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Interview: James McTeigue, 'Ninja Assassin' (Part 1)
Filed under: Action », Warner Brothers », Interviews »
Director James McTeigue has been working on films since the late 1980s, back in his native Australia. He was second assistant director on Dark City and first assistant director on Star Wars: Attack of the Clones. He started working with Andy and Larry Wachowski as an assistant director on The Matrix, and they've been collaborating on projects together ever since. The Wachowskis wrote the first feature film helmed by McTeigue, V for Vendetta, and he provided second-unit direction on their most recent film, Speed Racer.
Ninja Assassin, which opened this week, is the latest movie McTeigue has directed, with the Wachowskis on board as producers. You can read William Goss's review for more details about the action/fantasy film. Cinematical sat down with the director in late September during Fantastic Fest, just after the movie played the festival. He was very pleased with the fest screening and happy to talk about the film.
Discuss: Performer of the Decade?
Like many critics I'm working on my list of the best films of the decade. I have been doing lots of shuffling around, swapping some of the films in the top 20 with films in the top ten, just to see how they look. But something occurred to me. A lot of the films had one thing in common: Scarlett Johansson. What does that mean? Does it mean that she's the greatest actor of the decade? Or is she just lucky? I'm not sure what to make of it. I have never interviewed her (I was once all set for a phone interview for Girl with a Pearl Earring that was canceled) so I can't claim to know what she's like in real life. Frankly, she's not the greatest actor in the world; in bad movies she can seem awkward, fumbling with troublesome dialogue. But there's definitely something about her, and it goes beyond her blonde-haired, full-lipped, smoky-voiced, voluptuous beauty. I might make an argument for her as "performer" of the decade.
Let's look at her first great film of the decade, Terry Zwigoff's Ghost World (2001). She plays Rebecca, the best friend of Enid (Thora Birch). They have just graduated high school, and face a long, boring summer. They have long-standing plans to get jobs and rent an apartment together. Rebecca holds to her end of the bargain, but Enid becomes sidetracked with a summer class and a friendship with a nerdy record collector (Steve Buscemi). When they are together, Rebecca and Enid have a funny, dark, cynical rapport. Rebecca is good at keeping up with her friend, but there's the tiniest hint that she's getting tired of it, that she wants to move on. Johansson was only 16 here, and two years younger than Birch, but she seems much older and perhaps wearier.
Review: The Blind Side
Filed under: Sports », New Releases », Warner Brothers », Theatrical Reviews », Family Films »
The trailers for The Blind Side triggered my "oh geez, another sports-related Triumph of the Human Spirit" cynicism, and I might not have seen the film at all if I hadn't been assigned to review it. That would have been my loss, and I experienced the lovely surprise of having a movie turn out far more enjoyable than I expected. The Blind Side has no twists or gimmicks other than being a very good example of a sports-related family film, with quality performances and writing.
The movie's title is a football reference, which the voiceover of Leigh Anne Touhy (Sandra Bullock) explains at the beginning. Michael Oher (Quenton Aaron) is sweating out a tough but unspecified situation in an office, when we flash back a few years and meet him as Big Mike. An African-American staff member at a mostly white Christian private school is trying to get his athletic son into the school, and the school's coach also spots some athletic potential in Big Mike, granting him a scholarship. Big Mike has terrible trouble keeping up in school, and when his friend's family stops helping him out, he is virtually homeless -- sleeping in the school gym, eating popcorn left there after events, wearing the same thin clothes daily.
Top 10 Annoyingly Ambiguous Movie Endings
Filed under: Fandom », Lists »
Yesterday, we posted a very funny video from College Humor that resolved some classic ambiguous endings in film: The Graduate, Lost in Translation, and so forth. But it reminded me that sometimes these vague endings can be truly irritating and frustrating. I hate sitting through what is shaping up into a good movie experience, then the end negates the whole film, makes no sense, or just plain ends without warning or closure.
Sometimes these ambiguous endings are great: I felt the ending of The Wrestler was just right, and I also liked the way the recently released A Serious Man concluded. Sometimes these unresolved endings are meant to pave the way for a sequel, which is great if you happen to have the sequel there with you, but when it's a new movie, you just want to throttle the filmmakers. Here are 10 movies with endings that make me want to throw a popcorn box at the screen, or find the filmmakers and demand an explanation. It goes without saying that I'm about to spoil the endings of 10 films, so you've been warned.
Free Flick of the Day: Black Sabbath
Filed under: Horror »
Anthologies are common in the horror genre, whether two or more directors band together on a project, or whether one director takes on several short stories alone. Usually the result is that at least one of the entries is pretty weak, but the strongest entry makes the film worthwhile. Once in a while, however, you get something like Mario Bava's Black Sabbath, which has three strong entries. Bava's secret is that he was never very strong on plot or story or character; he could direct the hell out of any old script with his astonishing use of colors, mood and atmosphere. The best thing about Black Sabbath -- which the distributor American International Pictures re-titled to cash in on the success of Bava's Black Sunday -- is that it actually does have some good stories. In the first one, "The Telephone," a woman gets a phone call and learns that a dangerous man from her past has been released from jail; the entire story is set in her apartment, and Bava makes you jump each time the phone rings.
Cinematical Seven: "WTF?" Dance Scenes in Non-Musicals
Filed under: Music & Musicals », Cinematical Seven »
I think it's safe to tell you, without spoiling the movie, that The Men Who Stare at Goats includes a couple of scenes with Jeff Bridges and George Clooney dancing around. The scenes are amusing and a little strange -- why are soldiers dancing? But they did fit consistently with the film as a whole. However, I was reminded of moments in movies that aren't musicals, but suddenly shift to some crazy kind of dance or musical number. I love these moments, and in fact I wish the dance scenes in The Men Who Stare at Goats were a little less toned-down and a little more "WTF?"
