Avatar: biggest. movie. ever?

I don't go to the theaters to see many films twice, but Avatar is an exception in many ways. Although its primary impact is as a visual spectacle and technical achievement, and it may be more heavy-handed than sophisticated, it's still pretty effective in making its points. This is what SF (of the H. G. Wells school) is supposed to do.

My friend Steve Hirby notes that it's a shame Cameron couldn't have come up with a better ending than redemptive violence. I agree. But as the the excellent AV Club Blog review noted: "Cameron has never been a blindingly original storyteller, and Avatar is no exception to the rule." I think his most original feature, which was decidedly nonviolent, was "The Abyss", which I loved even if the ending lacked drama.

Avatar's redemptive violence is (alas) pure standard Hollywood, but I did enjoy the irony of the giant alien female defeating the human in the armored walker as a neat reversal of Sigourney Weaver's victory at the end of his "Aliens." The stefnal value of the redemptive violence is that it was largely ineffective until the planet itself took sides, in away that the Earth had not. It was noted of the humans that “there is no green” on their “dying world” because “they have killed their mother.”

This is sort of where the sociology of the movie broke down for me. Having “killed” the earth, human have clearly learned nothing and our best chance on a new world has only a few scientists who have no sway over short-sighted corporate profit-seeking. Seems like the plausible SF has yielded to the very heavy-handed metaphor, which leaves us again at Cameron's weaknesses as a story-teller.

Avatar may be on-track to become the biggest-grossing film of all time, and deservedly so. Flaws it has, but it's still a terrific & worthwhile film.

Favorite films of 2009

Don't know that they're the best, but they were my favorites...

• Up in the Air
• Star Trek
• Up
• Inglourious Basterds
• District 9
• The Hangover
• Ponyo
• Where the Wild Things Are
• Avatar

Still looking forward to seeing possible contenders for inclusion: The Messenger, Precious, The Hurt Locker, Fantastic Mr. Fox, Moon, Broken Embraces, 500 Days of Summer

Favorite films of the decade

This is a personal favorites list, neither a ranked "top ten" and surely not a "best" list -- there are too many great films I've yet to see. But there are movies I've liked a lot...

• In the Mood for Love - Wong Kar-Wai's romantic meditation on love, loyalty, and finding small safe havens. Strongly influential on the better-known Lost in Translation
  
• Eternal Sunshine of the Spotless Mind - intelligent, challenging science fictional look at memory, love and loss. Jim Carrey's apogee, surrealistic, funny and heartbreaking.
  
• The Lord of the Rings - Peter Jackson's trilogy redefined epic and shattered the limits of what could be put onto the screen. Hugely entertaining and successful realization of its source.
  
• Inglourious Basterds - WW II fantasy combines suspense and violence with occasional splashes of outrageous humor. Ultimately a movie about movies, Quentin Tarantino firing on all cylinders
• Gosford Park - mystery set against Robert Altman's complex tapestry of lives upstairs and downstairs in an English country home
  
• Spirited Away - alienated girl trapped in a magical world learns responsibility and values
  
• No Country for Old Men -clinically cold, powerful story of a remorseless killer -- good, evil, consequences, chance and implacable fate; the Coens in their nasty mode
  
• Pan's Labyrinth - magic and myth are empowering and terrifying; Franco's fascists are just terrifying in Guillermo Del Toro's fantasy
  
• Children of Men - bleak, inspiring science fiction, adapted from P.D. James' novel by Alfonso Cuaron
  
• Talk to Her - story of love and loneliness, perhaps Almodovar's best
• Y Tu Mama Tambien - powerful coming of age Mexican road trip story
  

Inglourious Basterds

Tarantino's new film is breathtakingly good. Ultimately, it's a movie about movies as wish-fulfillment and fantasy, but along the way, what looked like an action-adventure story turns out to be mostly suspense.

Basterds is not an easy movie, overly bloody with violence in some sections, seemingly overly talky in others. But Tarantino's clever pacing often defies expectations in a film that is not exactly what it seems. The movie shifts gears, drops occasional pieces of throwaway humor, and offers surprises: supposedly the story of a group of Jewish American soldiers wreaking vengenance in occupied France, it is more a long shaggy dog story setting up a climax defying viewer expectations and genre conventions.

