Movie Rant: Raiders of the Lost Ark (1981)

It's hard to believe Raiders of the Lost Ark is celebrating its 30 year anniversary this year. Nevermind the fact that I was still three years away from even being born -- the film is so classic and so timeless that it feels like it very easily could have been made today. With limited use of special effects, it's an action-adventure with a dash of the supernatural.

My parents first showed me this film when I was about six or seven years old. It was pretty much love at first sight -- I even watched the Young Indiana Jones television series just to get my daily Indy fix. I basically wanted to be Indiana Jones (I still do).

At an early age it instilled in me both a love for film and a passion for history (which I wound up majoring in while in university). I continue to watch this film annually with my younger sister -- I can't even venture a guess as to how many millions of times we've watched Raiders over and over again through the years. And each and every time I'm amazed how well it has stood the test of time.

Most film fans have lists and lists of artsy movies they credit as their "all time favourite film." I usually say mine is The Godfather when I'm asked, but if I'm being completely honest, it's probably actually Raiders of the Lost Ark -- or the third film in the original trilogy, Indiana Jones and the Last Crusade.

A few years back I had the opportunity to see Raiders at a screening at a really, really old theatre near Hamilton. It was such a treat to see it on the big screen. You know how people can quote movies like The Rocky Horror Picture Show word for word? Well, I can do that with Raiders.

A video has been circulating the Twitterverse of a recent Q&A session Harrison Ford and Steven Spielberg held in Los Angeles to celebrate the anniversary. Unfortunately, the videos can't be embedded, but you can listen to some of the audio from the YouTube video below.

I wish I could have been there!

Question: What is your favourite scene from all four of the Indiana Jones films?

TIFF Film Review: Drive

Drive (2011)
Directed By: Nicolas Winding Refn
Based on the Book By: James Sallis
Starring: Ryan Gosling, Albert Brooks, Carey Mulligan, Bryan Cranston and Ron Perlman

Director Nicolas Winding Refn really loves John Hughes movies -- he just wants you to know that.

The Dutch director of Drive, touted as one of the must-see movies at this years Toronto International Film Festival, claimed he was very heavily inspired by both the late-director and 80s movies, in general.

With its 80s-influenced soundtrack and bright pink title credits, Drive has a certain Hughes feel to it -- only imagine Hughes' angst-ridden teen characters going on a violent rampage and brutally murdering each and every one of their high school tormenters in an increasingly violent (and creative) manner. In a recent interview about the film, both Rehn and star Ryan Gosling said they were influenced, in particular, by Pretty in Pink (1986).

"One thing we both agreed on was that we loved 'Pretty in Pink' and that it would have been a masterpiece if it was more violent," Gosling said. "In some ways we tried to make a violent John Hughes movie."

Rehn and Gosling brought up that same idea once again last night during the Q&A session at the North American premiere of the film at the Ryerson University Theatre. So, go into the movie envisioning a really evil, fed-up Duckie from Pretty in Pink and just take it all in.

A Hollywood stunt driver by day, a getaway driver by night, the man known only as Driver (Gosling) discovers that he's a target after a heist gone wrong. With baddies Bernie Rose (Albert Brooks) and Nino (Ron Perlman) hot on his tail, Driver rips and roars through the streets of L.A. while simultaneously trying to romance a young mother (Carey Mulligan) who is, at first, completely unaware of his darker side.

What Drive lacks in character development and plot, it more than makes up for in style. It's essentially a blood-soaked homage to both B-movie Hollywood flicks and European art house fare. Graphic violence is around every corner, escalating to the point where each new scene will make you flinch in anticipation of the brutal demise of yet another character. Definitely not for the faint of heart, the film indulges in guilty pleasure thrills and explores the dark recesses of our most violent fantasies.

Gosling during the Q&A session at TIFF.

One scene, in particular, which takes place in an elevator, vividly contrasts the tenderness of a first kiss with a violent (and prolonged) death sequence. You'll never truly feel comfortable in an elevator ever again. Drive is filled with similar scenes -- jarring violent images that will shock you right out of your seat; and, judging from the gasps and applause from the audience last night, it happened on a few occasions.

