Why Can’t ‘Rogue One’ Be a Half Hour Shorter?

December 19, 2016

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CREDIT: YouTube Screenshot

This article was originally posted on News Cult in December 2016.

SPOILER WARNING – This article discusses major plot points from Rogue One: A Star Wars Story.

After seeing The Force Awakens, my initial feeling was one of gratitude that a new Star Wars movie could actually be good. After seeing Rogue One, my initial feeling was a desire to trim the fat. I generally do not get too hung up on the “right” running time for a movie. Sure, I’ll have an opinion about pacing, but there are usually more significant issues to discuss. And in this case, the running time is not my hangup so much as it is the hangup of the whole blockbuster template.

The best part of Rogue One is the last ten minutes, when the Rebels manage to transmit the Death Star plans expressly to Princess Leia (thus leading directly into A New Hope). The pace of this sequence is electric, which is as it should be in a heist film, which is indeed what Rogue One is. The driving purpose of such a film is a plot with a very specific purpose. The most obvious, and usually most effective, way for the audience to feel the urgency essential to this genre is by compressing the runtime.

So what could be lost in a hypothetical shorter Rogue One? The character work is uniformly unimpressive. Plenty of time is spent examining whether or not Jyn Erso (Felicity Jones) is a true rebel and if the others are willing to accept her into the fold. But that conflict is never all that interesting, nor does it especially matter. This story is not a hero’s journey, like the rest of the Star Wars saga.

But perhaps there are some viewers who appreciate the time given to Jyn’s arc, or all the time spent with Saw Gerrera (Forest Whitaker) that does not really affect the ultimate direction of the plot. (I can certainly understand the latter, thanks to Whitaker’s off-kilter performance.) It is not an absolute requirement that heist flicks must be on the short end of feature running times. If the character work of Rogue One were more impressive, I could very well be singing a different tune.

My real issue, though, is the implicitly accepted, rarely examined convention that big-budget action blockbusters must hit that sweet spot between 110 and 140 minutes. That standard holds true across all the numbered Star Wars episodes as well as Rogue One, and nobody has ever really stopped to ask, “Why?” One might suggest the old saw of “getting your money’s worth,” but a film’s value decreases when it has 30 minutes of padding.

Rogue One is just one example. My larger point is that major franchise films should be more adventurous. Star Wars does appear to be interested in such variability. The one-off nature of this film and the upcoming Han Solo prequel are evidence of that. As for other franchises, the Marvel Cinematic Universe has done an admirable job of exploring various genres within its own overarching template. But diversity of running time has hitherto been neglected in this approach towards diverse filmmaking. And I am not just arguing for kinetic short blasts. Three-hour plus, Godfather-esque generational sagas are also welcome!

The point is, this is not TV. There is no categorical need to fit within a strict temporal box. In a series that can travel long distances at the speed of light, I see plenty of yet explored possibilities.

This Is a Movie Review: Moana

December 11, 2016

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Moana is a rather small-scale story, at least geographically. The title character (Auli’i Cravalho, tenacious as one can be in voice acting), a Polynesian chief’s daughter, must sail across a reef and procure a MacGuffin to save her people. Along the way, she must defy her overprotective father and forge an Unlikely Friendship with the self-interested demigod Maui (Dwayne Johnson, because of course). We never doubt that Moana will succeed, because she is too strong-willed to fail, and also, the ocean has her back. Which is my favorite song? Why, “Shiny,” as sung by Jemaine Clement, of course.

I give Moana 7 Pounamus out of 10 Te Fiti’s.

This Is a Movie Review: Moonlight

December 11, 2016

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What sticks with me from Moonlight? Mostly, it is the small, intimate moments: Juan (Mahershala Ali) holding Little (Alex Hibbert) in the water – an image that has already become iconic. Teresa (Janelle Monáe) setting the table and doing all the talking for her and Chiron (Ashton Sanders). Black (Trevante Rhodes) admitting to Kevin (André Holland) that he’s the only man who’s ever touched him. And I can’t go this whole review without singling out Naomie Harris (miles away from Moneypenny) for giving her all as Chiron’s mom Paula. Moonlight deserves plenty of credit for allowing black and gay voices to be heard, but more than that, the storytelling is right on as well.

