Dean Corso (Johnny Depp,) an unscrupulous rare book hunter, is hired by a wealthy occultist (Frank Langella) to authenticate a book reputably written by the Devil having the power to open the gates of hell, raising the Prince of Darkness himself. And he's not the only one chasing the myth, a dark order is seeking to use the book and will stop at nothing to obtain it. Corso soon finds that he's out of his depth when the mystery surrounding the book manifests and he both fears for his life and considers damning his soul.
Dry, dusty and slow is how I would initially describe the tenor of The Ninth Gate. The film's setup and introduction lacks a hook to draw in the audience, relying on its musical score, photography and main star to draw attention rather than a compelling story: it's blase, simply. The action, meant to thrill and heighten interest, fails to do so, coming off campy. And the characters, with whom we're to connect, are strangely "cardboardy," failing to have the real depth that allows for the emotional release needed at the climax.
And granted he's fantastic in every role he's played (it's really a puzzlement why he keeps being passed over for the Oscar Podium) and here is no different: Mr Depp's work fails to stir me as he usually does . It's really not his fault, the sufficient material to work from is lacking. The photography and framing is exquisite; a frozen frame from any part of this film might be printed for any photo collection or created into a fabulous coffee table book. The production designer is the best part of the whole picture. The film score, is above average--not inspiring, nor boring--simply filling in the necessary silence in dialogue with a delicate efficiency. The mechanics of the package aren't to blame.
And while I haven't read the book upon which this film is based, I'm guessing something was lost transmogrifying the story to screen; not all stories belong on celluloid, perhaps this one should have remained in the pages where inspiration breathed.
***
In: Johnny Depp
Out: James Russo
Coming Soon: Public Enemies
Thursday, January 27, 2011
Tuesday, January 25, 2011
Nightmare on Elm Street
A killer stalks the neighborhood children in the quiet suburbs of a sleepy town. He tortures before he kills, playing with his prey before finally savoring his kill; nobody can stop him and nobody is looking, because he's hunting on his turf. His prey come to him every night in their dreams while they sleep fast in the silence on Elm Street.
This film, and its subsequent series, fought the box office turf war in the '80's and has a few distinctions. First, it saved New Line Cinema from bankruptcy, leaving us to wonder where Lord of the Rings would have turned to had Freddy not saved New Line. The second being that it gave rise to the career of last decades People's Choice winner for Actor of the Decade, a little known performer named Johnny Depp, who's death called for a geyser of stage blood to rise from his bed in a very memorable scene after it has swallowed him whole. Also, Robert Englund, who portrays Freddy Kruger, held the longest-running slasher villain for two decades, regardless of the Friday the 13th series having more films because Jason is played by several actors.
Wes Craven, our director, is the master of drawing tension with long cuts and employing a contemplative and minimalist score. The dreamscape sets are brilliant with their metallic, industrial, sewage-caked and dilapidated states against idyllic suburbia, so bright, clean and and innocent. The film's jump-cuts and ballistic action scenes create the ideal adrenaline rush for the time period. Today, however, it's ludicrous in its hysterical unintentional comedy. I actually have trouble not laughing at most points.
The recent remake, starring Jackie Earle Haley, who coincidentally lost out on a role in this film, has a bit smoother and darker run. And whose madness is felt a bit more keenly. In the remake, Freddy's attacks and revenge are personal and perverse and we don't want to connect, not really, because our skin, and our soul, crawls to think of his reasons and we turn away. The tension mastery is still ever present, with quality performances unlike the original (even young Johnny Depp, despite him being one of my boyz: now and forever) and presents a better package.
So you may wonder: why oh why did I watch this film before bed last night? Well, it was next, for one, and because it's pretty hysterical, with its overacting and comical performances all around, so it's easy to detach my thoughts from the subject, regardless of the quality had for its time. Also because I engaged in something else between the viewing and sleeping: something I recommend when seeing something that is outside your usual comfort zone.
****
In: Fail-safe choice
Out: Johnny Depp
Coming Soon: The Ninth Gate
This film, and its subsequent series, fought the box office turf war in the '80's and has a few distinctions. First, it saved New Line Cinema from bankruptcy, leaving us to wonder where Lord of the Rings would have turned to had Freddy not saved New Line. The second being that it gave rise to the career of last decades People's Choice winner for Actor of the Decade, a little known performer named Johnny Depp, who's death called for a geyser of stage blood to rise from his bed in a very memorable scene after it has swallowed him whole. Also, Robert Englund, who portrays Freddy Kruger, held the longest-running slasher villain for two decades, regardless of the Friday the 13th series having more films because Jason is played by several actors.
