This week on the InSession Film Podcast, our very own Ryan McQuade joins us to discuss Sian Heder’s beautiful film CODA and our Top 3 movies about pursuing music!
Big thanks to Ryan for joining us once again on the Main Show, even if he’s been around here a lot lately. We always love his insight and his passion for CODA made the conversation all the more fruitful. As big music fans, it’s always a great time when we dive back into the world of music movies, so this week’s Top 3 was nothing short of a great time.
On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!
– Movie Review: CODA (7:03) Director: Sian Heder Writers: Sian Heder Stars: Emilia Jones, Marlee Matlin, Troy Kotsur
– Notes / Discussion (1:19:12)
We had planned on Brendan giving his thoughts on The Suicide Squad after missing out last week (which is even noted in the intro of the episode), but as you’ll hear, our review of CODA went a little long. So we decided to forgo that for time and will plan on another Patreon Bonus Content episode soon. However, we do announce our latest Movie Series as we prepare for our 2003 Retrospective. Plus, we are still giving away t-shirts for iTunes reviews!
– Top 3 Movies About Pursuing Music (1:39:54)
If you’ve been listening to the show for awhile, you’ve heard us talk about music movies many a times over the years, but we’re always trying to find new perspectives to talk about when it comes to that particular genre. And while this week’s topic is a bit more specific, it’s one we’ve never done before. The pursuit of music is something all musicians experience, and there are some fantastic movies that examine it directly. So, maybe not the broadest of topics, but a rich one nonetheless. That said, what would be your top 3?
If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!
Director: Ferdinando Cito Filomarino Writers: Kevin A. Rice Stars: John David Washington, Boyd Holbrook, Vicky Krieps, and Alicia Vikander
Plot: Following a tragic car accident in Greece, Beckett, an American tourist, finds himself at the center of a dangerous political conspiracy and on the run for his life.
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When was the last time you’ve said, “They don’t make movies like that anymore”? Because that was my initial reaction through the entirety of Fernandino Cito Filomarino’s political thriller, Beckett, a terrific “wrong man at the wrong place at the wrong time” thriller that seldom gets made today in a sea of IP-driven blockbusters and franchise films. The movie sees our titular character (John David Washington) become the central part of a political conspiracy after crashing his car in a house while vacationing with his girlfriend (Alicia Vikander).
The entire film is staged like a 70s paranoid thriller, with a European flair, as Beckett continuously flees corrupt police officers and U.S. Embassy Agents who are trying to kill him before he founds out his car landed on the house where the kidnapped nephew of a Greek politician is being held hostage by far-right ultranationalists. And while all of it seems terribly preposterous, with a surface-level political subtext, Filomarino takes inspiration from the greatest thrillers of our past to craft something wholly unique and engaging, without ever letting up the tension and making its extreme game of cat-and-mouse between Beckett and a world he did not want to be a part of more unpredictable by the minute.
Its original song, Born to Be, from Devonté Hymes, already establishes the film’s classic feel during its opening sequence. Still, it’s when Beckett gets caught in a chase between himself and Greek police officers that the word “Hitchcock” immediately comes to mind. That’s mainly due to Ryuichi Sakamoto’s electric score, which immediately recalls the great work of Bernard Hermann, with a staccato-like tempo through string instruments establishing the movie’s brilliant tension to the point where I was on the edge of my couch the entire time. In addition, Sakamoto single-handedly makes every single action sequence more thrilling, whether it’s signaling to the audience that Beckett is in danger through a sharp violin launch, as undercover ultranationalists are trying to stab him at a Subway station before he makes it to the Embassy, or when he’s caught in one inexplicable foot chase after another, having no idea why the police would want to kill an innocent person who was unfortunately caught in a tragic accident.
Washington also reminds the audience how great of an action star he is, and in fact, gives a better performance here as his past tenure in the realm of action in Christopher Nolan’s TENET. In Nolan’s film, he was sleeker in his one-on-one fights and precise during chase sequences in firefights. In contrast, in Beckett, he’s more imprecise, rough, and relies solely on his survival instincts to stay alive as long as he can, which makes its action sequences feel more urgent and thrilling. Take the scene where he jumps off the top floor of a parking lot and lands on a car as he tries to stop it from driving away. Of course, no one would ever do that because it would almost mean certain death. But Beckett can’t think rationally anymore since he’s embroiled in an event where everyone is after him for having been at the wrong place, at the wrong time. To survive, he must always be one step ahead of his opponents, even if it means risking his life and doing the craziest things imaginable. TENET‘s problem was that the action sequences were a bit too good for them to have any emotional weight (it didn’t help that its characters were thinly written and spoke like video-game NPCs). Beckett aims for raw, human catharsis and crafts its action sequences in that regard.
None of the action is dull. Filomarino, the great-nephew of Luchino Visconti, is highly literate in cinema’s visual and aural medium. He teams up with cinematographer Sayombhu Mukdeeprom, known for his static work with Apichatpong Weerasethakul, who makes his camera the central object of Beckett’s descent into chaos. As Mukdeeprom moves the camera in different situations, it allows for Washington and actors like Boyd Holbrook to take full advantage of the film’s large, IMAX-like canvas and move in more unpredictable situations. For example, during a foot chase between Beckett and Tynan (Holbrook), the visual and aural medium of cinema meshes together to create an unforgettable sequence; Beckett hits Tynan with a light, in the most incalculable way imaginable and slowly tries to disperse himself through a crowd inside a protest. Sakamoto’s musical composition then becomes reminiscent of Goblin’s drum-heavy score from Dario Argento’s Deep Red, as Mukdeeprom’s minimal camera tilts and Washington’s panic-stricken state allows for the tension to build itself up naturally and for audience members to become wrapped in the film’s endless chase sequences. The movie’s fast pace never allows the audience a moment to breathe and discern what’s going on—Filomarino wants to make sure they’re on their toes all the time, even if it means sacrificing important plot development and clearly defining its political themes.
But I’ll admit I didn’t much care about its political storylines. The weakest part of the film was when Beckett meets Lena (Vicky Krieps), a political activist organizing a rally for Karras. While Krieps always gives a great performance, none of its political themes are properly explained and make an ounce of sense. But it didn’t really matter. Filomarino knows that it doesn’t matter and focuses on crafting an unrelenting action/thriller featuring John David Washington’s greatest performance and one of the very best film scores of the year by one of the greatest musical artists of all time. Filomarino, alongside executive producer Luca Guadagnino, teamed up with masters of acting, music, and cinematography to replicate and breathe new life to a long-lost genre of cinema. If Beckett were an unreleased 1970s paranoid thriller that Netflix recently remastered, I’d believe it. Even if the film has a rather middling critical response, I couldn’t help but be blown away by how skillful Filomarino is as a filmmaker, especially because it’s his first English-language film. Go in with low expectations, and it might just take your breath away.
The musical genre tends to be divisive. Some people are musical theatre nerds. Others want to run for the hills when they hear the sound of Jeannette MacDonald’s voice. I fall somewhere in between and find myself taking a shine to genuinely silly, completely undisciplined examples of the art form. In the spirit of appreciating the genre, I have decided to compile a list of my favorite entries in the genre.
1. The Sound of Music
For some, The Sound of Music is an overlong mess that gets too caught up in saccharine family drama to really let its musical numbers shine. I think that those detractors overlook the fact that Julie Andrews and Christopher Plummer bring an uncommon level of sensitivity to their portrayal of the lovers at the center of the story. Andrews is at her most radiant and lovely, as she portrays the nanny of every child’s dreams. You simply can’t beat the opening shot of her twirling around in the mountains, without a care in the world. Every musical number is a certified banger and even those who haven’t seen the film know the lyrics to ‘Do-Re-Mi’. You get all of this on top of an extraordinarily nuanced performance from Eleanor Parker, and plenty of shots of the beautiful scenery that can be found in Salzburg. No, it’s not an Abel Ferrara movie, but not every film should have to be gritty and realistic. The Sound of Music makes up for its unbelievably idealized ending with enough heartfelt joy to keep the whole family happy.
2. Thoroughly Modern Millie
This will certainly stand as a controversial choice, due to the fact that it is less well-known than other hit musicals of the 1960s, but I see it as an underrated gem. It’s a delightfully weird little confection that blends 1920s period detail with the ribald sexual humor of the 1960s. Julie Andrews gets to play a conniving schemer who proves to be far too daffy to get away with any Becky Sharp-esque schemes. She participates in gonzo slapstick comedy set pieces, bounces up and down on elevator floors with Mary Tyler Moore, and gets to wear some eye-popping costumes. If all of this isn’t enough to sell you on it, just consider the fact that Carol Channing turns up out of nowhere and becomes a major supporting player.
3. Singin’ in the Rain
Many will consider it sacrilegious to have this classic musical placed so low on the list. I will admit that I considered placing it first because of its exalted status as the most influential film to come out of the genre. However, I ended up following my heart instead of my head and chose personal favorites over critically acclaimed classics. This is not to say that I don’t understand why Singin’ in the Rain is so beloved. When Gene Kelly performs the titular song in the rain, complete with a spinning umbrella, it is one of the purest expressions of happiness that has ever been committed to celluloid. Musical performances can cut straight to the core of our emotions, and that scene is just one example of Stanley Donen finding a way to accurately capture the way that people in love feel. It really is shocking that the musical score was thrown together when each song seems to flow perfectly into the next. You would never know that this wasn’t produced with the intention of creating a near-perfect masterpiece. The results of the difficult production are seamless.
