Sunday, July 6, 2014

Favorite Scenes of All Time: #2-The Map Room (Raiders of the Lost Ark)



Raiders of the Lost Ark is my favorite film of all time, just eeking out The Shawshank Redemption, The Empire Strikes Back, The Good, the Bad, and the Ugly and Children of Men. It's one of those movies that just manages to hit all of the right notes at all of the right times, and even during the slow scenes, the pacing is so expertly done that it never feels like it drags. It has characters I love, moments I will always remember, music I can never forget, and the epitome of what a strong female lead should be in films (before Kingdom of the Crystal Skull ruined her at least). It has every element I could want in a film, action, adventure, romance, comedy, horror, suspense, and an overarching story that simply boils down to good vs evil.

In my mind, it's a perfect film, and it has mastered the hardest trait for a movie, it has transcended time. If you pop in the Blu-Ray of Raiders, it looks just as good today as it did the day it was made over thirty years ago, a feat that even the greatest films in history rarely achieve. Every single scene is a masterpiece, and every scene can be a case study for film students in how to properly light, direct, score, and edit a moment in film. It even manages to nail the concept of the fourth act by giving us a brilliant additional twenty minutes or so after what could have easily been the resolution of the film on the ship (namely the opening of the Ark). Despite all these amazing moments in film history however, one scene stands out in my mind as better than the rest, the map room scene.

I can't describe what makes this scene resound so powerfully for me, it doesn't have any deeper meaning, any important character arcs, or any groundbreaking special effects, but it still stands out to this day as one of those moments in film that everyone knows and loves. It's just a scene of a guy standing around with a stick, and yet it's been parodied countless times, and many people like myself hold it in regards as probably the greatest scenes in film history. It just does everything right, and uses a score that still gives me goosebumps when I hear it to this day. There isn't much more I can say about how brilliant this film is, but if a picture is worth a thousand words, then this scene is easily worth a million.

Tuesday, June 10, 2014

Favorite Scenes of All Time: #3-"By Grapthar's Hammer..." (Galaxyquest)



This week's entry is a bit of an oddity. Not only does it involve two separate scenes that revolve around the same line (one comedic and one surprisingly grounded), it comes from the lighthearted comedy Galaxyquest. For those of you who haven't had the privilege of seeing the film, Galaxyquest is a perfectly balanced satire of Star Trek, a lighthearted action comedy that is a better Star Trek film than most Star Trek films. This film excels at setting up story premises that continue to pay in masterful ways throughout the flick, and the most obvious example is the "Grapthar's Hammer" gag.

The running gag through the film is that Alan Rickman's character (a respected actor who is a thinly veiled reference to Leonard Nemoy's Spock) has grown disgusted with the character he played in the short lived sci-fi series Galaxyquest, going so far as to develop a visceral hatred of his famous tagline "By Grapthar's Hammer, you shall be avenged". His hatred leads to one of the funniest scenes in film history (in my opinion at least), his use of the line to hock the opening of an electronics chain store, seen in the second example of the contained clip. There's so much disdain and bridled rage in his delivery that it's one of the greatest comedic lines in film, and I laugh uncontrollably every... single... time... I see it.

But the real highlight of this running gag isn't meant to be humorous, it's meant to be heartfelt and powerful, and in that regard it's absolutely perfect. The scene comes when Dr. Lazarus's most loyal soldier is mortally wounded, and in this moment he chooses to finally recite his famous line for his dying friend (in the final . Sure, it's an old and oft used gimmick in film, but there's so much more going on in this scene and in this film than just a standard gimmick.

First of all, you have world class actor Alan Rickman delivering what is essentially the most important line in the film. Anyone else could have probably made it work, but Rickman's delivery sets it worlds apart from a normal delivery. Next you have the idea that this guy has not only decided to revisit a line he has come to hate, he has rediscovered the true meaning and power of those words. It's just so simple and well executed that it turns a simple scene into something so much more, and despite it's simplicity this type of setup in a film is almost a lost art and is so rarely used.

In past reviews I have talked about how important it is to set up payoffs in film, and this movie in particular shows how properly doing so can transcend a typical scene into something flat out beautiful, even in a comedy.

