Saturday, January 11, 2025

Pat Garrett and Billy the Kid (1973) Review

rating: ****

the story: Pat Garrett hunts down his old friend Billy the Kid.

the review: I recently sat down making my way through three edits of Pat Garrett and Billy the Kid, and basically, I loved it.  There's a lot of passion and history behind those edits, but what it boils down to is a film that's much more about Pat Garrett than Billy the Kid, and then, at that, less about his conflicted feelings and more about the sequence of events that led from the badge to the murder.

The Assassination of Jesse James by the Coward Robert Ford is nearly twenty years old at this point, and is unquestionably the greater cinematic achievement, but probably it would never have existed without Pat Garrett and Billy the Kid.  Neither film spends a lot of time explaining the bona fides of their infamous outlaws, but plenty of time exploring the journeys the men who kill them take.  For Pat Garrett, there's precious little time spent sharing a screen, without bullets, with Billy.  Instead it's Sam Peckinpah indulging himself one last time in the lush visual language of the old west, including Pat's snazzy black duds that when updated with modern technology pop off the screen just as if he were Darth Vader hunting down Han Solo.

Which, by the way, there's plenty of that to be found here, too.  Kris Kristofferson's Billy is a visual template for Han, and James Coburn's Pat is given another possible origin for Han's famous cantina showdown with Greedo (Harrison Ford himself had another in an episode of Gunsmoke).  

Another valuable screen hand in Jason Robards casually points Pat in Billy's direction, but the reason I really cared about any of this is the enigmatic character known as Alias, who happens to be played by Bob Dylan.  Peckinpah apparently felt Bob was an unwanted studio mandate, which is insane.  I mean, if you have the young Bob Dylan in a western, wouldn't your first thought, as director, be nothing but abject gratitude?  Maybe Sam wasn't much for music, although Bob certainly was.  He composed "Knocking on Heaven's Door" for Pat Garrett, and it ends up featured in the movie's best scene.  He also fiddled around with the song that would become "Wagon Wheel" in the recording sessions, by the way.  His acting isn't much, but there isn't much asked of it.  Mostly he's just the one guy smart enough to be faithful to Billy but also convincing factor into Pat's plans, the middle ground that's essential to discovering where these legends fit together when the film itself doesn't bother.

Coburn is effortlessly cool and so much more appealing than Kristofferson, who spends the movie basically preening, assured that the peasants around him are in awe of the legend, when they really should admire Pat as much as we do thanks to Coburn.  These are all sketches, which is probably why the film had such a hard time finding appreciation on original release, why the studio had no idea what Peckinpah was trying to accomplish, which was nothing less than an ode to a dying era, both historically and as a film genre.  He's not asking that you find either title character heroic, which is why he never frames either of their narratives.  We are simply asked to bear witness.

Like so with the film itself.  It's an essential part of film lore.

A Complete Unknown (2024) Review

rating: *****

the story: A young Bob Dylan navigates his early career while remaining stubbornly true to himself.

the review: While I was waiting for Conclave to make sense, I kept wondering what was going to pop out unequivocally to me as the best movie of 2024, and then I saw A Complete Unknown, and it was no longer in doubt.  I was going to see it anyway; catching up with Bob Dylan has been a hobby of mine for more than a decade.  I had figured out that I loved the guy's music, and I understood his role in pop music history, but it wasn't until A Complete Unknown that I got to see a version of how it played out at the time.

Biopics are a staple of American film, and musical biopics especially, these days, since it's easy to assume that the music itself will sell the movie if nothing else, just waiting for something familiar to start playing.  But the problem with biopics is that they happen to follow a basic template, and any real understanding of the artist or band in question can be lost in the details.  For instance, the other day I watched I Saw the Light, about Hank Williams, and not only is Williams lost in the movie, but even his songs are badly layered in it, so that there's no sense at all about why you should care about any of it, or what Williams meant.  