4. Grease
This nostalgia-driven teen beach movie can boast some of the most memorable tunes of the 1970s. It’s loaded with tracks that left an indelible mark on children of the 1970s and most young, lovesick girls could probably relate to Sandy as she tearfully sang ‘Hopelessly Devoted to You.’ John Travolta and Olivia Newton-John are both sweet and likable, but I’d be lying if I didn’t admit that Stockard Channing walks away with every scene that she appears in. She turns the naughty man-eater into a sympathetic figure. When she gets bullied by other girls and fights back against the double standards that keep her from being treated like her male counterparts, Channing’s fiery resolve makes this conflict feel weighty and important. If you have a sense of humor, you won’t be able to hold in a cackle as she tears apart Sandy’s virginal persona and makes jokes at the expense of Troy Donahue. When it comes to the musical genre, it doesn’t get much funnier than this.
5. It’s Always Fair Weather
This was one of the more thematically ambitious musicals of the 1950s. It aims to tackle a variety of postwar issues by presenting its three male protagonists as disgruntled and disaffected veterans who have been abandoned by society. In between the moments in which Cyd Charisse performs a dance move that would seem to defy the laws of physics, there are scenes that seriously consider the manner in which people tried to gloss over the negative consequences of World War II. It seems ahead of its time in the way that it critiques media exploitation of lower-class individuals and war veterans. When an oleaginous television host condescendingly talks about a family man as if he were the most pitiable human being alive, it will get your blood boiling. Musicals are often criticized for serving as escapist fantasies and not asking the audience to think about issues that plague contemporary society. It’s Always Fair Weather is always thought provoking, even when it fails to fully stitch together musical numbers, romance, and social commentary.
6. Mary Poppins
Mary Poppins gave Julie Andrews the chance to shine as yet another nanny, although she’s far more strict in this one. Her note-perfect delivery of songs as varied as “Spoonful of Sugar” “Supercalifragilisticexpialidocious” allow this musical to remain a cut above the other hit musicals of the 1960s. Some have accused it of being too sweet, but its message about parenting still feels timely and the ending is strangely moving. When you see Mary Poppins wistfully gazing at the family as she realizes her work here is done, it’s difficult not to get a lump in your throat. It mixes over the top, fantastical humor with genuine observations about the importance of really listening to your children.
7. Gigi
This award-winning classic features questionable gender politics, but it manages to overcome some of its more disturbing thematic implications. This is mostly because of the direction of Vincente Minnelli, who has a way of capturing visual splendor that is almost unmatched. You get to enjoy two hours of beautiful costumes, gorgeous actors, extraordinary set design, and eye-popping colors. This was a lavish MGM production that made good use of the resources on display.
8. Oliver!
Oliver! cops some flak for seeming outdated and overly artificial. I would argue that these criticisms are unfair, as the film is able to capture the spirit and energy of the characters found in the Charles Dickens classic. Carol Reed builds up a world in which it is possible for Oliver Twist to end up in the direst circumstances, before quickly dancing and singing his way out of them. His skill is in hammering home the seriousness of the abuse that poor orphans faced during the 1830s. When we see a malnourished little boy asking for more food, it is played straight. I think this was a risky move on Reed’s part and it is a credit to his good taste that the story never ends up seeming overly cloying or emotionally manipulative. It will inevitably win you over with its elegance and delicate approach to storytelling.
9. Guys and Dolls
The undeniable hotness of Jean Simmons and Marlon Brando keeps Guys and Dolls going, even when it occasionally loses forward momentum. Joseph L. Mankiewicz directs dialogue-based scenes as though they are essential, rather than just linking different musical numbers together. The dialogue is crackling and Simmons is able to turn up the heat when she flirtatiously spars with an unusually loose Brando. You’ll root for the two of them to just make out already, and when Simmons finally gives in to her desires, you’ll be crying your eyes out. It’s a real crowdpleaser, made by people that you wouldn’t typically associate with the genre. Because of that, it succeeds in areas where most musicals fail.
10. Fiddler on the Roof
The plot is terrible, some of the supporting characters are frustratingly bland and Norman Jewison doesn’t come through with the most exciting visual compositions. All of these criticisms fall away in the face of the catchy tunes and Topol’s bravura turn as the crafty, immoral Tevye. It drags a little bit, but you’ll be happy whenever the characters start to sing. There’s a reason why “Tradition” has become such an iconic theme song. I challenge you not to hum the tune to “If I Were a Rich Man” under your breath as you read this.
So, we saw Space Jam: A New Legacy. Okay, we can now all laugh at how ridiculous it was. It’s supposed to be because it’s for kids, not the adults who remembered the original Space Jam with Michael Jordan. Plus, it is a twenty-five-year difference of generation of players that the kids (I’m 31) consider the greatest over those I consider the best. There are other sports-related movies with major stars coming in as themselves or a character that is more real. And it isn’t just basketball and it’s not in recent years either.
Legitimately good movies authenticated by the athletes themselves in their own workspace. Basketball star Ray Allen played Jesus Shuttlesworth in Spike Lee’s He Got Game, professional pool player Willie Mosconi cameoed in The Hustler (his hands are in close-up of doing the trick shots), and legendary soccer stars Bobby Moore, Pele, and Osvaldo Ardiles, plus players from the English football club Ipswich Town in John Huston’s WWII soccer drama, Escape To Victory. They don’t have to do much but act out what they had always done in real life and just put with the actors who have no idea how to play the sport. Here’s a few examples:
The Pride Of The Yankees (1942)
The biopic of Yankees superstar Lou Gehrig, who died of ALS at age 37, came out one year after the first baseman’s death. Gary Cooper was nominated for an Oscar for his portrayal of “the Iron Horse,” even though he had no interest in baseball. The film featured several of his teammates playing themselves including Bill Dickey, Robert Meusel, Mark Koenig, and Babe Ruth, who had to lose weight to get to what he looked like when he was still playing. Even with some artistic license, the Yankees and Gehrig’s widow supported the production and received critical and commercial acclaim, including 11 Oscar nominations.
Grand Prix (1966)
Race car drivers are athletes. I’m saying this because some still refuse to believe that. Now that it’s said, with the amount of travel they have to do to prepare for every race, you wouldn’t think they have time to let a movie camera be on the track and show themselves in front of a camera without the racing helmet. But John Frankenheimer’s epic about four Formula One drivers during one season of it saw a whole slate of racing legends then still alive in cameos on and off track. Champions Graham Hill, Jim Clark, and Jack Brabham, plus drivers Dan Gurney, Bruce McLaren, and Jo Siffert all took part in the film and let movie cameras chase them during the practice sessions in Monaco, Belgium, and Italy. Carroll Shelby, who was portrayed by Matt Damon in Ford v Ferrari, helped the production get in contact with teams and drivers, who were skeptical of their purpose, but were won over and helped out.
The Longest Yard (1974)
Burt Reynolds plays disgraced football star Paul “Wrecking” Crewe who was caught point-shaving and is sent to prison for stealing his ex-girlfriend’s car. The football-loving inmates don’t respect him, yet he is recruited into a game between the inmates and the guards at the request of the warden and lead prison guard. This comedy (better than the Adam Sandler version) featured former football players Mike Henry, Joseph Kapp, Pervis Atkins, and Ray Nitschke, who would go on to be inducted into the Football Hall of Fame. The film was a major success and would win the Golden Globe for Best Picture – Musical or Comedy.
Blue Chips (1994)
Ron Shelton, who wrote and directed the sports films Bull Durham and White Men Can’t Jump, wrote this story about a college basketball coach (played by Nick Nolte) who is under pressure in recruiting some of the best players for his program. Directed by William Friedkin, it co-starred Shaquille O’Neal, who had just started his career in the NBA, Penny Hardaway, who would be teammates with O’Neal in Orlando, and two Hall-of-Famers, Bob Cousy and Larry Bird (both played at separate times for the Boston Celtics). Several other major figures made cameos too including coaches Bob Knight and Jim Boeheim, Dick Vitale of ESPN, and high school phenom Kevin Garnett, who would later play himself in Uncut Gems.
Eddie (1996)
Okay, so this example is of a bad movie, one that is unfunny in jokes but hillarious in plot, especially with the real-life context of the New York Knicks. Whoopi Goldberg plays the titular character, a rabid Knicks fan who suddenly becomes head coach of the team and gets a fan’s dream of running the squad in their own terms. For context, in the film, the Knicks are a terrible team with a lot of off-court drama and run by an eccentric owner (played by Frank Langella) who considers moving the Knicks to St. Louis. In reality then, they had just went to the NBA Finals and were still among the best teams in the Eastern Conference not named the Chicago Bulls. Also, even if the team was bad, which they very much were for the last decade until recently, there’s NO WAY IN HELL they’d move anywhere, espeically St. Louis, which had its chance and failed in supporting an NBA franchise.
Plus, why a fictional character when Spike Lee is right there??? Spike Lee, #1 Knicks fan, always sits courtside while Eddie watches from the nosebleeds. Lee has and remains really active in sports fandom backing a singular team, even getting into it with other players; ask Reggie Miller of the Indiana Pacers. As for the cameos, who wasn’t in it? Dennis Rodman, Rick Fox, Gary Payton, John Starks, Vlade Divac, Knicks legend Walt Frazier, and legendary fans (before outting themselves as human garbage) Donald Trump, Rudy Guiliani, Ed Koch, and David Letterman all were seen in it. This was the same year that Space Jam came out in which a few players were seen in both movies.
Director: Liesel Tommy Writers: Tracey Scott Wilson, story by Tracey Scott Wilson and Callie Khouri Stars: Jennifer Hudson, Forest Whitaker, Audra McDonald
Plot: Following the rise of Aretha Franklin’s career from child singing in her father’s church’s choir to her international superstardom, Respect is the remarkable true story of the music icon’s journey to find her voice.
