Archives for posts with tag: movies

‚ÄčNot letting critics put me off a movie was a good thing when I watched Passengers. I really loved it, except for the early part staying too long on just one character. Apparently a lot of people complained about that, so it’s not just me.  Otherwise, it’s one of my favorite movies I’ve seen this year. It’s sweet and romantic, yet still actiony that’s at times terrifying, all the sf colonization stuff is so, so cool, the ship is so awesome that I want to travel on it, and the ethical question at the movie’s center is fascinating. Chris Pratt is moving as Jim, especially while agonizing over whether to remain alone, then still wrestling with a combination of guilt and pure joy for much of the movie. Jennifer Lawrence displays a gamut of emotions, as Aurora endures different but equally brutal decisions. Michael Sheen’s robotic bartender adds enjoyable comic relief, with an accompanying touch of pathos. Lawrence Fishburn? What more need I say? He’s Lawrence Fishburn! As the movie unspooled, it reminded me of the final Futurama finale, which is a real compliment from me. Cautiously watching Passengers turned out to be an unexpected delight…the kind I can only wish happened more often.

Passengers Official Trailer

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This article is an old book and old movie lover’s dream. Names like Woolf, Dickens, Forster, and Bronte are scattered throughout, like beautiful, slow burning leaves flavoring autumn with their timeless scent. Their related books are the crispness in the air. Mr. Rochester and Jane Eyre, Mrs. Ramsey, her family and their guests, Mr. Wilcox and his younger bride overshadowed by his late wife…these are the people of some of my favorite literary treasures. They all leave their footprints preserved in this article, along with the houses that serve, in their way, as characters as well. Some of the houses that inspired stories like Howards End, Rebecca, and Jane Eyre are described in a way that brings back memories of reading the novels and wanting to read them again. My favorite segment is about Talland House that inspired Virginia Woolf’s To the Lighthouse. There’s a black and white picture of the actual house that makes me wish I was in Cornwall, so I could photograph it myself and perhaps look to the lighthouse from the garden. Some of the article’s descriptions evoke imagery from the books or scenes from screen adaptations. Reading it is a mental tour through cherished places brought to life by authors with often surprising connections to their characters’ homes. 

https://www.theguardian.com/books/2017/jul/29/pemberley-manderley-howards-end-real-building-fictional-houses?CMP=twt_gu

‚ÄčI just watched Solace, and, along with a general impression, moments and images still flash through my mind. Ironically, it reminded me stylistically of the TV series Hannibal. It used unexpected imagery in artistic ways, embedding impressions flawlessly in the viewing experience. The irony of course is that Anthony Hopkins starred in Solace, long after he made Hannibal Lecter a horrorhousehold name. It’s probably entirely coincidental that the Hannibal Lecter TV series he had nothing to do with had so much in common visually with the movie Solace. It’s very odd, though.

His John Clancy is my favorite of his characters in quite some time. Rich and deep, Clancy gives his portrayer a lot to work with, which he does to perfection. A touch telepath who wears tragedy like an uncomfortable overcoat, he reluctantly helps an old friend find and stop a killer. Along the way, he finds a new friend, a strength he thought he’d lost, and possibly a measure of peace.

For all its artistic beauty, the movie shows crime scenes in real and surreal detail. Some of Clancy’s vision are bloody and violent. All of it leads to a showdown played out on mental as well as physical planes. Emotional trauma is at the forefront of many moments, particularly a satisfying ending I thought I glimpsed early on, from mere hints of foreshadowing. Or perhaps bits of writer’s instinct. 

Jeffrey Dean Morgan played his old friend Joe, a dedicated cop with a secret he knows Clancy knows. The eventual reveal and quiet acknowledgments revealed as part of the story’s unfolding the burdens such a man as John Clancy must bear. Morgan’s excellent performance was a reminder of what a wonderful actor he is, for those who can’t help being caught up in the dark days of the Negpocalypse that is his role on The Walking Dead.

I’d seen trailers for Solace for some time. They didn’t do justice to this tight, taut, and mesmerizingly vivid film.

