The Last Airbender

by Jonas Kyratzes

I think I can safely say that M. Night Shyamalan is the most unfairly-treated director in the history of the medium. After The Sixth Sense turned into a giant hit, he was basically doomed. Despite the fact that the movie’s twist ending was never its point (or the reason it was good), every single one of his subsequent movies was seen only in terms of twists, even when there weren’t any. And his every single movie gets trashed, no matter what it’s like. Remember when it was fashionable to bash Ben Affleck, no matter whether his performances were good or not? That’s what it’s been like for Shyamalan, movie after movie after movie.

Not that all of them were equally good – The Happening was a good B-movie, with some truly excellent scenes, but it was certainly a lesser film. It does tell you something about the irrational hatred people are carrying in them these days, though, that the most derided scene from that movie (“talking to a plant”) is actually a fairly clever joke about the entire premise of the movie - something which people, in their desire to bash Shyamalan, seem to completely miss.

The Last Airbender was also trashed to within an inch of its life, and I don’t really see why. It’s not a great movie by any means, but it’s also not the garbage reviewers make it out to be. It has some major flaws: the female protagonist is played by an unbearably bad actress, the story is so obsessed with keeping as much plot from the TV series as possible that it becomes episodic and slightly incoherent, and the voiceover narration is extremely amateurish. There are also writing problems, many of which stem directly from the TV series.  But there are also good actors of refreshingly diverse cultural backgrounds (the people accusing this movie of being racist are insane), beautiful photography, great music, and a couple of really nice fight scenes. It’s an enjoyable couple of hours, especially for children.

The Last Airbender may not be as brilliant as The Village or Lady in the Water, but it’s a decent little fantasy movie that does not deserve the critical scorn it got. Certainly not in a world where Solomon Kane and its army of bald stormtroopers are praised to the heavens and there’s another Transformers sequel coming. Even when The Last Airbender fails, at least it’s trying to do something good, something a little more meaningful and elegant. That it doesn’t always work is a shame, but let’s keep things in perspective here.

Interesting links:

The Royal Tenenbaums

by Jonas Kyratzes

The Royal Tenenbaums is better than Rushmore. That’s not saying much, but it is true. Somewhere in this mess of insufferable clichés and forced eccentricity are the sparks of talent that eventually led to The Life Aquatic with Steve Zissou. Despite all the postmodern nonsense, the stereotypical characters and the lack of connection to any kind of reality, there are moments when the film is actually good. Short moments, granted, but short moments are better than no moments.

Mostly, though, it’s insufferable bullshit.

The problem with the movie is that it’s a character-oriented story with no characters. Instead of characters, it has a cast of caricatures; few of them are likeable, and none of them are realistic in any sense of the word. Where it has potential to be touching, it destroys any real emotions by making its characters into jokes; where it has potential to be intelligent, it is simply too affected and too lazy to give any real depth.

Particularly offensive is the character of Margot Tenenbaum, played by Gwyneth Paltrow. Here we have someone who is supposedly an artist, a playwright – a genius, in fact. And yet all we see is a self-involved, pointlessly promiscuous “quirky” depressive with no vision, no passion and no real reason to be that way other than superficial “daddy issues.” One generally does have to wonder at the depiction of women, both here and in Rushmore, as entirely passive figures, either saints or sluts.

And let’s not even get into the weirdness that is Pagoda, Royal Tenenbaum’s handy Indian servant, who apparently has no life of his own.

The Royal Tenenbaums is simply too far removed from reality to be good. Not because of its subject matter, or even because of its aesthetics, but simply because it’s not about real people or real emotions. There are glimpses of reality in some scenes, especially the ones with Gene Hackman and Anjelica Houston, but to some degree that is simply because these two actors are fantastically skilled. (Though even if the characters were more realistic, it would take a very talented and perceptive writer to make these rich people’s problems interesting.)

When Wes Anderson makes movies that aren’t yelling “look at me! look at me! I’m so quirky!” all the time, and starts portraying some adult emotions, he can be a very good filmmaker. The Royal Tenenbaums, unfortunately, is not one of those movies.

Interesting links:

The Disappearance of Alice Creed

by Jonas Kyratzes

The Disappearance of Alice Creed is a movie about a girl and her two kidnappers. It’s well-written, well-acted, well-shot and generally well-done. It’s also not much of a story; things happen, yes, but they don’t amount to much. There are some truly cool moments, but they are spoiled by characters being silly, and in the end the plot comes down to little more than ambiguous characters with a heavy dose of coincidence.

The actors are all fantastic, particularly Eddie Marsan. It’s odd and depressing, though, that this movie gets described by critics as “finally allowing Gemma Arterton to show off her acting chops” whereas her performance in Prince of Persia is frequently trashed. Why? In Prince of Persia she was charming, witty, and attractive. Here she screams and cries a lot. Just because the one movie is an adventure story and the other a drama does not mean that the one takes less talent than the other. Personally, I find it a lot harder to be charming, and I’m pretty sure most critics do too.

One final complaint. The movie has some genuinely funny moments, but it also has an unintentionally funny one. You see, fairly in the beginning the kidnappers strip Alice naked to take photos of her. Her breasts are prominently featured. Fine, it makes sense in terms of the plot. However, she is completely naked, and the movie doesn’t want to show her genitals, so it starts to do an Austin Powers routine of using just the right angles, or having someone standing in front of just that spot… by accident. It’s like the scene in Robert Zemeckis’ otherwise quite good Beowulf, when Beowulf is fighting naked and strategically placed swords keep getting in the way. Funny? Yes. Good for the movie? No.

Anyway, that’s The Disappearance of Alice Creed. A pretty decent thriller with really good performances. Enjoy it for what it is.