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Respect opens with a young Aretha Franklin being asked by her father to sing at a family gathering, full of other icons of the time such as Duke Ellington, Ella Fitzgerald, and Dinah Washington. She’s praised for her talent even at such a young age, and it’s clear from the start: Aretha is going to be a star. It’s obvious to us as the audience, as we already know the groundbreaking things she’ll achieve, but it also establishes an interesting dynamic with her family. In the following scene, we see Aretha greet her mother, who was recently divorced from her father, and it sets up the question that surrounds the entire film: what role did her family have in her success and how did it shape her life? Some musical biopics make it clear this singer was on their own, such as Freddie Mercury in Bohemian Rhapsody, who entirely cut out his family. Respect focuses on the relationships in Aretha’s life and creates a narrative around how they either helped or hindered her success, and overall shaped her artistry.
Raised in Detroit by Baptist minister C. L. Franklin (played by Forest Whitaker), the film follows Aretha through all the pivotal moments in her life and her career, from childhood to her return to gospel music with her album Amazing Grace. The film doesn’t hold back showing how tumultuous her relationships are, refusing to shy away from the uncomfortable and painful moment she gets pregnant with her first child at 12 years old. After this traumatizing event, Franklin’s father continues to be incredibly strict and tough on her for a majority of her early career, to a point that borders on abusive. Forest Whitaker doesn’t take any of these scenes lightly, and he commands the room every time it’s shared with his co-star Hudson. He truly embraces the terrifying personality C. L. Franklin is portrayed as and gracefully teeters the line between cruel intentions and complications of a father who thinks he’s doing what’s best for his child. He plays many abusive moments as if his atrocious acts are forms of love, further complicating the emotional connection between father and daughter. It’s difficult to watch, but ever so important to truly understand the trajectory Aretha’s life takes.
As her career takes off, Aretha replaces her abusive father with an abusive husband, still commanding her every move and taking credit for her success. Hudson is effortless in showing how strong and powerful Franklin is while performing and singing, and how timid she is when she’s around others, almost afraid to speak her mind. After she leaves her husband, her career and her priorities shift, as does her demeanor. She slowly turns into the controlling figure she’s always had commanding over her, and in the process destroying the relationships of those she loves. As she transforms into a different person, the film delicately draws the connections to how her relationships with her mother, father, grandmother, husband, and sisters shape her artistry. Those close to her either push her too hard, comfort her, hold her back, or embolden her to dizzying arrays of confused directions. It eventually reaches a breaking point, where she doesn’t know who she is or who she’s become anymore, losing everyone who’s cared about her in the process and again, setting her artistic work on a new course.
Hudson truly transforms in this role to the point where she disappears into the icon she’s portraying. Aretha Franklin handpicked Hudson to play her in the biopic, and it’s clear that Hudson not only delivers but excels. She effortlessly morphs from one phase of Franklin’s life into the next and truly guides the audience along on the journey, becoming the driving force behind the film.
Respect isn’t without its criticisms though. At two hours and twenty-six minutes it definitely feels a bit overlong. But it’s hard to determine what parts need to be whittled down, as each feels essential to authentically tell Ms. Franklin’s story. Musical biopics have also become known as Oscars bait, following the same formula over and over again. Respect definitely can fall victim to some of the common tropes we see in these films, but the powerful performances and moving story are too distracting to make its faults grotesquely noticeable.
I didn’t go into Respect with high expectations. While Jennifer Hudson is an incredible performer, I was worried that this would feel too formulaic to be enjoyable. I came out blown away and incredibly emotionally moved by the hardships Aretha Franklin struggled in her life, and how genuinely connected Jennifer Hudson’s performance feels. She is truly worthy of the early Oscar buzz she’s already receiving.
Director: Leos Carax Writers: Ron Mael, Russell Mael, Leos Carax Stars: Adam Driver, Marion Cotillard, Simon Helberg, Devyn McDowell
Plot: A stand-up comedian and his opera singer wife have a 2 year old daughter with a surprising gift.
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From the moment filmmaker Leos Carax announced his next film would be a musical, it was guaranteed that Annette would be unlike anything we’ve ever seen before. That promise has been fulfilled with what can only be described as a cinematic rock opera, an overwhelming cacophony of sounds and emotions that soars through each and every scene.
It feels inevitable that Carax’s journey would eventually take him to a full-fledged musical experience. As early as 1986’s viral romance Mauvais Sang, he was featuring detours into rambunctious dance numbers through the streets set to David Bowie’s “Modern Love” – a scene which Noah Baumbach and Greta Gerwig lifted for their 2013 hit Frances Ha. Carax’s most recent feature, the unclassifiable 2012 wonder Holy Motors, similarly featured a vignette that burst into full-on musical for one standout sequence. With an almost decade long wait for his follow-up to that film, one of the most acclaimed of his career, all eyes were peeled for what cinematic delight Carax would bestow upon us next.
Annette stars Adam Driver as Henry McHenry, a rebellious stand-up comedian who we’re introduced to as the punk rock God of the comedy world, moving his audience wherever he wants as they sing in harmony with his stage routine. McHenry is engaged to Ann Desfranoux, a soprano played by Marion Cotillard. The two are the talk of the town, with their every move followed feverishly by demanding paparazzi and gossiping nightly entertainment news. Carax turns that television standard that we all know into his very own Greek chorus, observing the developing trials and tribulations of the McHenry/Desfranoux romance with top of the hour breaking headlines.
Carax’s reflections on the nature of fame are layered deeper by the arrival of Henry and Ann’s child, Annette. Jarringly portrayed as a wooden marionette puppet treated as a living, breathing child, the artificial nature of Annette serves as a further peeling back of the separation from reality that comes from being a celebrity. When it’s revealed that Annette has a gift of her own, a practically supernatural singing ability, she becomes commodified as the latest in the factory line of celebrities for the culture to worship and destroy.
Ron Mael and Russell Mael, also known as the rock duo Sparks, co-wrote the script with Carax, and provide the musical compositions that accompany the entire film. Fitting the operatic tone that Carax achieves from the moment the film begins, there’s rarely a word of dialogue spoken rather than sung, calling to mind the way that Jacques Demy used the music of Umbrellas of Cherbourg to channel emotion and character beats through song. It provides a swell of wonder and visceral engagement with feelings that mere words wouldn’t be able to accomplish. Every note of music strikes an inner chord with the audience throughout Annette, as Carax, Sparks, and the actors charge through nearly two and a half hours of overwhelming sensations ranging from swooning love songs to haunting notes of despair.
The Maels provide the instruments for Carax to conduct his symphony, the true epic musical that he has always been destined to make. At times, Annette threatens to become too much, working in commentary on toxic masculinity, the corrosive impact of fame, the shattered bond between a child and parent, and so much more. A lesser filmmaker may have buckled under the sheer ambition of what a big swing Carax is taking here. The fact that he manages to pull this off is nothing short of a stroke of genius, a master filmmaker at the top of his game, fulfilling a promise that he started teasing 35 years ago to combine sound and image for the entire duration of this wholly unique experience.
This week on Extra Film, Erik Anderson of AwardsWatch joins Ryan and Jay to continue their David Lynch Movie Series with Lynch’s masterpiece Mulholland Drive and then Ryan and Jay discuss the newest indie documentary,Val!
After his venture with Disney, and his success with Twin Peaks, Lynch wrote a pilot for ABC. When the studio said rejected it, he thought about it some more and created the feature film that would become his modern signature piece of work, Mulholland Drive. From its visual style to commentary on Hollywood to its explicit romance, Mulholland Drive is an American cinema classic as well as being a film you could talk about for hours. Ryan and Jay knew they would have their hands full with this one, so they brought on Erik to help them break down this film, and it lead to one of the best reviews under Ryan and Jay’s tenure on Extra Film.
In the back half of the episode, the guys review Val. Taken from tons of footage throughout his career, we get an in-depth look at the life of the great actor Val Kilmer. We look back on his rise of celebrity and where he is at now in his life as he battles life-threatening illnesses. It’s a good film and the conversation by Ryan and Jay is as good as the film they are talking about.
Thanks for listening!
– Movie Review: Mulholland Drive (5:35) Director: David Lynch Screenplay: David Lynch Stars: Naomi Watts, Laura Elena Harring, Justin Theroux, Ann Miller
– Movie Review: Val (1:25:11) Director: Ting Poo, Leo Scott Stars: Val Kilmer
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Director: Tom McCarthy Writers: Tom McCarthy, Marcus Hinchey, Thomas Bidegain Stars: Matt Damon, Camille Cottin, Abigail Breslin
Plot: A father travels from Oklahoma to France to help his estranged daughter, who is in prison for a murder she claims she didn’t commit.
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If one had to pin down the themes you might expect to see in a Tom McCarthy movie, they are these: a loner on the outskirts of society; a ragtag group of social misfits who band together; the humanizing of isolation and loneliness. His excellent debut The Station Agent featured a star-making turn from Peter Dinklage and proved to be quiet, thoughtful, and remarkably deep. His follow-up, The Visitor, was in a similar vein, ensuring McCarthy earned himself a reputation for the sweetly melancholic.
Then, The Cobbler happened. While it retained those same McCarthyesque themes, the Adam Sandler vehicle never got going, proving to be cloyingly saccharine and overcooked. This was a shame because McCarthy is no fly-by-nighter; his movies are genuine and touching – a far cry from the typical mainstream Hollywood fare which feel more emotionally manipulating than earned. He even wrote the story for Pixar’s Up, which has arguably the most devastating opening 10 minutes in cinematic history.
