Seymour Movies: Summer 2015 Review, Mostly in Blurbs

If this weekend’s most touted opener is a Noah Baumbach movie, then I guess we can close the books on the summer movie season. I’m not using this space to assess the grosses and trends. Better you should read this guy, who’s so much smarter about these things than I am.

Also be warned this makes no claims of being comprehensive: I’m saving my remarks on Straight Outta Compton for a separate occasion. There are a few movies from this summer that I wanted to get around to, but couldn’t. (Shaun the Sheep, come baaaack!!) There also are those I may still get around to before long (Trainwreck) and others (Jurassic World) that are on my prohibitive life-is-short list. So here, in no particular order, is most of what I saw in the dark since Memorial Day.

 

FURY ROAD

 

 

Mad Max: Fury Road – As with almost everybody else, I admired its eccentric (yet austere) design, the proto-feminist tweaking of heroic prototypes and its masterly narrative drive. George Miller may be the best in the world right now at such tension-release dynamism. And yet…as was the case with just about every action film I saw this season, even a movie as accomplished and engrossing as this, Fury Road seemed to have its way with me as I was watching it and then, as soon as it ended, was all done with me.

Tomorrowland – Was this summer’s prototype of Big Fat Bust until Not-So-Fantastic-Four (see below). I liked it better than most others and totally bought what it was selling despite its flaws because I, too, was a credulous, New Frontier-besotted 12-year-old in 1965 who thought a visit to the New York World’s Fair was the Best Day of His Whole Life up to that point. Maybe it would have been at least a more interesting movie if its focus had been on the Hugh Laurie character that questioned (as I often do) whether we truly deserve to have a Great Big Beautiful Tomorrow.

 

 

Dope movie

 

Dope – As of now, I no longer care how much it resembles Risky Business. But I still care, after so many other movies over so many weeks, about the cool jerks at this story’s core along with the bullies, thugs and airheads who make trouble for them. Say it with me: It’s not the concept. It’s the characters (stupid)!

Inside Out — So great that even kids loved it. But I’m betting they loved Minions more.

Ant-Man – Or, “What Would Have Happened If Leo McCarey directed The Incredible Shrinking Man With a Bigger Budget.” And does the hero really have to become an Avenger? Speaking of which…

The Avengers: Age of Ultron – I still snicker over Captain America saying how even he can’t afford to move back to Brooklyn, where he’d last lived in the 1940s. I can’t remember anything else that happened. Speaking of which…

(Not So) Fantastic Four –.We could ourselves be heroes if we found something to like about it, so let’s see…Kate Mara’s teeny little segue into a fake Balkan accent was adorable and Michael B. Jordan’s brash side deserves a movie all to itself. But paraphrasing the great Theodore Sturgeon’s observation about science fiction in general, ninety percent of everything is shit, especially this. And when the even the movie’s director agrees, what’s the point of being “contrary to received wisdom” at all?

 

mr-holmes

 

 

Mr. Holmes – Fragment of a conversation, somewhere in London, 1893.
CONSULTING DETECTIVE: You know, James, my good friend Watson seems to believe you and I have much in common.
HENRY JAMES: Indeed! And how might that be?
CONSULTING DETECTIVE: He is of the opinion, and I respect his instincts on such matters better than those of any man, that you and I are of a rare species of humankind that takes absolutely nothing for granted. Naturally, despite my disinclination towards reading fiction, I had to see if he was right and as I evaluate the available evidence, it’s quite clear you possess gifts for observing comparable to mine and for using such observations to assess the full range of human temperament with depth and felicity that exist nowhere else in our shared language.
HENRY JAMES: (staring at his interlocutor, smiling) I am greatly honored, even mildly flabbergasted, by your remarks, sir. But…with respect to your Mister….
CONSULTING DETECTIVE: Doctor…
HENRY JAMES: Yes, of course. My apologies…Doctor Watson…I fear he labors under a misperception about our respective capacities.
CONSULTING DETECTIVE: But, my dear fellow, I have become quite familiar with your work…
HENRY JAMES: …And I with yours, Mister Holmes, for you are now quite possibly the most famous man in Britain. But…if I may speak frankly….
CONSULTING DETECTIVE: Please.
HENRY JAMES: There is, in fact, quite a lot that you take for granted…Not much is lost on you, I will concede, but…
CONSULTING DETECTIVE: (Back stiffened, peevish) And what precisely would these…omissions comprise?
HENRY JAMES: (beginning to speak, then stops, pauses) Precision is difficult, even evasive, on such matters. I think it best that you find out for yourself…And eventually, I suspect that you will.