A Complete Unknown certainly has no such problems.  We catch up with Boby Dylan as he treks over to meet with his hero Woody Guthrie, who's stuck in a hospital trying to rehabilitate, while Pete Seeger basically acts as his ambassador to the world, and in turn, Bob's.  We know his goals, his talent, and his future without even reaching his best-known material, right from the start. 

The movie itself is sort of like the real world illustration of Yesterday's conclusions of what it'd be like if everyone forgot about the Beatles except one guy, who proceeds to present all their songs as if they were his own, so that he amazes everyone with his ability to generate great material.  A Complete Unknown leans on the great material available and sometimes makes it look too easy, until Bob starts running into problems because as it turns out, success or not, he still just want to be Bob, and isn't too keen to fulfil someone else's vision of him, whether it's Joan Baez or a record label or the Newport Folk Festival.

In this era of blockbuster film movie stars have struggled to stay in the picture, and certainly new ones have found it equally difficult to be noticed, but Timothee Chalamet is one of the few to have figured it out, and his Bob Dylan is a truly uncanny accomplishment, both in the music and in general.  Roger Ebert's review of Walk the Line suggested he found Joaquin Phoenix indistinguishable from Johnny Cash, and that's a considerable exaggeration, but in Chalamet's case it isn't.  Possibly this is because Bob Dylan famously isn't much of a singer (the one glaring omission of the movie is failing to acknowledge this reputation).  It really doesn't matter.  This is the central miracle that makes all others possible.

Walk the Line's Johnny Cash is here, as portrayed by Boyd Holbrook in hopefully what's finally his breakthrough role, a true creation is a career that's been floating just under wide recognition for years, including a standout performance in Logan, which like Walk the Line and A Complete Unknown, is directed by James Mangold, who between all those Wolverine movies, these biopics, and other material like Ford v Ferrari, has comfortably settled into one of my favorite and most reliable directors.

Edward Norton, once one of those late Hollywood leading actors but since settled into picking his spots in art films, inhabits Pete Seeger just as if, like everyone else Norton plays, is as comfortable being Edward Norton as it is watching him.  At this point he's the closest we've really gotten to another Jimmy Stewart.  Elle Fanning, Dan Fogler...But the biggest surprise is Monica Barbaro as Joan Baez, a true discovery.  Joan Baez fans might quibble, but if A Complete Unknown has to crib from Walk the Line, then Barbaro fills out the June Carter role better than Reese Witherspoon, so effortlessly naturally it's a shock that she isn't already a star.

The film is otherwise Bob being Bob.  I have footage of the Newport Folk Festival where Bob plugs in, so the trash being tossed at him visibly didn't really happen, but the effect is there, and it's Bob dealing with the consequences of being Bob, the way his relationships faulter, the way he can't understand what's so wrong about working on new material while crashing in someone's home instead of, y'know, paying attention to them...It's always the music.  He may be uninterested in detailing his past, but for Bob Dylan, the future is ever full of the music that fills him.

Anyway, for my money, totally fascinating, engrossing stuff.  These are maverick times.  And as always Bob's the bard leading the way.

Conclave (2024) Review

 rating: *****

the story: A new pope is elected amidst desperate maneuvering between cardinals.

the review: It was only a couple days ago that I finally figured out the ending, and as such unlocked the whole movie, and now I'm quite happy to report my love for Conclave.

As a Catholic, it's always nice to see, in recent decades, any film that breaks through the mainstream tackling Catholic matters.  Conclave was a modest success in theaters, but more importantly critics actually liked it, and have been including it among the best movies of 2024.  I suspect for a lot of them understanding the movie takes a backseat to the spectacle, up to and including that ending, and for many Catholics the ending only fuels a controversy.  Catholics will assume Conclave makes a mockery of the faith, and critics will assume it's all good fun and high theater.  It's a bit deeper than that.

It helps to hang all this on the sturdy shoulders of Ralph Fiennes, playing the cardinal tasked with running the election process, and therefore finding himself in the middle of seemingly endless intrigue, from John Lithgow's cardinal who ends up positively Machiavellian to Stanley Tucci's cardinal, who sees himself as the vanguard against backward traditionalism.  The fourth name actor in the ensemble is Isabella Rossellini as the nun tasked with keeping the proceedings running on a practical level, but who also finds herself unable to ignore the drama unfolding around her.

