Spielberg Archives - Page 2 of 4

The Post (2017)

January 12, 20182017, 2018, Authors: Walter Chaw, Drama, Spielberg, Theatrical

**/****
starring Meryl Streep, Tom Hanks, Sarah Paulson, Bob Odenkirk
written by Liz Hannah and Josh Singer
directed by Steven Spielberg

by Walter Chaw Two scenes. The first a posh dinner where Spielberg subtly changes the field of focus to show that the ostensible star of this show, WASHINGTON POST publisher Kay Graham (Meryl Streep), is listening in on a conversation recklessly shared in her presence. (It’s at once a subtle presentation of gender dynamics and a master class in visual storytelling.) The second a shot of Graham descending the steps in slow-motion to rapturous, feminine approval following a Supreme Court victory. Both are vintage Spielberg, the best technical filmmaker the medium has ever produced and a big giant, sentimental, cotton-headed ninny-muggins who can’t leave the audience to their own devices and doesn’t have the muscle to end things on a down note. When he manages one, his films are nigh well perfection. When he doesn’t–and he hasn’t, really, since Munich or maybe Catch Me If You Can–his films are 90% the best thing you’ve ever seen and 10% the worst. That’s good enough for most. For me, it’s the fantastic six-course feast that ends when you find a cockroach in the flan.

The BFG (2016) + Pete’s Dragon (2016) – Blu-ray + DVD + Digital HD

December 8, 20162016, Adventure, Authors: Bill Chambers, Blu-ray Disc, Coming of Age, Disney, DVD, Family, Fantasy, Spielberg

Thebfg1

Roald Dahl’s The BFG
**½/**** Image A+ Sound A+ Extras B-
starring Mark Rylance, Ruby Barnhill, Penelope Wilton, Jemaine Clement
screenplay by Melissa Mathison, based on the book by Roald Dahl
directed by Steven Spielberg

PETE’S DRAGON
***/**** Image B+ Sound B+ Extras C+
starring Bryce Dallas Howard, Oakes Fegley, Wes Bentley, Robert Redford
screenplay by David Lowery & Toby Halbrooks
directed by David Lowery

by Bill Chambers An inverse E.T. written by that film’s screenwriter, Melissa Mathison, The BFG is in some ways archetypal Spielberg. It’s another child-led picture to follow E.T., Empire of the Sun, A.I. Artificial Intelligence, and The Adventures of Tintin, featuring more of Spielberg’s weird hallmark of colourful food and drink (Indiana Jones and the Temple of Doom, Hook, Jurassic Park). But Spielberg just isn’t that guy anymore, even if he always will be in the public imagination (it happens to actors…and it happens to directors, too), and The BFG has the same ‘you can’t go home again’ quality that plagued Indiana Jones and the Kingdom of the Crystal Skull. It would be inexplicable within the recent arc of his career if not for the precedent of Tintin, which gave him an appetite for impossible camera moves that can really only be sated when the sets are virtual, as they are for much of The BFG. I can’t help thinking of Spielberg’s story about how the alien-abduction sequence in Close Encounters of the Third Kind wasn’t working until he went back and added shots of the screws on a vent cover turning by themselves; he thrives in that margin of error, like when he let a sick Harrison Ford shoot the swordsman in Raiders of the Lost Ark and stumbled upon one of the most iconic moments in cinema. The amount of previsualizing necessary to make something like The BFG shrinks that margin considerably, and all foresight and no hindsight make Steve a dull boy.

