Prometheus (2012) - The Day the Fire Died.

Hey, Übermensch, where are the dinosaurs?

Hello again... again. By now I really intended to have a good five or so posts up, but the last month has been somewhat hectic. Rather than dwell on my own little personal disasters (ahhh, the joys of moving), let's talk about a film disaster I recently witnessed.

OK film fans... for several months now I've been eagerly awaiting the arrival of Ridley Scott's Prometheus (2012). Early trailers showed glorious snippets of new spaceships, worlds, and implied terrors. It also flashed images of the Space Jockey (SJ), the SJ's ship and other ominous icons of Scott's Alien (1979), an amazing sci-fi/horror genre mash-up initiating summer films to the wonders of haunted houses in space (a formula since repeated countless times). I couldn't wait to see how Scott would incorporate and build on the ideas of Alien. Then, as the months went by, something bad happened. The trailers begin to show more and more of the film, until they begin to reveal so much I would turn the channel or leave the room, not wanting to spoil film. In retrospect, I should have paid attention. Usually getting that much information out of commercials is a bad sign... someone in Marketing was worried about the film's prospects.


Shot in 3D, rather than being transferred to it later and thereby creating a darkened mess, with a budget estimated anywhere from $130 to $200 million, its crystal clear and wondrous visuals should be no surprise. Especially from the man who brought Blade Runner to the silver screen. However, that's all Scott provides. The script, primarily attributed to Damon Lindelof, the scribe of the painfully predictable western/sci-fi mash-up Cowboys & Aliens (2011) and the slow, nonsensical unraveling that was Lost, seems to have lost (see what I did there) what made the source material a classic. In the words of NPR's Howie Movshovitz (and a professor of mine at UCD) "it's one of the most soulless movies I've ever seen."

Unlike most critics, Howie notes Prometheus follows the tenets of a genre film as noted by film theorist and professor, Thomas Schatz (he also nails Hollywood's continual gay coding of non-human characters like Prometheus' David (Michael Fassbender) - who probably should have been coded based on this). Those connections are the least of its problems, though, as it's paint by numbers approach omits joy, excitement and, most surprisingly, tension. Prometheus is all narrative and iconographic cues, rehashed plot devices and cheap haunted house scares. The imagery is shiny, but the assembly provides nothing as original as Alien.

Spoilers Ahead!!!

The biggest problem I have with Prometheus, beyond those mentioned in the video, is the very theme of the film. Numerous critics (including my guru) have gushed about how smart a film it is for asking big, important questions about the search for the origins of humanity, who made us, what's our purpose and on and on and on. Fail. This film is the cinematic equivalent of drunken sophomore philosophy majors arguing evolution vs. creationism, science vs. religion. It's about as deep as a Fox News report. Interesting questions are broached, but nothing of value comes from it. The film is almost completely devoid of any logical thoughts or actions, which eventually kill any hope for the suspended disbelief required for any sci-fi film. Even worse, many of the most important actions that drive much of the plot come from David, whose motives are at best simply attributed to programming based on the ulterior motives of the Weyland-Yutani Corporation. Ultimately, they don't make any sense. It's a cop-out, enabling the screenwriters to link big ideas without having to actually provide something to connect the dots.

It's hard to make an interesting film that's been populated with characters that are either unimportant or lacking clear, reasonable motives and most of the characters in Prometheus are both. The intent of the story is vague, as if they had no idea of what they wanted or where they were going with the film. I have no problem with open-ended questions and ambivalent endings, which are typically antithetical to the Hollywood Blockbuster Summer Machine. But by the time I got to the end of Prometheus, the staggering amount of unanswered questions and things that make you say, "WTF was THAT?" seems only to serve the next installment of the series. Which, because I have a screw loose, I'm already eagerly awaiting.

How you doin'? Not bad for a vagabond...

Don't call it a comeback
I been here for years...

Well, technically, I haven't, but whatever...

The good news is since my last post, lo so many moons ago, I've taken a big step and gone back to school to study film. Yeah, I know, it's quite a shocker. Anyway, not only have I gone back to school, I'm already done. Yea me! Of course, now that I’m done with this degree I’ve realized that I want more. More films that explore the culture of a era, American or International, and its social-ideological values. More theories that explore gender, race, and class. More genre, auteur and psychoanalytical film theory. I want more. 

And that my friends means Grad school. With a capital “G", that rhymes with “C” and that stands for cash! (Yes, I did just quote Robert Preston from the Music Man, I played trombone in Jr. High. Uh, let's just keep going.) Originally, I wanted to start this fall, to keep the ball rolling so to speak, but that hasn’t quite played out the way I expected. Instead, I'm going to apply to schools in the fall for entry in 2013...

