Totems & Trances

I've tried very hard to avoid putting any spoilers in my review. That said, if you want the freshest experience possible with the film, it's probably best to watch and then come back to read.

Christopher Nolan is one of the smartest men in show business. He’s got an incredible knack for taking a story that you’ve heard before and giving it that little extra something to propel it into territory you’ve never visited. He’s done it with murder mysteries, superheroes, and magic tricks, and with Inception he tries to tackle the single most complex entity on the planet: the human mind.

Does he succeed? That’s going to depend in large part upon your definition of success. Is it the accomplishment of a certain set of goals and objectives predetermined by the narrative, or the ability to take the expectations of a viewer and supersede them? I suppose that I think of success as a combination of both variables, with the overriding hope that the piece is going to hold together thematically, conceptually, and emotionally.

To answer my question about whether or not Inception succeeds: well, mostly.

Ironically, the story that had seemed to be incredibly complex is actually rather straightforward. Cobb (a strong Leonardo DiCaprio) works as an extractor of information by infiltrating people’s dreams. In the real world, he’s unable to return home to his family because of some trouble with the law, and voila! Saito (Ken Watanabe, solid although sometimes unintelligible) offers him a dream job (no pun intended). If Cobb can plant an idea in the mind of his business rival, Saito will make all of his problems disappear.

One thing that struck me about much of the film is how much of it involves talking heads. Now, we certainly get our share of action, but there’s a ton of time where characters talk to one another explaining exactly what will happen later, what might happen later, and what they didn’t say originally about what could have happened later. Not necessarily a flaw, but certainly a point of interest in a film that seemed to promise a world of visual wonder after visual wonder. In fact, the biggest “wow” moment was already revealed in the trailer when the city folds back on top of itself and becomes, essentially, its own horizon.

The performances are uniformly good, with particular notice going to Tom Hardy. I thought he was great in Star Trek: Nemesis, and he’s very good here as a charming and very effective “forger.” I hope that he gets a chance to shine in a lead role sometime soon. Marion Cotillard, one of my favorites, is solid here, if not ascending to the heights that she’s capable of. (note: is it a coincidence that Edith Piaf’s Non, je ne regrette rien has such a pivotal role in Inception, given Ms. Cotillard's recent history? I think not.) Sadly, Ellen Page might have bitten off a little bit more than she could chew. Verbal comedy, her strength, is on a positively spartan diet here, and the way that she interprets some pivotal dialogue is very nearly groan-inducing. It’s great for the car to handle well when you’re driving through the countryside, but when it’s a matter of life and death, you’ve really got to hope that the thing’s going to be able to take the quick turns.

The real star of Inception is Christopher Nolan’s concept. The idea of people being able to enter dreams at will, to dream collectively, and to find endless amounts of time present in dreams within dreams is fascinating, to say the very least. The way that he deals with certain logistical problems is inventive, effective, and follows dream logic as “rationally” as possible. I’m very grateful for the fact that someone with Nolan’s clout is using the resources and talent available to him to make high-concept films that attempt to break new ground. In today’s cinematic landscape, filmmakers like him are sadly few and far between. We live in a world where it’s much safer to spin the same yarns over and over again with faces and minor details changed than it is to try to tell a truly original story that no one’s ever heard before. Sure, The Matrix and Minority Report come to mind as precursors, but Inception has an innovative spark of invention that sets it apart.

So why the hesitation? Why not proclaim it the cinema's newest masterpiece? Why not wax eloquent about how great Inception is?

Because, sadly, there are flaws. What’s incredibly unfortunate is that I cannot go into very much detail at all without discussing major plot points, and I wouldn’t dare spoil anything for someone who’s not seen the film. I will outline a few. While Nolan’s a brilliant conceptual thinker, I didn’t feel anywhere near the amount of emotion that the material should have been capable of generating. Some of the major plot motifs seemed simplistic and, while some of his directorial flourishes are nice touches, there are certain pivotal slow-motion shots that were unintentionally silly.

My single biggest problem with Inception is the ending. Unfortunately, I figured out a big part of it midway through the picture. With films, we may enjoy being one step ahead of where we feel we’re “supposed” to be, but what we really want is to be slapped sideways by something we never saw coming. While it ends (I suppose) the only way that it really can, I think Nolan painted himself into a bit of a corner. By ending it on the note that he did, he was forced to do something with the final shot of the film that I can’t help but think is a major cheat. I love the idea that it be the last image we see, but don't think that it works in execution.