Bridge of Spies (2015)

October 13, 20152015, Authors: Walter Chaw, Coen Brothers, Drama, Espionage, Spielberg

*/****
starring Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda
screenplay by Matt Charman and Ethan Coen & Joel Coen
directed by Steven Spielberg

by Walter Chaw Steven Spielberg is the great Hollywood pastry tube. He’s packed to the brim with sugary, awards-season sweetness, and he extrudes little nuggets of prestige with the greased regularity of a lifelong prune-eater. In his latest bit of machine-tooled calculation, Bridge of Spies, he makes the unintentional statement during his patented unforgivable epilogue that the American public is a disgusting, moronic, animalistic mob ruled by prejudices and the media (which is the foundation of a different, good movie on the subject of Bridge of Spies)–ironic, because it’s those very deficiencies in critical discernment, moral certitude, and sophistication that Spielberg has made a cottage career of taking advantage of. If it’s true that all films manipulate but we only complain when they do it poorly (and it’s more true than not), then let me complain that Spielberg is an absolute visual savant–proof of it in the first ten, wordless minutes of Bridge of Spies (compare it to the wordless section of Amistad)–and an absolute pandering whore in his inability to deliver an ambiguous ending. He’s said as much. He’s the only living director who could turn out a masterpiece from a Philip K. Dick short story and ruin it with a sunshine double-happiness lollipop of a ridiculous Hollywood ending. But have no fear: Bridge of Spies never threatens to be a masterpiece for even a moment. It’s no Munich or Saving Private Ryan–more like The Terminal. Bridge of Spies is decrepit, highly-polished garbage from almost the beginning, with no relief from its elderly ministrations all the way through to the end.

Jurassic World (2015)

June 11, 20152015, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Spielberg, Theatrical, Thriller

***/****
starring Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins
screenplay by Rick Jaffa & Amanda Silver and Derek Connolly & Colin Trevorrow
directed by Colin Trevorrow

by Walter Chaw Jurassic World is Dada. It is anti-art, anti-sense–wilfully, defiantly, some would say exuberantly, meaningless. In its feckless anarchy, find mute rebellion against narrative convention. You didn’t come for the story, it says, you came for the set-ups and pay-offs. It’s history’s most expensive porno: broad characters in familiar situations and then the fucking and the money shot. There’s a scene in the first third where raptor-wrangler Dirk, or is it Chet? Shane? No, wait…Owen (Chris Pratt), yeah, Owen, tells uptight eventual conquest Claire (Bryce Dallas Howard) that his raptors are driven by eating, hunting, and *grunt–fist-push–grunt*, and surely Claire must be motivated by at least…one…of those things. Cue the throbbing bass and dirty guitar. There are also constant call-outs to the first film, old enough now to be held as totem to a generation of people wanting to recapture that initial experience. Jurassic Park was similarly a bad movie with great set-pieces; what time has taught us is that it hardly even matters if these films have human actors in them as long as they don’t waste too much time on them. It’s fantasy gratification, and the fantasy it’s trying to gratify is that you can lose your virginity again.

Transformers: Age of Extinction (2014)

June 26, 20142014, Action, Adventure, Authors: Walter Chaw, Directors: Michael Bay, Sci-Fi, Spielberg, Theatrical, ZERO STARS

ZERO STARS/****
starring Mark Wahlberg, Stanley Tucci, Nicola Peltz, robutts
screenplay by Ehren Kruger
directed by Michael Bay

by Walter Chaw Early on in Transformers: Age of Extinction (hereafter Trans4), director Michael Bay seems to be equating the unjust hunt for our noble robot allies the Autobots with the Tea Party’s persecution of immigrants, and then it goes to shit. It’s a meaningless, impossible-to-follow trainwreck in the patented Michael Bay style that, also in the Michael Bay style, is deeply hateful of women and difference. What’s new this time out is that the central object of violation for our lascivious appreciation is 17-year-old Tessa (19-year-old Nicola Peltz), who, upon introduction, is leered at by an assortment of older gentlemen before Bay whips out a (no-kidding) legal justification for our statutory interest. It reminds of the Tony Danza vehicle She’s Out of Control not only in that its father figure, Cade YEAGER-because-it’s-America-fuck-yeah (Mark Wahlberg), is over-interested in his daughter’s budding sexuality, but also in that Trans4 is awful. Awful in its misogyny, sure, and awful because, in what has become a tradition in Bay’s Transformers franchise, the only African-American character is comic relief…and a slave. Never mind. Oh, and it hates the infirm and misses no opportunity to mock their infirmity. Again, never mind.

