Tag Archives: movie

Setter’s ‘Spectives: Your Seats Won’t Make a Bad Movie Better

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Setter Drawing for Blog 082613It’s nice to know there are movie theaters out there that are trying to make the film-consumption process more palatable than the tired popcorn that’s churned out every day before being drizzled with slimy butter topping.

I recently had the experience of sitting in such a theater, which featured a kind of stadium seating that might be found in the first-class cabin of an airplane … if such flights featured cinema-oriented stadium seating. Composed of soft padding, the chair had a bit of a recline thing going on, as well as lots of space for me to shift my tuchas when my position became the least bit uncomfortable. The requisite cup holder added convenience; extra leg room added area.

Unfortunately, it didn’t improve the movie I was seeing: This Is Where I Leave You.

That’s too bad. I only wish the theater concentrated more on providing a better film than it did on offering cushy seating. For a good picture, I’d sit on hard wooden benches. I’d sit on the floor. I’d sit in the smoking lava of the Mount Doom caldera.

Well, maybe I wouldn’t go that far.

My point is that the quality of the seating in a theater is less important to me than the quality of the filmmaking. I prefer to see movies based on how good they may be, not how comfortable the space is. And I just don’t think a huge number of mainstream theaters consider that.

I understand numbers are important. I understand luring eyeballs is essential. But I just would like to see more of a focus on bringing great pictures to the theaters than one geared to bells and whistles. I don’t know if this will happen; it’s probably not a realistic hope. It’s the wish of a moviegoer, though. The wish of an individual.

That should factor in somewhere.

Skip’s Quips: I Want a Hero … Just Not ‘Super’

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Blog Sketch 082813Movies that start promisingly yet end up mundane are a pet peeve of mine.

Super, director James Gunn’s pre-Guardians of the Galaxy flick about an ordinary man who dons a homemade superhero outfit in a quest to win back his wife from drug dealers, falls into this category. Featuring a host of satiric elements (including some pointed attacks on organized religion), the film collapses into dull, hyperviolent shoot-’em-up mode toward the end, which negates its previous appeal. The enthusiastic presence of Ellen Page as a sidekick wannabe gives the picture a boost, but even she can’t save it.

That’s too bad. Gunn has a distinct style and carefree sensibility that can be infectious, as proven by the success of GotG. Super, however, ultimately offers little to differentiate it from the average bloody man-with-a-mission actioner. This is strange considering the peculiarity of its protagonist, a withdrawn fellow (played by Rainn Wilson) who has religious visions and may be mistaking them for his heroic calling. The movie should be more interesting or at least comic, right? – especially since the only skill this character seems to have is the ability to cook eggs well. Perhaps something along the lines of The Greatest American Hero, no?

No. I expect better things to come from Gunn and have high hopes. Super was a misfire, but every director has those. I’m assuming Gunn has learned from his mistakes, as all heroes do.

Setter’s ‘Spectives: What Happened to All Those Great Opera Movies?

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Setter Drawing for Blog 082613Remember Franco Zeffirelli’s excellent film of Verdi’s Otello? Lush production, sexy direction, terrific acting, and of course, the great Placido Domingo as the titular Moor.

Why can’t we get more movies like that today?

It seems like there isn’t as much of an impetus to develop cinematic spectaculars based on classic operas as there was three decades ago, and I think that’s a shame. Once upon a time, you had Ingmar Bergman doing Mozart’s The Magic Flute, too. But now, it appears that directors of a certain stature are more content to craft large-scale pictures out of popular contemporary musicals than operatic standards. It makes sense from a commercial standpoint, as the latter have a more limited audience. From an artistic perspective, however, it’s lamentable.

I want to see a great celluloid version of Wagner’s Tristan und Isolde, darn it! And not the nonsense that is Tristan + Isolde, see?

Today, with New York’s Metropolitan Opera doing HD films of various productions, it’s easy to think that we’ve come to an era where the genre is made accessible to everyone. I don’t think that’s the case, though. Movies of productions aren’t the same as cinematic iterations that aren’t confined to one stage; Zeffirelli’s Otello is proof of that. It was an actual film, not a filmed opera. That’s one of the reasons why it worked so well onscreen. Editing, cinematography, music, art direction – everything combined to make a powerful whole. It became a motion picture.

I don’t think opera is a dying art, nor do I believe it should be relegated to the upper class. It’s for everyone, and the great works deserve to be viewed and listened to by all. That’s why I’d like to see more of the type of thing that Zeffirelli has done in the theaters – not just HD versions. Many of these stories are quite cinematic, with fanciful plots and engaging characters. Shouldn’t they be put onscreen where they belong?

I think so. And I hope one day, we’ll see opera once again take its rightful place in the cinema.