Wes Craven, our director, is the master of drawing tension with long cuts and employing a contemplative and minimalist score. The dreamscape sets are brilliant with their metallic, industrial, sewage-caked and dilapidated states against idyllic suburbia, so bright, clean and and innocent. The film's jump-cuts and ballistic action scenes create the ideal adrenaline rush for the time period. Today, however, it's ludicrous in its hysterical unintentional comedy. I actually have trouble not laughing at most points.
The recent remake, starring Jackie Earle Haley, who coincidentally lost out on a role in this film, has a bit smoother and darker run. And whose madness is felt a bit more keenly. In the remake, Freddy's attacks and revenge are personal and perverse and we don't want to connect, not really, because our skin, and our soul, crawls to think of his reasons and we turn away. The tension mastery is still ever present, with quality performances unlike the original (even young Johnny Depp, despite him being one of my boyz: now and forever) and presents a better package.
So you may wonder: why oh why did I watch this film before bed last night? Well, it was next, for one, and because it's pretty hysterical, with its overacting and comical performances all around, so it's easy to detach my thoughts from the subject, regardless of the quality had for its time. Also because I engaged in something else between the viewing and sleeping: something I recommend when seeing something that is outside your usual comfort zone.
****
In: Fail-safe choice
Out: Johnny Depp
Coming Soon: The Ninth Gate
Friday, January 21, 2011
The Nightmare Before Christmas
Bored by the lull of the same thing every year, Jack Skellington (Chris Sarandon, sung by Danny Elfman) tires of his job as The Pumpkin King, ruler and leader of Halloween Town in the land of Holidays. He dreams of doing something more, and by chance he finds what he's looking for when he stumbles across Christmas Town. Seeing it as a sign, he decides to take over the preparations for Christmas. And while it makes him feel better, he remains ignorant of the true meaning of Christmas and the great responsibility on Santa's shoulders; and of a prophecy which foretells a disaster if he persists.
The Nightmare Before Christmas presents as a cross-genre masterpiece having all the components of horror, musicals, dark comedy and family films. It flaunts all the conventions of Halloween and equally all those of Christmas presenting a brilliant irony that works so cohesively, it's difficult to locate anything in its tightly wound plot and brilliant mechanics that can derail and destroy the performance. In its era, this film debuted on the cusp of the genesis of our current animation king, Pixar. However, this one's technique (stop-motion) is so antiquated, it's pure genius; a classic.
The central conflict is so well plotted: Jack is uncomfortable with who he is and is unwilling to find satisfaction in himself, that disaster is sure to strike if he fails to realize that being the Pumpkin King is who he is and what he's meant to be. And causing us to think about who we are and examine our destiny while we watch him find his, all wrapped in a fun package. The songs, with their wit and wisdom invite us to sing along and entertains while we learn the lessons this film is teaching us. Danny Elfman, our composer and the singing voice for Jack, completes a shining performance that can be simply described as brilliant.
My father and I watched this film when I was home recently for Christmas: he said that he'd wanted to see it for years. And, while he said it wasn't his type afterwards, he did acknowledge that the film was done well, understanding why I, my sister-in-law and my brother like it so much. Not for everyone, sure; but a great film nonetheless.
****
In: Danny Elfman
Out: This is the first time I'm unable to connect this film to another through performers. Therefore, the fail-safe (alphabetical selection) is needed...and I'm sure we'll use it again very soon.
Coming Soon: Nightmare on Elm Street
The Nightmare Before Christmas presents as a cross-genre masterpiece having all the components of horror, musicals, dark comedy and family films. It flaunts all the conventions of Halloween and equally all those of Christmas presenting a brilliant irony that works so cohesively, it's difficult to locate anything in its tightly wound plot and brilliant mechanics that can derail and destroy the performance. In its era, this film debuted on the cusp of the genesis of our current animation king, Pixar. However, this one's technique (stop-motion) is so antiquated, it's pure genius; a classic.
The central conflict is so well plotted: Jack is uncomfortable with who he is and is unwilling to find satisfaction in himself, that disaster is sure to strike if he fails to realize that being the Pumpkin King is who he is and what he's meant to be. And causing us to think about who we are and examine our destiny while we watch him find his, all wrapped in a fun package. The songs, with their wit and wisdom invite us to sing along and entertains while we learn the lessons this film is teaching us. Danny Elfman, our composer and the singing voice for Jack, completes a shining performance that can be simply described as brilliant.