Amistad (1997) – Blu-ray Disc

May 20, 20141990s, 2014, Authors: Walter Chaw, Blu-ray Disc, Drama, Spielberg

*½/**** Image A Sound B Extras D
starring Morgan Freeman, Nigel Hawthorne, Anthony Hopkins, Djimon Hounsou
screenplay by David Franzoni
directed by Steven Spielberg

by Walter Chaw Mid-career, Sergei Eisenstein wrote a book-length study of film form. He did it with humour and a Coleridge-ian wistfulness. He writes that, once he’s finished with this book, he’ll try some of the things he’s talking about in it. Among them is an idea that, what if instead of using montage (which he calls “vulgar”), someone were to evoke the idea of “murder” just by showing ten sequences, not otherwise linked by linear exposition, that separately evoke murder? In more ways than this, but in this particular way, Steven Spielberg is the prodigal. He evoked “war” in twenty impossibly harrowing minutes to open Saving Private Ryan; he evoked “Holocaust” in a similar stretch in the middle of Schindler’s List; he evokes “slavery” in an absolutely tremendous, wordless chunk about halfway through Amistad; and he sandwiches all of it in patronizing, ham-handed treacle, massively, criminally over-scored by chief enabler/collaborator John Williams.

The Terminal (2004) – Blu-ray Disc

May 6, 20142000s, 2014, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, Romance, Spielberg

Terminal1

**/**** Image A Sound A Extras B
starring Tom Hanks, Catherine Zeta-Jones, Stanley Tucci, Chi McBride
screenplay by Sacha Gervasi and Jeff Nathanson
directed by Steven Spielberg

by Walter Chaw Early in the latest Steven Spielberg-Tom Hanks collaboration The Terminal, Russian splinter exile Viktor Navorski (Hanks) runs up a staircase, throwing his suitcase onto the “up” escalator as he goes so that his baggage, in essence, is left to finish its journey on its own. It’s a lovely, complicated visual metaphor for abandonment or freedom, for Spielberg the scenarist’s twin obsessions with the idea of little boys lost and of little boys escaping and for Spielberg the director’s inability to take responsibility for his subtext so that he might finally make that mature film he’s so desperately wanted to since The Color Purple. But The Terminal is film-festival offensive, encouraging its audience to coo over the adorable antics of its madcap cast of society’s blue-collar “invisibles” (playing in this respect like the slick, imminently forgettable version of Stephen Frears’s working class morality play Dirty Pretty Things) in a way that isn’t sympathetic so much as paternalistic. Foreigners and minorities are resourceful children, operating eternally at the mercy of the dominant majority, and Neverland is the big cities of the United States, where grown-ups have families and problems.

Schindler’s List (1993) [Collector’s Gift Set] – DVD|[20th Anniversary Limited Edition] – Blu-ray Disc

March 12, 20131990s, 2013, Authors: Bill Chambers, Best Picture (Academy Awards), Blu-ray Disc, Drama, DVD, Spielberg

Schindlers1

***/****
DVD – Image B+ Sound A Extras A
BD – Image A+ Sound A Extras B-
starring Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall
screenplay by Steven Zaillian, based on the novel by Thomas Keneally
directed by Steven Spielberg

by Bill Chambers It’s not the “I could’ve done more” speech that rankles, but rather the scene directly preceding it, in which Herr Direktor Oskar Schindler (Liam Neeson) shames a gaggle of SS guards into leaving the 1100 Jews they’ve been ordered to kill unharmed in a manner not far removed from one of paterfamilias Mike’s guilt-trips on “The Brady Bunch”. (“You don’t really want to shoot these nice people, do you?” he asks (I’m hardly paraphrasing)–and one-by-one they skulk off.) I realized during my first viewing of Steven Spielberg’s Schindler’s List in almost a decade that I’m too much the representationalist to treat any text as sacred just because its subject matter is. Ergo, I allowed myself to cringe whenever I perceived Spielberg to be leaning on the crutch of suburban ethics, which he does often in the film’s “for he’s a jolly good fellow” denouement.*