As the driver, Gosling is a commanding screen presence -- he's absolutely terrifying and will erase all your previous memories of him as a gawky teen on Breaker High or as a romantic lead. His Driver is a man without a name or any past that we are aware of, making his actions all the more chilling since the audience is left without any idea of the true origin of his anger. Gosling proves he can play diverse characters and still bring his A-game to each performance.

Another noteworthy performance, albeit in a much smaller capacity, is Bryan Cranston as Gosling's pal, Shannon. The man can do no wrong, between this and the AMC series, Breaking Bad.  He's one of the few characters that actually inspires audience sympathy.

Despite the performances and the highly-stylized visual concept and direction, Drive stumbles a bit, preventing it from becoming a truly epic piece of revenge cinema. The uneven pacing at the beginning of the film makes it feel a little lopsided -- at first there's minimal dialogue and a whole lot of driving around. Perhaps Rehn's intention may have been to lull the audience into a state of calm before foisting the extreme violence on them. So, if that was his intent, it succeeded. If not, than the pacing could have used some re-tweaking.

Female characters are often relegated to the background in films like Drive -- although in this film they are practically put in a faraway corner. It's unfortunate that Mulligan's character, Irene, had little to do other than glance longingly at the driver -- even after she witnesses one of his violent episodes firsthand. There's no indication as to why Irene would even consider seeing the driver again and placing her son's life in danger just to be nearer to this violent man.

I didn't quite know what to make of Drive once the credits started rolling. I can appreciate where people are coming from when they tout it as one of the most stylish films to come out of Hollywood in years. Yet, there was something missing that I couldn't quite put my finger on. Visually stunning, yes. An homage to both Hollywood films past and European arthouse flicks, yes. Perhaps it was the pacing or the lack of any real character development -- or maybe my expectations were too high -- but I left wanting a little more substance to accompany the graphic violence. That being said, I realize I'm likely in the minority when it comes to Drive. 

Regardless of my torn opinion, I'm glad I saw it. It will likely be discussed quite heavily among film fans for the next few months and who doesn't love when a film inspires great discussion? So, just sit back and buckle your seatbelts when you watch Drive. You'll certainly be taken for a ride.

FINAL GRADE: B


Question: Drive will likely provoke a strong reaction in anyone who sees it. What did you love or dislike about the film?

Movie Rant: Eddie Murphy, Oscar Host

It was officially announced earlier today that Eddie Murphy has been named as the host of the 2012 Academy Awards. How did that happen, you ask? Well, with his friend Brett Ratner at the helm as producer of this years telecast, Murphy was practically a shoo-in. How convenient.

For the most part, the revelation seems to be receiving mixed reactions from film critics and movie fans: in one corner are die-hard Murphy fans who have remained loyal to the comedian despite the crappy movies he's made them suffer through and, in the other corner, ...is everyone else.

Murphy was hilarious on Saturday Night Live and, through the years, he's had his moments to shine -- it's just that they are too few and far between. I mean, here is a man who is mainly still remembered for The Nutty Professor, Norbit and Daddy Day Care more than anything else. Not exactly a film resume to brag about.

Film critic Patrick Goldstein wrote a piece for the Los Angeles Times about why he's less than enthused about the choice (you can read it here). He makes a few good points, specifically when he references the 2006 Oscars where Murphy threw a tantrum and left the ceremony halfway through when he lost the Best Supporting Actor Oscar to Alan Arkin (for Little Miss Sunshine). As Goldstein wrote: "Murphy, who is infamous in Hollywood for his half-hearted work ethic and sense of entitlement, managed to embarrass himself when he left the Oscar ceremony in a huff ...he didn't even have the class to stick around and watch his Dreamgirls co-star Jennifer Hudson win an Oscar of her own." 

He left while the ceremony was still getting underway, yet he's now been invited back as a host. The fact that he was still given the honour in the first place is confusing, to say the least.

From here on in I'll just look at the whole situation as a wait-and-see type of thing and remind myself that, at the very least, it couldn't possibly be worse than last years dreadful Oscars with James Franco and Anne Hathaway hosting. Right? Right?!