The central conceit of the story is telling. In a movie theater in occupied Paris, characters watch a German war movie. So we find ourselves watching a war movie about people watching a war movie, based on an actual -- within the reality of the film -- historic event. Characters discuss the event, how they felt about it and how they feel about the film version.

Along the way, there are numerous nods to other films, including Chaplin's The Kid, The Time Machine, Battleship Potemkin, and The Last Metro. There is a truly quirky cameo by Mike Myers, some very nice work by many actors in supporting roles large and small and a oddly-mannered but strong performance by Brad Pitt as the apparently bloodthirsty Apache hillbilly who leads the Jewish soldiers. But the best work is by young French actress Mélanie Laurent, who plays a Jewish girl hiding in plain sight, and a great performance by Christoph Waltz as a truly diabolical Nazi detective.

There are no great philosophical revelations: Nazism was evil, and in war, even good people have to do terrible things. But Tarantino tells us a fascinating story, with suspense and heart, about how we feel about the stories we tell ourselves.

District 9: another country heard from

This is a unique film: a South African science fiction mockumentary, resembling a gritty B-movie, but with excellent special effects, using Hitchcockian tropes to grab the viewer and confound expectations. And that's just the form.

The content is a reflection not only on South Africa's heritage of apartheid, but on current problems dealing with immigration issues. The story revolves around an employee of a multi-national corporation, contracted by the South African government to relocate a settlement of cryptic, unattactive aliens from a camp near Johannesburg, and take them somewhere out of sight and mind.

As the protagonist of the film takes a hero's journey, beginning as an unwitting bureaucratic tool, so the story and the film grow right before the viewer. Part action-adventure and part humanistic plea for tolerance, District 9 confronts a lot of issues in the new world order.

Like much quality science fiction, the movie holds up a distorted magic mirror. It's uncomfortable to see ourselves there, but hard to turn away, and ultimately worthwhile. Highly recommended.

Jane Eyre

I'm attempting to rectify some longstanding gaps in my literary education. This year's reading list includes Crime and Punishment, Tale of Two Cities, and Three Men in a Boat. And I've just finished Jane Eyre by Charlotte Bronte.

As a modern librarian, I "read" Jane Eyre in multimedia fashion. Most of it I either read in the free Kindle app on my iPod or listened to via a recording from Librivox, which produces free downloadable audiobooks of public domain literature. When I actually had time to sit in my living room, I read a hardcover copy from the library. Although I found the Victorian prose slow going at first, I warmed to the story and the character of Jane, particularly as voiced in Elizabeth Klett's wonderful reading for Librivox. Klett's Librivox works have a lot of fans.

I was ready for the prototypical gothic romance, the brooding Rochester, the star-crossed love. I wasn't expecting the proto-feminism, accompanied by deft attacks on religious hypocrisy and rigid ideas of predestination. Jane is a fascinating character with a terrific story, told by a skilled and insightful writer.

Having finished the book, I had to check out the screen treatments, and there are quite a few -- IMDB lists 21 different versions, including feature films and mini-series. So far, I've watched the 1944 Joan Fontaine & Orson Welles version, which was interesting, but at 97 minutes glossed over or elided some significant aspects of the plot and was not altogether satisfactory. Better was the 1983 BBC mini-series with Zelah Clarke and Timothy Dalton, which included sufficient detail and was well played by the leads.

I'm looking forward to seeing some other adaptations, and reading more by Charlotte Bronte. I'll probably re-read Jasper Fforde's wonderful Eyre Affair, the first Thursday Next novel, now that I'll understand more of the allusions.

Best films of 2008

Although I'm still waiting to see Milk, Let the Right One In, Synecdoche, The Wrestler, The Reader, Revolutionary Road, Gran Torino, Changeling and Frost/Nixon, I've seen a lot of very good films this year. Up to now, here are the best:

• The Curious Tale of Benjamin Button
• Doubt
• Slumdog Millionaire
• Iron Man
• Wall-E
• The Visitor
• The Dark Knight
• In Bruges

and in a close second:

• Vicky Kirstina Barcelona
• Burn after Reading
• Miss Pettigrew Lives for a Day
• Forgetting Sarah Marshall

Who says 2008 wasn't a good year for films?