Solace Trailer

This article is a real eye opener, giving rare insight into how much money a bestselling author may make and the dire straits they may be in anyway. It’s all too easy to look at the the potential success of a novel or memoire, with starry eyes and dreams of fame and fortune, but we don’t often come across a successful author talking openly about hard times. Cheryl Strayed does just that here. I haven’t read her books, but I did see the excellent movie adaptation of Wild. I was shocked and dismayed to learn that what seems like a lot of money just helped pull her out of financial quicksand, much of it acrued while writing her books. Her entire situation was actually downright scary. It’s a wonderful thing to dream of a bright future, especially for authors who live on dreams more than money much of the time, but it’s also valuable to know the harsh reality some authors face. On the off chance of attaining great success, it would be very wise to heed the cautionary tale that was part of Cheryl Strayed’s real life.

I can’t let the 50 year anniversary of Star Trek pass without marking it as special to me. I stumbled into The Original Series long after its original run. I’d seen the movies and some franchise episodes. I liked them, but it was reading the novels that made me love them so much that I wanted to write my own Trek fiction. This avalanche of inspiration led me to watch… everything Trek. All that amazing Star Trek goodness inspired me to not only play in Gene Roddenberry’s sandbox, but also to continue what I learned from that into creating original fiction.

The end result to date of falling in love with Kirk, Spock, and Bones is that I won publication in Star Trek: Strange New Worlds anthologies VII, VIII, and Ten. The thrill of seeing my byline on those pro sale stories will forever be a landmark of my life, as a reader, a writer, and a human. That experience instilled in me a great love of writing and a work ethic that has led me this year to another longheld dream come true, being published in Analog.

Today, on the date when Star Trek first aired 50 years ago, I salute The Great Bird of the Galaxy. He enhanced my life in ways he never knew, but that I will treasure forever.

Once again I find myself saying I love Twitter. I can’t quite sleep, so of course I start scrolling through, wondering what marvel I will happen upon in the middle of the night. This time it was The Elephant Man who caught my eye.

I’ve been interested in Joseph (John) Merrick, known as The Elephant Man because of his terrible disfigurement, since seeing the movie about him, starring Anthony Hopkins and John Hurt. Many people could not bear to look at him, while conversely others paid to see him. Much of his life was one of degradation and despair.

His eventual friendship with London surgeon Dr. Frederick Treves led to the letters chronicled in this article , which I found extremely moving. They shine a bright light on the wonderful, in the often dismal quality in various walks of life of the people of Victorian England. This Wikipedia entry goes into a lot of fascinating information about this remarkable man’s life. My favorite moment depicted in the movie is that Princess Alexandra befriended him, apparently seeing the erudite nature of the man behind the deformities over which he had no control.

Something I didn’t expect to find within these letters was Francis Carr-Gomm’s eloquent explanation of why God allows such horrendous suffering. This question becomes a point of anguish for those of us who must watch someone we love dearly suffer tremendous pain, especially for an extended time. Carr-Gomm showed himself through his words in these letters on behalf of Joseph Merrick to be a wise, kind, and benevolent natured man, while Treves and all the people who found ways to help a lovely, gentle, intelligent soul trapped within a monstrous exterior were examples of the best the Victorian Age had to offer.

I wish Joseph Merrick had been given opportunity to live his entire life among the kindest of strangers, many of whom became friends. Regardless of his earlier treatment, it is a beautiful thing that in his final years he found peace and the experience of happiness most of us take for granted, even when we think we know what true unhappiness is.

I just finished watching a thrilling thriller that bombed at the British box office. It made just $141 in a weekend. I’m so used to seeing box office figures in the millions that I had to go back to check the numbers. I don’t think I’ve ever heard of a movie with such a high caliber cast make just $30 per theater on opening. My taste in movies often goes against the critical reception, and this time is no exception. It’s always strange that two people can watch the same movie, then have diametrically opposed reactions to it. In the case of Misconduct, I seem to be swimming upstream in my enjoyment of this movie. Ah well, all the more reason for me to run toward something critics flee.

