I Was Sucker Punched
Lotsa style. So much potential.
I went to see the latest Zach Snyder film, Sucker Punch, and I have to say, as someone who likes Snyder, I felt immensely cheated here. I’m a fan of his previous films, Watchmen and 300. I knew this one would be fun, after all, there was all this hype and the visuals from teasers look like the standard fare. Also it doesn’t take one long to realize that I am a fan of the doppelgänger and the psyche in films. He had me interested from the start but like I said before, I felt cheated.
As with all Snyder films, the visuals are sharp, and the fighting scenes are well choreographed. The scenery has that nice CGI shinerey I come to expect. Parts of the film were grimy, as the mental asylum was intended. The looks of the imagined worlds has some fine details to it. Clearly we’re suppose to see the ladies in the group as some bad ass sirens who get the job done. Even the fetishized touches to their costumes work well in the dream world.
I felt, however, that the narrative and the genres of the films were vastly underdeveloped. In this respect it gives us a mishmash instead of a clever mash-up of genres. As we progress into giant samurai’s, WW II steampunk/clockwork German soldiers, high fantasy style dragons and monsters, I wish at some point there was a stronger plot to belong to this film. At the very least it should have poked fun at itself because it comes off as far too serious.
The story starts off like a psychological thriller where the heroine’s stepfather realizes the daughters inherit the recently deceased Mother’s fortune/estate. The stepfather attempts to kill the daughters, and the youngest of the two dies, and the oldest (Baby Doll) is sent to a mental institution to be lobotomized. From here we go into a surreal world partly inside our heroine’s head. She’s a trapped stripper and the ladies around her go into her dream within dreams on a set of quests for freedom. I feel I’ve been Inceptioned with these dreams within dreams, for all the wrong reasons.
Ignoring some serious plot logic, Sucker Punch delivers all the action and violence with no story to back it up. This might as well be a commercial for deodorant. ”How much pressure can these ladies take before they start to sweat?” The film simply doesn’t do anything with character, narrative, or cohesiveness. One thing that really irked me is that you discover that the dream concepts have some ties to the real world, in a roundabout way. Baby Doll helps a fellow inmate escape, but why? Which parts are real? What is fakery? Why doesn’t Baby Doll ever discuss the loss of her sister? Does the lobotomy help her escape her guilt?
One thing I hate is how the film concludes. The heroine doesn’t really do what we think she’s set out to do, which is free herself. It felt very unresolved and empty. Her fellow escapees meet resolutions in such a brutal way that makes the offender’s own arrest seem a neat way to wrap the story. The ending was so dry and ugly, one wishes the stepfather came back at the last minute in the film and was arrested, killed, or beaten until he confesses. Instead we have a heroine who wishes to be lobotomized, and she gets her wish.
I think for a template the creative team could have used The Wizard of Oz, or even Alice in Wonderland if they were going to play around with the psyche in this film. I hate to say this about this film, I do think it may be interesting to see on DVD/rental/cable, but is was more than disappointing to see at the theater. It may be fun to visit the site and get a taste of the visuals, which are worth a look. Travel at your own leisure.
Visions of Catwomen
The adaptation of Catwoman from comic book to film has been an interesting love/hate affair. The character has many interpretations in the comics, film, and television. There was the campy 60s movie, as well as Batman Returns, and the film, Catwoman. While we could go on about the many adaptations, for the sake of this post, we will focus on two films: Catwoman (2004) and Batman Returns (1992).
Selena Kyle's alter ego, Catwoman unleashed
With the film, Catwoman, Halle Berry plays Patience, a timid graphic designer who gets into a situation that leads to her murder. She’s revived by a cat spirit. This process releases her inner supernatural cat. Along the way Patience finds time to find romance, theft, and the desire to solve her own murder.
Patience’s death/revival by cats bears a strong resemblance to the Batman Returns film where Selena Kyle (Michelle Pfeiefer) is pushed out of a window by her boss, Max Schreck, and revived by cats. Kyle also has supernatural powers (nine lives). Patience has enhanced senses, reflexes, agility. At one point she squeezes through bars. Both characters love whips and contrast the fetish aspects of their costumes with female empowerment themes. Both heroines are involved in accidental deaths. (Patience: Laurel Hadare. Selena: The Ice Princess).