Lincoln (2012)

November 8, 20122012, Authors: Walter Chaw, Biopic, Drama, Spielberg, Theatrical

**/****
starring Daniel Day-Lewis, Sally Field, David Strathairn, Tommy Lee Jones
screenplay by Tony Kushner
directed by Steven Spielberg

by Walter Chaw Bearing no relationship to the Gore Vidal biography with which it shares its name, Steven Spielberg’s predictably uneven Lincoln features moments of real grandeur narrated to death by John Williams’s inspiring™ and rousing™ score. No speech from Honest Abe (Daniel Day-Lewis) goes without ample and gaudy decoration, making me wonder which one Spielberg doesn’t trust to deliver the goods: Day-Lewis, or Lincoln. More to the point, what Spielberg probably doesn’t trust is the viewer’s intelligence and humanity, meaning the real question is whether he thinks the kind of people who would go to a movie about Abraham Lincoln are morons. Either way, it’s not the sort of behaviour that should be rewarded or go unremarked upon. Consider that the absolute best, most powerful moment of the film arrives within the first five minutes as Lincoln sits in a bivouac, taking questions from foot soldiers–and consider that this instance of naturalism is neatly destroyed by Spielberg’s instinct towards swatting flies with Buicks. What could have been an affecting, quiet bit with our most revered national figure ends with a clumsily proselytized mission statement as a black soldier recites the end of the Gettysburg Address–a not-subtle reminder that the mandate of Lincoln’s second term carried with it the responsibility to push the 13^th amendment ending slavery through a divided Congress.

Indiana Jones: The Complete Adventures – Blu-ray Disc

October 15, 2012****/****, 1980s, 2000s, 2012, Action, Adventure, Authors: Walter Chaw, Blu-ray Disc, FFC Must-Own, Spielberg

RAIDERS OF THE LOST ARK (1981)
****/**** Image A Sound A+ Extras B-
starring Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey
screenplay by Lawrence Kasdan
directed by Steven Spielberg

INDIANA JONES AND THE TEMPLE OF DOOM (1984)
***½/**** Image A+ Sound A+ Extras C+
starring Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri
screenplay by Willard Huyck & Gloria Katz
directed by Steven Spielberg

INDIANA JONES AND THE LAST CRUSADE (1989)
**½/**** Image A+ Sound A+ Extras C
starring Harrison Ford, Sean Connery, Denholm Elliot, Alison Doody
screenplay by Jeffrey Boam
directed by Steven Spielberg

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)
**½/**** Image A Sound A+ Extras C-
starring Harrison Ford, Cate Blanchett, Karen Allen, Shia LaBeouf
screenplay by David Koepp
directed by Steven Spielberg

by Walter Chaw Let’s talk about hats–fedoras, in particular, and how they evolved from the image of the hard-boiled detective in the American noir cycle into the chapeau-of-choice for Coppola’s gangsters in the anti-hero ’70s. How Harrison Ford’s Deckard from Blade Runner was originally conceived with one of the hats to go with his trench coat before Raiders of the Lost Ark made an American icon out of Ford’s swashbuckling archaeologist Indiana Jones, and how that didn’t stop child-killing child-molester Freddy Krueger from getting a fedora (singed and blood-stained, but so was Indy’s) in 1984–the same year, as it happens, that Steven Spielberg and George Lucas turned their American icon into the star of his own horror movie with Indiana Jones and the Temple of Doom. The relationship between Americans and the hats their heroes wear is a complicated one. A Freudian would offer that hats are tumescent–the loci of masculine power, a metaphor for the penis/head–and that losing a hat is the equivalent of castration. My favourite example of that theory in practice is Joel McCrea losing his in a field of windmills to the trilling, mocking laughter of ladylove Laraine Day in Foreign Correspondent. The Coen Brothers make it a throughline in Miller’s Crossing, too, as Tom loses and reclaims his hat in cycles of power and powerlessness. I think it means something in the fourth Indiana Jones flick that evil Russkie Spalko tips the brim of Indy’s hat in an attempt to read his mind instead of knocking it off entirely.

