The Pulp Fiction Curse

I have just recently seen both The Prestige and Hollywoodland. Both had the potential to be great films but blew it because of what I call 'the Pulp Fiction curse.' The curse happens when writers or directors believe they can reproduce the brilliance of Quentin Tarantino by using the mobile time line for their movies that his genius engineered with Pulp Fiction. Now please keep in mind I'm not saying that Quentin is a genius by ant stretch, just that some of his tricks are genius moves - the scenes-out-of-order-to-create-better-flow trick being one of his best. This does not for either of these two films though.

The Prestige re-teams Batman Begins playmates Christian Bale and Michael Caine with director Christopher Nolan in this script by he and his brother Jonathan Nolan, and based on the novel by comic book writer Christopher Priest. Much like The Illusionist, which I thought was the best film of this past year, this is the tale of a turn-of-the-century magician, or more specifically magicians. Bale and Hugh Jackson play rivals so competitive and scornful that their relationship turns to murder.

The movie travels far and wide depicting many of the secrets of the magician's world, much to the dismay of the practitioners of that field I'm sure, and those portions are greatly interesting. We also get a side trip to the real life Nikola Tesla, the mad scientist whose 'discoveries' equaled those of Thomas Edison. Tesla is played with great skill by a black-haired David Bowie.

For that matter everyone involved in this production: Andy Serkis, Scarlet Johansson, Piper Perabo, Ricky Jay and Roger Rees - all turn in amazing performances. This should have been a great film. It's the patchy timelines and misplaced flashbacks that kill it, although the length doesn't help much either. I think if The Prestige had been told in a linear fashion, with no flashbacks, no tricks - it would have been one of the best of the year.

Hollywoodland also suffers from the same curse. Focusing on the supposed murder or suicide of actor George Reeves, TV's first Superman, the film can't decide whether it is about the investigation of the crime or whether it's a George Reeves biopic. The switches from investigation in the present to flashbacks to Reeves' life are so jarring it takes away from any enjoyment of the film.

Much is made in the DVD extra material of how much research Ben Affleck did for his role as Reeves, but I really have to say it doesn't show. Affleck performs well, but he doesn't seem like Reeves at all, either from the Superman show or any interviews I've seen with the man. On the other hand, Adrien Brody gives a near perfect showing.

The flick explores all possibilities of the crime which is a nice change of pace for these types of movies. Usually the writer or director decides for you what the truth is which can be so annoying, especially if you have a grasp of the facts before seeing the work. Hollywoodland is only for folks interested in Reeves' death and folks who want to see another great Brody performance.

Dreamgirls

Dreamgirls - I'm not fond of Broadway shows. While not my type of entertainment, having married a stage rat I have been exposed to my share of Broadway and musicals of that sort. Sometimes the stuff is pretty good, and sometimes it's worse than an Adam Sandler marathon, a casino production of "Cats" and "Starlight Express" on ice being major lowlights. When these shows become films, bad things happen, A Chorus Line being a major example. I might have liked the flick had I not seen the show. Luckily "Dreamgirls" is something I have not experienced on stage, which is probably why I enjoyed the movie version so much.

Dreamgirls is a strange parallel universe version of Diana Ross and the Supremes and the Motown story. Once you get through the game of who is supposed to be who, it's easy to settle back and enjoy the ride. Be warned, it's a long ride, but you don't notice it.

Jennifer Hudson and Eddie Murphy steal every scene in which they appear. I would say their Oscars are assured. Jamie Foxx is as always a trimuph, but while Beyonce has one of the lead roles and sings and dances up a storm, her acting is at the opposite end of Foxx's. Not to worry as she doesn't do all that much acting, that's left up to the professionals.

A wonderful flick, must see.

Quickies 2-13-2007

You Only Live Twice - A James Bond I had seen decades ago and not since. I was reeled in to watching it again when a glance at the opening credits revealed the screenplay was by Roald Dahl of "Charlie and the Chocolate Factory" fame. His words have always delighted and impressed me. Armed with the knowledge of his hand, some of the absurdities of this Bond-er stood out. Still, it's a Sean Connery and he can't be beat in the role. Interesting to see Charles Gray in the cast but not as Blofeld. There are some painful dated sexist sequences when it comes to portrayals of Japanese men and especially women, but other than that, a great JB flick.

Un Dia Sin Mexicanos - I came across this supposed satire on HBO while popping through the channels. It's a what-if? that explores the idea that one day California wakes up and its entire Latino population has vanished. Basically a one joke gig however, great concept, bad follow through. It might have been a terrific five minute skit on "MadTV."

The Invincible Iron Man - Something that should be remembered about all comic book properties is that the lure for the audience is folks in spandex (or in this case, armor) fighting bad guys also in spandex. This DVD flick is beautiful rendered and animated, tells a wonderful storyline, but lacked serious (or even silly) superhero action - a no-no for any superhero flick. I just wanted to see Iron Man hit stuff. Guess I'll have to dig out my videos of the 1960s cartoons for that.

Quickies 2-9-2007

Firewall - I have to wonder if Harrison Ford got the memo that no one cares anymore? When was the last time he had a hit movie? It might be time to make a new Indiana Jones or Star Wars flick before it's too late because he's not aging gracefully. Sean Connery is hotter than Ford at this point. Dude is looking old and not able to do the action hero anymore. Not that Firewall, a cutting edge bank heist thriller, has cast him in that role, but he's not even cut out for the passive role he has here. The flick does have its share of suspense and tense moments but Ford doesn't supply many of them. It might also be nice if all the loose ends were tied up at the end.

The Notorious Bettie Page - I've never been a hardcore fan of cheesecake or Bettie Page, but I know my share of the phenomenon from Dave Stevens art and working in a video store with a healthy old school burlesque collection. Gretchen Mol is beautiful and stunning, and her acting is top notch as well. Props to writer/director Mary Harron. Beautiful women and wondrous cinematography.

Oldboy and The Boondock Saints - Both of these flicks came highly recommended by friends. There are elements to them that I really liked but overall I was bored and disappointed. The latter was many levels more engaging than the former until its anticlimactic ending.

Borat

I owe Steve Friedman a huge apology. He's Mr. Movie, heard locally on talk radio in the Philadelphia area for nearly twenty-five years (currently at WPHT 1210 AM Saturday nights), is one of the foremost experts on film and cinema ever - he knows almost as much as I do. ;-)

We frequently disagree, but as has been said a million times, Opinions are like a-holes, everyone has one. This past Saturday night Steve went on about how Stranger Than Fiction wasn't a great flick and how he didn't like it. I thought it was brilliant, nothing new, as I said, we frequently disagree. He then followed that opinion up with his thoughts on Borat, which he said he walked out on. That's a pretty forceful statement coming from any film critic, something is so awful that they had to walk out of it.

Upon hearing that I immediately relayed the info to my bride and said, "We MUST see Borat, if Steve hated it that much, it's probably good!" Additionally, there was also all that hype about it being the funniest movie ever made, and of course, it was also number one at the box office (not that that is a big deal, hell, Wedding Crashers was number one at one point). So we went to see Borat.

I sincerely apologize, Steve. This is one where we agree completely. I wanted out of the theatre almost at once. I did not, however, walk out, though I wish I did.

Borat is a racist, sexist, homophobic, anti-Semitic piece of shit.

DO NOT SEE THIS FILM.