In the meantime, I plan on learning Italian (well, probably just some of it), watching a ton of films, reading a ton of books, and writing a ton on this blog.  Sometimes it'll be reviews, sometimes more scholarly academic pursuits, and sometimes it'll just be me bouncing random thoughts off the walls. First though, let me give you an idea of what I've been up to.This is one of my favorite papers from my Film Theory and Criticism class. It's short, to the point and it's a film that cuts to the heart of the social-ideological questions that fascinate me. And in my book, you can't go wrong with a little Agnès Varda.

OK film fans, here we go... 

 

In VisualPleasure and Narrative Cinema, Laura Mulvey quotes film director Budd Boetticher regarding the role of women in film. “What counts is what the heroine provokes, or rather what she represents… the love or fear she inspires… In herself the woman has not the slightest importance.”[i] As we witness the final weeks in the life of Mona Bergeron (Sandrine Bonnaire), primarily through the recollections and perceptions of others, the question of her importance, her value, is asked throughout Agnès Varda’s Vagabond.

Before her death, Mona, as the French title Sans toit ni loi describes, was homeless and lawless. She lived without regard for the norms of society. In flashback, we see her wander out of the sea, naked, with the sun shining on her back like Botticelli’s Birth of Venus. The image seems to establish Mona as an unfettered, force of nature; however, it is contrasted with a sequence of immature boys ogling postcards of naked sunbathers and remarking, “A girl all alone is easy.” With this statement still in mind, the score turns ominous and in dread we watch as Mona begins to hitchhike. Director Varda’s message is clear: Mona’s life, as a ‘girl all alone’ will always be in peril, marginalized and of a lesser value than those with the protection of a man and society.

In TheTerror of Pleasure Tania Modleski notes, “in many of the films the female is attacked not only because, as has often been claimed, she embodies sexual pleasure, but also because she represents a great many aspects of the specious good…”[ii] Both of these representations are established in Vagabond. The first ‘witnesses’ of Mona’s life are two men, a truck driver who picked her up and a construction worker who saw her sleeping in an abandoned house. Both view her as a sexual object, the latter referring to her as a ‘prize’. The first woman ‘witness’, a teenager who gives her water, envies Mona’s freedom, noting “She goes where she likes... I’d like to be free.” However, this freedom is depicted as hollow throughout the film.  Mona is free to wander, but the majority of society, as seen primarily through the eyes of the male witnesses, views her as free with a different definition: without value.

We learn little of Mona’s past, only that she was a secretary who hated bosses; most of what we glean about her is through the eyes of people with whom she shared brief encounters. Her rootless wandering may seem to embody freedom, but without having anyone who truly knows her, the character can only be what she provokes in others. Conversely, as a woman, Mona is of great value, reflecting how societal norms and paternal mindsets have stripped women of their ability to live carelessly free.

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[i] Braudy, Leo and Cohen, Marshall (2009). Film Theory and Criticism, 7^th ed. USA: Oxford University Press. Pg. 715.

[ii] Ibid. Pg. 625.

day 97 - Cousins

Ok film fans last night we got into the list of the Highest Grossing Romantic Comedies since 1978 and the frightful mess of which it's comprised. Way back on day 48 I posted my Top 5 Indie Romance films and it's not much of a surprise but my list doesn't fair to well in the box office. From #5 to #1 on my list their ranking on the money list would be pathetic. Let's look at their grosses in descending order from #5 to #1: $446k, $4.3 mil, $2.8 mil, $550k and unknown. That's absolutely pathetic. Even better, Wishful Thinking doesn't even appear on the Box Office Mojo's website. Since not a single of those films actually qualify as a romantic comedy allow me to humiliate myself with yet another guilty pleasure.

Cousins is little gem of a love story (based on the French film Cousin, Cousine) that once again reminds us we do not choose love, love chooses us. Directed with surprising elegance by Joel Schumacher (the genius behind Batman & Robin) is a story of two couples affairs with their respective spouses. Tom Hardy (William Peterson long before CSI) and Tish Kozinski (Sean Young before she went batshit insane) slip away in the middle of a large wedding reception for a little romp and return from their tryst long after the party is over. The next day Tom's wife Maria (Isabella Rossellini) tracks down Tish's husband Larry (a surprisingly effective Ted Danson) to discuss the possibility of their spouses having an affair.