Interesting links:

Timer

by Verena Kyratzes

Timer is a romantic comedy written and directed by Jac Schaeffer that is set in the not-too-distant future. A future in which a device has been developed that can tell anyone when he or she will meet their one true love. There are a few drawbacks to the technology, naturally, so for example your timer will remain blank if your significant other hasn’t been equipped with such a device yet. There is also no guarantee that the happy event, “zeroing out,” will happen soon, or indeed at all. And it costs 79.99 plus an additional 1.99/month, so happiness has a very precise price in this future. The question is: is it worth paying?

Timer answers that question, at least in this hypothetical other reality. Whether the answer is satisfying is another thing entirely…

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Another Look at the Predator Movies

by Verena Kyratzes

1987 was a good year for movies. The Untouchables, Full Metal Jacket and Good Morning, Vietnam are all masterpieces and nowadays regarded as classics. Spaceballs, The Princess Bride and Evil Dead 2 are classics too: cult classics. And then there was Dirty Dancing, a movie of questionable quality and intentions, but try to find a human female of between 25 and 50 years of age that hasn’t seen it. And Lethal Weapon and Innerspace and… I could go on for a while, but I think I have made my point: 1987 brought forth a lot of notable movies. Of course there was also Surf Nazis Must Die; not everything was glory and riches, you know. And then there was Predator.

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Can we please review video game movies with our brains switched on?

by Jonas Kyratzes


That most critics have little time for the still-young interactive medium is not a surprise; as with every other new medium of expression, it takes critics several decades before they will admit it’s art. But let’s not get into that discussion now – let’s talk about movies, instead. The time when everyone sneered at film as a form is over, after all. Now we have television and the internet and computer games to blame for the supposed death of the novel.

So yeah, let’s talk about movies. To be more precise, let’s talk about movies adapted from computer games, and why most people who review them seem to intentionally turn off their brains.

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Trailerwatch: Super 8, Eclipse, Splice, Jonah Hex, Inception, Winter’s Bone, Ondine, Nowhere Boy, Secretariat

by Verena Kyratzes

Super 8

The teaser trailer for the much-anticipated new offering by J.J. Abrams of Cloverfield and Star Trek fame. I didn’t like either movie and can already tell you that because of that Super 8 is going to have a hard time winning me over. The fact that Steven Spielberg is producing is only a small consolation. The teaser itself looks decent and is saying as little as any teaser I’ve ever seen. One can assume that the final product will look good, preferably without Cloverfield‘s shakycam style, and will have a lot of big booms. I’ll reserve my final judgement until I’ve seen a proper trailer, or even better, until we’ve seen the movie.

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Cop Out

by Verena Kyratzes

Cop Out is the new movie by Kevin Smith. It is also a rather large pile of horse dung, but let’s focus on the other bit first.

We saw Cop Out at the sneak preview here in Frankfurt a while ago, and although the experience can only be described as painful, I am still happy that we saw it. Why, you say? Well, the thing is: I like Kevin Smith.

…let me rephrase that. I think some of his movies are good. Dogma has some structural issues, but is all in all a very good movie. Clerks certainly deserves some of its cult status. I don’t remember enough about Chasing Amy to have an educated opinion on the matter, but the vague feeling that it was good has to come from somewhere. And I really liked Jersey Girl, which had the added bonus of being less… permeated with fecal humour than his other works (hold that thought). And then there’s Jay and Silent Bob Strike Back and Mallrats. I shall decline to speak of those movies here and now, because Cop Out has enough faults to fill an article all by its own and doesn’t need any help from them.

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Survival of the Dead

by Jonas Kyratzes

Bashing George Romero’s newer Dead films has become one of these tiresome fashions, like complaining about George Lucas ruining your childhood or going on about how R.E.M. were so much better before they were popular. (They weren’t.)

These are probably the two main reasons:

  1. Romero has refused to repeat himself, with each movie taking a completely different approach to the story and questioning many of our assumptions.
  2. The old movies have become enshrined as “classics” by a generation of nostalgia-obsessed geeks, and to ensure the holiness of “the originals” everything new has to be bashed.

Thus many people quickly dismissed Land of the Dead, possibly the best entry in the series, despite its thoughtfulness (or perhaps because of it), its politics, its interesting setting and characters. Land of the Dead was a rare thing: a zombie movie full of moments of poetry and grace – as well as horror and gore.

Diary of the Dead was a very serious – again I have to use the word thoughtful, which I think really describes Romero’s work – movie about the media, new and old. Unlike the dreadful and unrealistic Cloverfield, Diary gave its characters a reason for carrying around the camera – they’re trying to make a documentary – and actually had them use the camera like real people would, not like monkeys on ecstasy.

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La Hora Fría

by Verena Kyratzes

La Hora Fría is a  little-known Spanish horror movie from 2006. I certainly wouldn’t know of it if it hadn’t been for the Fantasy Film Fest, which brings everything from thrillers to horror to science fiction and fantasy to our hometown of Frankfurt every August.

We’re cautious about European films. I know that I’m generalizing to a shocking degree, but most of the film output of the European continent can only be described as pretentious. Or disgusting, that’s the other popular flavour it would seem. In some cases both.

La Hora Fría is a pleasant surprise, as it is neither of these. It is difficult to give a plot summary without any important spoilers, but I’ll try to do my best:

Eight people live in some sort of underground bunker. Tiled walls, long corridors – it puts one in mind of an old school building or a hospital. Their days are governed by routine, or maybe they are hiding behind the routine aspects of life, such as food or lessons for the two youngsters, so that they don’t have to think about the world they live in. Information on that is sparse, which is a very important part of the movie. Scriptwriter/director Elio Quiroga never hits us over the head with exposition; we learn about the world by observing it, by watching the propaganda videos that are still running on some screens, by asking the same question our youngest protagonist is asking: tell us about the war.

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