In August of 1945 the United States dropped two Atomic bombs in order to halt the Japanese military near the end of WWII. The first was on Hiroshima August 6 and the second on Nagasaki August 9. Both bombings decimated the two islands, leaving survivors with burns, radiation sickness and fear. Thus, the Japanese military entered into a treaty with America.
For the last sixty nine years, the Japanese people have lived within the shadow of the mushroom cloud. Its influence can be seen in a majority of the visual media that has come from that nation. Yet none of the animated features (anime) of films that have been made in Japan over the nearly seven decades have become as iconic to modern pop culture as the first Godzilla film.
Released in 1954, Godzilla, or Gojira introduced Japanese audiences to a towering monster born from nuclear radiation who rampages through Tokyo leaving devastation in its wake, mirroring the destruction experienced at the time the two atomic bombs were dropped. Clearly this was the filmmakers way of dealing with the horror of a nuclear holocaust.
In spite of the negative reception by Japanese film critics; who claimed that the motion picture exploited the devastation of both Hiroshima and Nagasaki, Gojira went on to make 152 million Yen ($2.2 Million USD) and sold over nine million tickets. It also spawned twenty seven remakes and even became popular in America, spawning a remake in 1998-which also resulted in an animated series-and this years reboot.
Godzilla is one of those franchises that benefits tremendously from an updated version. The reason for this is mainly because the visual effects are hopelessly outdated. If anyone has ever wondered why Godzilla’s appearance changes from film to film, it’s because the suit the actor wore had to be made from scratch every time. Though the idea of having an actor in a suit demolishing miniature buildings was both brilliant and innovative, it was problematic for that very reason. None of the suits survived the filming process fully intact.
It could be said that Steven Speilberg’s Jurassic Park opened the door for a film like Godzilla to be remade. Because of the advances in animatronics and CGI, as well as the combining of the two; the dinosaurs in Jurassic Park and its sequels wouldn’t have been as believably realistic as they were. Likewise with Godzilla. A reptilian behemoth who towers over an average skyscraper. Putting an actor in a suit wasn’t really an option and neither was using puppets, simply because those techniques wouldn’t have been relevant to more modern audiences and its just campy now.
In Godzilla 2014, it is massively evident that CGI has come a long way in the sixteen years since the late nineties remake. From the first moment the King of Monsters appears on screen, to the end of the film, one would be hard pressed to deny how real Godzilla looks. This version of the monster doesn’t move like a human in a suit, a marionette. a stop motion figure ala King Kong 1933, or even a Jim Henson creation-hello Jabba the Hut. Nope. Not here. Every step, gesture,breath and glare looks natural and fluid. Godzilla moves the way a creature his size would really move. Oh, and those wacky martial arts stances from the older movies? Non existent.
Undoubtedly the visual effects alone are a reason to see this film. However, they are not the only reason. Edwards and his team managed to take all the elements that fans love about Godzilla and put them in one film. Specifically, Godzilla fighting other monsters of the same gigantic proportions, humans caught in the middle of the destruction trying their best to not be killed and the military doing what they do best. Preparing for the worst case scenario.
Amidst the turmoil, destruction and military decisions, there is another element that makes this version more than just a film directed by a fan with the greatest opportunity a fan could ever have-other than J.J. Abrams- a human antagonist. A character who isn’t just there to explain things but to actually get in on the fight; that of Aaron Taylor-Johnson’s Lt. Ford Brody. At first glance, Brody is just a young career officer in the Navy who has issues with the fact that his father, Joe Brody (Cranston) can’t let go of the past. We won’t delve into that though. Spoilers…
The younger Brody gets a wake up call that is much larger-and dangerous-than he would have ever imagined. As a result, his opinion of his Father is changed in an instant and he quickly adopts the idea that he needs to get home to his own family and protect them. An interesting thing happens during his quest to do so. At some point he realizes that his fight to return to his family and to protect them is not so different from Godzilla’s fight to restore balance . After all, Dr. Serizawa (Watanabe) points out that Godzilla is natures guardian and in many ways a father is the guardian of his family. Thus, it is a father’s duty to restore balance within the family when things go awry.