My original reaction to Conclave was that it was a wonderful reflection of the post-John Paul II papacy, the inability to escape his considerable shadow.  On that score it still works nicely.  Mostly, though, the whole thing is a metaphor about the massive tangle of politics our age seems thoroughly incapable of escaping, and the ending a direct reflection of its consequences.  

To be more specific, the ending, in which the newly elected pope stands revealed as having by far the biggest scandal just waiting to be exposed and yet having seemed like the best possible candidate after everyone else was eliminated from contention...In the rush to disqualify each other, the cardinals didn't stop to consider what they were losing in the process, and what they get as a result.

I can't think of a much more relevant story for these times.

Thursday, January 2, 2025

2024 Movies Viewed/Ranked

Viewed/Ranked
  1. A Complete Unknown
  2. Conclave
  3. The Ministry of Ungentlemanly Warfare
  4. The Bikeriders
  5. The Beekeeper 
  6. Horizon: An American Saga
  7. Joker: Folie à Deux
  8. Piece by Piece
  9. Gladiator II
  10. The Exorcism 
  11. Daddio
  12. Trap
  13. The Book of Clarence 
  14. Deadpool & Wolverine
  15. Sleeping Dogs
  16. Dune: Part Two
  17. We Live in Time
  18. Mother’s Instinct
  19. Civil War
  20. Borderlands
  21. It Ends with Us
  22. Red One
  23. Argylle
  24. Blink Twice
  25. In the Land of Saints and Sinners
  26. Ghostbusters: Frozen Empire
  27. Challengers
  28. Venom: The Last Dance
  29. Sonic the Hedgehog 3
  30. Slingshot
  31. Land of Bad
  32. Drive-Away Dolls
  33. Madame Web
  34. Twisters
  35. Reagan
  36. Bad Boys: Ride or Die
  37. Beetlejuice Beetlejuice
  38. Sasquatch Sunset
Other Notable Releases
  • A Real Pain
  • Bonhoeffer: Pastor. Spy. Assassin
  • The Brutalist
  • Despicable Me 4
  • The Fall Guy
  • Furiosa: A Mad Max Saga
  • Here
  • IF
  • Inside Out 2
  • Juror #2
  • Kraven: The Hunter
  • Megalopolis 
  • Moana 2
  • My Old Ass
  • Nosferatu
  • The Order
  • The Return
  • September 5
  • Wicked
  • The Wild Robot


Saturday, December 21, 2024

Gladiator II (2024) Review

 the story: Nearly twenty years after Maximus took on Commodus with the fate of the Roman Empire at stake, his story unexpectedly concludes.

rating: ****

review: As someone who's enjoyed Ridley Scott's stream of historical epics since Gladiator, I figured I was in a good position to understand his vision for its much anticipated and also much delayed sequel.  From Kingdom of Heaven to Robin Hood to Exodus: Gods and Kings to The Last Duel to Napoleon, I found his meditations on the complexities of leadership brilliant.  Gladiator II, I determined, was much the same.

It's not at the same level as Gladiator or Last Duel, but it's not trying to be.  Its sole mission is to finish the original narrative.  Since Russell Crowe's Maximus dies at the end of Gladiator, how exactly a sequel was supposed to happen was always going to be a challenge.  The speculation always drifted in the direction of revisiting Maximus in the afterlife, which for those keeping score who still haven't seen Gladiator II, does not happen.  Rather, the plot follows two key players from the first film as they manage lives caught up in the further turmoils of empire.

Now, Ridley Scott was never playing strictly from the historical record.  He plays fast and loose with facts, as he did the first time around.  Faster and looser, actually.  But his point isn't really fact, but rather searching for heroes.  We don't live in an era chalk full of heroes.  Or rather, we don't spend a lot of time worrying about them.  We actually go out of our way to poke holes in the halos of past heroes, which reckless abandon.  It seems relevant, in such times, to find heroes in a more creative fashion.  Actually, when you stop to wonder why all the heroes are fictional superheroes these days, it begins to make a lot more sense.  Ridley Scott found himself with a Roman superhero the first time around.  Then he simply revisited as closely as he could.