Tuesday, May 27, 2014

Favorite Scenes of All Time: #4-The Bride Vs. Elle (Kill Bill Vol. 2)



Quentin Tarantino films are like pizza, everybody has a personal favorite, and even the worst ones are still pretty damn awesome. The direction, the cinematography, the mix of old Hollywood film tricks mixed with new Hollywood, and, of course, the dialogue make every Tarantino film nothing short of a work of art. Statistically speaking, any Tarantino film is better than 99% of anything you'll find from Hollywood these days, and my personal favorite (by a very narrow margin) would have to be Kill Bill: Volume 2.

But of all the wonderful scenes from KB: V2, of all the fights, speeches, and emotional spikes this film throws at you, the one that sticks out to me the most is the trailer fight scene. Quite simply, this scene makes my list because it is abl to seamlessly blend graceful fighting with sheer brutality, not an easy feat for a Hollywood film. This fight perfectly encapsulates a battle between two people with nothing to lose, nothing is held back, and every dirty trick imaginable is utilized to stay alive, and still somehow manages to inject a sense of humor and silliness in the midst of it all.

What really makes this scene stand out however, is Tarantino's trademark mixture of old school kung fu fight camera tricks mixed with his personal touches to make the scene unique and original. Cameras mounted to nontraditional weaponry (such as Uma Thurman's feet) mixed with snap zooms of old create a dizzying effect that could make the audience feel just as flustered and out of breath as the two combatants. Partner this with Tarantino's tried and true techniques (such as the comic book like split frames) and you have a recipe for what could be described as a perfect fight scene.

Movie fights rely heavily on transporting the audience into the scene and making them feel what the characters are feeling, and reel when the character does the same. Well planned camera techniques and proper pacing can accomplish this in a relatively simple manner, as demonstrated in such examples as the ninja attack from The Last Samurai, the lightsaber battle from The Empire Strikes Back or any fight from Return of the Dragon. However, much like a first person shooter, this technique is simple to learn, but near impossible to master, and Quentin Tarantino has proven that he is one of the few directors in the history of film to have done so.

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Tuesday, May 20, 2014

Favorite Scenes of All Time: #5-The Mexican Standoff (The Good, the Bad, and the Ugly)



Sometimes in a movie, if you know what you're doing, you can accomplish a great deal with very little. Films like Star Wars, Jaws, and Halloween became blockbuster smashes despite touting very little in funding or big name stars, and with a talented director, a good crew, and competent actors, you can make fantastic films that resound with the audience better than all the CGI dick punching robots in the Transformers franchise can. Nowhere is this philosophy more apparent than in on particular scene from the Sergio Leone classic The Good, The Bad, and The Ugly: The Mexican Standoff.

This is literally a scene where three guys stand around doing nothing for almost five minutes and it's still one of the tensest, most exciting, and most brilliant scenes in the history of cinema. The subtle looks between Tuco and Blondie tell more of a story than all the dialogue in the world could ever accomplish, and the musical score conveys more power and exhilaration than most action scenes from any summer blockbuster can. Remember a few weeks ago when I said that a scene is 60% music, well this score proves how a good scene can really be amped up with some good, fitting music.

Here is an example of how proper film making can turn what is more or less an action-less scene and turn it into something thrilling and enthralling. If you were to try to describe this scene to someone who has never seen the actual film it would go something like "It's basically a scene where three guys stare at each other for about five minutes and then one of them shoots another one". It sounds awful, but in the proper context it comes across perfect because something so simple accomplishes so much in the long run of the film. It's an action that leads to something, and it harkens back to my first article on the new blog (http://gump-o-rama.blogspot.com/2011/08/my-thoughts-on-action.html) about how every action should have a purpose.

William Shakespeare once wrote that "Brevity is the soul of wit", and while he was actually talking about the written word, this philosophy can apply just as well to properly and simply directed scenes in movies. Keeping it simple can help accomplish miracles when it comes to conveying emotional associations in film, and it's about high time Hollywood begins to remember that.


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Saturday, May 17, 2014

Godzilla

Beware, here thar be spoilers

Godzilla, like Star Trek, is one of the only nerd properties that I only have a passing knowledge of. I don’t know the difference between Rodan and Mothra, I don’t know how the Oxygen bomb killed him in the first film, and I don’t know which Kaiju it was that had the ability to communicate with humans. All I remember is the basic films from my childhood, those classic Technicolor or black and white monster films, and I remember how they were constructed to play to both children and adults hearts.

In that regard, and in that spirit… this movie totally knocked it out of the park.