Adding the element of a man who must overcome his fears and insurmountable odds to not only survive, but to fight and live, raises Godzilla from being nothing more than a monster versus monster film. Instead we have a relatable story that just happens to be built around the fact that gigantic monsters are engaged in a life and death battle in the middle of a city and human lives hang in the balance.
There is one final theme that we should touch on briefly that makes this Godzilla stand out from the others. While the 1954 film was an indirect reaction to the tragic-yes tragic-and devastating results of Hiroshima and Nagasaki and an outlet for the underlying fear of all-out nuclear war, the theme in this twenty first century Godzilla film appears to be that we humans tend to cause our own problems and in some cases-like the advent of nuclear arms-those problems usually end up being gargantuan in proportion to our own lives. In this film, it is the need to harness radiation for practical energy use and human curiosity that causes the first big-an understatement-bad monster to appear. Through out the film the humans-aside from Lt. Brody-make very poor decisions that only make things go from bad, to worse. Seemingly, there is an underlying notion within the film that suggests that our own human pride is our worst enemy. Even if there are dangers in the world beyond our control.
In the end, Godzilla 2014 is well worth watching in the theater-I strongly suggest IMAX for you Godzilla fans-whether you see it for the visual effects, Godzilla was your childhood hero, your boyfriend-or girlfriend-drags you to it, you like the idea of monster vs. monster/man vs monster/man vs himself in a movie, because it looks like a good flick with an awesome story and premise, or you really want to see how real Godzilla looks. You will not be disappointed.
Once again Sony Pictures has graced us with another Spider Man film called The Amazing Spider-Man 2. This marks the second film in which Andrew Garfield portrays the famous web slinger and he doesn’t disappoint. Neither does Emma Stone, reprising her role as Gwen Stacy. We are also introduced to three new villains: Electro/Max Dillon (Jaime Foxx), Rhino (Paul Giamatti) and Green Goblin, aka Harry Osborn (Dane DeHaan), although the main villain here is Electro. Green Goblin and Rhino show up later in the film.
The most pleasing thing about Garfield’s Spidey is that the actor brings to life the wisecracking, spirited web head found in Marvel comics. At times it seems as if Spider Man has jumped straight from the inked pages onto the silver screen. This is quite refreshing too, because a lot of the time when a sequel comes about, the main character has somehow changed between the first and second film-anyone remember the drastic change Peter Parker had made between Spider Man and Spider Man 2?-not the case in The Amazing Spider-Man 2. Any changes that Peter Parker/Spider Man go through happen over the course of the story in the sequel-and they’re doozies.
Peter isn’t the only one going through changes in this film. The relationship between Gwen and Peter goes through its own metamorphosis as well. Max Dillon and Harry Osborn however, go through the most drastic changes, each becoming not only powerful super villains, but the embodiment of the psychosis they suffer from. Max, who only wants to be noticed and remembered instead of repelling everyone, becomes a creature whom attracts and absorbs all forms of electricity. Ironically the most repellent force of nature to humans. Harry Osborn, the son of Norman Osborn, who feels as though he’s been a throw away undeniably becomes one of the more repulsive villains from the Spider Man universe.
Through this observation, it appears that the main theme in The Amazing Spider Man 2 is that life changes us. Whether it be everyday things like graduating from school, deciding which college to attend, choosing to pick up a new career to make ends meet, or an extreme physical change. Except that there are two themes in this story, the second being that of finding hope within oneself when life takes a turn for the worst and in finding that hope, also discovering the strength to continue on.
The Amazing Spider-Man 2 is full of thrills, laughs, intense and heartbreaking moments. It is also chock full of spectacular visual effects, explosive action and even romance. Of all the movies to kick off the summer blockbuster blitz-yes it begins in May-this Spidey fan is more than pleased that this is the movie to do so. If you’re looking for a treat for your senses, or just a huge fan of Spider-Man check this film out. At the very least, it will be fun.
For a film that was made nearly twenty years ago, about an incident that occurred in nineteen eighty-seven; close to thirty years ago, Fargo still holds up as much as any classic film from the golden age of Hollywood does. This is in part to the approach of the Joel and Ethan Coen, that director/writier tag team responsible for such films as Raising Arizona, The Big Lebowski, O Brother, Where Art Thou and No Country For Old Men.