But this isn't a shallow film simply concerned about bed hopping, the script delves deeper than most of the romcoms that get churned out of Hollywood. We meet both parties' families, witness their dynamics and explore the psyche of the couples as well; Tom is a brash BMW salesman, Tish is young woman who married for excitement, Maria is a wife whose put her family obligations before her own needs and Larry is a social misfit with a heart of gold. The film centers on the emerging romance between Maria and Larry and their struggles with giving in to what may be true love. The love story and the film as whole succeeds because of the wonderful performance of Isabella Rossellini. The warmth and sheer happiness she exudes is so genuine you can't help but want her character to find true love.

The truth is the film works not because adultery is funny, but because life itself is funny. It's written with an understanding of how people speak and the funny little things they say to each other within the confines of their relationships. These touches add warmth and spark to scenes beyond what we normally expect. Perhaps it's just me, but the film works because Isabella Rossellini gives a performance more believable, heartfelt, funny and cute than anything Julia Roberts, Sandra Bullock or any of the bland crop of America's Sweethearts that Hollywood force feeds us ever dreamed of while sleeping on their huge piles of money.

day 96 - Highest Grossing Romantic Comedies

Ok film fans, the last few nights I've been in a comedy mood. It's one of those wonderful things built into the human condition; laughter can lighten your mood and lift your spirits when you're feeling down. Comedy films are one of the most amazing things to watch because comedy is such a difficult thing to gauge. What might be funny to you might not be funny to someone else, case in point, the list for the highest grossing romantic comedies since 1978. Take a close look at this list. How many have you seen? More importantly, how many do you like? You may be surprised by this, because I don't give off a light-hearted rom-com vibe, but I've seen 80 of the films on this list. Unfortunately, I like maybe 20 of them.

The top ten of this list is the prime reason so many horrible rom-coms get made. I'm not shocked that there's two Julia Roberts films (worst best actress award ever! seriously, watch the other nominees from the year she one, you'll understand) and one from Sandra Bullock, they're America's Sweethearts (I just threw up in my mouth a little). I am surprised that there are actually three films I liked, There's Something About Mary, Knocked Up and As Good as It Gets. I'm also surprised there's two Helen Hunt films here, I had forgotten how much America loved this eighthead looking train wreck of a film actress (she wasn't bad on TV).

The closer you look at this list the more bizarre it looks, a random hodgepodge of styles and themes. No wonder Hollywood keeps churning these suckers out, you never know what's going to make over a $100 million, and yes I'm looking at Valentine's Day. You've got every kind of humor you can think of, from sappy (Pretty Woman) and raunchy (Knocked Up) to stories about teens (Pretty in Pink) and septuagenarians (Something's Gotta Give). It seems that if you throw a little romance into a film you can call it a romantic comedy if you through in even crappy jokes (i.e. every other film on this list).

What's even more disturbing is the group from 101 to 200. Here's is where you'll find some of my favorites, (500) Days of Summer, High Fidelity and Valley Girl slumming with the likes of All About Steve (Sandra Bullock made this and won an Oscar in the same year, this is one of the little known signs of the apocalypse), Addicted to Love and Picture Perfect (please for the love of all humanity, stop Jennifer Anniston from making any more films in this genre). In the end romantic comedies are such an eclectic group because it combines two things we all share but have wildly different opinions about; love and comedy.

Least you think I'm a film snob, which I try very hard not to be, I do consider this genre to be my biggest source of guilty pleasures. I like Sleepless in Seattle and You've Got Mail. I've been known to watch Notting Hill (yes I realize this is hypocritical of me) and The Wedding Date. One of my all time favorite films of the 80s is, and this is not to be spoken of outside this post, Blame It on Rio (one the greatest soundtracks as well, but impossible to find). Some of my favorite films don't even show up on this list until you get well into the 200s and others aren't even listed. But I think we'll save that for tomorrow.

day 95 - Waiting

Ok film fans, the week is still young and, much like last night, I'm still in need of some laughter. And tonight not just any kind of laughter will do. I'm looking for the kind that comes from relating to the situations onscreen because you've been through it yourself. Obviously making a connection with any kind of film enhances your appreciation for it, but with comedy it almost a whole genre unto itself. These slice of life comedies rely on our understanding of the situation, whether it is romance or a job.

Waiting... is a coming of age/workplace film that looks at the workers of the restaurant industry, many of whom are either in or just out of school. The employees of Shenanigans deal with boredom, rude customers and an uptight boss with humor, games and parties. If you've ever had any type of job in the wonderful food service industry you'll get the source of the comedy. The film revolves around Dean (Justin Long) who is beginning to questioned his job at Shenanigan's when he learns a high school classmate now has a lucrative career in electrical engineering. He's thrown into turmoil about his dead-end life and what he should do next when he's offered the Assistant Manager job . Dean's friend and roommate Monty (Ryan Reynolds) is in exactly the same boat, but he couldn't care less as he's more concerned with partying and getting laid.