You want spoilers?  The little boy from Gladiator grew up, and through circumstances found himself repeating much of Maximus's arc.  This isn't mindless duplication.  That boy turns out to be Maximus's own child, the product of an affair with the sister of Commodus, once again played by Connie Nielsen.  If you want the compelling reason to have a movie called Gladiator II once again hinge the plot on someone being a gladiator and trying to save the empire, it's really in the dramatic potential fully realized by how Nielsen's Lucilla reacts to the agonies that follow.

Actually, the title gladiator isn't even the one who most closely follows Maximus's arc, but rather the character played by Pedro Pascal, the latest actor beloved in TV roles but constantly struggling for respect in the movies (see: James Gandolfini, Bryan Cranston), who once again acquits himself well, in case you really doubt it.  The title gladiator is played by Paul Mescal, who in his breakthrough role was never going to challenge Russell Crowe, and again, didn't need to.  The draw here is the legacy, and the outcome. Derek Jacobi is the other returning actor from the first film, though he's mostly here as a link and a demonstration of the weakness of the senate, and old man on the sidelines trying desperately to make a difference, but it's just out of his grasp.

The true calling card of the movie is Denzel Washington.  This deep into the review, and it's only here I even mention him, because it really shouldn't be necessary.  Washington's presence is the true distinguishing feature of Gladiator II, its biggest claim to be more than just a sequel to Gladiator.  It's by definition at least as much a Denzel Washington picture just by his presence.  He's showy, but not in a Training Day way.  He's not always dialed in, and he doesn't need to be.  When he has something to do, you know it, and when he's trying to hide, you know it, and that's a new kind of role for Washington, and nothing that was part of Gladiator, and everything you need to know about Gladiator II and its vision of politics pivots around that description.  

It's great filmmaking by extension.  It's utterly gratuitous in its depiction of politics, the cheat code Maximus used in the first film removed, and all the dangers reinstalled.  There are consequential deaths.  There are rewarding deaths.  They're all shocking, effective moments, some of the most deft ever depicted in film, and for that, Gladiator II earns more than it needs to, since without a Russell Crowe to root for, you wonder why you should care, and that's the reception the movie's gotten, and again, again, this is beside the point.

The point is, the story is finally finished.  Good truly prevails, even though we know the empire's rot into oblivion soldiers on anyway.  In the story of Gladiator, Marcus Aerelius had a dream that seemed unattainable, and certainly so when the hero he hoped would help him gain it is dead at the end.  At the end of Gladiator II, the hero is still standing, and so, too, is the dream.  It pivots the narrative to definitive hope.  And that's the point.

These are the times we live in.  We need heroes, even fictional ones.  It doesn't hurt to have them grounded in some grand past in the real world, even if their stories are fictional.  This is a perfect coda, and perfect storytelling, even if it isn't perfect filmmaking.

Saturday, November 16, 2024

Theater visits so far 2024...

 Since I've done such a horrible job of blogging here at Film Fan this year, let's have a look at what I've seen in theaters so far this year, possibly because I wanna spend some time talking about one movie in particular...

Argylle I found entertaining in its several layers, reminiscent of Lost City but certainly its own distinct flavor.  Sam Rockwell I'd basically follow anywhere and is alone worth the price of admission.  Funny, too, since there's a book based on it, since like Lost City it follows an author thrust into an adventure straight out of her books.  By the third act it makes more sense but rests on a less convincing lead performance than its predecessor.

American Fiction was something I needed to catch up on from last year, and I'm glad I did (the author of the book it's based on, Percivall Everett, has been getting better notices on his newest book, James, but as far as I can tell, not a large amount of additional sales), although it seems a little more focused on elites having elites problems than a real connection to the black experience it's technically about.  But I'd follow Jeffrey Wright anywhere, and am glad he got a spotlight like this.