Jaws (1975) – Blu-ray + DVD + Digital Copy

August 25, 2012****/****, 1970s, 2012, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, FFC Must-Own, Horror, Spielberg

****/**** Image A Sound A- Extras A+
starring Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary
screenplay by Peter Benchley and Carl Gottlieb, based on the novel by Benchley
directed by Steven Spielberg

by Walter Chaw What’s not mentioned in very many conversations about Jaws is the pleasure it takes in work. That it’s one of the most influential films of all time–a picture commonly identified as the one responsible for the studio summer-blockbuster mentality–is a given by now. The miracle of it, though, is that it gets better every time you see it. I have the movie memorized at this point; I can recite it like a favourite song. I still jump when Ben Gardner appears in the hole in the hull of his boat, and I still laugh when Hooper helps himself to Brody’s uneaten dinner. More than a fright flick, Jaws is a beautifully rendered character piece, establishing Spielberg as–a little like Stephen King, oddly enough–a master of the easy moment. (They’re artists I’ve conflated in my head for their popularity with and influence on a generation of people my age.) It’s a little nasty, too, Jaws is, in throwaway moments like the one on the beach where, after a giant fin appears in the water, Spielberg cuts to a group of old men picking up their binoculars. They’re there to looky-loo; they’re expecting carnage. It’s not a Hitchcockian moment of audience critique (though it functions that way), but a brilliant character beat expressed with Spielberg’s savant-like visual genius. But above all, Jaws is about function and work–not unlike Star Wars, the final nail in the New American Cinema, will be two years later.

Men in Black 3 (2012)

May 23, 20122012, Action, Adventure, Authors: Angelo Muredda, Comedy, Sci-Fi, Spielberg, Theatrical, United Arab Emirates, Will Smith

**/****
starring Will Smith, Tommy Lee Jones, Josh Brolin, Emma Thompson
screenplay by Etan Cohen, based on the Malibu comic by Lowell Cunningham
directed by Barry Sonnenfeld

by Angelo Muredda That Barry Sonnenfeld’s Men in Black 3 isn’t garbage comes as a surprise ten years after the first terrible sequel, and amidst reports of a troubled shoot that got underway before there was even a screenplay. As detailed in a NEWSWEEK piece on the production, Will Smith’s enormous trailer guzzled fuel and idled for months while the script was hashed out on dirty napkins, looking like a readymade symbol for a lead balloon in the making. Still, that it isn’t the bust it could have been shouldn’t make us too generous towards what’s essentially a bloated and very expensive nostalgia trip not to its setting of 1969 but to the first film’s release year of 1997, a time that’s probably too near to really miss.

Attack the Block (2011) + Super 8 (2011)|Super 8 – Blu-ray + DVD + Digital Copy

November 21, 20112011, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Coming of Age, DVD, France, Mystery, Sci-Fi, Spielberg, Theatrical, Thriller, UK

ATTACK THE BLOCK
***/****
starring Jodie Whittaker, John Boyega, Alex Esmail, Franz Drameh
written and directed by Joe Cornish

SUPER 8
***/**** Image A+ Sound A+ Extras A-
starring Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso
written and directed by J.J. Abrams

by Walter Chaw Joe Cornish’s low-budget creature-feature Attack the Block is a charmer, a delight, the kind of rare film–like Jack Sholder’s The Hidden, Stuart Gordon’s Re-Animator, or Steve De Jarnatt’s Miracle Mile–that devotees will latch onto, and for good reason, with the fervour afforded genuine cult classics. It has energy to burn, a strange affinity with E.T.: The Extra-Terrestrial, and a super-cool monster that looks like a cross between Ira from the “Moonshadow” comic and a grizzly bear. That most of it was carried off with practical effects is a shot in the arm for practical effects and a bearer of the nostalgia banner that seems to be popular lately, what with our dreams and memories fodder again for the celluloid couch. Better still, it introduces a new star into the future pantheon in John Boyega, who has charisma to burn as gang leader-cum-saviour Moses. The movie’s tale of a group of street toughs has drawn comparisons to The Warriors, but I think the better analogy is Spielberg’s E.T., not just in that alchemy between the fantastic and the absolutely mundane (South England’s Lambeth neighbourhood), but also in the crafting of a living youth subculture alive with its own language, ritual, and custom. It’s not too much to say that, at its best, Attack the Block makes you feel the way you did when the guys took things into their own hands to deliver the flying, omniscient, omnipotent E.T. to his landing site. It taps into the irrational cool. Which doesn’t happen very often.

