Posts Tagged “Adventure”

2010

January 11, 2011
San Jose — Cinearts Santana Row
USA
English
110 Minutes
Adventure / Drama / Western
Ethan Coen and Joel Coen [Blood Simple; Raising Arizona; Miller’s Crossing; Barton Fink; The Hudsucker Proxy; Fargo; The Big Lebowski; O Brother Where Art Thou?; The Man Who Wasn’t There; No Country For Old Men; Burn After Reading; A Serious Man]

Jeff Bridges; Hailee Steinfeld; Matt Damon; Josh Brolin; Barry Pepper

Terrific from start to finish. Young Hailee Steinfeld is a force to be reckoned with, playing 14-year-old Mattie Ross, who wants justice against the man who shot her father and won’t take “no” for an answer. Not many of the telltale signs of the Coens here. It’s a beautifully shot film to be sure, but it lacks the wackiness, winking, and matter-of-fact violence that has made the Coens such great filmmakers. In a strange way, I wanted it to be more adult. They never venture past the PG-13 line, either in language or violence. I felt like an R-version of this film would have been monumental.

Having said that, I want to see it again, and some of the Coen magic shows up in the fast-paced dialogue, where Matty all but hoodwinks anyone foolish enough to negotiate with her. The language is almost West Wing level, circa late-1800s, full of legalese and old-fashioned-sounding put-downs. An early extended courtroom scene sets the stage for the verbal gymnastics we’ll be exposed to as the film goes on.

Another vintage Coen touch is a “medicine man”, dressed inside of a bear skin, complete with head attached. The Coens love to pause and watch characters tangential to the plot (the coffee shop scene in Fargo comes to mind). This man adds texture to the proceedings, though not much story.

The acting is first-rate, with young Steinfeld holding her own against Bridges and Damon, who get into a “measuring dicks” contest that is hilarious. The landscape realism had me shivering and feeling dusty. At some points the dialogue had me thinking of, yes, the late, great DEADWOOD.

Barry Pepper and his teeth play a bad guy who honors the code of the west. As part of that code, native Americans are not afforded the same “any last words” privileges that pale faces are.

When my daughter is old enough, I’ll take her to see this. There are far worse role models for young women than Mattie Ross.

8.3 IMDB
8.0 Metacritic

TRUE GRIT

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1925 & 1942

June 28, 2009
Netflix DVD
USA
English
72 Minutes — April 18, 1942 re-release
Adventure / Comedy / Romance
Charles Chaplin [City Lights]
#27 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

A lone prospector in the Yukon becomes rich after various adventures.

Most famous for the scene in which a starving-to-death Chaplin boils his shoe and he and his companion eat it. Sort of a collection of gags more than an actual story. Chaplin is out of his depth as a prospector. He narrowly avoids being eaten by a bear on several occasions, and once, his starving roommate swears that Chaplin’s turned into a five foot chicken just waiting to be eaten. There are dance hall girls who will break his heart and rich guys who will spit on him. But because it’s Chaplin, we know he’ll have the last laugh.

This was released in a much longer version in 1925 as a silent. Once sound in movies was perfected, Chaplin went back, wrote a score, took away the title cards, and narrated a brisk 72 minute version. I’ve never seen the original silent. The narration was less intrusive than you might imagine. Though it does tell us things we can already understand while watching. The special effects are astonishing for its time period, especially as a cabin balances on the edge of a cliff.

8.2 IMDB #157 All Time
**** Halliwells

The Gold Rush @ Amazon

THE GOLD RUSH

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1956

June 23, 2009
Netflix DVD
USA
English
119 Minutes — March 13, 1955
Adventure / Drama / Western
John Ford [Stagecoach; The Grapes Of Wrath]
#7 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

A confederate war veteran tracks down the Indians who have slaughtered his brother and sister-in-law and carried off their daughter.

There are no two ways about it: this is one racist film. Wayne is so disgusted by Indians, that he barely acknowledges a quarter-cherokee member of his own family–a young man he saved after his parents were killed in an attack. He refuses to let the young man call him “uncle”, though the rest of the kids do. Wayne’s character, Ethan Edwards, also believes that death is a better result for a young woman than having sex with an Indian. Which is basically what the entire film is about.

Wayne has returned to his brother’s ranch several years after the Civil War has ended. He has with him some gold coins, never bothering to explain where they came from. We assume that Edwards’ work isn’t always above board. A man’s cattle are stolen and he joins the party to go find them. While out in the brush, they all realize that the cattle were just a diversion so that Comanche could attack the undefended homesteads. What follows is an incredibly tense, scary, though not explicit scene of attack. When Edwards and Martin (the aforementioned part-Cherokee) return, it is too late. We again don’t see anything but reactions and know what state the family is in. Missing are the two teenage girls. Edwards must find them before they are “married” into the Comanche world.

Euphemisms like “married” or “indoctrinated” or “she’s all Indian now” really mean that another race, in this case Native American, has had sex with the virginal, snow-white teenage girls in checkered prairie dresses. And while modern audiences might say “I can sorta see how that wouldn’t be cool back then”, the anger and frustration that Wayne shows while trying to find the girls is much deeper than all that. He feels it his duty to kill his own family members rather than have them live with who he considers savages. With their own language to boot.

The story, which is sort of a chase film that takes place in Monument Valley, amongst some of the most beautiful scenery ever captured, is basically: will Edwards find the girls; how long will it take; and once he does, will he kill them? That’s it. The bad guy, the Comanche chief is a man named Scar. Two things here: he is played by a blue-eyed guy who looks like he lives in Brooklyn thus completely taking us out of the picture (Bogdanovich in a fabulous commentary explains that “that’s just how it was done back then”) and two, and probably more important, Ford sets up this “Scar” character as a renegade evil Comanche as opposed to the honorable (docile?) Comanches which were filling the governmental aid stations back then. This sort of gets him off the hook in terms of the savagery of one particular group of Indians not speaking for the whole clan.