Okay, I'm kind of BS'ing you here. The Men Who Stare at Goats is a flimsy excuse. I really just wanted to write about surreal dance numbers in otherwise straightforward movies, because that can be so much fun. Last year's Adam Sandler vehicle Bedtime Stories was an annoying dud ... except for one glorious, shining moment where Guy Pearce launched into a song-and-dance number. Sometimes these dance moments are the best part of a movie, sometimes they spoil the mood and sometimes they're just one more weird aspect of an altogether bizarre film. Here are seven of my favorites.
Free Flick of the Day: Night of the Living Dead
Filed under: Classics », Horror »
If there were any justice, George A. Romero's Night of the Living Dead (1968) would be counted as one of the great movie debuts of all time. (Yes, up there next to Citizen Kane.) In some quarters it is, but the fact that it's a horror film and the fact that it has languished for decades in the public domain (and many, many cheap, sub-par VHS tapes and DVDs) counts against it. Not to mention that younger zombie fans that come to the movie for the first time will most likely be surprised -- and probably disappointed -- as to how slow and thoughtful it really is. But if you consider things besides gore and terror to be important in your horror movies, then Night of the Living Dead endures, not just as one of the great genre movies of all time, but one of the greatest movies ever made, period. (It's currently ranked at #260 on the list of the 1000 greatest movies of all time at They Shoot Pictures, Don't They?.)
Night of the Living Dead achieved several notable things during its time. Firstly, it established an artistic tone and a directorial signature that Romero would carry through the rest of his career, up to the present day. Secondly, it was an independent film (produced, of all places, in Pittsburgh) long before "independent film" came to be a marketing term. It was made by a cast and crew of people who genuinely wanted to make it, and -- somehow -- it was actually distributed and shown in theaters. Thirdly, by casting an African-American (the late Duane Jones) in its lead role, by introducing the "basement versus the ground floor" conflict, and by featuring gun-toting rednecks as the clean-up crew, it managed to subtly suggest a few ideas about America at the time, and indeed, it still suggests a few things about America in 2009.
Watch Night of the Living Dead on SlashControl!
Austin Film Festival 2009: The Wrap-Up
Filed under: Festival Reports », Austin »
In Austin, you can set your watch by the fall film festivals. We don't just have SXSW in the spring. Starting around Labor Day, it feels like we have a film festival practically every week, from Austin Gay and Lesbian International Film Festival (aGLIFF) to the Austin Polish Film Festival, Austin Asian American Film Festival and of course Fantastic Fest. One of the oldest and biggest of these local autumn fests is Austin Film Festival (AFF), which spans eight days and seven screening venues, and includes a screenwriters' conference. In 2009, AFF celebrated its 16th year.
AFF focuses on screenwriters even in its film programming selections, as was evident with the opening-night film. Serious Moonlight is best known as the last script written by the late actress/filmmaker Adrienne Shelly. I admit I wasn't fond of the movie, but director Cheryl Hines was a trip -- mock-vampy on the red carpet (as shown above), and full of excitement about her film. Her screening was up against heavy competition: Matthew Weiner brought an episode of Mad Men to the festival and didn't reveal which one until just before it screened. (It turned out to be this season's "Guy Walks Into an Advertising Agency" episode.) Weiner also was featured in panels during the conference portion of AFF.
Directors We Love: Alfred Hitchcock
This is a no-brainer, right? Everyone loves Hitchcock. But it was not always so. The great director, whose North by Northwest comes out on a new, 50th Anniversary DVD and Blu-Ray on Tuesday, was once considered a populist panderer with little artistic value in his work. Even if you were a film critic, it was not the done thing to explore the mood and structure of a film. And even the rare critic that did that, such as Manny Farber or James Agee, tended not to go crazy over Hitchcock's work. (He was too popular and supposedly did not need defending.) At the time, it was more important in film to have a strong moral message, or to impress audiences with size and scale. Hitchcock worked in the lowest genres, telling stories about creeps and murderers and kidnappers, none of which had any benefit to society. Yes, Hitchcock was nominated for Best Director five times, so it's clear that other filmmakers at the very least acknowledged his skill, but he was mostly nominated for his biggest hits, like Rebecca, Spellbound, Rear Window and Psycho (just as George Lucas was nominated for Star Wars) and he never won.
AFF Review: Serious Moonlight
Filed under: Comedy », Magnolia », Theatrical Reviews », Austin »
The first thing everyone seems to mention about Serious Moonlight is that its screenplay is the last one written by the late Adrienne Shelly. Actress Cheryl Hines, who had a role in Shelly's film Waitress, is making her feature directorial debut with the dark comedy, which stars Meg Ryan and Timothy Hutton. The movie opened Austin Film Festival this year. It sounds like a sure-fire comedy, but unfortunately it just left me with a headache.
Serious Moonlight focuses on a married couple, Louise (Meg Ryan) and Ian (Timothy Hutton), who are supposed to meet in their country house for a rendezvous, but both arrive a day early. Louise wants to surprise her husband, but finds out that he also has a surprise: he's leaving her. She refuses to accept this, and ends up cracking him on the head with a vase, binding him with duct tape, and refusing to let him loose until he comes to his senses and realizes how much he loves her and wants to stay with her.
Jeremy Renner Wants To Be An Avenger
Directors We Love: Jim Jarmusch
Indie Roundup: 'Sweetgrass,' 'Clarkworld,' 'Broken Embraces'
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Watch: Famous 'Matrix' Scene Re-Created with LEGOs
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