Real Steel (2011)

October 7, 20112011, Action, Authors: Walter Chaw, Drama, India, Sci-Fi, Spielberg, Sports, Theatrical

½*/****
starring Hugh Jackman, Dakota Goyo, Evangeline Lilly, Anthony Mackie
screenplay by John Gatins
directed by Shawn Levy

by Walter Chaw There’s really no excuse for Real Steel, a Frankenstein contraption made up of spare parts from middle-American fairytales like Field of Dreams and underdog sports intrigues starting with Rocky, I guess, and building all the way through to junk like The Rookie and any number of films just like it that appear with what seems like annual reliability. Set a few years from now, in a world where for some reason people have decided they love to watch giant robots fight each other in place of good ol’ primate bloodsport, it has going for it the most bucolic vision of the future since “The Jetsons”. Indeed, there are so many gorgeous shots of waving wheat and bilious white clouds that it’s fair to wonder if Ridley Scott directed it. Alas, Shawn Levy, the genius behind Night at the Museum, The Pink Panther, and Cheaper by the Dozen directed this cynical piece of bathetic crap and his sticky, syrup-coated paws are all over it, from the movie’s flat, unimaginative staging to its absolute inability to be non-didactic in its presentation. (The biggest surprise? That there isn’t a flatulent dog around for cheap reaction shots.) Already legendary for how quickly its trailers revealed it to be possibly the worst idea since Buck Henry pitched “The Graduate, Part 2” at the beginning of The Player, Real Steel–the condescension starts with the quasi-inspirational dual-meaning of its title–swiftly becomes legendary in its own right for somehow being exactly as bad as you thought it was going to be.

Cowboys & Aliens (2011)

July 29, 20112011, Action, Authors: Walter Chaw, India, Sci-Fi, Spielberg, Theatrical, Thriller, Western

½*/****
starring Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell
screenplay by Roberto Orci & Alex Kurtzman & Damon Lindelof and Mark Fergus & Hawk Ostby
directed by Jon Favreau

by Walter Chaw Let’s be clear: if there were a Hippocratic oath for movies, and there should be, it would be “first, do not suck.” It’s not about any desire for depth in something called Cowboys & Aliens, but rather the hope that the movie achieves some kind of baseline competence without, along the way, tripping off issues it doesn’t have the muscle to address and therefore shouldn’t also try to ride to an illusion of depth. It’s the difference between Brett Ratner using the Holocaust as a plot point in X-Men: The Last Stand and Matthew Vaughn doing the same in X-Men: First Class; I mean, talk about it or not, but if you bring it up, have something to say. So when Cowboys & Aliens director Jon Favreau casts Adam Beach as the adopted–and hated–black-headed stepchild of racist cattle baron Dolarhyde (Harrison Ford, gruffing it up in a role named after the serial killer in Red Dragon), he needs to do better than offer up a noble Redskin who, with his last martyred breath, all but invites his would-be dad to go be white with his real boy, Dolarhyde’s psychotic son Percy (Paul Dano). It’s the message of the film, sort of, where no message was necessary or even welcome–this transformation of Dolarhyde from a rawhide-chewing bastard into a dewy-eyed, dyed-in-the-wool liberal who lowers himself to rescue the chief savage (Raoul Trujillo) after taking a second to complain about the disconnectedness of Yankee leadership in the Union army. It’s enough to root for the South to rise again.