Skip’s Quips: It’s High Time We Get a Remake of ‘The Illustrated Man’

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Blog Sketch 082813I never thought Jack Smight’s adaptation of Ray Bradbury’s classic science-fiction short story collection The Illustrated Man measured up to the standards of the book, and I lament that.

The pace was plodding, the direction was uninspired. It didn’t work, despite a fine cast that included Rod Steiger and Claire Bloom.

Someone should remake it.

Yes, I do believe it could be a success if redone today. The technology exists to provide the kinds of special effects needed for some of the stories, which deserve a better treatment. Steven Spielberg, methinks, would be a great fit for this kind of project. So would Peter Jackson.

I don’t know if it’s the type of thing that would appeal to directors nowadays, but the tales that have dated more than others – like the one that take place in a rain-soaked landscape on Venus – could be avoided in favor of greater stories in the collection. The entire film could focus on, say, only about four or five pieces in all and still be successful. It might make a fun project.

We need more thoughtful, perceptive sci-fi pictures in theaters today. Hollywood has mined so much already … why not go after more of the classics to improve on previous iterations? I’d watch them. So would legions of Bradbury and genre fans.

Just an idea.

Setter’s ‘Spectives: Leaving Halfway Through ‘The Trip’

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Setter Drawing for Blog 082613Films that think they’re funnier than they actually are bug me.

The Trip is one of those. The documentary-esque story of two friends (Steve Coogan and Rob Brydon) journeying through Northern England as they dine at fancy restaurants and do not-always-successful impressions of famous actors, this film is only sporadically amusing and meanders quite a bit. I guess that’s the point, but it’s virtually without any conflict whatsoever, and that wears on me. Hence, I was only able to get halfway through the movie before leaving it last night for the comfort of my bed.

Ah, to sleep, perchance to dream … of movies that are much better than The Trip.

Coogan’s a talented actor; I like him a lot. If I wanted to watch a series of impressions, however, I’d digest some stand-up comedy. A movie filled with impressions as a substitute for funny business just isn’t my cuppa tea. Plus Coogan and Brydon are always talking over each other, so after a while their efforts become grating. The ability to generate laughter is lost.

Ultimately, the feeling I got about The Trip is that it tries to hard. I don’t like to watch a film flailing around. I prefer something with direction. In general, this Trip doesn’t have drive. And I don’t regret stopping it halfway one bit.

Skip’s Quips: Favreau’s ‘Chef’ Fantasy Lingers Long on the Palate

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Blog Sketch 082813There’s a lot of good stuff in Jon Favreau’s culinarily driven film Chef, which documents the fall and rise of a famed toque-meister (portrayed by Favreau himself) as he journeys from restaurant to food truck. But realistic it is not.

I enjoyed it … to a certain extent. It’s breezy, amusing, touching at times. The characters are likable. The food looks, well, tasty.

It’s a fantasy, however, and doesn’t ring true on many levels. The protagonist, a divorced dad who connects with his son through food, has this only-in-the-movies relationship with his kid, who is just plain worshipful, agreeing to clean his truck with little complaint and nearly jumping at the chance to “help” his pop as a line cook after school and on weekends. An offer you can’t refuse, right? If I were his child, I’d be asking for overtime.

Then there’s the colleague, deftly played by John Leguizamo, who joins Favreau’s character on his food truck for no pay after leaving his job as a sous chef at a high-end restaurant. Really? This is loyalty going a little far. Plus, the truck is shown as becoming an immediate success, which is also hard to believe. This is a tough business. It’s difficult to make money right away.

So the picture strains credibility at times. It also overstays its welcome; a lot of the final act could’ve ended up on the cutting-room floor. And everything wraps up all too neatly; yes, it’s a feel-good type of flick, but the Dickensian way everything falls in place is just a little too easy. It’s pleasant, yes, Believable, no.

All in all, Chef has too many issues to be called a great film. If you want a fun science-fiction movie about the trials and travails of being a chef, this is a good option. It’s just not what I perceive to be a realistic document of one man’s adventure in the profession.

Setter’s ‘Spectives: Altman’s ‘3 Women’ Plus Busby, Too

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Setter Drawing for Blog 082613I’m not a huge fan of Robert Altman’s movies, so I admit I went with trepidation to see his film 3 Women at The New York Public Library for the Performing Arts last night. Fortunately, the evening was bolstered by the presence of composer Gerald Busby, who wrote the score to the picture and was slated to speak about it after the showing.

It was a good thing he did, because the film was very peculiar and not all that successful. The tale of a California nursing-home worker (Sissy Spacek) obsessed with her quirky colleague (Shelley Duvall), 3 Women at times was like watching the most intriguing, bizarrely colored paint dry. It had an off-the-cuff feeling that gave the impression it was made up as the shooting went along, and the characters’ motivations weren’t always believable. Busby’s score was the best thing about it: a dissonant, modern chamber piece replete with mournful, dread-filled horns and winds. Following the screening, he took the podium to talk a little about the movie, and it was quite a treat to listen to this dapper, elderly gentleman.

