Author Archives: Simon Hardy Butler

Setter’s ‘Spectives: So Far, ‘Mud’ Rises From the Dirt

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Setter Drawing for Blog 082613Yes, it’s a strange title. But I’ve gotta admit: Mud is providing some highly decent viewing.

I’m about halfway through it at this juncture, and this Jeff Nichols-helmed tale of two boys who find a boat in a tree–as well as the no-goodnik (played by Matthew McConaughey) living in it–is definitely holding my attention. The script is surprisingly novelesque, with unusually crisp dialogue, and the acting feels natural. I’m not a huge fan of McConaughey’s performances in general, but he’s decent in this, a quality I must attribute in part to the direction. So … good show so far.

So far because I had to go to sleep midway through the picture owing to the lateness of the evening. To be continued, right? Right.

Skip’s Quips: The Verdict on ‘Argo’ Is … Pretty Smooth Sailing

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Blog Sketch 082813I somehow knew Argo was going to be good, yet for no apparent reason I’ve been avoiding it.

Until last night. Saw it for the first time. And you know what? It’s a more than decent suspenser. OK, as a friend noted, there were too many “ticking clocks.” But it was tense enough, with sharp direction from Ben Affleck, who also starred in the film. There were also good turns from Alan Arkin, who was a hoot as a cynical yet patriotic producer, John Goodman and Bryan Cranston. Cinematography and editing were solid; perhaps there was a bit too much herky-jerkiness with the camera. All in all, though, it was quite well done.

I’m not usually a big fan of Affleck’s work; as an actor, I find him rather mannered. But in this movie, he was relatively subdued, and it worked nicely. I hope his next opus will be just as strong.

From Skip and Setter’s Creator: A Brief Apology

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Blog Sketch of Me 092213Hello, readers! Just want to apologize to you for not providing a new comic recently. Drawing is something that I’ve returned to after a long hiatus, and for some reason it’s more challenging to do for me than writing a post about the cinema. Not that I’m any good at drawing, anyway, but I do realize that my most recent strip has been up for a while. Plans are under way for more, so stay tuned. I promise I’ll have something new soon. Thanks for your patience.

Setter’s ‘Spectives: I Love You, Orson, But Really!

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Setter Drawing for Blog 082613Ever see part of a movie so you never have to see any more of it again?

That’s what I did with Someone to Love, Henry Jaglom’s very, very (and I mean very) bad film about, basically, nothing and starring, of all people, Orson Welles and Sally Kellerman in poorly used roles. The story in part seemed to concern Jaglom’s character filming people talking about loneliness while contemplating their lives in an old Los Angeles theater, but instead of providing astute insights, it became a trying bore after only about 30 minutes. Poorly edited, too, with Welles interrupting the proceedings with strange reflections on the sexual revolution and the camera often focusing on irrelevant subjects before whisking itself away all too quickly and filming someone else.

Needless to say, it didn’t take me long to turn it off.

I was wondering what Jaglom’s point was with all of this navel-gazing. There probably were interesting things to say, but they got swallowed up in a tempest of tedious talking. I’d never seen any of Jaglom’s other films, so perhaps I should’ve come prepared, but I still think a good movie should be accessible no matter where it falls in a director’s canon. And Someone to Love wasn’t.

This would definitely be in the “So Bad It’s Funny” category if I believed we should watch bad movies for laughs.

I don’t.

Skip’s Quips, Part II: ‘Minister’-ing to Movie Wounds

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Blog Sketch 082813Well, I saw Bertrand Tavernier’s The French Minister yesterday at Manhattan’s Walter Reade Theater.

Some amusing bits. But it didn’t feel cohesive. Undeveloped characters ran rampant in this tale, the based-on-a-true-graphic-novel-story of a young Parisian speechwriter’s encounters with his blustery foreign minister. Once-funny jokes were repeated all too often, including a running gag in which papers fly each time the public serviceman enters a room and slams the door. Yes, it was too much of a good thing. Then there was the protagonist’s love interest, who remained just that: a love interest. There wasn’t much conflict or development in their relationship as the film proceeded.

Cinematography was conservative, save a few dashing shots and screen slice-ups. And the film was overlong; much of the door-slamming could’ve been cut. Overall a decent film, but not a special one. More appetizing was the fact that Tavernier showed up and took questions afterward. A tall, white-haired gentleman, the veteran director seemed very personable and interested in talking about his film. Sadly, the movie isn’t a masterpiece, but it’s definitely different from the rest of the cinematic fare being shown on Broadway.

