Crazy Rich Asians
Very few films have ever captured the pains of being first-generation American quite like Crazy Rich Asians.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A review of the new book, People Only Die of Love in Movies: Film Writing by Jim Ridley.
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
Boone and Henderson on "Dear White People"; Brody on "Birdman"; Serpico on the NYPD; Sragow on film criticism; Uhlich on "Citizenfour" and "Nightcrawler."
Is the director's explicit "The Canyons" the nadir of his career—or its climax?
"A man can be an artist ... in anything, food, whatever. It depends on how good he is at it. Creasey's art is death. He's about to paint his masterpiece." -- Rayburn (Christopher Walken), "Man on Fire" (2004)
While I've never been a fan of the late Tony Scott or Christopher Nolan, a few thoughtful articles in recent days have helped me see them in new lights, and got me to thinking about their resemblances as well as their dissimilarities. Several appreciations of Scott (especially those by Ignatiy Vishnevetsky, Bilge Ebiri, David Edelstein and Manohla Dargis), along with David Bordwell's incisive essay on Christopher Nolan ("Nolan vs. Nolan") got me to thinking about the common assumptions about these popular filmmakers, both of whom are known for quick, impressionistic imagery, intercut scenes, slam-bang action and a CGI-averse insistence on photographing the real world.¹ Regardless of what you ultimately make of their work, there's no question they've done it their way.
This is an attempt to look at both filmmakers through the prism of others' points of view, refracted in critical appraisals like the above.
Of course, Scott and Nolan have passionate admirers and detractors. Until Scott's shocking suicide last week (from a bridge, a landmark that figures hauntingly in the climaxes of several of his movies), I wasn't aware of many critics who championed his movies, but with a few exceptions the obits seem to have been more admiring than the reviews over the years -- understandably, under the sad circumstances.
Those who applaud Scott and Nolan's films see them as genre boundary-pushers (thrillers, action pictures, science-fiction, superhero movies); those who denigrate them see them as symptomatic of the debasement of resonant imagery in modern Hollywood movies. Both have been subjected to that worst of all critical insults, comparisons to Michael Bay:
"'Inception' may have been directed by Christopher Nolan, but Nolan's dreams are apparently directed by Michael Bay." -- Andrew O'Hehir, "Inception: A clunky, overblown disappointment"
"If it sounds like I'm describing Michael Bay, that's because I sort of am. What we like to think of today as the Bay/Jerry Bruckheimer aesthetic was, in fact, originally the Tony Scott aesthetic (often deployed in films made for Bruckheimer and his late partner Don Simpson). Only back then there was a lot more art to it." -- Bilge Ebiri, "To Control Something That's Out of Control: On Tony Scott"
One of Scott's notable defenders has been The New York Times' Manohla Dargis. She identifies him as a "maximalist" who used "a lot of everything in his movies: smoke, cuts, camera moves, color. This kind of stylistic, self-conscious excess could be glorious, as in his underappreciated film 'Domino' (2005)," which Roger Ebert also somewhat grudgingly admired, quoting a character to describe the movie itself as having "the attention span of a ferret on crystal meth." Dargis writes:
Marie writes: It's official. I have died and gone to heaven. For here below, as part of an ongoing series exploring Britain's architectural wonders, the Observer's architecture critic Rowan Moore, introduces a spectacular interactive 360-degree panoramic photograph of "The grand staircase in the St Pancras Renaissance hotel" - which I regard as one of the most beautiful pieces of architecture I have ever seen. I adore this building and always will; it's the stuff of dreams. (Click photo to enlarge.)
Go here to explore a 360 panoramic view of the grand staircase!
"Those who think "Transformers" is a great or even a good film are, may I tactfully suggest, not sufficiently evolved. Film by film, I hope they climb a personal ladder into the realm of better films, until their standards improve."
-- Roger Ebert, "I'm a proud Brainiac"
"Transformers: Revenge of the Fallen" is the "Dark Knight" of 2009. In what way? It's the pop-smash action picture that has excited a bunch of fanboys fans who don't usually read movie critics to howl with inarticulate rage about movie critics who don't like their movie. Of course, "The Dark Knight" was met with considerable mainstream critical acclaim, and "ROTFL" with equally considerable mainstream critical disdain, but the important thing to remember is: critics had nothing to do with making these movies hits.
