Wrestling with Jesus
Many have touted this movie as a great character piece marking the return of Mickey Rourke to greatness. Others have stated that the only reason why Rourke is so good in this film is because in many ways it mirrors his own life. Either way, no one disputes that his portrayal of a former headlining wrestler whose life is falling apart is masterful. As for it being his comeback, I will admit that I was never aware of his first arrival. I have never been very familiar with Rourke's older work, however his recent work has shown he is certainly an actor to be reckoned with. He delivers a character who speaks more in his silence with his mannerisms than in his dialogue and is able to give rousing speeches. Only true great actors have these qualities and it is a privilege to watch him on screen. As great as Rourke is on screen, I am actually more impressed with Marisa Tomei. I have the impression that many have written her off since she plays a stripper and shows off her body throughout the film. However, her reactions and choices create some of the most humble and heart rending moments in the film. I truly believe in the chemistry between Rourke and Tomei and recognize that it takes two to create such a believable relationship.
The direction by Aranofsky is subtle but at times apparent. He makes it clear to the observant audience member the changes and choices that Rourke's character is going through. It is amusing to see Rourke waiting behind the plastic strips getting ready to enter the meat area of the supermarket to work with the customers and putting himself into a mode similar to that of the wrestling matches. Also, the constant tight following camera on rourke's back creates a sense of tension as you constantly feel to close to the actor and unable to escape. At times, the camera doesn't seem to be able to hold Rourke's massive frame. The low budget nature is obvious, but it is also obvious that Aranofsky knows how to get the most out of the low-end budgets and techniques.
Now, for Jesus. The whole story is analogous to Jesus and his last few days on earth. It could be called Passion of the Christ part 2. It is modern and the brutality that Rourke puts himself through is ridiculous. It is fascinating to see how the wrestlers plan out their matches and how they communicate during the match. Then to see the real pain they inflict on each other to offer the audience a good brutal show reminiscent of the roman Christian offerings and battle of gladiators. Besides the physical torture and pain that Rourke must endure like Christ, the movie makes a specific reference to Passion of the Christ. Also, Rourke's character spends his time in the movie trying to overcome his recent heart attack and find a place for himself in the real world with a possible family to settle down with, but it becomes apparent that his own personal family and staying out of the spotlight is impossible as the people around him turn on him and give up on him and he realizes that his only real family is the crowd of fans and people shouting for his gory and glorified body. I'll be honest when I say I am not sure yet what Aranofsky's message is about this act yet although I know he is heavy into philosophy so I am sure there is a point or message about Jesus and his actions implied through the film. My guess, is that the film is actually about how Jesus had to choose to sacrifice himself to save those around him. It wasn't destined. There are many points in the film where Rourke has the option to turn away from his final demise and he chooses not to. He is even offered his last temptation and turns it down. Although when he looks back for a split second at his possible salvation, it has left. The film then ends Thelma and Louise style with Rourke jumping at the camera, immortalized in that moment and decision to embrace his possible death or possibly go one become the legend he once was again. This is an excellent film. It is an honor to watch it if for nothing else the chemistry and acting of Tomei and Rourke.
9 out of 10
Wannabe
Thursday, February 12, 2009
Saturday, February 7, 2009
Coraline
'Coraline as hand-made as this review'
I've wasted a lot of time trying to figure out how to make myself come back and write on this blog. I waited, and waited, and hoped for an inspirational movie to make me come back and start again. I thought I had it with Revolutionary Road, but I didn't. I had a lot to say, but no real urge to share it with others in writing. At least not until I was moved by the most recent stop-motion masterpiece of Coraline.
I will admit that I love stop-motion. I always have ever since I saw Clash of the Titans and Sinbad. Nightmare Before Christmas was delightful and I never understood why there wasn't more stop-motion films being made. I mean, sure it is difficult. People have to make everything about the set...EVERYTHING. And, you have to take each frame individually for the films which to run smoothly should be about 60 frames per second, although it is usually less. So yea, it takes time. When Aardman Studios started seeing success with Chicken Run and Wallace and Gromit I was hoping for a big movement possibly, akin to the comic book to film movement we are currently invested in. However, out came Corpse Bride and Flushed Away and I became afraid that the stop-motion industry had been distorted, married to dead techniques, and then flushed down the toilet as a giant turd. Well, the good news is that the original modern day master Henry Selick is back since The Nightmare Before Christmas and so is stop-motion.