Busby spoke about Altman being “a Gershwin man” yet wanting something different and abstract for his film, as well as the process of showcasing his music to a room full of Altman staff and regulars stoned on marijuana. (According to Busby, he was one of a few composers to be considered for the film, and as part of the process, the compositions were played in the room to see how long people could go without speaking about them; people listened to his work the longest without saying something, which helped solidify the choice.)

All in all, it was quite a lovely evening, and I got to meet Busby as well, who lived in the same building as a good friend of ours. Plus, it was free, so that made watching the film all the more palatable. A not-so-typical New York night out, but a memorable one, nonetheless.

Skip’s Quips: ‘Searching for Sugar Man’ a Glorious Tale of Failure and Success

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Blog Sketch 082813It turns out that I didn’t watch Searching for Sugar Man at dinnertime tonight, as I originally predicted.

I watched it before that, in the early afternoon.

And what a film it is. The story of the hunt for 1970s musician Sixto Rodriguez – who made a huge impression in South Africa but hardly any commercial impact in the United States – Searching for Sugar Man is a terrific documentary about failure and success … about a man who seemingly doesn’t crave glory or riches, but is content to live a generally quiet life despite his fame across the pond. This movie is directed superbly by Malik Bendjelloul and is packed with classic Rodriguez tunes, all of which I hadn’t heard before. They lend themselves well to the film, which features plenty of fascinating interviews with Rodriguez’s colleagues, fans and family, as well as the man himself.

I felt that this was a sad picture, despite the fact that it has a happy ending. But then my wife asked me why I should feel that way, and I started to think differently. So what if Rodriguez doesn’t revel in the trappings of fame and fortune, like many other celebrities? Is it a fault to live so simply, to – seemingly – want so little? Perhaps it’s just an indication of what kind of man Rodriguez is: a person who doesn’t gravitate to the same things most of us do. Does that make him a tragic figure?

I guess it doesn’t. It actually makes him triumphant. Which the film is as well. I’m happy to have seen it, heard the songs. And I’m happy there are people out there like Rodriguez. He really made this Searching worthwhile.

Skip’s Quips: Up Next on Netflix Is ‘Searching for Sugar Man’

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Blog Sketch 082813I do like a good documentary, though it’s not my normal viewing fare during dinnertime. Tomorrow, however, I expect to watch Searching for Sugar Man, which we just received from Netflix, at the eating hour.

Is it good? I don’t know. It has received strong reviews in general, so I’m cautiously optimistic. I have to admit that I don’t know any of the tunes crafted by this documentary’s subject, the reclusive musician Sixto Rodriguez. But that’s hardly a deterrent; if the film is enjoyable, it’s enjoyable. And I expect it to be well done.

So I’m looking forward to watching this film while munching on some grub. Perhaps it will spur a change in my movie-viewing habits – that I’ll start seeing more documentaries during the evening meal. Not that I sense a trend or anything. But it might be fun to try something different.

Sixto Rodriguez, here I come.

Setter’s ‘Spectives: Staying for All of ‘This Is Where I Leave You’

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Setter Drawing for Blog 082613I should’ve left early before I finished This Is Where I Leave You. But no – I stayed for the whole thing.

My loss. It was absolutely horrible, as glib and smarmy as I didn’t predict it would be. So much for my capacity for prediction.

And so much for enjoying the two hours I spent in the theater. The film – directed by Shawn Levy and concerning, in a nutshell, the gathering of a group of semi-Jewish (the question does, self-consciously, arise during the proceedings as to whether they are of this religion) siblings at the family home after the death of their father – strained credibility to the nth degree in its attempt to blend coarse humor with heartfelt sensitivity. Neither worked, and the fact that this ensemble piece featured quite a few ill-defined characters made it all the less credible.

A number of good actors worked on this project. Jason Bateman, Tina Fey, Adam Driver, among others. They couldn’t save it, however, and despite their innate charm, the picture went to pieces. The script, adapted by Jonathan Tropper from his novel, was snarky without being believable and showcased plenty of less-than-credible situations, including what seemed like an endless series of fights, arguments and couplings that never went anywhere plausible. Couple that with a time span that was way too long, and you’ve got a rambling, tiresome picture.

So why did I see this? Why did I pass the time watching this flick when I could’ve exited with my dignity intact?

I don’t know. All I can say is I’m only human. It was a lapse in judgment. I could’ve saved those two hours for something productive.

On the other hand, if I didn’t see it, I wouldn’t have written this review. Maybe it was meant to be.

Mysterious ways. If only there was a bit of that in This Is Where I Leave You.