Transformers: Dark of the Moon (2011)

June 29, 20112011, Action, Authors: Walter Chaw, Cambodia, Directors: Michael Bay, Hong Kong, Spielberg, Theatrical, UK, ZERO STARS

ZERO STARS/****
starring Shia LaBeouf, Josh Duhamel, John Turturro, Frances McDormand
screenplay by Ehren Kruger
directed by Sir Michael Bay

by Walter Chaw It starts, maybe, with the moment Frances McDormand, as an NSA bigwig, declares that evil alien robot Decepticons should pass through customs. No–earlier, when noble alien robot Autobots infiltrate some nameless Arab state to murder Arabs. It might begin when fucking asshole Michael Bay does a long tracking shot following–in 3-D!–the toned, tanned ass of impossible-looking Carly (Victoria’s Secret model Rosie Huntington-Whiteley) as she climbs a flight of stairs to straddle her ugly mutt boyfriend Sam (Shia LaBeouf)–a pairing that at least in part explains the decades-long appeal of Ron Jeremy as a porn icon. Or maybe it’s the extended profanity (“dick, asshole, clusterfuck, bitch, shit” in a long-playing loop), the wholesale and semi-graphic murder of innocents by both sides, the way the robots bleed in crimson arterial sprays in this PG-13 movie, that instigates the realization that Transformers: Dark of the Moon (hereafter Transformers: Asshole) is a new low watermark for Bay and this naughty-little-boy franchise that highlights Bay’s misogyny, puerility, and imbecility for all the world to see. Better, it works as a fine illustration of how this industry of ours that I spend a lot of time defending is in bed completely with the Michael Bays of the world, who represent, I think, the money-making potential of any industry that consents to peddle vice and venality to children. Think of the cash a live-action hardcore porno based on the Barbie license would bring in. Let’s get on that, Bay and Zack Snyder, and give out heroin with the purchase of a ticket while we’re at it. The first one’s free, little girl.

Hereafter (2010) – Blu-ray + DVD + Digital Copy

March 13, 20112000s, 2010, 2011, Authors: Bill Chambers, Authors: Ian Pugh, Blu-ray Disc, Clint Eastwood, Documentary, Drama, DVD, Fantasy, Romance, Spielberg

½*/**** Image A Sound A Extras C+
starring Matt Damon, Cécile De France, Jay Mohr, Bryce Dallas Howard
screenplay by Peter Morgan
directed by Clint Eastwood

by Ian Pugh It’s an age-old problem: how do you make a movie (or write a book, or stage a play) about the broad and ultimately philosophical subject of death? Not like this, that’s for sure. Looking and feeling like it was shot from inside an aquarium, Clint Eastwood’s Hereafter is a failure of staggering proportions. Three stories intertwine to form a bland whole: George (Matt Damon) is an honest-to-gosh psychic who’s trying and failing to stay out of the racket; Marie (Cécile De France) is a French TV presenter who recalls visions of the afterlife after being caught in the Indian Ocean tsunami; and Marcus (Frankie McLaren) is a young lad who seeks answers when his twin brother dies in a traffic accident. Rest assured, their paths will cross in profoundly obvious ways as they wrap their heads around the very concept of death and what comes next. I’m certainly not the first person to compare Hereafter to Babel, but Eastwood offers little alternative. Hereafter approaches the various perceptions of death in the same way that Alejandro González Iñárritu approached “life,” and the end result is equally bloated and condescending.

The Color Purple (1985) [Two-Disc Special Edition] – DVD | Blu-ray Disc (DigiBook) + Eve’s Bayou (1997) [Lions Gate Signature Series] – DVD

January 16, 20111980s, 1990s, 2011, Authors: Bill Chambers, Blu-ray Disc, Coming of Age, Drama, DVD, Mystery, Spielberg

THE COLOR PURPLE
***/****
DVD – Image A- Sound A- Extras A-
BLU-RAY – Image A Sound A Extras A-
starring Whoopi Goldberg, Danny Glover, Adolph Caesar, Margaret Avery
screenplay by Menno Meyjes, based on the novel by Alice Walker
directed by Steven Spielberg