I'm sure that a number of people are going to say, if they haven't already, that they can't wait to see Inception again (and again) to grasp the supposed riches within. I've felt similarly about many, many films in my life, but, strangely, in this case I'm not sure that a second viewing would really help me understand anything any better. We'll see. . .

Should you shell out some hard-earned cash for Inception? Yes, I’d say you should. Nolan’s risk-taking is something that you don’t see often enough, and it’s the single most audacious film you’re likely to see all summer. What’s unfortunate is that something that sets out to be this daring in its approach needs to be flat-out incredible to fulfill its potential, which Inception isn’t. Look, I enjoy a good game. I’m just not someone who loves being toyed with.

3.75 stars out of 5.

A Cinematic Public Service Announcement

In the 17 months that we’ve written about the movies for this blog, the four of us have seen countless films, arguing over many, partly seeing eye-to-eye over some, and agreeing unequivocally on a few.

This is one of those few.

The hype over James Cameron’s Avatar has been building up steadily over the past several years, reaching fever pitch over the past few months. Avatar has been touted as an event movie of epic proportions, and the “one” that will change the way that films are made in the future. Now that we’ve all had a chance to see it, we wanted to share our excitement with you as a group, because the four of us feel so strongly about Avatar that we feel that it’s one of THOSE movies that anyone who considers himself/herself a fan of the movies really ought to go see.

Below, you’ll find our individual comments on the film.

“Twelve years is a long time to wait for anything, but James Cameron has made it more than worth the wait. AVATAR is unlike anything you have ever seen before. It’ll dazzle your senses, melt your eyeballs and pin you to your seat. It immerses you in a world up until now you only thought you could see in your dreams. In short, AVATAR is the reason they make movie theatres. If you want to see the future of film making converge with the best that modern story telling has to offer, get your butt to a theatre NOW!”
--Chris W.

“My girlfriend didn't want to see it. This isn't anything new when it comes to her feelings on movies involving fantasy. But she was adamant that it looked stupid. Fortunately, I had a coupon that was a gift from her, stating she'd go to a movie she didn't want to see. I knew we were in for a treat, and wanted her to experience it too. By the end of the movie, she was on the edge of her seat, gripping my arm with suspense and enjoyment all in one. I simply ate my popcorn, grinned with satisfaction, and enjoyed the rest of my Christmas present.

James Cameron consistently delivers fascinating stories, classic characters, amazing worlds, and he does it while raising the standard for not only the technology that he's using, but also how those effects should be used. You are emotionally involved with the world and characters you are introduced to, as if you are in an Avatar yourself. It's Dances with Wolves with a little bit of The Matrix, and the hottest and most badass version of Pocahontas you will ever see. This movie has heart, and I love it. If you haven't seen it, you are crazy. If you haven't seen it twice, sell something so you can see it again. And if you haven't seen it in IMAX 3D, then you don't know Pandora. For those of you that have done all of the above, ‘I see you.’"
--FilmNinja

“Avatar is something not seen very often – a film that delivers on concept, story and craftsmanship. James Cameron promised that with Avatar we’d be visiting another planet and, while watching the film, we are. The astounding thing is that, in 2D, you are invested in the story of Jake Sully & the Na’vi people, but, in 3D, you are walking on Pandora with them. Avatar is a film that cannot be missed on the big screen, and, no matter what exhibition format you see it in, Cameron will take you into a story that you will cheer for.”
--Megan
“It’s no surprise that I’ve been somewhat skeptical about Avatar for the past several months. The first trailer was somewhat unimpressive, and while the second was better, my doubts still remained as I sat in the theater last weekend. Over the course of the next 2 hours and 40 minutes, my cinematic mind was blown. Sure, the script could have used another pass, but I found myself in a strange place. I just didn’t care. Cameron’s use of visual effects is second to none and Pandora is one of the most distinctive (and beautiful) environments I’ve ever seen in a movie. Look, I’ll just say it: if you miss seeing Avatar on the big screen, you might regret it for the rest of your life.”
--Adam

If you go to see only one movie the rest of the year, let that movie be Avatar.
-Chris W, FilmNinja, Megan, & Adam

FotM: It wasn't all that long ago, but it feels far, far away

I don't like to use the words "all time" very often when I'm talking about the movies. Although film as an art form hasn't been around for an awfully long time, there have been hundreds of thousands of movies that have been made since the late 1800's. This is a fact that's all too easy to forget in the rush to anoint something as one of the best such-and-suches of all time.