2015’s Spotlight was a remarkable return to form, even winning Oscars for Best Film and Best Screenplay. Ignoring a few odd choices such as Timmy Failure – which had more of a gun-for-hire feel to it – his follow-up Stillwater feels like McCarthy accessing the roots of what makes him tick as a filmmaker. While it doesn’t reach the heights of his earlier work, the hallmarks are all there: fish out of (Still)water loner? Check. A society that shuns him? Check. Redemption through kindness? Check. All of that – plus an excellent turn from Matt Damon – makes Stillwater a rewarding watch.
Bill Baker (Matt Damon) is a self-confessed fuck up. A drunk and deadbeat dad, he’s trying to fix his life and make amends to those he hurt, specifically his daughter, Allison (Abigail Breslin). Allison fled all the way to Marseille to escape her father and traumatic past and wound up charged for the murder of her girlfriend Lina. Determined to free his little girl from prison, Bill relocates to Marseille in an attempt to find out the truth behind the death of Lina, but as a monolingual American in a city that doesn’t trust him, finding out the truth will be harder than he thinks. He enlists the help of Virginie (Camilla Cottin) to translate for him as he moves around the city, while becoming closer with her and her young daughter Maya (Lilou Siauvaud).
On paper this may sound like Jason Bourne meets Taken, but anyone expecting Damon to careen around Marseille cracking heads and shooting guns will be sorely disappointed. Stillwater is more family drama than actioner. Bill is a typical Southern gentleman who never responds to a woman without calling her ma’am first, says grace at every mealtime, and while he does own two guns, neither of them accompany him to France. Though Bill has a murky past (we’re told he’s done time, but the details of his crime are left out), he’s essentially a good-hearted person who wants to atone for the past. He makes no apologies for the brash American that he is, wasting no time with small talk or pleasantries of any kind. Instead he pleads with his daughter’s lawyer to investigate the missing link in the case: a man who bragged about killing Lina at a party, and when the lawyer refuses, Bill must then beseech Virginie for her help. He is frequently humbled and always, always stoic. It’s fascinating to see Damon play this kind of character – so at odds with the personality he often presents on screen. The quiet, muscly, tattooed Bill is a world away from Bourne, or Ocean Eleven‘s Linus. The first impression is that there’s nothing much beneath the surface, but slowly Damon brings forward a little more of Bill’s soft side, especially in his relationship with Maya, for whom he becomes something of a surrogate father.
Less interesting is his daughter Allison. If this story sounds familiar to you, it’s because it bears more than a passing resemblance to the Amanda Knox saga – Knox herself excoriated the movie in a series of tweets – which resulted in the exoneration of Knox after the real criminal was discovered. The real life story is a fascinating one, but Breslin gets no real opportunity to develop her character. She feels more like a plot device, a reason for Bill to be out there looking for something. As such it’s difficult to ever feel sympathy for her character, especially as she grows more and more unlikeable as the movie progresses.
What lifts Stillwater out of the doldrums of mediocrity is the performances of the actors and McCarthy’s admirable determination to steer away from the cliched idea of revenge actioner which this could so easily have been, and instead craft something more insightful and intelligent. For that alone, he wins points.
This week on Episode 442 of the InSession Film Podcast, inspired by our review of James Gunn’s The Suicide Squad, we discussed our favorite death-defying missions in film. Of course, depending on how you define that, the list could be endless given its broad scale. Many, many films have stakes in the highest form with characters defying death at every turn, so narrowing the options down was certainly a challenge. But a fun one, indeed. That said, here are our lists:
(Note: Please keep in mind that we each had different criteria for our selections)
JD
1) Protecting the Village – Seven Samurai
2) Mission to Crossroads / Last Stand – Fury
3) Mission to the Moon – Apollo 13
Ryan
1) Destroying the Ring – The Lord of the Rings
2) Protecting the Beach – Jaws
3) Theater Mission – Inglourious Basterds
Dan
1) Destroying the Ring – The Lord of the Rings
2) Fire Mission – Sorcerer
3) Burj Khalifa Mission – Mission: Impossible – Ghost Protocol
Honorable Mentions (Combined)
Various missions in these films – Dunkirk, Saving Private Ryan, War Horse, Apocalypse Now, The Dirty Dozen, Mad Max: Fury Road, The Wild Bunch, Gladiator, The Martian, Argo, Captain Phillips, All is Lost, 127 Hours, Da 5 Bloods, The Revenant, Aliens, Raiders of the Lost Ark, The Rock, Armageddon, Rogue One: A Star Wars Story, Escape from New York, 300, The Terminator, Independence Day, MIB, Speed, King Kong, Mission: Impossible Series, John Wick Series, Godzilla (1954), Ocean’s Trilogy
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. As mentioned above, there are countless missions/sequences in film that will qualify for this list depending on your criteria. So, it’s quite possible that your list is different than ours. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
Music soothes the soul; it inspires, brings people together, and heals a broken heart. It also, for those who pursue it wrongly, breaks you, leaves you beaten and alone, with no one but an orange cat to accompany you. That’s too negative, and much like the release of the new indie drama CODA, we want to this to feel like a celebration of films about those pursuing their musical dreams, in one way or another.
With that said, what do you think is the best film about the pursuit music? To make it easier, we are NOT including biopics; that’s another conversation for another time.
This week on the InSession Film Podcast, great friend of the show Dan Clark joins us to review James Gunn’s latest in The Suicide Squad, and we also discuss our Top 3 death-defying missions in film! Plus, a few brief thoughts on Sony’s animated film Vivo.
Big thanks to Dan for joining us on the show this week. He’s been a friend to us since our inaugural year in 2013 and we can’t thank him enough for his support over the years. As a concierge of comic books, it’s only appropriate that we bring him on for a movie based off one, and boy did we have fun with our review of The Suicide Squad. We understand that many listening may not agree with us, and that’s fine, but we hope you enjoy the conversation nonetheless. Also, stay tuned to the very end of show where we have some brief *spoiler* thoughts on the film as well.
On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!
– Movie Review: The Suicide Squad (5:03) Director: James Gunn Writers: James Gunn Stars: Margot Robbie, Idris Elba, John Cena, Joel Kinneman
– Notes / Vivo (55:32)
Both Ryan and JD caught up with Sony’s Animations latest film Vivo, now available on Netflix, and decided to offer up a few thoughts on it. It’s been a solid year for animation and Vivo certainly continues that trend. As we’ve mentioned the last few weeks, we are giving away t-shirts to the first five listeners who leave us a review on iTunes (take a screenshot of your review and either email us or DM on social media).
– Top 3 Death-Defying Missions in Film (1:20:18)
Using The Suicide Squad as inspiration, we thought it would be interesting to talk about our favorite death-defying missions, aka suicide missions, depicted in film over the years. Of course, depending on how you define that, the list could be endless given its broad scale. Many, many films have stakes in the highest form with characters defying death at every turn, so narrowing the options down was certainly a challenge. But a fun one, indeed. That said, what would be your top 3?
If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!
I recently read a book that is both entertaining and eye-opening called “Easy Riders, Raging Bulls” by Peter Biskind. Published in 1998, this best-seller details the era of New Hollywood from 1967’s Bonnie And Clyde to 1980’s Heaven’s Gate and the aftermath of what is now an industry based on commercialism. The greats like Francis Ford Coppola, Martin Scorsese, George Lucas, and Steven Spielberg were interviewed, as well as other major players from that era. I should note now that the book has been disputed for sensationalism and half-truths by these major figures, but in my opinion, I believe there is more than enough truth in them in which they probably wish hadn’t come out.
One sector of this era that I knew about was the production company BBS, which only lasted for a few years, yet made its mark with a great line of work Criterion has in one set. BBS was known for embracing the counterculture movement including free love, radical politics, and a whole lot of cocaine. A few came out intact, especially Jack Nicholson, and others saw their careers fly off a cliff with a blink of an eye. So, while the films they made remain important pieces of art of this era, the pillars of this ragtag team of misfits self-destructed quite rapidly before the nuclear bomb that was Gate which closed the curtains of a director-oriented production and its power sucked right back to corporate heads.
From TV To The Big Screen
The two leaders of this company were friends from New York, director Bob Rafelson, and producer Bert Schneider, who represented the two Bs in the name. Both men wanted to break into Hollywood but first needed to make their mark elsewhere. Influenced by The Beatles (or a rip-off of them), they created The Monkees, which became a huge hit for NBC thanks to the band’s copycat charisma and music and its lead, Davy Jones. From there, they decided to take their shot at movies with the band starring in Rafelson’s first feature film, Head (1968). A psychedelic musical trip in which Nicholson himself co-wrote with Rafelson, it was panned for being the total opposite of what The Monkees were as a more family-friendly group. Since then, it has become a cult hit and Rafelson and Schnieder went straight to producing a pitch by Peter Fonda, Dennis Hopper, and writer Terry Southern that became Easy Rider (1969).
Dropping Acid On The System
With friend Stephen Blauner, he filled in the S to complete the new production company and the trio agreed to a distribution deal with Columbia Pictures. Easy Rider was a film that needs its own separate article to go into everything that went on behind the scenes (who did what remains in dispute), but with $300,000-$500,000 being spent to make it, and Columbia absolutely befuddled by what the movie was about, it became a shocking hit, grossing $19 million in domestic rentals and $60 million worldwide. As the film’s representation of the hippie era, writer Buck Henry said, “Nobody knew who wrote it, nobody who directed it, nobody knew who edited it…But it opened up a path. Now the children of [Bob] Dylan were in control.