I give Moonlight 18 Gold Grills out of 20 Evasive Facial Expressions.

This Is a Movie Review: Hacksaw Ridge

December 11, 2016

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hacksaw_ridge_andrew_garfield

I don’t like war movies. I appreciate when they, like Hacksaw Ridge, are especially explicit about the bodily destruction, but then it just underscores how much war has existed and how much it continues to exist. It is somewhat heartening to see a conscientious objector like Desmond Doss (Andrew Garfield) focused on rescuing the rest of his platoon instead of killing, but his story just makes me wish he could be saving people from natural disasters instead and that the war had never happened in the first place. I’m not naively suggesting that war will just magically end if we want it to. What I’m getting at is: it is paradoxical to me to attempt to mentally process a well-made war film.

I give everyone involved making Hacksaw Ridge my appreciation but hope that it could have been for something else.

This Is a Movie Review: La La Land

December 7, 2016

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This review was originally published on News Cult in December 2016.

Starring: Emma Stone, Ryan Gosling

Director: Damien Chazelle

Running Time: 128 Minutes

Rating: PG-13 for Doing Once That Thing You Can Get Away With in a PG-13 Movie If You Only Do It Once

Release Date: December 9, 2016 (Limited)

Is it the sign of a successful musical if it leaves you humming one of its tunes as you walk out of the theater? It certainly helps if it has a head start by featuring a certain set of notes so prominently in its trailer and if that phrase is meant to be whistled so steady and easy. But to directly answer the question: yes, a musical is successful if it leaves you humming. All the other trappings – story, acting, set design, pretty colors, whatever – may have their purpose, but who cares, if that one defining feature does not do its job? So what’s the verdict on La La Land? It’s a wistful, eternally romantic tingle that has imprinted on me, perhaps forever.

This may very well be that same old story of showbiz doing showbiz: struggling actress Mia (Emma Stone) toils at auditions and coffee shops, sparks fly when she meets jazz pianist Seb (Ryan Gosling) – the type who is so single-mindedly focused on keeping the old school alive, and the feelings may are powerful enough to literally lift them into the air. This is not tiresome, because there are still, and probably always will be, so many Mia’s and Seb’s making their way in the real La La Land. The film is deeply inspired by tradition, but it is not beholden to it. It is wide-eyed enough for the romance to be worth investing in, but it is clear-eyed enough to know that practicality, honesty, and confidence are essential for making those romantic dreams come true.

For most of its running time, La La Land is perfectly diverting, but not much more. But then it becomes revolutionary at the end when it redefines its entire story, and what is possible in this style of storytelling. I would not dare to spoil this turn, as its impact hit me a great deal via its surprise. But let me just say that it has to do with its organization of the four seasons as chapters. Winter and henceforth are not pointed out for the sake of a convenient format, but to set you up for a treat that only cinema can inflict.

La La Land is Recommended If You Like: Any Musical, as a Rule

Grade: 4.5 out of 5 Leg Raises

This Is a Movie Review: Nocturnal Animals

December 4, 2016

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nocturnal-animals-amy-adams-close-up

The story-within-the-story in Nocturnal Animals – Jake Gyllenhaal teams up with Det. Michael Shannon to track down the rapist-killers of his wife and daughter in the Texas desert – is a satisfying pulp yarn on its own merits. But it exists as it does within a frame device so that we have the added pleasure of Amy Adams (Jake Gyllenhaal the author’s ex-wife) looking distraught as she reads the story that she believes she inspired, and so that director Tom Ford can play around with the editing and sound design as he cuts back and forth between reality and fiction in a way that gets under our skin and sticks in our craws. Also, there is a scene in the middle with Jena Malone that suddenly switches genres that will have you indelibly jumping out of your seat. That is certainly how my entire theater reacted.

I give Nocturnal Animals 9 Lovingly Framed Butts out of 10 Wails of Anguish.

