Rarely do I make known my views on movies, music, etc. But that's not to say I'm not opinionated. This is shaping up to be an intriguing year film-wise, at least for my viewing pleasures. Hard to believe I attended the cinema perhaps 6-7 times in 2006. Barely four months into 2007, I've hit three movies. That's quite the improvement for me! And we have plenty go this spring, summer and fall. So here are takes on three films viewed thus far. Two will be short because I'm sure you've already seen them, or at least read reviews and decided whether to catch them or not:
*300 -- Realize that historical epics on the big screen had their hayday back in the golden years of Hollywood. When men were men. When things were cheaper and relatively simpler. When minorities "kept in their right place." 8-P It was easy back then to make films based upon Moses' leading the Hebrews out of slavery. Or Spartacus leading a Jewish uprising. Or Godzilla lunching out in Tokyo. Even with all of our resources, manpower and wealth, we couldn't pull off today what Cecil B. DeMile and his contemporaries did decades ago in terms of the cinematic historical epic. It takes a more or less realistic, convincing and engaging retelling of myths and legends. It takes more than sheer violence, an all-star cast and special effects to accomplish this.
Having said all this, 300 in a way pulls in the viewer that Gladiator and Braveheart could, but not Kingdom of Heaven, Troy or Alexander. The facts behind the legend itself, from the Battle of Thermopylae, and incidents leading up to the battle and immediately following it - in themselves - are seemingly incredible even today. Many viewers and critics (no doubt including Iran, whose list for reasons to war with the U.S. now adds another reason) nitpick with the film's accuracy, particularly regarding portrayal of the Persians. But again, the movie is based on a graphic novel, in itself an outrageous version of the drama. A few things about the reality will be fudged to serve the viewer's interest. That's why it's called "art," as in artificial. This isn't necessarily history class. It's not going to win serious acting awards, but 300 stands as a bloody but well choreographed epic for a new breed of moviegoer.
* Grindhouse - Ah yes, unleash the Robert Rodriguez/Quentin Tarantino haters. They'll revel in the idea that the overall project hasn't made much of a box office impact. Then again, it wasn't supposed to happen that way. Grindhouse is a tribute to those gory, ridiculous, over-the-top, B-grade exploitation flicks that were more underground cult favorites years and years ago rather than financial hits. It's not about making money as it is tipping one's hat to an artform - if you want to call it that - that inspired two of this generation's most daring, enigmatic filmmakers.
Again, no acting awards here. But as a geek, RR or/and QT fan or just plain fan of such flicks, you can't help but be giddy over the strong, tongue-in-cheek performances in the two movies that make up the double-bill. And the trailers. Oh my. The glorious cheese, exhilaration and dark humor that prevails. Heck, I am ready to see for real in the theatres "Machete" with Danny Trejo (tagline - "this time, they've fucked with the wrong Mexican) or "Werewolf Women of the S.S." (with Udo Kier and Sybil freaking Danning!). I mean, c'mon! Ultimately, Rodriguez fulfills the potential many of us have seen in him since his cinematic arrival in the early 90s with El Mariachi (notice Carlos Gallardo as one of the deputies in "Planet Terror"). As for Tarantino, some folks may debate the extended use of his perfunctory single-shot "dialogue about everything and nothing" scenes in Death Proof, but that's QT for you. He's still about characters and dialogue as much as he's about action and drama. Anyone expecting him to make another Pulp Fiction or Reservoir Dogs need to chill out. A good filmmaker does what's safe and proven. A great one evolves and continues to challenge convention, breaking the mold for newer heights.
* Aqua Teen Hunger Force: Movie Film for Theatres - First thing's first. Anyone who has no clue about the show, no basic understanding of it, has never watched it, etc., should not be allowed to criticize it. You'll never get it. Even die-hard fans won't get all of the movie. But that's the point. That's what endears the show to its viewers even more so. The plot is simple enough: Master Shake, Frylock and Meatwad stumble upon and accidentally activate the ultimate and deadliest piece of exercise equipment. A workout machine that could wipe out the human race. Whether or not our intrepid trio saves the world is not important.
What is vital are the in-jokes and barbs traded among now-familiar supporting characters - Dr. Weird, Steve, the Plutonians, the Mooninites, MC Pee Pants, and of course, Carl. The soundtrack rocks your socks, and some visuals are -- hmm, shall we say much easier to take with a few reality-altering consummables. In the end, ATHF:MFFT is sick, crude, bizarre, stupid, occasionally incoherent or out in left field. But it's also one of the funniest moving/talking pictures to come out in the last several months. And with a $3 million weekend debut box office out of just 877 movie screens, that's saying something.