BBS moved into an office building where, instead of suits, people came in wearing jeans and t-shirts with a line of blunts available for anyone to have. Anyone who was hip and wanted to write or direct was invited Rafelson went on to do Five Easy Pieces (1970) starring Nicholson which became another hit and received four Oscar nominations including Best Picture and Best Actor. After seeing the film Targets (1968), they hired its director, Peter Bogdonavich, to pick any project he wanted and they would produce it. He and his wife pitched Larry McMurtry’s novel, The Last Picture Show, as something that interested them. The story of a desolate Texas town in the 1950s revolving around youngsters and their aging old-timers with their sexual interests out in the open was called by Newsweek as, “the most impressive work by a young director since Citizen Kane.” Jeff Bridges, Ellen Burstyn, and Cybil Shepherd made their impressive breakouts as well with Ben Johnson and Cloris Leachman winning the Oscar for Supporting Actor and Actress, respectfully.
The Rockslide To The Failure Pit
At the end of 1971, BBS was sold to Columbia but films that were already under production would keep the label until its release. This included Jack Nicholson’s directorial debut, Drive, He Said (1971), A Safe Place (1971), and Rafelson’s follow-up, The King Of Marvin Gardens (1972). Bogdonovich went to work on two hits for Columbia, What’s Up, Doc? (1972) and Paper Moon (1973). By then, everything was falling apart. Rafelson and Schnieder drifted apart by the latter, who harbored Black Panther co-founder Huey Newton and Chicago 7 figure, Abbie Hoffman, while they were fugitives from justice. With Newton, Schnieder successfully smuggled him out of the country into temporary exile in Cuba, then produced the Oscar-winning Vietnam War documentary, Hearts And Minds (1974). He stunned the audience when he referenced Vietnam as “liberated” and read a telegram from the North Vietnamese government which thanked the anti-war movement for supporting their cause.
Hopper’s own follow-up, The Last Movie (1971), was almost exactly that to him; his notorious drug/alcohol addiction, violent temper, and paranoia to where he flashed guns around made him too toxic to work with and would only work again when he went to Europe. Thanks to Francis Ford Coppola, he came back in Apocalypse Now and rebuilt his career for the next three decades until his death. Rafelson never had a hit again due to his arrogance with everyone he tried to pitch a movie with and the word was out to not trust Rafelson on anything as he would scrape enough money for the rest of his indie works for the rest of his career.
Meanwhile, Bogdonavich was vilified for his public affair with Shepherd while still married, as well as his know-it-all attitude and snobbery. In an interview with The New York Times, he infamously stated, “I don’t judge myself on the basis of my contemporaries. I judge myself against the directors I admire,” and proceeded to namedrop figures including Howard Hawks, Orson Welles, Jean Ford, and Alfred Hitchcock.” His success finally hit an iceberg starting with At Long Last Love (1975), which failed so miserably that, as joked by Billy Wilder, the rest of Hollywood celebrated his failure by popping champagne. His string of failures peaked with They All Laughed (1981), which forced him into bankruptcy, and was scandalized by the murder of a Playboy model he was dating at the time that was tabloid fodder.
For Bert Schnieder, having indulged in drugs and a lot of various sexual experiments seemed to vindicate him after winning the Oscar, and now that the radical politics he supported was now falling by the wayside, he wanted a second chance at producing. He still owed one picture for Columbia and chose to produce Terrance Malick’s sophomore film, Days of Heaven (1978). A film, one of many with another long story of a troubled production, would at least receive critical acclaim, but it broke Schnieder’s interest in movies and he finally quit the business for good a few years later. A recluse and sharing a home with Rafelson that was next to Jack Nicholson’s, who had a falling out with both of them, he died in 2011. Rafelson is still alive having last directed a film in 2002.
Fifty Year Legacy
The line in Easy Rider that encapsulated America’s feelings towards the end of the 60s was Peter Fonda saying, “We blew it.” At the end of the 1970s, it was anyone who had a major role at BBS who blew it. For most, they would live on into the 80s and 90s and be a historical chapter in New Hollywood’s history. They were an innovative, radical group of creators who worked on their own terms and nobody bossed them around until all the money was gone because of the egos, flashy expenses, and rain of grass and white powder. Oscar recognition came their way, but they were so ahead of themselves, they burned down their own house and pissed on the ashes. But their work was saved and preserved when Criterion released the box set America Lost and Found: The BBS Story. Forever, these trailblazers that burned out their welcome as fast as they had entered, are engraved in Hollywood lore.
Much (probably too much) has been made of the runtimes of movies. And god knows, if you want lengthy movies, The Criterion Channel is a great place to find them, in any and every language. But, if you watch a lot of movies (and I’m assuming you do if you’re reading this column), there is something both charming and impressive about a good movie with a low level of time commitment. Great movies are great movies, regardless of length, but I have to admit, if I’m picking between a 90 minute masterpiece and a 3 hour epic, the 90 minutes is very tempting. And this comes from someone whose favorite movie is Lawrence of Arabia. But this edition of the column is not about traversing the desert with Peter O’Toole. Instead, we focus on a western that clocks in at a swift 75 minutes.
The Ox-Bow Incident, starring Henry Fonda as the rough but relatable Gil Carter is a film that is not talked about nearly enough. It has all the pedigree you would want; big stars, a simple but fantastic script, beautifully photographed, and an important message.. Heck, it was even nominated for Best Picture at the Academy Awards. Like everything else, it was bowled over by Casablanca, but probably deserved better treatment. Speaking of its efficiency, within the first ten minutes, our protagonists are introduced and the inciting event is introduced. News has arrived that a local man has been killed in cold blood and his cattle have been stolen. This quickly leads to a posse being formed to exact justice.
In what could be a quick, throwaway scene, screenwriter Lamar Trotti focuses in on Gil speaking with the town’s judge (Matt Briggs) about the danger of mob justice. This brings the audience to Gil’s side, despite his gruff exterior. This will be a repeated theme throughout the film. Gil is kind to others, even those that are treated as second class citizens, such as Sparks (Leigh Whipper, sadly uncredited) an older Black man brought in on the posse to jokingly provide a religious presence to the proceedings. Later in the film, Gil is the only one who stands up physically against poor decisions being made.
As one might expect, action picks up quickly in The Ox-Bow Incident, as the posse very quickly catches up to the supposed criminals. Director WIlliam A. Wellman accomplishes the passage of time and distance via beautifully composed shots of the men (and one woman) on horseback over rapidly changing vistas. When they reach the accused trio, the film changes from a straightforward western to a mockery of a trial. But none of this sets it apart. Movies have been made in these styles before. What separates it is actually the complete lack of a mystery.
Even to the simplest of viewers, there is never a doubt that these three, Donald Martin (Dana Andrews), Juan Martinez (Anthony Quinn), and Alva Hardwicke (Francis Ford), are completely innocent of the theft and murder of which they are accused. The performances of these three men make the film, even more than the filming environment or the star turn from Fonda. Donald Martin is well spoken and clearly the focus of the interrogation. Juan Martinez is mostly non verbal until more truths are revealed. Alva Hardwicke remains mostly quiet and fearful, as if he knows exactly how this will all turn out. This combination of character work provides both a rooting interest and lack of assurance that is necessary for tension to continue to build.
Of the three, Anthony Quinn is probably the most recognizable face, and he portrays both of his characters very well, a mix of supreme bravado and a dangerous edge. But the heart of the film is clearly Dana Andrews. His honesty, naivete, anger, and abject terror all ring equally true at the appropriate moments. The performance would be impressive in any film, but to harp on the runtime, Andrews appears in the film for approximately 35 minutes. Despite this relatively brief appearance, he crafts a character that is intensely empathetic and runs the gamut of human emotion. Andrews’ gentleness, contrasted with Fonda, is a stroke of genius. For most of this mob court, Fonda listens and examines the story. Of course, being a western, Fonda does speak in quick bursts of anger from time to time, but he cedes most of the spotlight to others. But in a true representation of his stardom, we never forget his presence.
As expected, there are no happy endings in The Ox-Bow Incident. Despite protestations from a few of the posse, all three men are killed by hanging. This occurs after a heartfelt letter written (and then read out loud by others) by Donald Martin as a goodbye to his wife, an attempted escape by Juan Martinez, and Gil failing to halt the execution by physical means. It becomes apparent that, in this situation, nothing will help. All of these deaths were foregone conclusions. There is only minor solace in the shaming of the men who did not stand up as the credits roll.
The Ox-Bow Incident stands firmly alongside the great stories about the dangers of mob mentality. It easily connects to stories like “The Monsters Are Due On Maple Street”, To Kill A Mockingbird, M, and The Lord of the Flies. Much like these works of art, The Ox-Bow Incident will leave audiences haunted by the choices made and the helplessness we all feel in the face of passionate resolve flying in the face of all logic, care, and empathy.
Director: Kirk DeMicco and Brandon Jeffords Writers: Kirk DeMicco and Quiara Alegría Hudes, Story by Peter Barsocchini and Quiara Alegría Hudes Stars: Lin-Manuel Miranda, Ynairaly Simo, Zoe Saldana, Brian Tyree Henry, Nicole Byer, Gloria Estefan
Plot: A music-loving kinkajou embarks on the journey of a lifetime to fulfill his destiny and deliver a love song for an old friend.
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Lin-Manuel Miranda’s career has been on the up and up ever since his huge broadway hit of In The Heights, and his climb has only gotten steeper since the release of Hamilton in 2016. This year poses another huge opportunity for him, with his debut musical getting adapted into a film, his involvement with writing the music for Disney’s upcoming film Encanto, and his directorial debut with tick, tick… BOOM! also getting released this year. His latest venture in film to be released is none other than Netflix’s Vivo. Produced by Sony Animations, the same studio that brought you Spider-Man: Into the Spider-Verse, Vivo is an entertaining casual viewing experience for the entire family, even if the story feels familiar and it doesn’t always reach the emotional heights or character depths that you want it to.