My father and I watched this film when I was home recently for Christmas: he said that he'd wanted to see it for years. And, while he said it wasn't his type afterwards, he did acknowledge that the film was done well, understanding why I, my sister-in-law and my brother like it so much. Not for everyone, sure; but a great film nonetheless.
****
In: Danny Elfman
Out: This is the first time I'm unable to connect this film to another through performers. Therefore, the fail-safe (alphabetical selection) is needed...and I'm sure we'll use it again very soon.
Coming Soon: Nightmare on Elm Street
Monday, January 17, 2011
Battlefield Conditions
It's been a while!! Christmas really zapped my willingness to continue this project, but I'm a fighter and I'm prepared to continue the journey and fight filmwatching fatigue. I received and purchased several new films for my collection which I'm looking forward to seeing what they can teach filmmakers and filmwatchers (especially this watcher) and storytellers when they pass through the queue.
I'm tired: physically, intellecually and emotionally due to the events of the past two months and it reflected in my last entry. As a result, I'm going to share some tips on preparing the best conditions for the art of watching films. These will be brief, I'll cover the details in future essays.
Be Prepared (great song from the Lion King, by the way!!) -- whenever you engage a film, prepare you mind, body and soul for what the film will do to you. I can't count how many times I've tried to engage with a film while tired, vulnerable or ill prepared to take the spiritual (the damage done from lacking discernment) consequences. Last entry, for instance, I wrote from home at 1:30 in the morning at the beginning of my trip there. My usual theater rests at an elevation of 500ft above sea level and my hometown rests at 3000ft. So I was oxygen deprived and not accustomed to the fatigue it would give me. Plus it was 1:30 in the morning and I was tired anyways. Therefore I failed to be at my best and the response suffered the consequences.
Pay attention. Nothing should distract you. If you are planning to engage critically, it's best that you are alone, fed, and physically well when you do so. However, if you are going to share the experience, talking with your companions will ruin your concentration and also distract them from their journey through the story. In my experience, thus far, I've found it difficult to critique while talking on the phone, as the hearing is impaired and attention elsewhere. Illness also will impare your concentration as you are distracted by the disease of your body. Be sure you eat, either before you begin or during in a non distracting manner. If your filmwatching lab, like mine is, is located at your home, and hunger finds you, getting up to fix yourself something disengages you from your object of study and destroys any concentration you've had up to this point, so remember to eat. If anything does distract you, go back a few chapters on your DVD until you are past the point of the distraction, then reengage.
These "battlefield conditions" will give you the best watching experience. Happy watching and I'll see you sometime this week with Tim Burton's The Nightmare Before Christmas!!
I'm tired: physically, intellecually and emotionally due to the events of the past two months and it reflected in my last entry. As a result, I'm going to share some tips on preparing the best conditions for the art of watching films. These will be brief, I'll cover the details in future essays.
Be Prepared (great song from the Lion King, by the way!!) -- whenever you engage a film, prepare you mind, body and soul for what the film will do to you. I can't count how many times I've tried to engage with a film while tired, vulnerable or ill prepared to take the spiritual (the damage done from lacking discernment) consequences. Last entry, for instance, I wrote from home at 1:30 in the morning at the beginning of my trip there. My usual theater rests at an elevation of 500ft above sea level and my hometown rests at 3000ft. So I was oxygen deprived and not accustomed to the fatigue it would give me. Plus it was 1:30 in the morning and I was tired anyways. Therefore I failed to be at my best and the response suffered the consequences.
Pay attention. Nothing should distract you. If you are planning to engage critically, it's best that you are alone, fed, and physically well when you do so. However, if you are going to share the experience, talking with your companions will ruin your concentration and also distract them from their journey through the story. In my experience, thus far, I've found it difficult to critique while talking on the phone, as the hearing is impaired and attention elsewhere. Illness also will impare your concentration as you are distracted by the disease of your body. Be sure you eat, either before you begin or during in a non distracting manner. If your filmwatching lab, like mine is, is located at your home, and hunger finds you, getting up to fix yourself something disengages you from your object of study and destroys any concentration you've had up to this point, so remember to eat. If anything does distract you, go back a few chapters on your DVD until you are past the point of the distraction, then reengage.
These "battlefield conditions" will give you the best watching experience. Happy watching and I'll see you sometime this week with Tim Burton's The Nightmare Before Christmas!!
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