Primarily, the directors allow the story to tell itself, beginning with the set up, where Jerry Lundegaard (William H. Macy) meets with Steve Bucsemi’s Carl Showalter and Peter Stormare’s Gaear Grimsrud hiring them to abduct his wife Jean; to the climax of the film where Police officer Marge Gunderson (Frances McDormand) confronts Grimsrud.
By allowing events to unfold linearly instead of using flashbacks or clever plot twists, the audience is given a sense of being a “fly on the wall” from scene to scene. This approach is effective because we are never left to wonder what will happen next and there is no need to explain why a specific event took place. The only questions the viewer might possibly ask are: “Could this situation get any worse?” or “How will this finally end?”
In answer to the former question, things do unravel rather quickly due to the bungling of Showalter and most especially Grimsrud, both of whom find themselves going from a supposedly effortless kidnapping, to multiple homicides and Lundegaard is forced to watch his perfectly formed plan to use his wife as a means of getting money go to absolute caca.
Another portion of the Coen’s approach that works well, is that they keep things simple, because the events themselves are complicated enough. To achieve this apparent simplicity, we are really only given three points of view: that of Lundergaard, Showalter/Grimsrud and Gunderson. We watch as Lundergaard must deal with his plan becoming increasingly complicated and dangerous, the abductors as they make one mistake after another and Marge as she follows the bread crumbs.
When the treatment of the story is combined with the beautiful cinematography and performances that are realistic rather than over the top and dramatic, the result is a film that is instantly timeless and iconic. So much so, that the film has inspired a television series based on it. Truly worth the effort to create it as well as the awards it earned.
If you are familiar with Joseph Gordon-Levitt, or JGL as he is popularly known; then you are more familiar with him as an actor rather than a writer/director. Don Jon is his directorial debut. In addition to directing this film, he is the star, writer and producer. Surely, tackling four positions says a lot about Gordon-Levitt’s talent , not to mention his dedication.
That dedication bleeds through on screen with the actor/director’s character Jon, who the actor portrays as convincingly as he has other parts in other movies like The Dark Knight Rises, or Looper. Never the less, Gordon-Levitt’s acting, nor the superb acting of the remaining cast, which includes; Tony Danza, Scarlett Johannson and Julianne Moore is the focus of this article.
Instead, the topic of import here is the message that Joseph Gordon-Levitt means to convey as writer/director. The reality of this film is palpable and rings so true one has to wonder if the story is not based on someone from Gordon-Levitt’s life, or at least someone he knows. Perhaps the characters and the specific story within Don Jon are fictitious, but the issues and problems the lead character faces are very real.
Here we have a young man whose priorities are: His body, the myriad of women he beds, his apartment, his car and porn. The latter appears to bring him more satisfaction and fulfillment than the second item in the list. This of course, is to his detriment, because he eventually finds himself in a relationship with a woman he “loves” yet he still does not find fulfillment with her.
Don Jon is not so much a comment on how pornography keeps men from finding satisfaction in their relationship, but rather that when it comes to men who think they get more out of looking at pornography, or sleeping with a new woman every day/week, than they do when in an actual relationship, are missing the big picture.
When Esther (Julianne Moore) asks Jon what it is that he gets from looking at pornography that he doesn’t from a relationship, his reply is pretty enlightening. “I can just lose myself in it.” he says. In that single sentence the root of the problem for Jon is revealed. Enjoying his internet activity more than being with a woman is not the problem. It is where his focus lies.
There in we find the message Joseph Gordon-Levitt wants to convey. Men and women often go from one person to another not solely because of a habit they have or just because of an addiction. Instead, they lose sight of where their focus should be due to the habits, addictions or even fears that get in the way of the things that are important. Such as losing oneself in another person whether it be a lover, friend, spouse, or family.
What makes Don Jon a successful film, is that it does not seek to embellish on real topics by making them fantastical or improbable, but takes a real issue and portrays it in a straight forward and objective fashion. We cannot hide from what happens on screen. It forces the viewer to observe their own life and how they approach relationships and what it is that they focus on in order to find fulfillment.