As the voice of the titular character Vivo, Miranda starts the film with a catchy and fun song that’ll grab your attention instantly. The animation sequence is well choreographed and constantly moving, daring you to look away from the screen and asking the viewer to just have a good time. As the story starts to pick up a bit, it’s easy to get connected to Vivo and his emotional journey. He already goes through so much in the first act that really sets the story into gear, it’s hard not to be invested and interested in what happens to him next. It’s a strong opener to a film that is good enough to keep you sustained throughout the slower and more predictable second act that follows.
The introduction of Vivo’s “sidekick” is where the film starts to fall into typical family film tropes. Partnered with a young girl from Florida, it feels strange to call the monkey Vivo the main character, and the young human girl Gabi the sidekick, but to me that’s really how the film tries to present itself. Gabi gets a fun and energetic introduction song before she and Vivo set off on their quest, running into everything you can imagine from an unlikely friendship blossoming from a journey together kind of movie. From the strong first act, we know why Vivo is on this mission, but the film severely lacks in giving Gabi’s reason for accompanying him on this journey other than her quirky and different personality. Her motivations are definitely cloudy for a majority of the film, but as long as you don’t expect too much, nevertheless, it’s a pleasant watch to sit through. The film drags the most in this section, suffering slightly from entirely absurd, unrealistic, and forgettable villains, and short snippets of a few side quests. They’re not exactly unenjoyable, it just takes a large suspension of disbelief on top of the already large amount required to fully buy into this animated film.
Despite the slow second act, the resolution does it’s job in ending the film in a satisfying way. Trying to wrap up the film feels like a bit of a challenge after the more predictable and mundane majority of it, and the plot continues to go exactly where you expect it to for the last half hour, but it still completes its job at giving Vivo a good conclusion to his story. I wouldn’t say I was necessarily moved emotionally, but for those who are willing to fully give themselves to this film, it’s bound to set a few flutters in your heart.
While Miranda didn’t write the score for the film, he did pen the songs that are sung throughout. They still have his typical hip-hop with a touch of broadway flare to the tone, but they also incorporate a bit of Cuban inspiration, where the film initially starts and the characters are from. In the context of the film they blend in so seamlessly and flow perfectly with the story, but after the resolution, it’s hard to remember any of them, with only one really standing out to me. There’s no catchy tune that will be stuck in your head that you’ll be humming for days afterwards, but there are also no moments where the songs feel agonizing to sit through.
If you’re looking for something to watch with the youngsters for a family movie night, Vivo is a great choice. It’s enjoyable, and it thankfully doesn’t require too much attention to follow along with. It doubles as a great casual watch to turn on in the background, or something to keep the kids occupied for an hour and a half. While it probably won’t stick with you very long, or deeply impact you in a sense that you’ll be thinking about it for a few days afterwards, Vivo is a fun little journey and a more light addition to Miranda’s library of work. It might be predictable or even forgettable, but it’s not a bad time either.
Synopsis:Documentary centering on the daily life of actor Val Kilmer featuring never-before-seen footage spanning 40 years.
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Documentaries about actors and filmmakers are typically entertaining because there’s a wealth of familiar footage from their movies that can play out as a bunch of talking heads comment on the highs and lows of a person’s career. If you’re particularly interested in the figure being discussed, you might not even care if the documentary is standard and pedestrian, with nobody re-inventing the wheel on a craft level to help celebrate a famous person’s life. The new documentary Val, however, is something entirely different, a strikingly original look at the life of actor Val Kilmer that is made all the more thrilling with personal and behind-the-scenes footage shot over many decades by Kilmer himself.
Co-directed by Ting Poo and Leo Scott, Val has some elements of a typical documentary, with scenes presented in mostly chronological order from many of Kilmer’s most famous films, including Top Gun, Tombstone, and Batman Forever. Yes, there’s a section dedicated to his time as the Bat, including his struggle performing inside the suit and the hit his career took when he turned down Batman & Robin in order to do 1997’s The Saint. He calls his 1984 debut Top Secret “fluff” and discusses in some detail the disastrous experience the infamous The Island of Dr. Moreau came to be.
But this extraordinary film, now available on Amazon Prime, goes so much deeper than showcasing the highlights of his film career. If you’re a fan of Kilmer’s, you will delight in the behind-the-scenes footage Kilmer shot on many of his famous projects, Kilmer spending most of his life like an aspiring director, always with a video camera in his hands. We get footage of his friends Kevin Bacon and Sean Penn at Julliard, his audition tapes he made himself for Full Metal Jacket and Goodfellas, home movies of him exploring bat caves in Africa moments before receiving a call about Batman Forever, and spellbinding behind-the-scenes on The Island of Dr. Moreau of Kilmer arguing with director John Frankenheimer as well as pushing a relaxed Marlon Brandon in a hammock.
But more so than all the revelatory footage, Val isn’t interested in gathering the major actors, producers, and directors Kilmer has worked with since the 1980s to get their two cents on the man and his career in cinema. No—the only time we hear from his former collaborators is through occasional stock footage, and the majority of what we get instead is Kilmer today, warts and all, often in pain, barely able to speak, as he keeps his sense of humor alive the best he can and demonstrates great love for his family. His son Jack Kilmer—an actor himself—narrates the movie for his dad, whose voice has deteriorated in the last few years since receiving treatment for throat cancer. Whenever modern-day Kilmer speaks to us on camera, he has to press his finger against his throat to allow for words to come through, subtitles appearing on the screen because he can be difficult to understand.
The documentary is packed with more drama and emotion than you might expect, especially if you’re not aware of the tragedies and hardships Kilmer endured in his life, particularly the loss of his younger brother in a drowning accident at age fifteen. Kilmer talks about how the death of his brother stole a lot of joy and spontaneity from his family, Kilmer’s parents are paralyzed with grief. Kilmer touches on the difficult divorce he experienced in the 1990s from the prolific actress Joanne Whalley, who appeared opposite him in Willow, and how he rarely felt creatively fulfilled through his film acting, so often frustrated by lackluster characters and only sometimes able to demonstrate the full capabilities of his talent (a glimpse of Kilmer playing Mark Twain live on stage is a wonder to behold). And then there’s the two-year battle with throat cancer he endured, the aftermath of which is shown at times in painful detail, like when Kilmer has to stop signing autographs for fans because he has to throw up.
If you’ve been more of a casual fan of Kilmer’s work like I have been, someone who is only vaguely aware of his more recent health battles, this documentary opens us up to his life in a way that is richly rewarding. You get the layers peeled off a screen persona you might have thought only one way about because of his brief appearance in the Batman universe and ultimately receive a much deeper look at an artist, a father, a survivor. His son’s narration gives the enterprise an added level of emotion, and the way directors Ting Poo and Leo Scott blend everything together so seamlessly through marvelous editing and a poignant score makes for a tremendous piece of filmmaking any fan of documentaries will relish in.
Val has the feel and rawness of Steve James’ powerful 2014 documentary Life Itself about the life of Roger Ebert, which also showed Ebert’s devastating health struggles amidst the unlikely success story of a gifted film critic from Chicago. One thing Val doesn’t have that makes it even better is the lack of talking heads, the focus solely on Kilmer and his desire to find peace and love in the face of adversity. The only criticism I have for Val is that the running time is a tad brief, so many of his later high-profile films glazed over in a matter of seconds, his initial throat cancer illness and later treatment only given a few minutes of exploration toward the end. I ask for most movies to have twenty minutes chopped off, but Val could have been expanded another thirty, the filmmakers not having to rush so fast in the final act.
But that’s when you know when a movie is working: when it leaves you wanting more. Val is a dazzling piece of work, easily one of the best films of 2021 thus far, a riveting examination of an actor that makes you appreciate in many ways the man more than the actor. We’re left with hope that Kilmer’s days as a creative artist are far from over, and for that, we can all be grateful.
Director: James Gunn Screenwriter: James Gunn Stars: Idris Elba, Daniela Melchoir, Joel Kinnaman, Jon Cena, Margot Robbie, Viola Davis, Taika Watiti
Synopsis: Supervillains Harley Quinn, Bloodsport, Peacemaker and a collection of nutty cons at Belle Reve prison join the super-secret, super-shady Task Force X as they are dropped off at the remote, enemy-infused island of Corto Maltese.
INTRODUCTION
There’s a certain euphoria that comes from fictional violence that fills me with joy. It’s the power trip that comes from executing enemies that have no idea what is in for them. Games like Doom, Shadow of the Tomb Raider, and Uncharted 4 have all given me this feeling before. Between waiting for a silly soldier to walk into a trap set just for them, or running a chainsaw through a demon, there is something primal and fun to the violence. While violence in real life is cold and bad, in media, it can be fun and engaging. But there hasn’t been a lot of movies that capture this feeling to me. Sure, John Wick has the brutal violence that is heart-pounding to watch, but it doesn’t catch the effortless feeling these games do. Deadpool tries to capture this feeling, but the meta-commentary changes the tone considerably. The films that have captured this feeling the most have been Birds of Prey and Once Upon a Time… in Hollywood. But they still feel restrained, having small amounts of brutal violence in them. Luckily for me, The Suicide Squad is an unrestricted bloodbath that lavishes in this maniacal violence throughout.