Now don’t get me wrong, the film certainly flaws, but when you view in the context of what a Kaiju monster movie should be, I can’t really find much to complain about when it comes to this film. I was so invested in the spectacle occurring on screen (especially during the non-stop and epic third act) that I really couldn’t care less that Elizabeth Olsen’s character was barely more than a cardboard cutout of “wife in peril”. This is one of those examples of film that sets out to accomplish a very particular goal, and not a whole lot else. It’s the special teams or designated hitters of movies, and in that regard it’s damn near perfect.

What do I mean by damn near perfect? Well let’s look at some staples of the monster movie genre that this movie does or doesn’t accomplish.

The Reveal-Most monster movies these days seem really anxious or excited to show off all the goods way to early into the film. Typically, a commonly accepted practice is to not show the monster until around the end of the first act or just before the halfway point of the movie. This allows the film to build up tension from the anticipation of wanting to see the monster, but not being allowed to. This tactic was employed masterfully (and accidentally) in Jaws, and it has been a staple of film since then.

Godzilla doesn’t just adhere to this rule, it flat out perfects it. The reveal itself is placed at just the right moment in the film, and when it does finally occur it is a slow, drawn out reveal instead of a simple snap zoom or edit that seems to have become the staple of modern movies. As much as I really ended up liking Pacific Rim I always felt that the film showing the Kaiju in the first ten seconds of the film was a bit of a mistake. I understand that this film is more about the Jaegers than a typical monster movie, but I think it would have been more effective to just show the devastation and news clips in the beginning and save the Kaiju reveal itself for the first time it comes out of the water in front of the fishing boat.

The Mystery-Perhaps the most surprising thing about this movie is that despite all the press, rumors, and stories I had heard about this film, it was absolutely NOT the film I was expecting to see. This movie has had one of the most brilliant and successful ad campaigns of the last twenty years, and despite all the fanfare and speculation surrounding it, I legitimately didn’t see a lot of what happened on screen coming. All things considered, it’s a nice change of pace, especially considering how most trailers nowadays seem to be obsessed with accidentally or intentionally giving away key plot points of the film.

This works as a massive advantage to the film, as another staple of monster films is in the mystery, research, and discovery of the monster’s motivations. This film does a great job of accomplishing this, and I should really warn you that from this point on my review is going to be quite spoiler heavy.

Ken Watanabe does a good job with the time he has on screen explaining the possibility that maybe Godzilla isn’t the destructive force of terror that the trailers have made him out to be, that maybe instead he is natures’ bounty hunter instead of natures’ weapon. He seems to have a respect for the monster as much as he has a fear of it, and in this way he reminds me of Charlie Days’ character from Pacific Rim, just not quirky. As much as I liked him though I felt like the film could have used more of these scenes. You know, the old monster movie laboratory scenes where a bunch of 
scientists are standing around in a room that looks like this:



And always seemed to have a low hum in the background that suspiciously sounded like Aunt Beru’s food processor thingy from Star Wars.

But perhaps what I love best about this sense of confusion and desperation that is present in the film is the fact that we never have that overused stereotype of military vs. scientist mindset. The military is always using the advice of the scientists, and at one point “Admiral Expository Dialogue” flat out tells Watanabe that if he has any ideas better than theirs that now is the time to voice it. It just plays well in the film, and as a result the mystery of Godzilla and the MUTOs are that much more interesting.

The Characters-Having the monster be the main spectacle of a monster movie has always been a tried and true staple of the genre, but so has developing the characters in the limited time they have on screen. This is the only staple that I believe the film stumbled a bit with.

I already mentioned how the characters stood out a bit as cardboard cutouts and they needed some more time for development, but I think that removing about ten minutes of action from the film to lend to Aaron Taylor Johnson and Elizabeth Olsen would have gone a long way towards making these characters more relatable. Even more disappointing was the idea of (and again… SPOILERS) killing off Bryan Cranston’s character so early in the film, especially when he was established to be the most interesting character with the most depth at that point. Just because the audience didn’t anticipate his death didn’t mean it was a good idea to include it.

All the characters in the film, despite their somewhat rushed stories, were surprisingly likeable though. I especially empathized with Johnson, who was just trying to get home and seemed to have the absolute worst luck on the planet. Johnson goes to Japan, the MUTO chooses that moment to wake up. Johnson goes to Honolulu, the MUTO follows him. Johnson hops a train to get home, the MUTO finds him there. Finally the guy just has to jump out of an airplane to get back to his home city, maybe the scientists were wrong and the MUTOs just wanted Kick-Ass’ autograph instead of nuclear material.