What are your thoughts on Murphy as the new Oscar host?

Movie Review: Midnight in Paris

Midnight in Paris (2011)
Written & Directed By: Woody Allen
Starring: Owen Wilson, Marion Cotillard, Rachel McAdams, Michael Sheen and Kathy Bates

Over the past 10 years, Woody Allen has released a slew of underwhelming movies that quickly faded from theatres. However, Midnight in Paris is being hailed as a welcome return to form, even moreso than his other most recent success, Vicky Cristina Barcelona (2008).

Gil (Owen Wilson) is an L.A. based screenwriter who aspires to be something more than just another Hollywood hack who churns out lame, cash-grab scripts devoid of any real artistic merit. His real passion is for the past -- specifically the 1920s Jazz Age in Paris. When he and his fiancee, Inez (Rachel McAdams) take a trip to the City of Lights on her parents' dime, Gil is inspired to finally finish his novel. Inez, a woman completely devoid of culture who views Paris as nothing more than a shopping expedition, spends more time with her pompous friend Paul (Michael Sheen) than her own fiance. While taking midnight strolls to clear his mind from his worries over his incomplete novel and his clashes with Inez, Gil accidentally embarks on a series of whimsical nightly adventures.

When the clock strikes midnight, Gil is beckoned by iconic figures of the past, all of whom found artistic inspiration on the streets of Paris at some point in their careers.

Johanne Debas and Darius Khondaji's cinematography is breathtaking. Being such a beautiful city by nature, you'd think it couldn't look any more stunning, yet Debas and Khondaji combine their efforts to create a captivating glimpse of Paris in the 1920s.

In keeping with the fantasy of Gil's midnight encounters, Paris is portrayed as Gil would have imagined the 1920s -- all champagne and late night parties; a place without fake intellectuals and nagging fiancees and full of intellectually stimulating conversation and artistic expression. Through his adventures, Gil is finally experiencing his romantic notion of living in another time and place, where only intellectuals and artists roamed the streets.

Allen's script is full of commentary on the folly of nostalgia and the assumption that everything was a whole lot better "back in the day." Gil's fascination with the 1920s and his literary idols veer dangerously close to the point of obsession -- even the main protagonist of his incomplete novel works in a "nostalgia shop." Because he often rejects the idea of living in the present and enjoying his own existence, Gil is forced to come to the realization that every decade had their problems -- and that, at some point, everyone thinks the grass is greener on the other side.

Owen Wilson and Marion Cotillard

The cast more than lives up to Allen's funny, insightful and whimsical script. As Gil, Owen Wilson nails the Woody Allen persona -- all jittery speech patterns and everyday "average joe" personality. Marion Cotillard is wonderful as Adriana, a woman with her own romantic nostalgic pinnings for the past. As Inez, Gil's airy fiancee, Rachel McAdams is the perfect amount of irritating -- you like hating her because she's just so damn good being unlikeable. Ditto Michael Sheen as Inez's arrogant friend, Paul, who fancies himself an expert on every subject under the sun. Sheen is so perfectly aggravating and hilarious that he nearly steals all the scenes that don't take place on Gil's midnight strolls. Without taking away the fun of discovering which famous personas they wind up playing, the rest of the supporting cast is excellent, especially Corey Stoll (as a particularly boisterous American literary icon), Adrien Brody as a quirky painter and Alison Pill as the quick-witted and moody wife of yet another famous literary idol.

With its commentary on art and the inevitable criticism that follows each creation, Allen shows both sides of the impact of art criticism -- as both useful for it what it inspires in both the artist and the audience (such as with Kathy Bates' Gertrude Stein, who helpfully critiques Gil's manuscript) or the danger in how it can sometimes be absent of properly informed historical context (as seen with Sheen's Paul).

Midnight in Paris is a welcome escape from all the summer blockbusters and sequels -- the perfect way to close out the summer and get you thinking about all the upcoming potential Oscar films. Smart, imaginative and hilarious, Woody Allen's latest is his most charming venture in years.