THE SUICIDE SQUAD: STYLE AND GENRE
James Gunn’s The Suicide Squad is a movie full of gut-busters, in both laughter and violent ways. It’s a film that can only be described as a superhero movie, as no other genre would accurately define it. It’s a hodgepodge of different genres, using elements from spy thrillers, war, and coming-of-age films. Despite these different genres, Gunn’s style permeates it all, being the adhesive to make this film work.
That style comes through the form of its heightened violence, the dynamic camera work, and the film’s brisk pacing. The Suicide Squad is constantly moving, and while there are slower sequences, it is constantly moving forward with visceral energy. That energy is comparable to a film like Shaun of the Dead, or Kingsman: The Secret Service. It’s never dull, and not going at a million miles an hour, but a solid pace.
And despite these similarities to R-rated parody films, The Suicide Squad never stoops to the level of parody often found in the hyper-violent comic book movies. While I adore Matthew Vaughn’s comic book movies and have a good time with Deadpool, the meta-commentary often pulls me out of the film. The jokes are aimed at the audience, at the expense of the superhero/spy genre. While the occasional joke is made between characters earnestly, these are in the minority for these films. By comparison, The Suicide Squad’s comedic beats are built on character interactions. That isn’t to say there aren’t gags aimed at the audience. There are a plethora of visual gags aimed purely at the audience, that utilizes snap zooms, quick edits, and awkward pauses to be funny. And this emphasis on visual gags, and making memorable visuals, shows how much of Gunn’s heart and soul went into this film. Gunn’s direction is clear from moment one, giving clear direction to cinematographer Henry Brahum, and guiding the editing pair Fred Raskin and Christian Wagner to create striking visuals that stick around long after the film has ended.
But it’s not just the visuals that ooze with passion.
ENTER: TASKFORCE X
James Gunn is a master of creating memorable characters out of the most basic elements. He did it with Guardians of the Galaxy, and he did it again here. From Blackguard to Savant, to Ratcatcher 2 and Bloodsport, each character feels real. Even the techs that work for Waller feel fleshed out, having their own thoughts, feelings, and jokes. For as disposable as each of these B-list characters are, Gunn’s writing works to ensure you remember them for their contributions to the team. And each of these characters is brought to life masterfully by their actors. Particularly, Idris Elba and Daniela Melchoir give standout performances, bringing their characters to life with earnest emotion throughout. And the rest of the cast is all clearly having a blast, bringing their over-the-top super-villains to life with a dead serious demeanour. From John Cena’s portrayal of the liberty chasing Peacemaker to Sean Gunn’s hilariously acted Weasel, the cast is giving their all. And of course, Margot Robbie is fantastic as Harley Quinn. Robbie killed it last time in Birds of Prey, and here, despite being a supporting character, she still steals scenes. Harley may not be given as much to do, but it builds off her emancipation perfectly.
And what glues this all together is the focus on comradery throughout. Unlike the Avengers’ films, which often pin the heroes against each other often, The Suicide Squad allows these characters to build solid friendships. Despite the film’s quick pacing and violent nature, there are genuine, heartfelt moments throughout the film that allow characters to share how they feel. And the empathy that is expressed by each character for each member of the team during these sequences allows us to care. Despite the deposable nature of the characters, I began to care for them. And it created tension throughout that had me on the edge of my seat. That, to me, is cinema.
CONTENT WARNING:
Despite the praise that gushes out of me like a slashed artery, I do have to admit that this film isn’t for everyone. This is a hard R-rated film, with extreme violence that would be fitting of a war movie. If blood, guts, gore, and stabbed hearts aren’t your taste, this isn’t for you. And with that hard R rating, the jokes are all heavily reliant on your enjoyment of the bloodbath. For some, this film is an unwatchable mess. But for me, this movie rips and tears in all the right ways.
A New Normal
The Suicide Squad isn’t a subtle film, in its violence, or its themes. There is a lot to unpack with this film regarding the American prison system, American Interventionalism, and what it means to keep the peace. But what stood out to me most was the theme of purpose through people. Gunn has always put people first, and here, it stands out above the rest. While it’s not the deepest film in the genre, there is a genuine quality to it that stands out, despite the hyper-violent nature of the film. I love this movie, and heavily recommend watching it in theatres or online with HBO Max.
This week on Extra Film, Ryan and Jay continue their David Lynch Movie Series with the Disney biopic The Straight Story and they discuss the newest indie drama,Nine Days!
Following up their conversation on Lost Highway, the Extra Film boys take a detour away from the noir thriller genre to talk about Lynch’s simplest film in his filmography, The Straight Story. In a film centered around an old man riding a lawn mower to visit his estranged brother, Lynch is able to find true humanity in this simplistic film. Jay absolutely loved the film, while Ryan respected it more than loved it, but Jay does do his best to convince his co-host that there is more to this film than meets the eye.
In the back half of the episode, the guys’ review Nine Days. Billed in the festival circuit last year as one of the most original indies to come out in some time, this sci-drama with a religious angle really shines due to his creativity and dazzling cast. Ryan considers it one of the best films of the year, while Jay respects it more than loves it. It’s one of those episodes this week where one host is over the moon on something and the other is neutral, but it’s still a great listen nonetheless.
Thanks for listening!
– Movie Review: The Straight Story (4:13) Director: David Lynch Screenplay: John Roach, Mary Sweeney Stars: Richard Farnsworth, Sissy Spacek, Harry Dean Stanton
– Movie Review: Nine Days (52:29) Director: Edson Oda Screenplay: Edson Oda Stars: Winston Duke, Zazie Beetz, Benedict Wong, Tony Hale, Bill Skarsgård
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Directors: Edson Oda Writers: Edson Oda Stars: Winston Duke, Zazie Beetz, Benedict Wong, Tony Hale, Bill Skarsgård
Synopsis: A man interviews five unborn souls to determine which one can be given life on Earth.
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Nine Days look through its own highly contemplative lens of love, fear, hate, anger, pride, disgust, and joy to view each other’s autonomy. Edison Oda’s long-awaited debut feature is a pensive meditation on the act of playing God and the randomness of choosing what (in this case, a soul) that makes a life worth living.
The concept of pre-existence is the focus of Oda’s film, even if some confuse the setup with reincarnation. That’s what Will (Us’s Winton Duke, just remarkable here) attempts to navigate arduously. He is The Interviewer- being that auditions unborn souls for a chance to be born into the world. It’s a stressful position to be in. Knowing your work is purely judged upon a soul’s choices that lead to success and failures. As the souls begin to emanate across the desert landscape, all end up on Will’s country home’s doorstep.
To witness this is Kyo (Benedict Wong). A loyal soul that arrived ages ago but never left. He has never been human and is obsessed with watching Will’s top choices for life on earth. All are displayed on stacked old television sets so he can observe their decisions and their effects. That’s when Will’s favorite, a young violinist named Amanda, dies after driving her car into the wall of a cement underpass. That’s when they all start showing up at his door because a slot has just opened up. All while grappling with why Amanda was so careless with the precious gift she was given.
Nine Days is a phenomenal piece of filmmaking. Oda also wrote the script that needed a steady, patient hand that could have crumbled apart because of its fragile nature. The script is steeped in themes of creationism in its most basic form. Earth was created from free will (that’s foreshadowing), and God has the right to tinker with that process.
As Will begins, with what seems to be an arbitrary interview process, he gives them strict guidelines. He analysis each soul’s essence. Emma (Zazie Beetz) is empathetic and guarded, while Alexander (Tony Hale) is the yes-man and won’t take anything seriously. Kane (Bill Skarsgård) is a stoic realist who carefully considers his options before deciding. It’s all about the mental makeup that navigates life’s pitfalls, while Will forgets what qualities make life worth living. What he is doing is now questioning his belief in free will and the responsibility that comes with that.
Winston Duke is a powerhouse as Will in Nine Days. At points, he quietly contemplates each move, note, glance, and huff of air with tenderness and understanding. At others, his anger is as much as a light switch as he struggles with the decision that has no easy answers or guarantees. It’s a phenomenal performance that shows he has no ceiling. Along with Wong’s scene-stealing supporting turn, Beetz’s soulful presence, and Hale’s limited but moving portrayal, it may be the best casting of any film this year. Along with Antonio Pinto’s evocative musical score and beautiful cinematography by Wyatt Garfield, everything works so harmoniously.
Nine Days isn’t a film that works on many levels, but the one it plays on has higher aspirations are powerful and profound. Even if the ending scene is a bit too much epic poetry for my tastes for a film that is already so visually lyrical, however, Ado does make an apt point. One’s aspirations for experiencing moments of pure joy are universal. Will can’t help if he’s that picky. By all means, it’s hard to find that one leaf among all those blades of grass.
The late Sir Sean Connery first brought Ian Fleming’s MI6 Agent 007 James Bond to the big screen in 1962. Despite an uneven and interrupted tenure, Connery’s smooth portrayal sets the bar for those that would subsequently don the tuxedo and drink the martinis shaken, not stirred. Here’s a breakdown of his spy works – good, bad, and exceptional.