One of the main themes of both films appears to be “transforming of oneself.” Allowing the other side of our personalities, or doppleganger to run. This is nothing new to film or literature, as Patience and Selena releases their inner Mr. Hyde. If she were a vampire, or were wolf, the status would be the same. It is a classical transition and transformation.
What's the matter? Cat got your plot?
What’s really astounding about Catwoman is how horrible the narrative and logic gets as the story progresses. Patience’s enhanced senses only work when its convenient to the plot. When Laurel Hedare (Sharon Stone) sneaks up on her, and eventually frames her for murder, I wondered where Catwoman’s enhanced abilities went.
This is not to say that Batman Returns is a perfect film at all. In some parts the logic simply fails, leaving Burton’s unique vision of Gotham City to carry the film. The dark, Gothic aspects of the film do linger in the mind, however the dumbness of several plot elements left me cold.
The Wolfman
The Wolfman 2010 (dir. Joe Johnson) stars Benico Del Toro, Sir Anthony Hopkins, Emily Blunt, and Hugo Weaving. This is a remake of sorts of the old Universal horror film. I can say it has a few scary moments (moments not scenes) in there, and the Blu-Ray disc contains an extended version of the film. Admittedly I saw the extended version first. When I saw the theatrical version, I realized that some of the ideas didn’t match up in my head.
I’m always in the mood for a supernatural story. With The Wolfman I was more than ready to devour this film and enjoy it all. As a child the old Universal Monsters were some of my favorite films. I wasn’t looking for scares as much as looking for thrills. The endless possibilities of a the film kept me exited. I got to see it on Blu- Ray disc, and not in the theaters. I have mixed feeling about this film. Very mixed.
To say this The Wolfman is without some charms would be a mistake on my part. As far as the scenery goes, the Gothic elements of this story are done well. I love the crumbling estate we only see in its former glory in brief flashbacks. Symbolically the estate represents the deteriorated roles (and morals) of the characters so well. It also reeks of isolation, desperateness, and loneliness. No one’s mind resembles more of the Talbot Estate more than John Talbot (Hopkins). John Talbot is a shadow of himself, and all the things that were wondrous about him, have long gone. Likewise the relationship with his family is barely there.
This film loves its atmosphere and loves to take its time to let actions unfold. While the extended version makes sense, it does not always take the quickest route to the story. It does make me wonder how long to get to the story. The theatrical version trims the story down, and is worth a second viewing. Yes it was likely a mistake to see the extended version first, but its what I did.
Part of the film to me suggests that in civilization we have a bit of a cages animal within us. Its embodied in the form of this wolfman who is still wearing his clothes when he transforms. The transformation looks painful, and very drawn out. The pain of transformation adds to the curse, as if to suggest that the change from civilized man to pure animal is agonizing.
What the Wolfman does not show so well is the duality of the two natures. We have a rational, and somewhat restrained man who becomes a beast. It would be nice to have seen some changes in his persona. Was he more hungry, amorous, arrogant. Instead he (Lawrence Talbot) stays restrained, a little cautious, and more than attracted to Gwen (Emily Blunt). Perhaps this is the duality, to hold on longer to one’s self control. I’m taking a leap here, as nowhere in this film do I see either werewolf struggling to hold onto themselves.
I could argue that being a werewolf is akin to puberty or an emotional growth for Lawrence. Despite his occupation as an actor, it is only after become the creature that Talbot decided to be emotionally vulnerable. He allows someone inside of his insular world to accept love and compassion. Such trials are savage, brutal, and not without consequence.
I loved Emily Blunt’s performance as Gwen. In my mind I instantly compared/contrasted her role to that of her character in The Devil Wears Prada. In Prada, she was arrogant, snobbish, and hateful. Here she’s restrained, well mannered, and cool. Ultimately she has to “release” Talbot from the curse, making their love tragic and doomed from the moment Lawrence survives the bite.
One of the great problems I have with this film is the motivations of some of the characters, and the pacing. When I try to digest Hopkins’ character (John Talbot), and understand his point of view, I fail. I get his distant persona at first. Some people are like that. Repressed rage and the desire to “let the beast out” only after he explains it.
John Talbot turns on his family first. While his actions can be likened to that of a serial killer (with a supernatural bent), he has to tell us this as opposed to us seeing this within the film. While the character he plays is more than distant, (and he does platy a compelling disassociated patriarch), as a doppelganger I felt we did not know of feel enough. By the end of the big reveal, it feels forced. Like we need to have these things here, as opposed to us suspecting these things about him.