Love and Mercy – You see Paul Dano in the lead role and you think, “He’s Brain Wilson!” You see John Cusack in the lead role and you think, “What an astute and sensitively observed commentary John Cusack is making on Brian Wilson’s life!” This distinction in no way impairs your appreciation of either the movie or, most especially, Elizabeth Banks. But you’re aware of the distinction nonetheless.

Mission Impossible: Rogue Nation – Forget that set piece with the plane. That’s over and done before the opening credits, which will always be the best part of these movies because Lalo Schifrin is, if not God, at least the god of theme songs. (I’d see any movie version of Mannix as long as its theme comes along.) The best stunts in this movie are performed by its star’s vanity, which will outlast this franchise the way roaches will survive Nuclear Armageddon .

The Man from U.N.C.L.E. – It didn’t try as hard the one directly above to achieve its effects and that’s why it doesn’t matter whether you remember the original series or not. Still wondering if it’ll get the chance to do a sequel because it deserves one. Henry Cavill, judging from the Dawn of Justice trailers, could use something else to do with his time and so, for different reasons, could Hugh Grant.

 

 

Phoenix Movie

 

Phoenix – Nina Hoss could have been a superstar in the Silent Era, which is the supreme compliment you could make towards any living motion picture actor. I saw this on the day of TCM’s daylong tribute to Garbo and Hoss has the same magnetism, especially in stillness. If she were embedded in ice, she would continue to emit vibrations

Listen to Me, Marlon – Suppose, just suppose, that back in the early 1960s, instead of wasting everybody’s time and money with a remake of Mutiny on the Bounty that nobody wanted or needed, somebody had managed to secure the rights to Henderson the Rain King and convinced Brando to play the title role. We’d have had a better movie – or at least, a more interesting failure – and Brando’s slide off the rails, however inevitable, may not have been as precipitous. Or…maybe nothing would have helped. In any case, what he says towards the end about his a-hole father applies to him as well: He did the best he could.

 

amy-winehouse_400

 

 

Amy – Thomas Pynchon said it best: “A screaming comes across the sky. It has happened before but there is nothing to compare it to now…It is too late…”

The Best of Enemies – Preening, pompous, patrician peacocks peck, poke, prod and prick pretentiously without profundity or pertinence.

 

 

end of the tour

 

The End of the Tour – Maybe the only movie on this list that doesn’t leave you tossed aside at the end as you begin forgetting what you just saw. It’s a little movie that keeps your head (and heart) toying with very big questions long after it’s over. Also it makes you curious to read a difficult book that it’s not based on – which is so much cooler than another metal object exploding in mid-air

Seymour Movies: Down to Earth?

 

 

 

 

Man-of-Steel-Henry-Cavill

 

This really shouldn’t have surprised anybody. I’ll go out on a very slender limb and predict that the 71 percent drop for Man of Steel will be even more precipitous over the next few weekends. Summer blockbusters eat each other like the savage carnivores they are and it’s more than probable that by Bastille Day (or, maybe, the Fourth), Clark Kent will join Tony Stark and Mister Spock at the rickety refuse-truck stop on the outskirts of Hype City wondering where the buzz went. The latter two shouldn’t worry too much about coming back. But Superman? He’s in a vulnerable spot. The last time they tried to retrofit him into a new movie franchise,  they did it with a movie with an impressive cast, a generally favorable critical consensus (though hardly an overpowering one) and the requisite big-bang set pieces. But for whatever reason, Superman Returns (2006) collected a indecipherable odor that kept it from re-igniting the franchise. In retrospect, Hollywoodland, the neo-noir biopic probing the mysterious death of George Reeves, was the Superman movie that more people talked about that same year. Maybe because it had a better lead actor?  You be the judge. I think it may have had something to do with where the world now places its collective memory of Jerry Siegel and Joe Shuster’s 75-year-old creation…and whether it believes it can now do without the myth of Krypton’s Last Son.

Some of this tangled feeling poked through many of the reviews for Man of Steel (a less impressive consensus this time around, but deceptively so) which moped about Zach Snyder’s reboot having few of the “fun” trappings of Superman’s earlier TV and movie incarnations. These pundits lamented what they saw as the heavy hand of producer Christopher Nolan imposing upon their Superman (whomever that may be) the kind of murky shadows and psychological depth that informed his Dark Knight trilogy’s re-framing of Batman. I found most of these complaints inane and ill-informed. Anybody who grew up reading DC comics at any point in the last 50 or even 60 years knows that there is not now and never has been a life story of Superman that wasn’t subject to revision or tweaking short of making him a refugee from somewhere other than Krypton who landed somewhere other than Kansas.. (Remember all those “what-if” issues of the late 1950s and early 1960s? “What If Lex Luthor Was Superman’s Friend?”, “What If Superman’s Real Parents Came to Earth With Him?” and my all-time favorite, “What If Lois Lane Were Black?” You can look that one up yourself.)  For what it’s worth, I always preferred the animated versions of Superman above those with Reeves and even Reeve. Look  here and here….and, what the hell, even here.