That said, I'm going to break with my usual practice and use those very words to describe the film from 1999 that I chose to feature.

Star Wars: Episode I - The Phantom Menace was, I believe, the most anticipated motion picture of all time. It would be ludicrous for me to go back and tell you the reasons for the success of the original trilogy of Star Wars films for the very simple reason that, if you are indeed a sentient being and reading this right now, you have almost assuredly seen them and could tell me just as well as I could tell you.

I remember hearing about the proposed prequel trilogy back in 1993/1994. Back then, the common thought was that the first film would be released in 1997, which seemed like an eternity to an 8 or 9 year old kid. 1997 actually ended up being the year that the Special Edition trilogy made its debut, which meant that we'd have to wait even LONGER to see the films. No matter. Our enthusiasm was undiminished.

Finally, we were given a release date: May 19, 1999. We were thrilled. At long last, we'd get the chance to see the story before the story and have the chance to understand how Darth Vader came to be. Seeing it opening night seemed out of the question, because everyone and their brother would most definitely already have the drop on us, so we decided that opening weekend would probably be the best we could hope for. I remember actually saying a prayer to ask God if there was any possible way he might help us get tickets for opening night.

You can only imagine our jubilation when a friend of ours scored 6 tickets. I remember being stunned, almost in shock that I would actually be there on OPENING NIGHT. Such a thought seemed to be one of the most wonderful that I could have ever conceived.

Seeing the movie with a theaterful of the Brethren was a blast. I'll never forget our collective enthusiasm, cheering as various characters were introduced for the "first" time. I tell you, there were things in this film that we'd only dreamed of. We were able to see the Jedi in action for the first time, and, let me tell you, those guys were pretty incredible! It might be hard to imagine for younger people who've grown up on hordes of Jedi fighting with the collective hum of dozens of lightsabers filling the air that there was actually a time when the extent of what we'd ever seen of a Jedi in action was Luke dispatching the minions of Jabba the Hutt in Return of the Jedi, but it's true. I will also remember forever the awe that I felt when I saw things like the entry into the Galactic Senate for the first time.

That's one of the things I miss the most from those days. In 1999, with films like The Phantom Menace and The Matrix, visual effects were just beginning to explode into their modern-day position of dominance. Then, it was still possible to go into the theater and see something that made your jaw drop, your scalp tingle, and made you think, "Wow, I've NEVER seen anything like THAT before!" There was a special sense of wonderment that I remember from those days that I don't really think is around much anymore. Now, films are full of sound and fury that signifies nothing. They know the words, but have no idea how the tune goes. I might sound old for saying this, but I miss the good old days.

Now, back to 5/19/99 . . .

After leaving the theater at the end of the credits, we found that most of the audience was out in front of the theater, talking excitedly about what they'd just seen. I remember feeling a twinge of disappointment, because, while I'd really liked the film, it wasn't quite what I'd thought it was going to be.

But how could it have been? I'd been building it up in my mind for years and there comes a point when it's nigh impossible to fulfill someone's expectations in a situation like that. Besides, I really had liked the film, and saw it twice more in the theater (a personal record) before buying it the first day it was available.

As time passed, I went to the same theater with the same group of people twice more on May 16, 2002 and May 19, 2005 to see the next two installments of the trilogy. I remember the terrible sense of disappointment that I felt after seeing Attack of the Clones, realizing that, for the first time, I felt that George Lucas had really missed the mark. I remember the redemptive sense of exhilaration that I felt after seeing Revenge of the Sith and feeling that he'd not only ended it, but ended it right.

Now, there is no doubt in my mind that there are many of you who could say all kinds of things about how and why Lucas chose to make his second Star Wars trilogy the way that he did. I have a number of things to say about that myself, but that's a subject for another article.

Does The Phantom Menace hold up as well as it could 10 years later? No, I don't think it does. However, I don't want to use this platform to major on what doesn't work with the film.

We'll talk about that some other time.

A spellbound 14 year old boy sitting in a dark theater in Irvine thought that it was pretty awesome.

FotM: Vive le cinéma!