For all the character’s charm, and the slow pacing of the film, I think there should have been room to allow us to see the motivations of the villain. This brings into play who is the main character? Is Benico Del Toro the protagonist, and Anthony Hopkins the antagonist? Their roles seem intertwined in a bad way. At one point Hopkins takes the lead because he has the most control. He know who is the true culprit of all the grizzly crimes. He manages to stay a step ahead of all the other characters. His confrontation with his son, which would be inevitable, also seems a bit staged in my opinion. Hopkins has to clue everyone in, and that makes his role a bit too pat.
The film’s playful stance with the violence with the over the top killings. Because of the comical effect, it lessens the horrors of the film. It in effect, remains distracting for the fact they we’re dealing with a powerful killer. For example, the guy who gets caught in the marsh after spending all his bullets tries to kill himself before the Wolfman gets him, but but he’s out of bullets. The Wolfman decapitates him. When a constable sticks his hand in one of the Gypsy wagons, the Wolfman cuts it off, then gouges the Constable’s eyes out as if to suggest the constable may or may not have been too curious for his own good.
Once scene that left me thinking this movie’s struggling with direction and marring its tone is Lawrence Talbot’s transformation in the asylum. Are we to believe that the Doctor was so full of himself and his speech as to not turn around to notice Lawrence? The mayhem that follows is predictable and silly.
The Blu-Ray deleted scenes are a mixed bag for me. There are alternate endings, and a scene where the Wolfman encounters a blind signer at a party. It does hold fast to the civilized and uncivilized world clashing. I almost wished it was added to the film.
Living in Slow Motion
I so need to update CINEs. I will begin with getting a new post this weekend. Was going to go see The Last Airbender, however, from those who saw it, they strongly suggested waiting for HBO. It’s not worth spending money on. Without seeing it, I’ve been told the acting and the story are horrible. I’m gonna confer with a couple more people before I wipe The Last Airbender off my list.
Worked on my thesis. Got my works cited page initiated. These things are never completed. I so need to get some terms and ideas committed or else I’m screwing myself out of some free time to write it. Besides it’ll be fun. Getting started is the hardest part.
Transformers 2: Revenge of the Fallen
After I saw Transformers 2 Revenge of the Fallen, I had a lot of blah feelings for this film. Quite frankly the quality of the content left me underwhelmed. The quality feels suppressed in favor of stylistic looks: Sexy actress (Megan Fox), fighting robots, and the start of a hero’s journey. Transformers 2 looks fantastic on the big screen, yet refuses to offer the reader a glimmer of a worthy plot, realistic characters or even fun. It does offer some racist imagery disguised as the comedy relief duo of the robot duo Skids and Mudflap.
I wanted to love this film. I came to the theater with a positive expectation. After all, writers Roberto Orci, Alex Kurtzman worked on the 2009 Star Trek film, and I loved that film. Star Trek had the right mix of cast and story. I left the theater loving the experience and wanting more.
I wanted to believe that the writers grew in leaps and bounds from the first Transformers film, and would infuse Transformers 2 with the power they gave Star Trek.
What I saw was a very incoherent story along with some rather annoying characters. I was willing to deal with Sam’s (Shia LaBeouf) spazzy personality, and he contrasts Mikaela’s (Megan Fox) calm personality, but it pushes from to uneven and unrealistic. It’s not even fun to watch.
My question to myself is how toes Sam keep this gorgeous woman? Would he not do what she asked? When Mikaela asks Sam why he can’t say “I love you,” and Sam refuses to say it, I knew that he took her for granted. That rung so untrue.
I question the use of certain returning characters, such as Major William Lennox (Josh Duhamel), Robert Epps (Tyrese Gibson), and Seymour Simmons (John Turturro). I felt they were added not for continuity, but simply because they could be. I saw no point in where their characters or the acting could be useful to the plot. I saw a contractual obligation, and not a hint of usefulness in their roles.
Skids and Mudflap did not come off as funny, but rather annoying, racist, and very useless to the plot. In comparison Jar Jar Bink’s pales to the ghetto stank of Skids and Mudflap. Somewhere they are supposed to funny, but the laughs are with them, they are at the duo.
I do love the effects. I think they look great. Seeing Optimus Prime in action looked more than impressive. He kicked robot butt, however, that one scene does not make the film work, nor does it make the film worth watching.