My title for this post is tricky. On its surface it is what it is. The case at the center of Misconduct is about as open and shut as they come. Not. Well, sure, it seems so at first. It’s obvious who the white hats are, and equally obvious that Anthony Hopkins’ character is a very bad man. A corrupt  big pharma exec, with a ruthless black heart. But…but…but he does seem to care about his beautiful young girlfriend, when she’s kidnapped. Those but…but…buts keep coming until the final frames. By the time of fade out, I felt as if my center of intellectual gravity had shifted…several times. As I waited for the mental room to stop spinning, I realized the biggest but…but…but was the floppiness of this slick, red herring riddled twisty thriller. It may be fair to say every movie is at the very least somewhat different for every person who sees it. In this case I seriously feel as if I saw an entirely different movie than the critical pariah that bombed so badly in Britain.

Anthony Hopkins was riveting, but of course I feel that way about his Barclay’s Big commercial, so consider me at least slightly prejudiced on the subject. On the other hand I’ve seen at least…seventy five of his movies and only disliked two, while still admiring his performances, so I can speak with considerable authority on his prowess with whatever script he crosses paths with. The man is brilliant. Pacino is no slouch, of course, and I always like Josh Duhamel’s tall, charming, talented, good looks (not necessarily in that order). Those three came together as a multipronged powerhouse, of obfuscating cinematic glory.

The plot boasts as many twist as the Iron Throne does sword points. Yes, it is confusing. It is extremely complex. It takes a nimble mind to keep up. Maybe you have to like the three male stars as much as I do to even try, but the reward for the effort is sitting back in awed comprehension of a puzzle with not one missing piece. It falls together in a way that makes you want to hit somebody. Several somebodies. But there’s more than enough blood and bruise makeup on display to make you realize several some bodies have already been hit hard enough for one movie. So you mentally applaud,  and in my case start the search for the next Anthony Hopkins movie in the quest to see them all.

Now about that title. Beneath the surface it’s a nod to the beautiful, seamless camera work in Misconduct. I started noticing the way we watch externally, as characters glide from one location to the next. They often traverse rooms, even buildings, with an elegant grace that is so organic that it almost seems they’re transported elsewhere by nontraveling motion. This way of handling scene transition is not only visually beautiful, but technically so as well.

The reason I’m so attuned to that kind of thing is that when I first started learning the art of crafting a screenplay, I had trouble with scene changes. I didn’t realize it at first, but as I started the extended period of proofread-and-rewrite that is such an integral part of the process, I came to see that I had not yet learned the how and where of location transition.

This odd sticking point may be due to the fact that I was a novelist first. With fiction writing, the narrative flows subconsciously, often intuitively and assumptively for both writer and reader. With screenplays it’s more technical. The script is all about what the camera sees.    Physical transition is a series of opening and closing doors. While you don’t need to describe these doors, or acknowledge their existence even, you have to make sure you clearly get a character out of a location, without zipping him into a different room as if by magic. Unless you’re actually writing Harry Potter. Then you can apparate him to your heart’s content. What you can’t do is have muggles disapparate into walls.

The more you write, the more automatic proper transition becomes, but while learning it takes concentration. I was busy remembering proper slugline structure, to CAP or not to cap, and how many lines were trying to slip into any given action block. Eventually, I came to realize that while I concentrated on all that, I was slamming cameras into walls and doors and quite possibly people I’d forgotten to move out of the way.

Watching Misconduct glide people along from an external vantage point made me realize there’s always going to be more and more and more to learn about ways to make what a screenwriter sees in his head translate to the screen visual. Thus, location transition doesn’t always have to involve opening and shutting doors, literally or figuratively.

So, another movie I went to the opposite corner with the critics on. And the box office. I wonder what the handful of people watching in each almost empty screening thought. I’d like to think at least some left thrilled with the thriller they just saw, and wondered what movie the critics who panned it had seen instead.

Misconduct–Official Trailer #1

Barclay’s Big Commercial