If only it were better.

Skip’s Quips: Off to the New Tavernier Flick

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Blog Sketch 082813I have never seen a Bertrand Tavernier film. But now I’m going to watch one.

It’s called The French Minister and it’s playing at Manhattan’s Lincoln Center. My wife is coming, too.

I feel very ignorant about Tavernier’s body of work. I haven’t even seen ‘Round Midnight. I probably should.

There’s also Death Watch, which I’d heard about and am interested in viewing.

The French Minister should make good blogging material. I am curious about it. Plus, Tavernier apparently is scheduled to make an appearance afterward for a Q&A session. Sounds interesting, right?

All part of the benefits of living in a cinema-oriented world.

Setter’s ‘Spectives: How Glib Was My Movie

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Setter Drawing for Blog 082613Trying to watch Celeste & Jesse Forever is hard.

I don’t like movies like this. Glib, smug, self-conscious. Snarky, unfunny humor.

Tough flick to get through. Oh, and it’s something about a couple in the process of divorce who still behave like a married pair. What a concept. Bleah.

Too bad, too, because there’s talent involved in this Lee Toland Krieger film, including Andy Samberg and Rashida Jones as the not-so-doomed lovers. The components, however, just don’t seem to mesh, and they end up making for tiresome viewing. Too bad.

Is there a comedy in the house? Well, there is … once I decide to watch something better.

Skip’s Quips: ‘Nebraska,’ Montana, Ooh, I’m Gonna Pan Ya

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Blog Sketch 082813Actually, I’m not, because I actually liked Alexander Payne’s intimate black-and-white film Nebraska. I just wanted to write a silly headline.

But seriously, folks. This was a pretty good movie. Bruce Dern as the aging, oft-confused, alcoholic father of electronics salesman Will Forte. June Squibb as Forte’s bitter mom. Stacy Keach (!) as Dern’s nemesis and onetime business partner. And they’re all part of a plot to recover a million bucks in winnings that Dern’s character thinks is owed him because he got a “You’ve just won $1 million” notice in the mail.

I think the movie should’ve been a lot more depressing, but Payne keeps the dialogue spare and the direction light. The action actually had movement, a place to go. And yes, there is an arc. So nice job. I’m not a fan of all of Payne’s flicks (I thought Election was particularly mean-spirited), but he’s definitely a filmmaker with destinations in mind and the ability to get there with economy. And although I don’t feel Nebraska is a masterpiece, it’s a smart, small film with a good tale to tell. It works. And it makes for a worthy evening.

On to the next movie.

Setter’s ‘Spectives: Sometimes You Just Gotta Say, ‘Well, That Was a Horrible Movie’

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Setter Drawing for Blog 082613And that’s exactly what I thought after watching Drive, He Said, director Jack Nicholson’s not-good 1971 relic about a womanizing college-basketball star and his bizarre counterculture roommate.

How did this film make basketball boring? I wondered, as the film meandered through then-hip out-of-focus shots and slo-mo passages. I was shocked to find myself wishing I had watched curling in the Olympics over these scenes. Bad sign, movie.

Then there was the problem of the film not being able to decide what it was about. The struggle to avoid the draft? Hippie dippiness? Who was it about, anyway, the basketball fella or his roomie? The movie couldn’t seem to decide. In fact, it followed them both in equal amounts, despite them both being unlikable characters.

Yuck. Turn it off, he said.

I think sometimes you’ve got to watch a bad movie once in a while to desire good movies more. I mean, right now, I could watch any portion of The Seven Samurai and be cleansed of the lousy-film experience. Boy, do I need a Kurosawa bath right now.

Maybe a bit of ice cream will rid me of the taste in my mouth. Yes, sometimes you’ve got to watch a bad movie once in a while. But even once in a while doesn’t feel good.

From Skip and Setter’s Creator: My Next Opus on CURNBLOG … This Time With Susan Seidelman

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Blog Sketch of Me 092213Hi, folks! My new interview on CURNBLOG is up, and it’s a good one: I talk to Susan Seidelman, director of films such as Desperately Seeking Susan, about balancing comedy and drama, Hollywood’s treatment of female talent, and her own cinematic influences. You can read more here:

http://curnblog.com/2014/03/07/interviewing-susan-seidelman-madonna-menopause/

I hope you like it.