Ah, yes, that reminds me…Remember the first “teaser” trailers they were showing for Man of Steel, the ones that started running sometime during last summer’s political conventions? They were a gauzy montage of images; a butterfly on a swing, some farmland shrouded in morning fog, a fishing boat with grimy bearded men, a little boy playing with his dog amidst backyard clotheslines with some big red towel or blanket trailing behind him…

At the time, I thought: “Smallville Mon Amour”? I’d be up for that. I figured if Nolan, Snyder and screenwriter David S. Goyer were REALLY serious about dialing everything down to zero and rebuilding the myth from there, they could do a lot worse than take things sideways and make it a more intimate and, thus, more daring species of superhero movie. Sure, you would have bewildered more mass circulation critics, spooked the global distributors and angered the carny rabble. You might even risk flopping worse than, say, Breakfast of Champions or Gigli. Good or bad, you wouldn’t have left anyone indifferent. And what’s more: People would have been talking about your movie beyond opening weekend and (maybe) kept the buzz going all summer long. 

As it is, Snyder’s reboot – though, as others have pointed out, it’s as much Nolan’s picture as it is the director’s, if not more so – manages to broaden the myth’s expressive  possibilities while fulfilling the corporate mandate of blowing things up, literally and figuratively speaking. (More on this later.) Up till now, the romance of being Faster Than…, More Powerful Than…, Able to Leap…, etc. emitted such a powerful hold on our imaginations, at whatever age, that it rarely , if ever, occurred to  us to ask what should have been the myth’s most pressing question: How do you adjust to life among other humans if you’re so drastically, even cosmically different from everybody else? A lot of us ran to comic books looking for heroes who were empowered, rather than diminished by being different. What’s best about Man of Steel is its willingness to drink deep from that dilemma. I loved the whole subplot about Clark (and, later, the other Krypton survivors) reeling from the sensory overload caused by being able to see through and hear everything around them. It’s the last thing the lazier savants want to hear: That being super is just another way of being seriously fucked.

There was one moment that chilled me more than anything else in Man of Steel or any other superhero movie in recent memory. It came when Kevin Costner, in his most striking big-screen performance in decades as Jonathan Kent, is reminding his adopted son to resist disclosing his powers, even if they were needed to save his schoolmates from drowning in a waterlogged school bus. “Should I have let them die?” Clark asks. A pause from Pa seems to last forever before he finally mutters, “Maybe.” There’s a web of weary, conflicted emotion enveloping that reply and if the rest of Man of Steel managed to modulate its gaudier impulses in the same manner as Clark struggled to rein in his hearing, it might have been something major, instead of…just big…

…and loud…and messy…I mean I hate being predictable, but count me among the wet blankets who left the theaters grousing about the ringing in their ears and metal shavings in their mouths from all the concussive property damage, the bloodless (and thus, ultimately, numbing) carnage and the multiple rounds of false climaxes that are supposed to let everybody know how much Warner Bros. has spent to keep you distracted. (At least that last Dark Knight movie tried to be clever with its post-traumatic red herrings.) I think I also agree with this writer  that there was something especially unnerving about the last of its climaxes — and not in a good or even terribly imaginative way; while I can’t believe I’m still not trying to spoil anything at this point, that climax also looked as if the movie makers were trying to extricate themselves (literally) from a corner & copped out with the least fuss possible.

 

To sum up:  Rather than open new ways to expand or interrogate the Superman myth, this movie turns him into just another action hero who, though he may indeed be hotter than any other (at this point, the only thing people keep talking about after the show’s over  is Henry Cavill’s off-the-charts eye-candy quotient) doesn’t exactly make you curious to see where he goes next. And maybe that’s the movie’s biggest problem. But it may also be a problem with our first true superhero, the template upon which all others have been fashioned.  The novelty of seeing a man fly faster than sound has worn off, though we’ll never get tired of seeing him surprise others with his feats of strength. (Those vignettes of Clark wandering from one grimy outpost to another, leaving shock and awe in his wake, make up what genuine charm the movie carries.) However Man of Steel ultimately fares in the marketplace, I don’t think they’ll leave the story hanging this time. But rather than whatever the movie’s detractors claim to miss in wit and charm, I’d settle for the simple pleasures of the unexpected next time around.

 

For instance — and this is in no way a knock on Amy Adams, to whom I remain avidly (avidly) devoted — but, I mean, what about…I mean…why not:

 

lois-lane-black

 

As I said, a sense of wonder….