Lest you think that the film is a progressive portrayal of Native Americans, you need only look at the scene where Edwards and Martin are shown a small group of teenage girls who have been “liberated” by government troops from their Indian captors. To say that they’ve ended up loopy would be an understatement. They act like children raised by wolves, thus affirming everything that Edwards thinks will happen to his own nieces. “They ain’t white anymore” one character says.

Setting aside the underlying racism of the whole enterprise, one can marvel at the photography. Granted, Ford had perhaps the greatest natural backdrop in film history at his disposal, but that didn’t mean that he just sat back and watched the magic. The justly famous shots of darkened doorways with the silhouettes of characters remains quite striking. The vistas are broad, the shootouts easy to follow, and certain chase scenes where groups of Indians are several miles back on bluffs are fabulous in their composition. How Ford got everyone to be at the right place at the right time for a shot is beyond me.

There is an extra interlude where dancing and a wedding take place that felt out of place, but perhaps the film was too heavy for 1956 audiences and they needed some comic relief. This relief is in the form of a borderline retarded mailman suitor and a looney old drunken deathbed old guy who spouts non sequitors. But scenes with these two are few and far between. Don’t get me started on the bratty acting of Jeffrey Hunter as Martin who seems to pout his way around the west.

Wayne is pretty awesome as someone trying to protect everyone around him from how the real world operates. He shields young men from the heartbreak they’re destined to experience, he protects people from violence and the aftermath of savagery. In Wayne’s eyes you can see that he feels like he’s experienced things and seen things that he doesn’t wish on anyone else. He knows that gold gets things done, that murder is bloody and awful, and that naive young love is no match for a harsh world.

He also rides a horse well and dresses in bright colors.

This is rightly considered a classic (Number 7 on the Big List of 1000 Movies). The photography is spectacular, the action exciting, the story morally ambiguous, and the acting is mostly great.

8.0 IMDB
**** Halliwells

The Searchers @ Amazon

THE SEARCHERS

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2009

June 3, 2009
Campbell CA — Camera 7 — 3D
USA
English
96 Minutes — May 29, 2009
Animation / Action / Adventure / Comedy / Family
Pete Doctor [Toy Story; Toy Story 2; Monsters, Inc.; WALL-E] & Bob Peterson [Finding Nemo; Ratatouille]

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UP is the subject of Cinebanter Podcast Number 72. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:
• 00:00 Intro
• 00:32 UP Discussion
• Break
• 20:31 To Sum It Up
• Break
• 21:23 The Last Five®
• Break
• 49:49 Listener Feedback/Eli Stone discussion
• 1:00:34 Credits and Outtakes

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**** Ebert
**** Phillips
A Schwarzbaum
8.8 Metacritic
9.0 IMDB #15 All Time (ha!)

Up @ Amazon

UP

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2009

May 8, 2009
San Jose CA — Century 21
USA / Germany
English
127 Minutes — May 8, 2009
Action / Adventure / Sci-Fi
JJ Abrams [Regarding Henry; Forever Young; Armageddon; Felicity]

The Future Begins.

8.3 Metacritic
8.5 IMDB #71 All Time

STAR TREK

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THE TOUR
2008

March 6, 2009
Cinequest 19
Serbia / Bosnia and Herzegovina
Serbo-Croatian
108 Minutes
Action / Adventure / Comedy / War
Goran Markovic

Notes:
The Bosnian War. A formerly glorious acting troupe, in need of a change of scenery (and some pocket money) embarks on a tour of the divided country. The manager insists that they’ll be thought of as heroes from Belgrade coming to help the troupes with morale. They arrive in a huge Bosnian Hummer-type vehicle after dodging mortar fire. An indifferent general has, of course, changed the itinerary. They will play once in town and they again at the front lines. Mis-steps ensue. Some humorous. Some funny in a more “we’re all in this together, why are we shooting each other” way. It turns out that no one cares that these actors have appeared on a TV series. Music is terrible. Bad news is telegraphed by single low note on a piano.

7.9 IMDB

THE TOUR

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1996

September 14, 2008
DVD — Thank You Nazhat S.
USA
English / Spanish
91 Minutes — February 21, 1996
Adventure / Comedy / Crime / Drama / Romance
Wes Anderson [Rushmore; The Royal Tenenbaums; The Life Aquatic With Steve Zissou; Hotel Chevalier; The Darjeeling Limited]

They’re not criminals, but everybody’s got to have a dream.

Three young incompetents decide to embark on a life of crime.

* Halliwells — “Enjoyable and witty small-scale independent film that manages some original variations on a familiar theme.”
6.0 MC
7.2 IMDB

BOTTLE ROCKET

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THE MOTORCYCLE DIARIES
2004

July 7, 2008
Netflix DVD
Argentina / USA / Cuba / Germany / Mexico / UK / Chile / Peru / France
Quechua / Spanish
126 Minutes
Adventure / Biography / Drama
Walter Salles [Central Station; Paris, Je T'aime]

Before He Changed The World, The World Changed Him

A womanizing biochemist and an earnest young medical student attempt to ride a battered old motorcycle around South America, stopping on the way to visit a leper hospital.

ON: Adapted Screenplay Jose Rivera

7.5 Metacritic
7.9 IMDB

THE MOTORCYCLE DIARIES

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Written by Michael W. Cummins