This Is a Movie Review: Elle

December 4, 2016

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elle-isabelle-huppert-ax

Elle opens with Michèle (Isabelle Huppert) enduring a sexual assault from a home invader. This scene is revisited multiple times, both mentally and in actuality, as the assailant continues to strike. These repetitions play with your head, partly because it is sickening to watch the scene play out over and over again and partly because Michèle is so seemingly calm when coming to terms with it. She eventually unmasks her attacker and gets her own twisted revenge. Meanwhile, she is dedicated to her job at a videogame company developing an aggressively sexist World of Warcraft-style game, so score one for thematic consistency. Also, weirdly, there is also an acidic family dramedy going on, which certainly can realistically exist alongside the nastiness, but surprise, surprise: its ordinariness may actually be the film’s most button-pushing quality.

I give Elle 8 Pants Around 10 Ankles.

This Is a Movie Review: Jackie

December 4, 2016

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jackie_natalie_portman_red_dress

This review was originally published on News Cult in December 2016.

Starring: Natalie Portman, Billy Crudup, Peter Sarsgaard, Greta Gerwig, John Hurt

Director: Pablo Larraín

Running Time: 99 Minutes

Rating: R for an Alarming Recreation

Release Date: December 2, 2016 (Limited)

The strongest biopics often take the most intimate approaches, and it does not get much more intimate than Jackie. In terms of chronology, cinematography, music, dialogue, and everything else, Pablo Larraín’s portrait of the iconic Mrs. Kennedy is razor sharp in focus. The opening shot, and essentially every shot thereafter, is a tight close-up of Natalie Portman as the First Lady. She is told, in the wake of her husband’s assassination, “the world has gone mad.” But this has been so ever since she has taken residence in the White House. The relentless gaze she endures in such an existence makes it so.

Jackie is constructed around four key relationships. The framing device is an interview conducted by a persistent, but plainly frustrated Billy Crudup (supposedly playing historian Theodore H. White, but credited only as “The Journalist”). Jackie welcomes him into her home, but insists that he is prohibited from printing basically everything she reveals to him. He seeks truth, whereas she only offers stories. Yet, her film is filled with details, and in the wake of tragedy, she latches onto them for some semblance of survival.

Bobby Kennedy (Peter Sarsgaard) is in full-on family mode, as he attempts to anchor his sister-in-law back to reality. Does our knowledge of the tragic fate that awaits him suggest that her buzzing, restless psyche is the better response to all this madness? Social Secretary Nancy Tuckerman (Greta Gerwig) is a constant, near-silent presence, practically a friendly neighborhood specter propping up Jackie’s decorum and fabulousness. And then there is a priest (John Hurt), who only offers answers wrapped in ambiguity. (Or is it the other way around?)

The teams on sound and design assemble it all to give you the front-row seat that is almost too disturbing to bear. Indeed, its boldness in key moments may in fact be too much for some audiences to handle. Cinematographer Stéphane Fontaine understands that the medium is the message. His Super 16 photography is a mix of grainy distortion/clarity and that old soap opera-style intimacy. Mica Levi’s avant-garde score is unnerving, yet somehow comforting, and therefore unnerving to think that such a tragedy could ever be comforting. A constant string phrase sounds like the THX theme being drained of life. Like all of Jackie, it is indelible.

Jackie is Recommended If You Like: The Tree of Life, Under the Skin, Black Swan

Grade: 4.5 out of 5 Bloodstains That Are Hard to Wash Off

 

This Is a Movie Review: Always Shine

November 26, 2016

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always-shine-mackenize-davis-caitlin-fitzgerald

This review was originally published on News Cult in November 2016.

Starring: Mackenzie Davis, Caitlin FitzGerald

Director: Sophia Takal

Running Time: 85 Minutes

Rating: Unrated, But Keep an Eye Out for the Psychosexual Drama

Release Date: November 25, 2016 (Limited)

In the psychological thriller Always Shine, two actor friends (MacKenzie Davis, Caitlin FitzGerald) take a coastal weekend trip to Big Sur, but the real journey is in their heads. For hardcore cinephiles, this simple premise is worth getting excited about due to its similarity to Swedish director Ingmar Bergman’s 1966 classic Persona. In both films, two women vacationing essentially fuse into one identity, both through psychological attachment and the suggestion of cinematic visual language. In Persona, the two are an actress fallen ill and her attending nurse; Always Shine is like a postmodern update (of what was already a postmodern concept), since its vacation buddies are both actors. The multiple layers of performativity pile up and swallow each other.