EVE’S BAYOU
**½/**** Image B Sound B Extras B+
starring Samuel L. Jackson, Lynn Whitfield, Debbi Morgan, Vondie Curtis-Hall
written and directed by Kasi Lemmons

by Bill Chambers In the prologue to Steven Spielberg’s The Color Purple, black sisters Celie (Desreta Jackson) and Nettie (Akosua Busia) play patty-cake in a field of blue-pink flowers. Celie, the ugly duckling, is pregnant with her second illegitimate child, and when she has the baby, her father (Leonard Jackson) cruelly whisks it away to a new home, as he did her firstborn. Later, her father disposes of Celie, too, betrothing her to Albert, a.k.a. “Mister” (Danny Glover), a vicious stranger on horseback seeking Nettie’s hand in marriage. Concerned with more than just lonely Celie (Whoopi Goldberg as an adult) summoning the confidence to defy Albert (less through her own sexual awakening, as in The Color Purple‘s source material, than through a cultivated sisterhood with the women in her orbit), the picture examines a generation of emancipated African-American men who, poisoned by the slave mentality, treat their women like Cinderella in a misguided salvo to independence. Shit rolls downhill, in other words.

True Grit (2010)

December 22, 2010****/****, 2000s, 2010, Authors: Walter Chaw, Coen Brothers, Spielberg, Theatrical, Western

****/****
starring Jeff Bridges, Matt Damon, Josh Brolin, Hailee Steinfeld
screenplay by Joel Coen & Ethan Coen, based on the novel by Charles Portis
directed by Joel Coen & Ethan Coen

by Walter Chaw In exactly the same way they distilled the essence of Cormac McCarthy into an overwhelming, oppressive, animal nihilism in No Country for Old Men, Joel and Ethan Coen have distilled the folksy Americana of Charles Portis into their adaptation of his True Grit. That gift for translation is what made The Odyssey into their collection of regional songs and stories O Brother, Where Art Thou?, what made their Miller’s Crossing and Barton Fink (the two films, along with O Brother, that True Grit most resembles) so sure in their genre approximations. More than mimics, the Coens’ genius is as interpreters and scholars, able to understand the thrust of not Preston Sturges, but of a Preston Sturges character–of not one book but, miraculously, a body of work. And though True Grit is as literal and faithful an adaptation of the novel as one could hope for, the brilliance of it is that it’s captured the immersive feeling of Portis’s prose. More than an adaptation, True Grit is an explanation of Portis’s work through the agency of an entirely different medium. It suggests that the Coens are like Tarantino’s monologue explaining Superman at the end of Kill Bill, Vol. 2: there is in their Fargos and Raising Arizonas sardonic commentary on genre and spectatorship. The big secret is that they are, in their own way, as detached and alien as cultural critics as Cronenberg is as an anthropologist.

Poltergeist (1982) – [Digitally Restored and Remastered] DVD + Blu-ray Disc

October 29, 20101980s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Tobe Hooper, DVD, Horror, Spielberg, Thriller

***/****
DVD – Image B+ Sound A- Extras F
BD – Image A Sound A Extras F
starring JoBeth Williams, Craig T. Nelson, Beatrice Straight, Heather O’Rourke
screenplay by Steven Spielberg, Michael Grais & Mark Victor
directed by Tobe Hooper

by Walter Chaw Time has made it impossible to see Poltergeist as anything other than a Steven Spielberg-directed picture. The hallmarks are there, from the microscopic attention to the family dynamic to the ridiculous, set-piece bombast of the grand finale. The only moments that feel like a Tobe Hooper joint are tiny throwaways that lack the polish Spielberg’s visual savant-ism demands, such as an artless shot of a killer clown doll, or a sequence where a guy rips his face off beneath an inexplicable sodium light over a likewise-inexplicable industrial wash basin. The rest of it is Spielberg clockwork: great suburbs, great special effects, great abuse of an expositive score (here Jerry Goldsmith fills in for John Williams), great overuse of the slow push-in, great hot mom, great irrelevant dad, great plucky little kids.