When you see the movie, and you WILL see this movie, you will ponder and think and decide that there is no way that most of this movie is stop motion. There is so much CG that it is obvious that it wasn't that hard. I have read many articles concerning this movie and while there is some CG involved, I would argue that about 90% of it is stop-motion. Seamless, beautiful, hand-made craftmanship, stop-motion genius. All of the characters and almost every single setting is handmade. There are very few moments where you can see that it is stop-motion and not a completely CG movie such a Monster House or Toy Story. The spectacle and beauty of this film is stunning, and even more impressive when you realize how it was made. But enough of that, on to the story.
The original book was written by Neil Gaiman, a man whose movies have been up and down. Although I really liked Mirrormask and the recent CG Beowulf, many do not find the writing of these movies to his liking. Thankfully, other adaptations of his book work has been better received. Stardust was excellent and now Coraline is working quite well. The story is dark, creepy, threatening, and fantastic. When I was little, I was creeped out and enthralled by the dark side of The Nightmare Before Christmas. Coraline has a similar feel to that movie, but darker and creepier. There are very few songs and they don't make the mood easier to handle. Although many will disagree and say this movie is too dark for children, I would say it is perfect for the 7 and up range of students who want to feel something. Who want to be scared and watch horror movies before they should. The movies messages are exquisitely told and portrayed. Easy to understand. And it offers a thrill ride that Disney rarely did offer any child. There is no gore. The only possible downturn is it could be so creepy that some will have nightmares, so please parents, know your child and warn them beforehand. Also, it was significantly dark and creepy and I didn't see it in 3D. I do think the 3D portion might need to best be preserved for those older than 10. I still can't organize my thoughts about how awesome this movie is. You must see it. And I must see it now in 3D.
9.8 out of 10
Wannabe
I've wasted a lot of time trying to figure out how to make myself come back and write on this blog. I waited, and waited, and hoped for an inspirational movie to make me come back and start again. I thought I had it with Revolutionary Road, but I didn't. I had a lot to say, but no real urge to share it with others in writing. At least not until I was moved by the most recent stop-motion masterpiece of Coraline.
I will admit that I love stop-motion. I always have ever since I saw Clash of the Titans and Sinbad. Nightmare Before Christmas was delightful and I never understood why there wasn't more stop-motion films being made. I mean, sure it is difficult. People have to make everything about the set...EVERYTHING. And, you have to take each frame individually for the films which to run smoothly should be about 60 frames per second, although it is usually less. So yea, it takes time. When Aardman Studios started seeing success with Chicken Run and Wallace and Gromit I was hoping for a big movement possibly, akin to the comic book to film movement we are currently invested in. However, out came Corpse Bride and Flushed Away and I became afraid that the stop-motion industry had been distorted, married to dead techniques, and then flushed down the toilet as a giant turd. Well, the good news is that the original modern day master Henry Selick is back since The Nightmare Before Christmas and so is stop-motion.
When you see the movie, and you WILL see this movie, you will ponder and think and decide that there is no way that most of this movie is stop motion. There is so much CG that it is obvious that it wasn't that hard. I have read many articles concerning this movie and while there is some CG involved, I would argue that about 90% of it is stop-motion. Seamless, beautiful, hand-made craftmanship, stop-motion genius. All of the characters and almost every single setting is handmade. There are very few moments where you can see that it is stop-motion and not a completely CG movie such a Monster House or Toy Story. The spectacle and beauty of this film is stunning, and even more impressive when you realize how it was made. But enough of that, on to the story.