The Beekeeper was instantly my favorite Jason Statham movie ever, and I realize I'm fairly late to the party, but interestingly, for me, it was a marked counterpoint to the elitism I found troubling in American Fiction, in that Statham's rampage is against the unchecked nature it currently enjoys.

Dune: Part Two I've certainly already written about, here, and how it's a technical achievement I find difficult to engage with emotionally, which is odd, since I had a very different reaction to Arrival, where both states existed so exquisitely well together.

The Ministry of Ungentlemanly Warfare is, like Beekeeper, a violent delight, featuring a pitch perfect ensemble cast, and has been since release one of my leading contenders for best of the year.

Sasquatch Sunset falls short of its intended mark, spending too much time in silent wonder at its strange world only for a last minute reveal at a deeper layer.  Even if we never see humanity, it would've been worth seeing more of what these creatures are living in the margins of in order to appreciate some actual context.  Instead it's just a curiosity.

Civil War is fascinating and horrifying at the same time.  Most of the film is fascinating, a glimpse at journalism in its rawest form.  Then it has to go ahead and let everyone, including the journalists, just watch as a president is assassinated.  It's a terrible, off-note ending that all but spoils the preceding pleasures.

Horizon: An American Saga, since I grew up on Westerns, was very much another welcome homecoming, a splendid tapestry that looks past pretty much the remaining romanticism still lingering in the genre.  But the release schedule was far too optimistic, and if anything scared more viewers away than the typically long running time of the modern historical blockbuster (which, while pursuing what streaming services can't, has yet to produce a winner at the box office).

Daddio is one of my favorite random discoveries, an intimate conversation between strangers exploring relationships and modern life.  Dakota Johnson I'm happy to enjoy in something other than the sitcom I first saw her in, and Sean Penn, it's the first time in a long time I've just gotten to enjoy one of his performances after years of burying his talent behind Hollywood hype (which I trace back to Mystic River), which drive even him away for years.

The Bikeriders is another leading contender for best of the year, easily.  Just perfect, a throwback to a bygone era, much like everything else I've loved this year, which is clearly the running theme of an industry trying desperately to justify itself while also looking for things that aren't packed with CGI.

Bad Boys: Ride or Die is another steady entry in the franchise, practically a sequel to the last one.  It's just wild that Will Smith actually survived that Oscars slap.

Deadpool & Wolverine, since I was always more interested in Wolverine than Deadpool, was a wild ride of a return engagement, for both, the first time Ryan Reynolds had an actual story to tell and somehow the juiciest turn Hugh Jackman has gotten, in a role that has been determined to pump in melodrama from the very start.

Trap is another classic work of M. Night Shyamalan filmmaking.

Borderlands, of which I am the only one who actually enjoyed it.  Too many times fans of things have absolutely no perspective.  Nobody outside of them holds the games to be a sacred cow.  If the movie fails, no one is going to rush to revive popular interest.  The thing will die on the vine.  And once again, this is what happened.  If you liked the recent Jumanji movies, there's no discernable reason you wouldn't like this, too.  If you liked the recent Dungeon & Dragons movie, this is right up your alley.  

Conclave is hugely compelling for a Catholic, great drama ending on a curious note that kind of fiddles with its conclusions, wondering if the Church is somehow ready for a woman (in effect) in the papacy.  I don't really see how that was necessary, but I'm not going to quibble.  On the whole, another of the shining notes of the year.

Venom: The Last Dance kind of forgets that this is the final film in a trilogy for most of its runtime, finding a villain from the comics to close out the story but then getting lost in trying to explain how, since by the end we're left with the villain still out there, no other film forthcoming (and highly unlikely to be revisited), and only the sad goodbye between Eddie Brock and the symbiote.  But spending most of it just watching Eddie trying to survive despite nothing sticking to put him at risk, just kind of stumbling along, with a random off-the-maps family continually intersecting in his efforts.

We Live In Time is a fine little relationship drama.  Still kind of shocked it happened at all, much less in regular theaters (recently the domain of streaming services, such as A Marriage Story).