Over the course of one chaotic shift, we get to know the rest of Shenanigan's quirky staff: Mitch (John Francis Daley), a quiet new employee, Monty's tough-talking ex-girlfriend, Serena (Anna Faris), Shenanigan's over-zealous manager, Dan (David Koechner), and head cook Raddimus (Luis Guzman), who's obsessed with a senseless staff-wide competition known only as "The Game". Having worked as a waiter in college this film always makes me laugh. My fellow waiters and I weren't as crude as the Shenanigan's crew, but I still remember the sense of monotony we fought against during each shift. Looking back on it through this film takes me back to a simpler time and makes me laugh, but there's no way in hell I'd want that job again. And that's just the kind laughter I needed.

day 94 - Pootie Tang

Ok film fans another new week is upon us and tonight I'm feeling like I could use a laugh or a couple dozen or perhaps some nitrous oxide. Over the years I have built a catalog of films to fall back on for nights like this and tonight I'm feeling like I need a little quality time with mindless stupidity.

Pootie Tang is one of the stupidest films ever made. It is also jam packed with scenes so ridiculous you can't help but find yourself laughing out loud. Written and directed by one of my all time favorite comedians, Louis C.K. (Who is actually writing the jokes Dane Cook steals for his shows), this is a film filled with cameos from his fellow stand-up comedian friends. Despite its glaring stupidity everyone in the cast seems to be in on the joke. If you're not in on the joke within the first few minutes you should probably just turn it off, it's only going to get more bizarre and outlandish as the film continues.

Basically a biopic, it chronicles the life of the musician/actor/activist/folk hero as he fights against criminals and the evil Lector Corporation, which sells cigarettes, booze, drugs and fast food to kids, with his magical belt. Oh yeah, he has a magical belt. He also speaks gibberish that everyone seems to understand without any problems. There's almost no point in getting into the plot because with this kind of film who really cares? The main goal here is to make you laugh and if you get the blaxploitation references it's even funnier. A labor of love for Louis C.K and Chris Rock (the Pootie Tang character appeared in five-minute bits on HBO’s The Chris Rock Show on which C.K. was a writer) this is not a mainstream film. It has however, become a cult favorite for fans of alt-comedy. So if you like your comedy a little subversive and a lot stupid, Pootie is your man.

day 93 - The Ten Commandments

Editor's Note: I've been suffering from some web issues, again, but I'm back for more. Here's my post from April 4th.

Ok film fans I've got to get running again, things to do and people to see on this Easter Sunday. But since its Easter, now is a good time to bring out a classic that just happens to be one of the greatest epic films ever made.

The Ten Commandments is the epitome of the adage "they just don't make them like that anymore." This epic blockbuster is #5 on the adjusted for inflation all time domestic box office sales list. If you add the restriction of first runs only, because this film was never re-released for the big screen, it's actually #1. It's been shown on ABC since 1973 with the exception of 1999 when some programming genius decided they should pull it. Unsurprisingly, a shit ton of pissed off people called them and they put it back on the air. My own streak of continuous viewing runs from approximately 1975 to 1993, but I've reincorporated it into my Easter viewing over the last couple of years.

I'm not going to explain the story here; if you're not familiar with the story of Moses I recommend you go to church, heathen. Of course there is a version for the heathen in all of us as well. The final film directed by old school Hollywood icon Cecil B DeMille, this grand epic is filled with grandiose images and old-fashion special effects that still stand the test time (ok, not all of them do, but they're still pretty cool). There's so many to choose from sometimes you forget the smaller scale effects, e.g. the water turning red, in the face of the larger effect like the classic parting of the Red Sea.

It's an epic story with the best visuals money could buy at the time (a whopping $13 million in 1956), overly dramatic performances from Charlton Heston (only in the 50's would this guy get to play a Jew and a Mexican), Yul Brynner and Edward G Robinson in addition to a film set in Egypt with almost no black faces visible. My sister and I devised a game as kids to see if we could find black people in the background, kind of like an early Where's Waldo.

Despite what now appears as campy or even stilted acting, this is still a timeless classic that tells a wonderful biblical tale in a manner we no longer see. But at least every Easter we can still plop down on the couch and watch a classic. And with HDTV now it looks so good it's like rediscovering it all over again. Next year make sure to add it to your Easter weekend, you won't be disappointed.