The original book was written by Neil Gaiman, a man whose movies have been up and down. Although I really liked Mirrormask and the recent CG Beowulf, many do not find the writing of these movies to his liking. Thankfully, other adaptations of his book work has been better received. Stardust was excellent and now Coraline is working quite well. The story is dark, creepy, threatening, and fantastic. When I was little, I was creeped out and enthralled by the dark side of The Nightmare Before Christmas. Coraline has a similar feel to that movie, but darker and creepier. There are very few songs and they don't make the mood easier to handle. Although many will disagree and say this movie is too dark for children, I would say it is perfect for the 7 and up range of students who want to feel something. Who want to be scared and watch horror movies before they should. The movies messages are exquisitely told and portrayed. Easy to understand. And it offers a thrill ride that Disney rarely did offer any child. There is no gore. The only possible downturn is it could be so creepy that some will have nightmares, so please parents, know your child and warn them beforehand. Also, it was significantly dark and creepy and I didn't see it in 3D. I do think the 3D portion might need to best be preserved for those older than 10. I still can't organize my thoughts about how awesome this movie is. You must see it. And I must see it now in 3D.
9.8 out of 10
Wannabe
Revolutionary Road
'Death of a Salesman 2'
Sam Mendes is an interesting director. He started his career on the stage and made the hard transition from a stage director to a film director. Hell, he made the hardest one by having gone from stage to several oscar winning and nominated movies. Please, tell me if you have heard of these two, American Beauty and Road to Perdition.
American Beauty was a modern day film exploring the problems inherent in most long sustained marriages in today's fast paced image conscious culture. And yes, that is where the famous floating bag scene is from. Road to Perdition explores the topics of immigration, freedom, and especially the bond between a son and father. Mendes most recent film, Revolutionary Road feels like a mix of these two films. It explores a newer married couple and the problems they face of settling down and finding happiness in their new roles as a family and not as individuals during a similar time period to that of Road to Perdition. So of course Mendes has done all of the homework to prepare for this film.
Although I don't know much about Justin Haythe who adapted the book Revolutionary Road into a screenplay, he does seem to show much promise. The movie itself is very symbolic and the words used mean something, even the most vague ones. However, I believe Haythe and Mendes have screwed up. Revolutionary Road should have been a stage play. The setting rarely changes, the power of the movie comes from the words and occassionally Mendes does make some powerful images. However, these images can easily be adapted to a stage. Not only that, but the topic matter and the obvious impact that Death of a Salesman has on the movie lends the overall feel of the movie to that of a stage adaptation.
Leonardo DiCaprio's character Frank is a fast talking unhappy man trapped in a job he can't stand with a wife who doesn't let him feel masculine. He has two children already, but interestingly enough, the film doesn't focus on the family as a whole, but on the mother and father of this overworked and under appreciated family. Kate Winslet (Sam Mendes' actual wife)plays the unhappy and struggling wife of two who always dreamed big and bohemian. Both are stuck in an American society fighting for the American dream, even though neither of them particularly want it. Their marriage has become old hat and stale and too perfect. They now have 1 chance to escape and rediscover themselves and their love and the movie focuses on their ability to leave the cycle of work and American dreams and values. The movie works best when watching Leonardo DiCaprio and Kate Winslet have intense arguments/discussions. The reactions to each others words tell us so much more about the characters than the words or their actions. It is exquisitely written for intense dramatic scenes. It even has raison d'etre as a mentally insane man.
As for how this realtes to Death of a Salesman. Besides taking on similar subject matter and just approaching it differently, Leonardo DiCaprio plays the closest thing I've seen to an adult version of Happy. He is still a fats talking liar who cheats around. He wanted more in life, but like his old man he is settling and continuing his habits of lying and cheating. Like his father he works as a salesman and wishes for himself and his family to have been big. At one point in the movie, DiCaprio's character asks the company's boss if he remembers his father who used to work in Yonkers...where Willy worked. Also, this scene in some way mirrors the scene where Willy approaches his boss to ask for a raise and gets fired, except it mirrors it differently in that DiCaprio comes to quit and is given a better offer. This movie feels like a direct spiritual sequel to Death of a Salesman.