Want to see critics made completely superfluous? Bestow upon them the magical power to predict box-office success. Instead of awarding thumbs or stars or letter grades, they can just provide ticket sales projections that can be quoted in the ads: "I give it $109 million in its opening weekend!" Voila! Instant redundancy, instant irrelevance. Why do you need critics to gauge grosses when you already have tracking reports, followed by the actual grosses themselves?
View image Emission accomplished!
"Ten Movies That Shook The World" (1977 - 1999), the semi-sequel to my piece on "How "Star Wars" Changed Everything," is now at MSN Movies.
"Beverly Hills Cop" (1984)
It's a comedy. It's an action movie. It's a fish-out-of-water story. It has Eddie Murphy. It's the '80s in a nutshell! Here we have the quintessential example of the "high concept" movie that has lit the light which is green at studios from Burbank to Culver City. I saw it with Eszter Balint, the then-18-year-old Hungarian-American actress who played cousin Eva in "Stranger Than Paradise." She told me afterward that she felt bad for the families of all the expendable characters who were killed in the gunfight and car chase scenes. With its (some would say rather callous) synthesis of comedy and violence, "BHC" (and Walter Hill's "48 HRS") brought a slicked-up exploitation-movie sensibility into the mainstream, paving the way in the 1990s for "Pulp Fiction" and its imitators.
"Top Gun" (1986)
A breakthrough in the portrayal of homoeroticism in Hollywood movies (we've all seen Quentin Tarantino's monologue about how it's the gayest movie ever, right?), as well as the apotheosis of the slick, MTV-style action picture produced by Don Simpson and Jerry Bruckheimer (now just Bruckheimer, since Don Simpson OD'd on Tinseltown decadence). The deliberate, disorienting music-video cutting, the contemporary pop soundtrack, the shameless celebration of testosterone-injected buddy love -- it's all here, from Tony Scott ("The Last Boy Scout," "Beverly Hills Cop II," "Domino") to Michael Bay ("Armageddon," "Pearl Harbor") and beyond. One could argue that Adrian Lyne's 1983 celluloid video about the lady welder who was "a maniac, maniac" for dancing under buckets of water at gentlemen's clubs (aka "Flashdance") deserves this spot, but it lacks the militaristic gay element that became so prevalent in popular movies. "Brokeback Mountain" may have been sired out of "Red River," but "Top Gun" also blazed a trail for it.
Go here for the complete list and overview...
The Attitude in action. (photo: Mario Anzuoni/Reuters)
At first I wasn't going to write anything about last weekend's "disappointing" domestic grosses for "M:I:III" (or, as Stephen Colbert pronounces it, "Miiii"), because, well, who really cares about the box-office numbers of movies like "Miiii" (or Celebs Who Act Out)? Especially when "24" gives you trickier plotting, more believable stunts, top-flight production values, first-class actors (Kiefer Sutherland, Mary Lynn Rajskub, Stephen Spinella, William Devane, Ray Wise, Jean Smart...) and characters for whom you can actually feel something besides an indefinable creepy revulsion (though some have that quality, too), week after week (and in digital surround and HDTV, no less) -- making pre-packaged, pre-fab disposable summer action products like "Miiii" seem as dinosaurish and unnecessary as they truly are. (Note to self: How do I really feel?)
But then I saw this headline above a Reuters story Thursday: "Hollywood friends rally around Tom Cruise." Yes, dear readers, Tom needs some friends just now (if only, evidently, to buy batches of opening-weekend tickets to "M:I:III" at the Scientology Celebrity-Center-adjacent ArcLight Theater in Hollywood). It was too absurd to pass up.
So (he said wearily), let's recap:
His Cruiseness's public "approval ratings" (says a USA Today opinion survey) are way down there with the likes of... George W. Bush:
"You should learn to keep your opinions OUT of your reviews!" Every critic I know has received at least one letter like that from an indignant reader. Of course, it's an absurd proposition; critics are paid to express their opinions, and the good ones (who exercise what is known across all disciplines as "critical thinking") are also able to cite examples and employ sound reasoning to build an argument, showing you how and why they reached their verdict.