In addition to this, I couldn't help but notice a gradual withdrawal from the characters to the story of the monsters. At first I believed this factor to be an oversight or side effect of the film, but the more I thought about it, I think this was intentional. Notice how this withdrawal occurs in conjunction with the increasing importance of the Kaiju's influence on the corresponding cities. I also noticed there was a very apparent Spielbergian influence present in the film (the main character was named Brody, hellooooooo?), and just like in Jaws there was a gradual withdrawal very similar to that film.

I would also like to point out that whoever was in charge of Johnson’s training in the military deserves a promotion and a medal, because JESUS is this guy trained for every imaginable scenario. It’s established that he was EOD in the Navy (more or less a military bomb squad guy), but suddenly he has knowledge of infantry tactics, antiquated detonators, and even HALO jumps, the most complicated and dangerous jump in the world.

A lot of other little things impressed me about the film as well, namely the look of the monsters. Godzilla looks flat out awesome in this movie, he’s huge and he’s scary, and he looks a little like a cross between the classic Godzilla look and a grizzly bear. But then there’s a hint of something else added to his face, something mammalian that helps lend a sense of emotion to him and lets us relate to what is going on in his face. Then we have the MUTOs, big, ugly, scary insect looking things that seem to be there to just tear shit up to get at the gooey nuclear waste they so want. There is nothing in those eyes, just a fiery sort of glow that conveys pure hatred.

The pacing of the film was great, if not a little bit rushed, and the cinematography was absolutely perfect for what a monster movie should have been. They also nailed what made Godzilla so awesome in the first place, sheer unbridled power and unknown surprises. I started giggling like a child when I saw that tail start glowing, because I knew the awesomeness that was about to follow, and oh boy, it did not disappoint. I also loved the HALO jump itself. It was scary and exhilarating, and even after watching it two dozen times in the trailer it still manages to be awesome (you’ll understand why when you see the finished product. The music is scary and tense, and lets you feel the fear and severity of the situation at hand. I loved the opening scenes, both in the caverns and the nuclear power plant.

Bryan Cranston nailed the painful loss of a loved one with a sort of effortless grace that reminds me why I think he is going to be one of the biggest things to hit film in the last decade. I also loved when he and Johnson were going through an abandoned part of Japan, it was beautiful and terrifying at the same time to see the slow decay of such a previously vibrant part of a city. Finally, I liked David Strathain in his role of the commanding admiral of the situation. Even though he was there mostly to spout expository dialogue, he did it with enough grace and talent that it made something out of something that could have been a thankless role.

There were certainly some other things I didn’t like about the film however, namely that there was just a bit too much action. Like I said earlier, if they had cut about fifteen minutes from the action and tacked on fifteen minutes of “science talk” this film would have been pretty much perfect. The pacing was a little rushed at some points, whisking us from point A to point B with little explanation, but it’s handled nowhere near as poorly as it is in the Transformers films. The film also had not one, but two instances where characters were able to magically find who they needed in a sea of faces. Finally, one last thing that bugged me a lot more than it should have was the caption on the bottom of the jumbo-tron at the end of the film. I won’t ruin what it says, but I would have liked it a lot more if it had said  “____ __ ________ ALIVE!” instead of “____ __ ________ SAVIOR OF OUR CITY!”, the audience doesn’t need to have it pounded into their face how Godzilla wasn’t the bad guy of the film, we can figure it out.

These are minor complaints of course, because overall the film was exactly what it needed to be. These small distractions didn’t really detract from the spectacle on film because I was too enthralled in the fact that we were finally getting a Godzilla movie done right in America!

This is the monster movie we have been waiting for.

This is Godzilla.

And the best part of all? Ferris Bueller was nowhere in sight.


8.5 out of 10

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Monday, May 12, 2014

Favorite Scenes of All Time: #6-The Greatest Twist Ever (The Usual Suspects) SPOILERS!



Many of you young ones may not remember this, but there was a time when every other film in Hollywood didn't have a twist ending. There are few things more exciting in film than a well executed twist, as it not only turns your predictions and expectations of a film upside down, but wraps up open questions and unexplained portions of a film in the blink of an eye. Extremely well done twists have the added bonus of making you want to watch a film a second time to see it in a new light, like in films such as The Prestige, The Sixth Sense, Psycho, and Fight Club. But despite all these great examples, the best twist I can think of in a film comes from the Bryan Singer independent film The Usual Suspects.