In the end, the movie is okay and feels like it is in the wrong format. Although the acting and the writing is superb. This is a continuation of Mendes exploration of issues surrounding the American Dream. Mendes should direct a film version of Death of a Salesman and then sell it and Revolutionary Road and American Beauty in a box set as the American Dream trilogy. It isn't a happy look, but it is necessary to see the limitations and the consequences of not following your dreams instead of the collective dream. Although it is a good film, it should be a play and it is not Mendes best look at the topic of the Dream.
7.5 out of 10
Wannabe
Sam Mendes is an interesting director. He started his career on the stage and made the hard transition from a stage director to a film director. Hell, he made the hardest one by having gone from stage to several oscar winning and nominated movies. Please, tell me if you have heard of these two, American Beauty and Road to Perdition.
American Beauty was a modern day film exploring the problems inherent in most long sustained marriages in today's fast paced image conscious culture. And yes, that is where the famous floating bag scene is from. Road to Perdition explores the topics of immigration, freedom, and especially the bond between a son and father. Mendes most recent film, Revolutionary Road feels like a mix of these two films. It explores a newer married couple and the problems they face of settling down and finding happiness in their new roles as a family and not as individuals during a similar time period to that of Road to Perdition. So of course Mendes has done all of the homework to prepare for this film.
Although I don't know much about Justin Haythe who adapted the book Revolutionary Road into a screenplay, he does seem to show much promise. The movie itself is very symbolic and the words used mean something, even the most vague ones. However, I believe Haythe and Mendes have screwed up. Revolutionary Road should have been a stage play. The setting rarely changes, the power of the movie comes from the words and occassionally Mendes does make some powerful images. However, these images can easily be adapted to a stage. Not only that, but the topic matter and the obvious impact that Death of a Salesman has on the movie lends the overall feel of the movie to that of a stage adaptation.
Leonardo DiCaprio's character Frank is a fast talking unhappy man trapped in a job he can't stand with a wife who doesn't let him feel masculine. He has two children already, but interestingly enough, the film doesn't focus on the family as a whole, but on the mother and father of this overworked and under appreciated family. Kate Winslet (Sam Mendes' actual wife)plays the unhappy and struggling wife of two who always dreamed big and bohemian. Both are stuck in an American society fighting for the American dream, even though neither of them particularly want it. Their marriage has become old hat and stale and too perfect. They now have 1 chance to escape and rediscover themselves and their love and the movie focuses on their ability to leave the cycle of work and American dreams and values. The movie works best when watching Leonardo DiCaprio and Kate Winslet have intense arguments/discussions. The reactions to each others words tell us so much more about the characters than the words or their actions. It is exquisitely written for intense dramatic scenes. It even has raison d'etre as a mentally insane man.
As for how this realtes to Death of a Salesman. Besides taking on similar subject matter and just approaching it differently, Leonardo DiCaprio plays the closest thing I've seen to an adult version of Happy. He is still a fats talking liar who cheats around. He wanted more in life, but like his old man he is settling and continuing his habits of lying and cheating. Like his father he works as a salesman and wishes for himself and his family to have been big. At one point in the movie, DiCaprio's character asks the company's boss if he remembers his father who used to work in Yonkers...where Willy worked. Also, this scene in some way mirrors the scene where Willy approaches his boss to ask for a raise and gets fired, except it mirrors it differently in that DiCaprio comes to quit and is given a better offer. This movie feels like a direct spiritual sequel to Death of a Salesman.
In the end, the movie is okay and feels like it is in the wrong format. Although the acting and the writing is superb. This is a continuation of Mendes exploration of issues surrounding the American Dream. Mendes should direct a film version of Death of a Salesman and then sell it and Revolutionary Road and American Beauty in a box set as the American Dream trilogy. It isn't a happy look, but it is necessary to see the limitations and the consequences of not following your dreams instead of the collective dream. Although it is a good film, it should be a play and it is not Mendes best look at the topic of the Dream.
7.5 out of 10
Wannabe
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