GRADE: A-

Carrie Fisher's Wishful Drinking

A week ago today I saw Carrie Fisher's one-woman show, Wishful Drinking, at the Royal Alexandra Theatre in Toronto. Based on her 2008 memoir, the show has been a smash hit and even had its own HBO special.

So often associated with her iconic role as Princess Leia in George's Lucas' Star Wars franchise, few fans likely take the time to distinguish the differences between Leia and Carrie Fisher herself. After the show last Thursday, she ceased to be Princess Leia for me. Now she's simply, Carrie Fisher -- comedienne, author, businesswoman and a star of the stage.

We all know Fisher is funny. She has a knack for nailing her lines in one episode stints on hit TV shows like Sex and the City and 30 Rock. But there's no real way of preparing yourself for her refreshing, hilarious, brutally honest and self-deprecating account of her own life story.

And what a bizarre, and often tragic, life she's led! As Fisher herself said at one point, "If I didn't make it (my life) funny, it would just be true. And I couldn't have that."

Fisher structures her show as a series of vignettes -- starting with the sudden death of her close friend, Gregory R. Stevens, in 2005. She woke up to find his corpse lying in the bed next to her. Watching her relate the story full of emotion and humour is fascinating to witness. (You can check out her blog entry on the subject at her official website).

Hollywood Inbreeding 101.

She goes from that heavy opener to her college course-like tutorial titled "Hollywood Inbreeding 101" in which she uses a pointer stick and a chalkboard to methodically walk the audience through the many relationships of her famous parents, singer Eddie Fisher and actress Debbie Reynolds.  

She discusses everything from her broken home to her father's countless marriages and affairs -- most famously with Elizabeth Taylor, her mother's best friend at the time. When Taylor's husband, Mike Todd, died in a plane crash, her father Eddie immediately ran to support Taylor. "Daddy rushed to her side, than he worked his way around to her front and finally wound up comforting her with his penis." 

But what is clear from Fisher's show is that, despite her often strained relations with members of her family, she's a woman who loves them dearly. Whether she's recounting the time her aging father accidentally ate his hearing aids or about how her mother insists on stating her own name every time she calls on the phone ("Hello, dear. It's your mother ...Debbie."), Fisher tells her life stories in such a hilariously candid and touching manner. When gushing about her 19-year-old daughter, Billie, Fisher memorably exclaims that "she's the best thing to ever come out of my body." 

Unlike many celebrity memoirs Fisher is not asking her audience for sympathy. She openly blames herself for her own mistakes, saying it would be lazy to blame Hollywood and her broken home for her woes -- and, besides, her brother turned out to lead a perfectly normal and happy life; a rare exception for someone descended from Hollywood royalty.

She will quite openly talk about her bi-polar diagnosis and ECT treatments although she's a little more restrained in her delivery -- as Toronto Star theatre critic Richard Ouzounian wrote: "despite the jokes, quips, the gal-pal merriment, there is something seriously life-threatening underneath."

However, her energy is contagious and, if nothing else, drives home her overriding theme that life is what you make it. If only we were all brave enough to laugh at our faults and failures.

Movie Review: Rise of the Planet of the Apes

Caesar (Serkis) and Will (Franco).

Rise of the Planet of the Apes (2011)
Directed By: Rupert Wyatt
Starring: James Franco, Andy Serkis, Freida Pinto, John Lithgow and Brian Cox

Heading into the summer, Rise of the Planet of the Apes wasn't likely at the top of most filmgoers "must see" lists. After all, it appeared as though Hollywood finally felt like admitting that it had run out of fresh ideas and was willing to settle on rebooting yet another tired franchise as a quick cash-grab.

After five films, two TV series and Tim Burton's most recent interpretation, what more could studios possibly say about those "damned dirty apes?" A lot, apparently.

Rise of the Planet of the Apes is not only the surprise smash of the summer, but it's arguably the best film of the entire franchise, which dates all the way back to the 1968 original. As the first film in a planned trilogy, this reboot starts all the way back at the beginning -- essentially making it a prequel (of sorts) to the Charlton Heston original.