Assuming that the only movies worth watching are those made in America is like thinking that grass is only green in Yosemite, the sky is only blue in Manhattan, and the sun only shines on Death Valley. Unfortunately, a lot of Uncle Sam’s nieces and nephews seem to think that that’s how things are. Take it from me. They’re not just wrong. They’re living in a dream world.

Every year, thousands of films are made all over the globe, and, while not all of these films are worth watching, (trust me, as a former screener for a major film festival, I know) far too few of them make it into American movie theaters. Most of those that do were made either on American soil or were funded by American money. Often, even the relatively few foreign films that do make it in stateside theaters don’t receive a lot of press. Sure, a lot of critics might laud a film, but that doesn’t necessarily translate into box office receipts.

I still remember the first time I went to the theater to see a foreign film. It was early 2001 and a film funded by companies from China, Hong Kong, the U.S., and Taiwan had landed in American movie theaters with a bang. At that point, Crouching Tiger, Hidden Dragon was one of the first wuxia films to be advertised heavily here in the U.S. and it became quite a sensation. While it’s commonplace nowadays for action scenes to feature complex fight choreography at lightspeed, back then, films like The Matrix and Crouching Tiger, Hidden Dragon were introducing a whole new world to 16 year old kids just like me. As for my first time watching Crouching Tiger, Hidden Dragon, I distinctly remember not wanting to walk after leaving the theater. I wanted to fly!

Crouching Tiger, Hidden Dragon has since become one of my favorite films, and for a lot more than just the terrific action sequences. The story’s complex, the acting first-rate, the music beautiful, the photography beautiful, the direction wonderfully assured, and the emotional impact unforgettable.

I refuse to watch the film in any language but Mandarin, although the film’s case assures me that I can also watch it in English and French. Why would I want to experience a film in any other language than the one the actors spoke on set? I can’t think of a good reason. Sadly, a lot of people refuse to watch foreign films because they don’t like subtitles. Is this because of they can’t keep up or because they think that it’s too much work? If it’s the first reason, I’d actually argue that watching a subtitled film could help increase a person’s ability to read at a quicker pace. If it’s the second reason, I’d have to disagree. Watching a subtitled film may be different, to be sure, but once you get used to it, it’s a lot like watching any regular old Hollywood flick.

That’s another big reason to watch foreign films. They’re so different from films made under the Hollywood system, and believe me, there is one. I find it refreshing to watch a movie that I just can’t predict. For example, in Krzysztof Kieślowski’s Three Colors trilogy, which I hope to write about in a future entry, I was struck as I was watching White that I had no idea what might happen in the next scene. That’s huge. Far too often with mainstream American films, it becomes a matter of time before an observant audience member can narrow down the outcome to one of a handful of scenarios, which is why watching Kieslowski’s films was so refreshing. Because I didn’t understand everything right away, I was able to actively participate in the experience. I had to actually think about what I was watching and, after it was done, what it meant.

Lately, I’ve been watching more and more foreign films, and I have to say that I wish more American filmmakers would take the kind of risks that international filmmakers seem to take with relative ease. For starters, how great would it be if they stopped trying to hold the audience’s hand all the time by showing us everything and telling us exactly what to think about what we’re seeing? I think that’d be pretty swell. My “research” (and, man, has it been great) has led to films from all over the geographic and stylistic map. Films like the Three Colors trilogy, 4 Months 3 Weeks and 2 Days, A Very Long Engagement, The Lives of Others, L’Enfant, La Vie En Rose, Volver, 2046, Good Bye Lenin!, Pan’s Labyrinth, I’ve Loved You So Long, and Happy-Go-Lucky have made for almost always interesting, sometimes perplexing, and even thrilling cinema.

But how does someone keep track of what films are worth watching? I’d start with taking keeping tabs on the films that are selected as part of the official competition at the Cannes Film Festival, particularly those that win the Palme d’Or. Once you find a film you like, watch more films in that director’s catalog. Also, if there’s a particular genre of film you like, don’t forget that genre films are made all over the world. Personally, there’s this little mobster movie from Italy called Gomorrah that I have my eye on . . .

In the end, what cinephile wouldn't want to see great films no matter where they come from? As you know by now, the movies are a huge part of my life, and I'm thrilled to see great films regardless of where they're made and what language they're in. They remind me that the grass is green, the sky is blue, and, no matter what, the sun still shines. . . and not just in America.