If you were to take “Brokeback Mountain” and cross it with “The Shining” and add a little Herman Melville to the mix, you might get what this picture attempts to be. It is sort of a sea shanty about madness from isolation. Now sprinkle in a little tentacle sex and you start to get a clearer picture. What I have given you here is a far more coherent description of the film than you will get from watching it for 109 minutes. This pretentious piece of dreck has little to offer and everything to frustrate.
I will be honest, I was not a fan of the much admired first film from writer director Robert Eggers. “The VVitch” was slow, ponderous and the end of the film undermined what the movie seemed to be trying to accomplish. I don’t know what this movie was trying to do, but I can tell you what it did for me, it pissed me off. Both of the actors, Robert Pattinson and Willem DaFoe, dive in whole-heartedly to the proceedings, with Dafoe hamming up the arcane dialect in a manner worthy of a pirate movie. Half of the dialogue will get lost in the style of delivery, but it won’t matter because there is no consistent voice to what you are seeing anyway. Oh, and by the way, you won’t be seeing nearly as much as you should. Eggers has decided to shoot this film in black and white, mainly at night, in a location with one source of illumination that can’t be turned into the camera.
At one point one of the characters suggests that the whole experience was just in the head of the other character. That would have been an indicator of where we might go, except that a dozen other things happen which suggest that the two characters might even be the same person. Which doesn’t make any sense even in a horror film, which this may or may not be classified as. I had no idea what the story was about, all I knew was that the two actors are in a lighthouse. After watching the damn thing, that’s still app I really know. The camera pans up slowly, then it holds on something for a while, then it pulls back, and then there is a close up, none of which contributes to suspense, terror or drama. There were some people laughing, so maybe it is supposed to be a comedy, but it did not strike me as funny at all.
It looks like I will be an outlier on this, there are great ratings on many of the mega sites like IMDB and Rotten Tomatoes. I will try to listen to some of my fellow bloggers and podcasters as they talk about this, but if you hear a foghorn in the background it may simply be me calling “bullll…shiiit.” If I see Mr. Eggers name on future projects, I will be sure to let those who appreciate his torpid style and incoherent narratives enjoy themselves. I’ll be looking for something human beings might like.
The original Zombieland was a joy 10 years ago. It came out a year before I started keeping this blog so I never included it in any rankings or evaluations, but it certainly would have been on a list of my favorite films from 2009. I was pleased with the idea of a sequel, but the notionthat it would take ten years to get here never crossed my mind. As it is, the timing seems just right. The way the story develops, there is some character justification for actions, ten years into the zombie apocalypse.
I said I would keep today’s entires short, and that’s easy to do with this film. It has the same sensibility Director Ruben Fleiser had a big success with last year’s “Venon”, a film I never felt a strong need to see. This on the other hand is right up my alley and if you liked the first Zombieland, than D”DoubleTap” is for you. It has the off kilter humor, the action pacing of the first film, and some reasonable reasons for existing. There are a few new wrinkles and Woody Harrelson gets to vent against the kind of person he probably is in real life.
If you are an Elvis fan, there are things which you will enjoy. There is some non-partisan political humor, and best of all, there is a surprise sequence at the end which people who get out of their seats and race out the door will miss, and they will hate themselves for that. This movie completely fulfilled my hopes and expectations. It should be on repeat play at the house in the not too distant future.
I am potentially doing four posts today so I plan on keeping each of them brief. I will be gone for a week or so and I want these to be fresh for anyone who is interested.
Biopics can be hit or miss. The personality of the subject may be the biggest factor in their success, but you should never underestimate the importance of casting and performance. J.Edgar Hoover and Dick Cheney did not get a proper treatment, one because of miscasting and the other due to the script. I’ve seen some criticism of this movie as being uninspiring, but I think it works the way a lot of these biopics do, by focusing on a particular point in the subject’s life. Darkest Hour and Lincoln both did that and succeed, I think for the most part Judy accomplishes it’s task in the same way.
The film focus is on the period of time she was performing in London, less than half a year away from her death. There are a few flashback sequences, but the main story is set near the end of her life. I made a comparison that might seem a bit strange when I was talking about this film, it reminded me of “Joker”. The subject is the emotional and mental breakdown of of our subject. The childhood abuses in both stories are mentioned, but the real tragedy is the self destructive behavior that each is unable to extract themselves from. The audience will be frustrated by the wrong turn that the character makes and that is where we will feel the most emotional connection to the film.
Renée Zellweger is well cast with the kwepie doll face and diminutive stature. She nails Garlands voice and as far as I could tell, many of her mannerisms. The vocal performances are also very impressive. She is not recreating the original versions of the songs, but how those songs might have sounded at this stage of Garland’s life and her physical stamina. I think come awards time her name will be prominently featured. I hope along that of her costar here Jessie Buckley, who turned in my favorite performance this year in “Wild Rose“. That the two of them appear in this movie together is kind of a treat.
There may be things in the film that are not historically accurate but the movie feels emotionally accurate. The main performance is enough to recommend it but I think there is more than just the performance, it is a well crafted story of talent and self destruction. Probably a well worn path at this point in pop culture.