Set in present day San Francisco, disease researcher Will Rodman (James Franco) spends nearly every waking moment concocting and testing a cure for Alzheimer's -- from which his beloved father, Charles (John Lithgow) suffers. He and his girlfriend, Caroline (Freida Pinto), wind up secretly taking custody of a baby chimp named Caesar (Andy Serkis) after a presentation to a for-profit research company takes a disastrous turn. As Caesar grows, Will discovers the chimp has inherited the chemically induced genius IQ of his dead mother -- making him smarter (he's fluent in sign language) and more aggressive with each passing year. When Caesar violently lashes out in defence of his loved ones one day, the chimp is taken to a brutal ape "sanctuary" run by a cruel man (Brian Cox) and his sadistic son (Tom Felton, with more lines and screen time here than in his entire 10 year stint with the Harry Potter franchise). Caesar is left to fend for himself as he struggles to come to terms with his own potential and live up to his regal name.

Caesar (Serkis).

Even for those reluctant to see yet another ape-fest, do yourself the favour and watch it for Serkis -- covered by motion capture technology and CGI but not, by any means, buried beyond recognition. Somehow the personality he instills in his characterization of Caesar shines through all the computer graphics, resulting in one of the years finest performances to date. Caesar is a complex bundle of emotions and instincts -- both human and animalistic. It says a lot about Serkis' performance that his creation of Caesar is, by far, more fascinating than any of the humans on the screen. Serkis has perfected the difficult art of giving a truly wonderful, subtle performance while physically obscured by technology and it will likely be years before anyone comes close to his masterful ability.

Essentially an action film at its core, Rise of the Planet of the Apes has moments of emotional commentary on animal cruelty interspersed with wooden dialogue and over-the-top action sequences. However, it never ceases to entertain and grab viewer attention which is ultimately what is expected of a summer blockbuster -- if it can tug at your heartstrings in between its action sequences, it's a job well done.

Overall, it's a very good film. Certainly better than anyone expected. In yet another summer filled with lackluster blockbusters and quick cash-grabs, Rise of the Planet of the Apes rises above its seasonal competition and emerges as one of the top quality films of the summer. It even already has Oscar buzz for Serkis' performance (although it will remain to the be seen whether or not that hype can still stick months down the road). While the film won't be recognized for any awards other than deserved ones for Serkis and the special effects, it's arguably the best summer blockbuster since the 2009 Star Trek reboot.

FINAL GRADE: B+

Upcoming Release: Twixt (2011)

Elle Fanning and Val Kilmer

An original (way to go, Hollywood!) gothic horror film written and directed by Francis Ford Coppola! I'm already lined up for opening night.

A friend of mine showed me the Twixt trailer early last week -- and it had me intrigued right away. It's not so much a trailer (it's nearly four minutes long) as a sneak peek. It's focuses on a series of bizarre child murders in a small town -- and throws in suggestions of witches and/or vampires as the culprits.

Val Kilmer plays a Stephen King-ish horror novelist who has arrived in town for an autograph signing when he's lured into the murder mysteries by both the local sheriff (Bruce Dern) and a ghostly girl named V (Elle Fanning) who keeps appearing in his dreams. On top of it all, actor Ben Chaplin is listed as playing the role of Edgar Allan Poe. How could you not be intrigued? It all sounds very Stephen King meets Twin Peaks!

Val Kilmer and Ben Chaplin ...as Edgar Allan Poe.

It could be a really interesting departure for Coppola -- no gangsters or rebellious teens in sight. Most of his recent film dealings have been as a producer over the years, so it was about time he got back behind the camera.

My only concern is the reminder of his 1992 foray into supernatural horror -- Bram Stoker's Dracula, with Gary Oldman in the leading role. Although that interpretation of the classic vampire novel has its loyal fans, I could barely sit through it in one sitting. But that was all nearly 20 years ago now and Twixt looks like it has a lot of potential to be a perfectly bizarre and grisly film. I haven't come across an official release date (some websites have different dates than others), but it is listed as being a 2011 film, so it's likely it will be released around Halloween.

I love a good horror film as much as anyone, but so few great ones have come out over the last few years. I have high hopes for Twixt.

What do you think of the sneak peek trailer?