20 YEAR OLD SPOILER INCOMING!

Everything in this film so far has led up to Keaton being the mastermind of the entire operation and the alter-ego of infamous crime lord Keyser Soze. The entire film has revolved around revealing this mysterious man's true identity, and when Baer explains that Keaton has done this trick before when he left the police force it seems like it's only natural that he pull the same trick twice. This goes hand in hand with the earlier (and now legendary quote) "The greatest trick the devil ever pulled was convincing the world he didn't exist".

But then, out of the BLUE, we get this scene that totally changes our perception of what we have been seeing. It's an absolutely brilliant scene of storytelling and revelation, and while there maybe better twists in film (heck, even The Sixth Sense), you would be hard pressed to find a better filmed twist. It's so basically shot that it's brilliance in its' simplicity, and it allows the revelation to come to the viewer without cramming it in their face ad nauseam. The simple score underlying Verbal subtly losing his limp in the street is almost a textbook example of proper framing combined with a fitting score, and the slow coffee mug drop is still five of my favorite seconds in film for this same reason.

My one complaint with the scene (if you could call it a complaint) is that the addition of the overlying dialogue almost spells it out a little too much for the audience. It isn't nearly as irritating as the "micro-flashbacks" that accompany most flashbacks in film these days (Sixth Sense's twist is pretty awful in this regard), but it still detracts from the scene being even more quietly resounding. It reminds me of when they made Alex Proyas add that scene at the beginning of Dark City that completely explains the answer to who The Strangers are in the film, and I wonder if maybe there is an edit out there of  this scene without the dubbed over lines. Regardless of this small problem though, this scene is still a masterpiece, and stands out as the coup de grace in a nearly flawless crime drama.


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Monday, May 5, 2014

Favorite Scenes of All Time: #7-Omaha Beach (Saving Private Ryan)



I have a love/hate relationship with the Omaha Beach invasion scene from Saving Private Ryan. On one hand, it's arguably the best, most brutal, realistic, and unflinching battle scenes in the history of war films. On the other hand, it began countless trends in Hollywood that are now so common that it's getting f**king annoying. But while these trends are overused and stagnant in most Hollywood films nowadays, at the time Saving Private Ryan was made these advancements and tricks were flat out groundbreaking, paving the way for countless directors to take these tricks and try to pass them off as their own. Sadly, it's a trend in Hollywood that will never go away (just think of all the movies that featured "bullet time" after The Matrix was released).

When Saving Private Ryan was released, Hollywood had more or less perfected camera technology. Specialized lenses eliminated the most stubborn of lens flare, internal servos and gyros allowed steady-cams to collect a perfectly level picture despite constant jostling, and digital film cameras allowed a much broader spectrum of colors to permeate the screen. So when Steven Spielberg wanted to recreate a scene from war without the use of any of these camera features, a lot of people thought he had lost his mind.

But the gambit paid off, and in the end we received a scene that is just as gut-punchingly brutal to watch today as it was when it was released. Not eliminating the lens flare of the scene added a depth of realism to the battle, especially since it would be a common sight as soldiers were emerging from the freezing waters. The elimination of the steady-cam created an effect known today (for better or worse) as shaky-cam, conveying a frantic sense of confusion to the viewer which creates an emotional link with the scared, panicked soldier on D-Day without saying a word. Nowadays Hollywood uses this trick non-stop, even in places where it doesn't belong. The Hunger Games even uses this effect in the opening scene, when Katniss is just walking through a field!

But most daring of all was Spielberg's decision to de-saturate the color spectrum to create a film that had a sepia toned look and splashes of water and blood occasionally obscuring the shot. By doing so through the painstaking switching of lenses and cameras Spielberg was able to create a movie that looked half Hollywood, and half documentary, adding a level of realism never before scene in a movie. Nowadays you can see the same effect in every "stylized" Hollywood film through the use of computer effects labs, but back in the day it was innovative and unheard of, creating a scene that has aged as well and resounds as strongly with the audience as it did the day it was released.

The entire film is a work of art, but this scene in particular stands out in peoples' minds as the high point of the movie. And while apparently Saving Private Ryan lost the Oscar that year to Shakespeare in Love, the test of time (and common sense) reminds us that it is still the superior movie for countless reasons.


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