A pair of introduction scenes set the tone for Always Shine. Both consist of intimate, practically invasive close-ups of the two leads as they converse with a man off-screen. Beth (FitzGerald) nervously survives an audition for a role that requires nudity. She kind of knew that might be a possibility, and the director gives her a perfunctory assurance that she will be treated appropriately, but her face betrays every disappearance of dignity. Anna’s (Davis) scene is both more intense and more mundane. She fights an unfair bill from a mechanic, insisting that she will not pay for it. She gives the performance every ounce of energy, but in fact this is not an audition. She really is having car troubles, and her commanding energy is being wasted on the indignities of daily life.

Davis gives the better performance of the two, but to be fair, much of that has to do with her playing the better actor. It is worth considering the possibility that FitzGerald is worse on purpose. If so, she is admirable for sacrificing herself for the greater good of the film as a whole.

Always Shine is a tiny release, but it feels like it could be hugely influential because of how directly it tackles the state of women in film. Thus, I recommend that everyone with the means to do so seek it out, if only to just provide support and thereby prevent folks like Mackenzie Davis and Caitlin FitzGerald from devouring each other in real life.

Always Shine is Recommended If You Like: Persona, Single White Female, Mulholland Drive

Grade: 3.5 out of 5 Jealous Scowls

This Is a Movie Review: Warren Beatty’s Howard Hughes Passion Project ‘Rules Don’t Apply’ is a Strange Hot Mess

November 21, 2016

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rules_dont_apply_alden_ehrenreich_warren_beatty

This review was originally published on News Cult in November 2016.

Starring: Warren Beatty, Lily Collins, Alden Ehrenreich, Matthew Broderick, Annette Bening

Director: Warren Beatty

Running Time: 126 Minutes

Rating: PG-13 for a Few Snafus Involving Alcohol and Bodily Fluids

Release Date: November 23, 2016

Rules Don’t Apply has four credited editors and 16 credited producers, and the entire of all of their handiwork can be felt onscreen. Warren Beatty’s passion project about the ’50s Hollywood goings-on in billionaire producer/aviator Howard Hughes’ empire has about as many approaches as it does characters, and it has A LOT of characters. The two main ones are virginal aspiring actress Marla Mabrey (Lily Collins) and her driver, aspiring businessman Frank Forbes (Alden Ehrenreich). The pair’s flirtatiousness is doomed by Hughes’ rule prohibiting romance between any of his employees and also by the film losing track of their story. Joining them is a who’s who of the friends that Beatty has made over the years, most of them flitting in and out for a hot second.

While the wild shifts in pacing and tone prevent Rules Don’t Apply from amounting to much, there are plenty of details scattered around that are worth some pleasures (and if corralled more efficiently, could have made for a much more accomplished end product). Much of this is to do with some oft-repeated, almost mantra-like bits of dialogue. After Howard tells Marla where their H2O is from, she wonders aloud, sounding as if she is learning for the first time either the entire concept of liquids or how to speak English, “Hmm. Water. From Maine.” Also contributing to the lack of experience of living as a human is Howard’s bizarre insistence on a very particular ice cream flavor. Perhaps that same whimsy explains all the alliteration in the character names.

Hidden beneath this weird mess of nominal satire is a fascinating performance from Beatty. “Hidden” is the optimum word here, both because this film is hard to make sense of and because Beatty often shoots himself in the shadows, with Howard an enigmatic presence taking care of most of his business behind closed doors and via middlemen. But his inscrutable ways are commanding. The chaos surrounding him serves this svengali’s arc well. It is almost as if Beatty figured out exactly the movie he wanted to make but forgot to tell everyone else. To be fair, that is understandable when you have four editors and 16 producers.

Rules Don’t Apply is Recommended If You Like: Being Confused

Grade: 2.5 out of 5 Bowls of Banana Nut Ice Cream

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