The Wolverine starring Hugh Jackman, is among one of the highly anticipated superhero films of the year. With this second stand alone Marvel film featuring the clawed mutant Wolverine, the filmmakers have an obstacle to overcome: the disappointing albeit successful X-Men Origins: Wolverine. Director James Mangold and Marvel do that by borrowing from Uncanny X-Men #172 published in 1983 where the X-Men battle baddies in Japan.
Some of the similarities between the film and comic other than location, are the inclusion of the characters Mariko Yashida, Harada, Yukio and Viper. In the film Viper is a mutant and American. In the comic she appears to be some kind of assassin and is Japanese. Other roles are switched as well, but for the sake of not having any spoilers, we’ll leave out those details. It’s merely interesting to notice what Hollywood does to make something different from the source material while keeping the essence of it alive.
In this “sequel” to X-Men: The Last Stand. Wolverine has exiled himself from The X-Men and retreated to Canada where he lives as a kind of mountain man and is haunted by Jean Grey’s spirit in his dreams. He is found by Yukio, a female Samurai with the ability to see people’s deaths, sent to invite Logan-Wolvie’s real name for those who are unaware-to Japan at the request of Yashida, a Japanese soldier whose life Wolverine saved during the bombing of Nagasaki and Mariko’s Grandfather; who is dying.
Compelled to pay his respects and attempting to escape his past, Wolverine accompanies Yukio to Japan and meets the man he saved sixty-eight years ago. While there he uncovers a plan to kill Mariko and decides to become her protector. This is a task which tests Wolverine’s spirit and perseverance in unexpected ways, aiding him in rediscovering his reason for being the hero.
One aspect of the film that is especially enjoyable, is the portrayal of Japanese customs and culture. Mangold ‘et al do this so well, that we are able to see Japanese culture through the eyes of the Japanese and for those familiar with the culture, it is a breath of fresh air because true Japanese culture tends to get reduced to Samurai philosophies in Western cinema.
Marvel should be proud of The Wolverine because it does a superb job of restoring the iconic legend to his proper visceral, animalistic persona. Perhaps the only critique from this fan of films and Wolverine is that Adamantium is stronger than steel, even Japanese steel; unless we are supposed to assume that the Katanas in the film are made of the same metal as Wolverine’s claws. Otherwise, bravo, well done, splendid and all that!
Also, be sure to stay after the credits for a treat that should get many an X-Men fan excited. This fan sure was!
When I was a very young boy, my father was a fighter pilot in the United States Air Force. At that time we were stationed in Okinawa, Japan. Because there was only one channel of American television-neither cable, satellite TV or the internet existed then-my brother and I would often switch to the Japanese programming. It didn’t really matter to us that we couldn’t understand the language, we really only watched for the action and thrill. We watched Ultraman battle giant monsters and other shows involving giant robots battling giant monsters.
While watching Pacific Rim, I was instantly transported back to those days and also remembered Godzilla reruns I had and have seen over the years: The colossal creature from the sea smashing through buildings like they were nothing more than paper mache, droves of people running for their lives. Then, a savior appears. Also massive in appearance; taller than the highest skyscraper. The two become locked in battle. Mountains are leveled, entire city blocks reduced to rubble. Who will be the victor? Thankfully the mechanical golem of steel and the very best in human ingenuity, combined with the bravery and skill of it’s human pilots arise victorious from the epic battle and live to fight another day.
That is the idea behind a film like Pacific Rim and Director Guillermo Del Toro does a fantastic job. The only draw back for me was that a majority of the battles take place in the ocean. I really would have loved to see one of the Kaiju get thrown through a hillside, pulverizing it into level ground, but that’s just the fan boy in me.
Pacific Rim is entertaining at the very least and I believe it opens the door-widely-for some Anime franchises such as Gundam, Robotech and Neon Genesis Evangelion to get the live action treatment. If you’re in the mood for a film where enormously gigantic monsters threaten the existence of the human race and all that stands between them and our extinction are a small band of pilots in mechas that make make the robot in Real Steel look like a toy; then Pacific Rim is precisely the movie for you