Category Archives: film criticism

Skip’s Quips: Why ’12 Years a Slave’ Should Be Shown in Schools

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Blog Sketch 082813I usually look at period movies from a cinematic perspective — justifying and condemning celluloid decisions more with an eye toward aesthetics than accuracy. So it’s rare for me to recommend a film based on its historical content and the manner in which it’s conveyed.

I’m going to do just that, however, with Steve McQueen’s masterpiece 12 Years a Slave.

This picture — the story of Solomon Northrup, a free black man in 19th-century Saratoga, NY, who is kidnapped and sold into slavery — is up there with Steven Spielberg’s Schindler’s List as one of the great silver screen documents of human villainy … and therefore should be shown alongside the latter film in schools to give students an idea of what the extent of our species’ cruelty to each other was like. These movies would probably be most suitable for high school; I’m speaking from experience here, as I was given but a cursory education in those days regarding the lives of slaves in Northrup’s era, and my understanding wants as a result.

I hope students today will not go through the same experience that I did.

Central to 12 Years a Slave is the performance of the great Chiwetel Ejiofor as Northrup; he is absolutely brilliant and provides some of the most moving moments in the entire film, as does Lupita Nyong’o as the terribly abused slave Patsey, who is treated so horribly by slaveowner Edwin Epps (a superb portrayal by Michael Fassbender) that you’ll want to scream in anger at the screen. Editing and cinematography are expert, and there’s a simple, mournful score by Hans Zimmer that’s very effective. Of course, sharp direction that takes its time but never becomes plodding is crucial, and that’s provided by McQueen. It’s a major film, and there are many things to learn from it.

That’s why I suggest it be shown in schools as part of students’ history curricula. This is part of American history; it shouldn’t be glossed over, and it was in my education. Certainly, only a small part of the slavery experience was documented in the film, but when you see the torture inflicted upon Northrup — a harrowing scene in which he is left to hang from a tree for what seems like an eternity is one example of this — you’ll get an idea of the pain people went through … and why it should never happen again. Adding to the power of the film is the fact that it’s masterfully crafted, so there’s really no reason to avoid it.

We need to treat movies responsibly as parts of our culture. They should share accountability for their effects on viewers. And we should be accountable for not showing what’s necessary to people who need to see it.

12 Years a Slave is necessary.

Setter’s ‘Spectives: It’s ‘The World’s End’ as We Know It … Big Whoop

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Setter Drawing for Blog 082613Ever get the feeling while watching a movie that the actors enjoyed it a lot more than you?

That was exactly my response to The World’s End, the third in the “Cornetto” trilogy of silly, hyper-violent cinematic spoofs starring Simon Pegg and Nick Frost. (The previous two were Shaun of the Dead and Hot Fuzz.) I’m not a huge fan of the other films in this loose series, though they’re diverting enough on a rainy day when nothing else is on. The World’s End, however, felt more slapdash and cobbled together, as if the script – which has something to do with robotic aliens taking over the world as a stuck-in-the-’80s loser attempts to make a final, epic pub crawl with his now-grown-up buddies – was devised on the fly over brewskis. Ultimately, there were a lot fewer laughs in this flick than I hoped for, despite a strong cast (Martin Freeman plays one of the pals) and what was probably an immense amount of money spent on blue, extraterrestrial blood.

Part of the reason why I’m not a “Cornetto” series fan is the insistence on frustratingly kinetic editing that typifies many of the “action” scenes. I realize this is all part of the idea – that this is spoofery and it’s all very lighthearted – but it makes for dull viewing when done over and over again. And though I feel that Hot Fuzz is the best of the lot, I think they all smack of missed opportunities, as if too many jokes fell by the wayside. If you’re going to spoof something, go all the way, à la Airplane! or Blazing Saddles. I’m not sure what the creators of The World’s End were thinking, but there were some semi-serious moments that didn’t really work in such a wild and woolly context.

Once again, I’m in the minority on this; the Cornetto trilogy is a popular one, and I seem to be, oftentimes, at odds with popular cinematic taste. I stand by my perspective on The World’s End, though, with the end result being that on the whole, I’d rather have an ice cream than watch this movie again.

Skip’s Quips: Theory of ‘Frozen’

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Blog Sketch 082813I think the reason Frozen was such a hit was marketing.

Ads for the animated film were all over TV. They got people to see it.

But I’m not sure why so many people liked it. I thought the script was dreadful and the songs mediocre. Plus, it was highly, highly unfunny, especially the character of the live, talking, happy-go-lucky snowman. It’s highly possible that the execrable Jar Jar Binks in Star Wars: Episode I – The Phantom Menace was a more humorous, better developed character.

OK, the computer animation was quite well done in Frozen; that was no surprise. Yet the film seemed artificial, manufactured, as if devised specifically for a certain audience and peppered with hip dialogue and silly situations. It didn’t have an organic quality, and the songs just made it worse.

I’m in the minority on this, I know. Frozen was a huge success. Yet that doesn’t necessarily equate quality, and in that light, the movie doesn’t make the cut for me.

Disney can do better than this, methinks.

Setter’s ‘Spectives: Musical Lines, Non-Parallel

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Setter Drawing for Blog 082613We’re allowed to like great scores to mediocre movies, right?

I’m thinking about this as I ruminate on The Red Pony, Lewis Milestone’s 1949 film of John Steinbeck’s sad tale concerning a boy and his steed. The music, by Aaron Copland, is one of the American composer’s greatest compositions, yet it accompanies a picture that’s unfortunately just so-so.

I wish it were better.

Usually, it seems that the quality of a score reflects that of its film, but in The Red Pony‘s case, it doesn’t hold true. Frankly, I have no desire to see the film again … yet I often find myself humming the glorious, playful melodies and mulling the vibrant orchestration. Am I allowed to do this? I ask myself, half-serious. Am I able to like only one component of a full movie?

I have to answer yes, though I’m hesitant to do so. The cinema runs alongside music, and they’re often inextricable. Great directors generally know how to apply great scores by composers to celluloid, and many great composers have written for the screen. So what happened with The Red Pony? With a cast including Robert Mitchum and Myrna Loy, as well as Steinbeck’s writing chops, plus Copland’s lovely tunes, it should be a masterpiece.

It’s plodding, however, and the music is basically what saves it. Maybe this is one of the exceptions in the world of film: a picture that isn’t very good when all of the parts are added, despite one component being transcendent. At any rate, I’m glad we have this anomaly. I just hope I don’t encounter too many more.

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.

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.

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.