Dr. No
Sean Connery’s iconic 1962 debut based upon Fleming’s 1958 novel places 007 in Jamaica – invoking foreign intrigue and local superstition thanks to rumors regarding the mysterious Dr. No, his so-called dragon, and whispers of a secret organization called SPECTRE. That’s SPecial Executive for Counter-intelligence, Terrorism, Revenge, and Extortion, yowza. Bond and his CIA allies must infiltrate Dr. No’s hidden lair amid radioactive samples, spider scares, rockets, and Cape Canaveral conspiracies. Radios, reactors, and boats look the high-tech part for the early sixties – even if that flame thrower dragon is silly now. Original Bond Girl Ursula Andress (Clash of the Titans) as Honey Rider is dubbed, too – her appearance in the latter third of the film being more about her white bikini than the quiet moments explaining her sad backstory. Joseph Wiseman (Detective Story) as Dr. No is also hampered by cliché Asian stereotypes, hokey fake hands, and a mad man complex. The gun barrel opening, swanky titles, theme music, famous quotes, and martinis here lay the foundation for all things Bond, however, Connery’s debut style and delivery is uneven. 007 is a patriarchal archetype, a veteran spy who knows how to handle a woman, but Connery’s accent and suave waver as if he or early franchise director Terrence Young can’t decide on a Cary Grant flair or Connery’s decidedly Scottish spin. Fortunately, despite rookie flaws and datedness, the provocative action, international espionage, and eccentric world domination make for an interesting start for the film franchise to come.
From Russia with Love
Cat and mouse chess escalates to suspenseful train-bound conversations and perilous water escapes in this second 1963 Eon produced James Bond picture adapted from Fleming’s fifth novel. 007 faces revenge for unwittingly destabilizing covert global operations and SMERSH meets SPECTRE amid Russian, Turkish, and Bulgarian us versus them Cold War intensity. Villainous preparations and perspectives mirror our MI6 hallmarks and gadget orientations while the stolen typewriter-esque Lektor MacGuffin keeps the action moving. Map overlays and transportation montages capture Bond’s dangerous European trek, but the pursuit is relatively linear – a streamlined mano y mano with close-quartered hand-to-hand and hidden knives. Assassin Robert Shaw (Jaws) contrasts Bond as the largely silent, cold, and bleached SPECTRE henchman Red Grant. His antithesis adds wonderful tension as confined hotel rooms and train cars keep the global intrigue personal, intimate, and dangerous. These villainous leanings, however, mean it takes almost twenty minutes for Connery to appear as Bond – fashionably late to his MI6 briefing in tiny sixties shorts. Fedora or not, 007’s wry delivery is swift and smart. He’s juicy with excellent quips for the saucy bedroom scenes and post-innuendo cigarette smoking as well as rough and tumble in the one-on-one outwitting wordplay. Fast paced truck chases, helicopter thrills, and fiery speedboats accent the defections, double agents, and dalliances – making for an excellent, all around complete action picture from start to finish.
Goldfinger
From Pussy Galore and aviation ruses to death via gold suffocation and elaborate heists, this memorable 1964 installment provides a quintessential dose of Bond iconography thanks to gun toting babes, a tricked out Aston Martin, and a killer hat wielding henchman. 007 trails Auric Goldfinger in order to stop his Operation Grand Slam plot to blow up Fort Knox – battling wits thru rummy, golf, horse farms, and mint juleps. The sexy golden symbolism and alluring monetary obsessions are more relevant today than ever thanks to the complex, layered screenplay peppered with frank one liners and naughty quips. While Goldfinger does fall back on the woman needing the man or switching sides for love tropes, Honor Blackman’s (The Avengers) multidimensional Pussy has strength and sixties sex appeal to give Our Man James a rough and tumble run for his haystack romp. Connery’s settled in as 007, confident about taking down the bad guys and mixing business with pleasure in the perfect balance of sex, humor, and action. His banter’s easy even during tense car chases or while strapped to a precarious laser. Bond laughs at the over the top nature of his secret agent world – but we know his weakness for the ladies and it costs him. Although he likes gold for its pretty color, we don’t doubt Goldfinger’s ruthlessness. Veteran actor Gert Frobe (Chitty Chitty Bang Bang) is a wonderfully insane genius who’s thought of everything except Bond getting under his skin. Be it enticing Swiss locales or Fort Knox shootouts, viewers craving solid action and intelligence can watch the intricate, clock ticking suspense again and again.
Thunderball (and Never Say Never Again, too)
In Connery’s fourth 1965 entry, 007 recuperates at the spa before mixing romances and luxury ships with atomic weapons. The extensive underwater sequences and then award-winning effects, however, are ill choreographed and dark. Connery’s tight little orange wet suit and the international dames’ friend or foe are rare bright spots amid confusing action with no sense of layout or who is who. Fortunately, the blu-ray release revitalizes the aquatic effects with vivid colors, dynamic water photography, and lush Bahamas visuals. It’s ironic this was such a fought over screenplay with lawsuits from writer Kevin McClory against Fleming and producer Albert Broccoli as the weak script takes too long with plodding, dry stretches of silence, and unnecessarily finite aquatic maneuvers dragging to the end. Of course, Sean Connery reprises his role as Bond in the illegitimate 1983 remake of Thunderball Never Say Never Again – competing in the so-called “Battle of the Bonds” with Eon and Roger Moore’s Octopussy. Like its forerunner, Never Say Never Again also looks very dated with poor underwater sequences, old computers, lame cruise ship headquarters, and clunky onboard equipment. Hot and violent Barbara Carrera (Dallas) as Fatima Blush can’t overcome the typical exotic nor the ridiculous villainous plans we know Bond will nonetheless defeat, and Oscar winner Kim Basinger (L.A. Confidential) as leotard wearing Domino is meek under 007’s thumb. It’s tough to believe Bond will retire with her and have any long lasting relationship no matter his age. Never Say Never Again is unique in acknowledging Bond as old and not necessarily up to snuff, but Connery indeed lacks edge in this return – out of practice and not Bond as we knew him.
You Only Live Twice
Blofeld petting his white kitty in his volcano lair is a la Austin Powers today, but the Asian locales faked death in Hong Kong, Tokyo investigations, and spacecraft over the Sea of Japan turmoil anchor Connery’s 1967 fifth turn as 007. Little of Ian Fleming’s tale is here, but Roald Dahl’s (also screenwriter on Fleming’s Chitty Chitty Bang Bang) story utilizes deception, cloak and dagger tactics, and undercover ninjas. Donald Pleasence (Halloween) knows what he’s doing as the at last seen head of SPECTRE Ernest Stavro Blofeld and isn’t afraid to be ruthless with Bond or his own agents. Even with poor rocket footage, cliché American versus Russian angst, silly volcano tricks, and slightly goofy Little Nelly helicopter sequences, there is a sense of peril keeping any datedness at bay. Unfortunately, the ladies are treated as easily replaced exoticals for Bond to bed or massage – stereotypically dubbed while 007 himself has “plastic surgery” complete with eye folds and a comb-over to make him look Japanese. Are you &#$%!&@ kidding me? Despite a complex hour and a half build, the overlong finale is weak with too many ninja montages and redundant volcano destruction. Thankfully, Bond is both in on the saucy innuendo and a capable secret agent with a titular theme from Nancy Sinatra to match. Connery immerses himself in all of Bond’s skills, utilizing multiple talents to escape SPECTRE assassins, suspicious cargo ships, and crashing planes. Though flawed with racist moments, the solid intrigue here outweighs the ills.
Diamonds are Forever
The 1971 final official appearance of Sean Connery as 007 is a satirical mixed bag, uneven between camp, flashy settings, and illicit diamond heists. Despite explosions, superb car chases, and over-the-top jewel smuggler Jill St. John’s (Come Blow Your Horn) cheeky micro cassette; the garish Sin City time capsule hasn’t stood the test of time. There’s no panache thanks to the inexplicably absent James Bond Theme, and the obsession of wealth or any peripheral political commentaries aren’t as good as Goldfinger. Previous Bond Director Guy Hamilton’s approach is arid with no wink nor Bondian hallmarks amid circus elephants and distasteful racist undertones. Are the diamond, oil, and water statements supposed to be taken seriously? Are we supposed to be laughing at the villain who put so much terror in his numbered subordinates just a few films ago? Charles Gray (previously an ally in You Only Live Twice) works the incognito kinky, but the back and forth plastic surgery decoys and confusing lookalike switches hinder his performance. It’s odd to see Blofeld the head of SPECTRE reduced to a simplistic one-man oil rig operation with all over the place henchman, yet Q’s casino scenes and the in disguise Moneypenny make viewers wonder why they didn’t get out of the office more. Of course, the rechristened and now gray Connery fittingly has less personal action. This 007 gets out of the fiery close calls via his wits despite a meandering, unfocused script and a lack in chemistry dampening Connery’s swanky. This tries to stand out in what was a difficult time for the franchise, however the unintentional humor, confusing plot, and falling flat jokes will be tough to enjoy for those expecting a return to Connery’s earlier sophistication.
This week on Episode 441 of the InSession Film Podcast, inspired by our review of David Lowery’s The Green Knight, we discussed our favorite fantasy films of the 1980s. We’ve talked about our favorite action movies from previous decades, so it made sense to do the same thing for other genres as well. The 1980s isn’t just a nostalgic era for us, but it’s chock full of fantasy films that make for a rich conversation. Some of these films permeated the culture in ways that still resonate today. Others of the time may not hold up, but either way, there was plenty to mine for this exercise and we had a lot of fun with it. That said, here are our lists:
(Note: Please keep in mind that we each had different criteria for our selections)
JD
1) The Princess Bride
2) The NeverEnding Story
3) Big Trouble in Little China
Brendan
1) My Neighbor Totoro
2) The Princess Bride
3) Time Bandits
Honorable Mentions (Combined) Labyrinth, The Little Mermaid, Excalibur, Nausicaä of the Valley of the Wind, The Adventures of Baron Munchausen, Beetlejuice, The Dark Crystal, Dragonslayer, Highlander, Ladyhawke, Clash of the Titans, Conan the Barbarian, Willow, Legend
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. As mentioned above, there are plenty of 1980s fantasy films to pick from if you’re familiar with this genre/time. So, it’s quite possible that your list is different than ours. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