Joker: Folie a Deux has gotten so much exposure, and not a bit of it good, of course it's the one I was talking about at the start of this.  I have no idea what happened here, who mailed everyone excrement to provoke such a reaction.  This is exactly the second part of what happened in the first film.  Exactly.  Same flights of fancy, just with added song, since for the first and only time in his life, Arthur Fleck has an actual dance partner.  What some people seem to have considered, this isn't a movie about the Joker, but a Joker.  We've reached a point where The Dark Knight is far enough in the past that people are forgetting what exactly made Heath Ledger's Joker so great, that this second of Christopher Nolan's Batman movies is beginning to be lumped anonymously as just one of the three that resulted.  And so of course we're now at the point where another Joker is just another Joker.  Critics of the first one really just wanted to dismiss it as Taxi Driver cosplay, just as many viewers of Joker really just saw it as Ledger cosplay.  They just couldn't distinguish or analyze the first one for its own achievements.  It's no surprise, then, that neither has made heads or tails of the follow-up.  If you're looking for a classic predecessor to this one, that would be One Flew Over the Cuckoo's Nest, mixed up with, I don't know, A Star is Born.  But ultimately this one can't help but fail to connect with audiences since it's another, along with most of Sony's Spider-Man villain movies (including, of course, the Venom movies, of which this last one was easiest to lump in).  Most critics don't understand superhero movies, and most fans don't understand supervillain movies.  This Joker was never really a hero (despite the first movie's ending), and he was never really a villain.  He was always a victim.  Just try finding sympathy for those, unless they're faceless.

Saturday, July 13, 2024

Alas, poor Redbox…

And so another era has come to an end. The final years of Redbox are reaching their final stretch. The service officially announced its closure the other day, after a disastrous ownership changeover a few years ago wrecked the remainder of the business, one of the last bastions of physical media, much less the last holdout of the rental market.

Surprisingly, I only got into Redbox circa 2016, when I accidentally rented, instead of bought, the trio of Passengers, The Magnificent Seven, and Fences (although later I did make up for that). I used to rent movies all the time, even worked at a video store, which was how I caught up on the vast chunk of movie history that served as the foundation for my appreciation of the medium. By the time Redbox was the last of the rental services, I was buying outright in stores any movie (new and used) that interested me. But once I understood that Redbox sold used movies at a considerable discount, I started buying at their kiosks at a decent clip.

I found a lot of interesting movies through them, some mainstream that I had skipped and probably would never have seen without such an opportunity, some obscure movies that I would almost certainly have never even heard of and was glad of the chance to discover them, and sure, a lot of movies that weren’t really worth the time or scant money it took to spend on them.

I was very much aware that the market was skipping along to digital and streaming as outright replacement. I didn’t care. 

2020 was the breaking point for Redbox. Disney stopped shipping new MCU titles that year, possibly in the interests of shoring up their streaming service, suddenly so crucial even to them, when I really would’ve preferred to catch those releases without investing too much in them. I still haven’t seen Shang-Chi or Eternals, and I might never at this point. But otherwise new releases continued to populate. 

That was also the year the market started to cut loose from physical media in general, which again, was an obvious side effect of the pandemic. 

Eventually Redbox started to more heavily feature B- and C-level movies in the purchase tab, since they were receiving fewer mainstream movies as they lost business from major studios. The listings started stretching out with slower turnover rates for new titles. 

The last major, and almost the only major, release last year was Barbie. But this was one miracle Barbie couldn’t pull off.

The “coming soon” tab was deactivated. Then it became clear that there weren’t new movies populating at all, and some of us wondered if there could possibly be a turnaround. But it wasn’t to be.

On Friday I attempted to scoop up a few titles still of some interest from the purchase tab, but the box shut down in the effort. I tried again an hour or so ago, and it was functioning again. What Redbox does with all the inventory that wasn’t for sale previously, if they’re listed for purchase at some point, who knows?

I may have just bought my last movies from Redbox. It was a fruitful time.