Best FSF Films

It's the time of year for making lists. 2008 proved a mixed bag for SF films, ending with a disappointing remake of The Day the Earth Stood Still. But the year also brought us the very strong Benjamin Button, the surprisingly good Iron Man, the luminous WALL-E and the DVD of Satoshi Kon's mind-bending Paprika. So in the spirit of year-end lists, and in no particular order, here's my all time top science fiction films:

• Lost Horizon (1937)
• Nausicaa of the Valley of the Wind
• The Empire Strikes Back
• Blade Runner
• Young Frankenstein
• Invasion of the Body Snatchers (1956)
• WALL•E
• Forbidden Planet
• Metropolis
• A Clockwork Orange
• Aliens
• The Thing from Another World (1951)
• 2001: A Space Odyssey
• Children of Men
• The Day the Earth Stood Still (1951)
• The Road Warrior
• The Terminator
• Twelve Monkeys
• The Invisible Man
• Dark City
• Paprika
• Ghost in the Shell
• The Fifth Element
• The Matrix
• Jurassic Park
• Star Trek II: the Wrath of Khan
  

and best fantasy films:

• Wizard of Oz
• The Fellowship of the Ring
• The Princess Bride
• Ugetsu
• Princess Mononoke
• Groundhog Day
• Miracle on 34th Street (1947)
  
• Spirited Away
• Howl's Moving Castle
• Kiki's Delivery Service
• My Neighbor Totoro
• Fantasia
• Pan's Labyrinth
• The Curious Tale of Benjamin Button
  
• Willy Wonka & the Chocolate Factory
  
• Harvey
• Field of Dreams
• Labyrinth
• The Wolf Man
  

Classic quickies: 49th Parallel

Combining elements of Hitchcockian suspense, propaganda for the war effort, Canadian travelogue and paean to the virtues of the Canadian people, diversity and democracy, the 1941 49th Parallel is both fun and compelling to watch.

This is one of the earlier collaborations of director Michael Powell and screenwriter Emeric Pressburger -- who won an Oscar for this film. It's framed as an effective piece of propaganda aimed squarely at encouraging U.S support for the Allies. As the survivors of a destroyed Nazi submarine work their way from Hudson Bay toward neutral America, they encounter an extensive catalog of Canadian types. The contrast between the simple, generous, honest, diverse and proud North Americans and the arrogant, elitist Nazis is drawn ever more clearly, even as the noose tightens on the fleeing Germans.

Well written, directed and acted by a strong cast including Laurence Olivier, Trevor Howard and Raymond Massey, this release of 49th Parallel is fresh evidence that Criterion DVDs are reviving important films.

Summer movie rundown

Saw a few, missed a bunch (many intentionally). Some thoughts in retrospect:

• Iron Man - surprisingly light and fun through the first two-thirds, a good super-hero date movie; Robert Downey Jr. is seriously back, part 1
  
• Chronicles of Narnia: Prince Caspian - reasonably entertaining kids' fantasy actioner, bit of a disappointment with a slightly mean-spirited feel
  
• Indiana Jones and the Kingdom of the Crystal Skull - the title indicates a poorly focused Maguffin, which is OK, because we came to see Harrison Ford crack wise and crack his whip, with exciting chases; delivers on expectations, but one hoped it might exceed
  
• WALL-E - Pixar hits this one out of the park with charming characters, the awesome animation we expect, audacious story-telling, and a serious science fiction plot
  
• Hellboy II: the Golden Army - Benicio Del Toro brings something sort of like Hellboy meets Pan's Labyrinth, with entertaining action and some amazing setpieces -- even if just a little predictable and without the narrative majesty of Pan's
  
• Mama Mia! - oddly, I liked this better than the stage show, despite Pierce Brosnan's criminal take on "S.O.S." Meryl Streep seemed to be having fun. and its hard not to like Greek islands
  
• Batman: the Dark Knight - compelling and truly dark, perhaps the best superhero film ever, with a haunting performance by Heath Ledger
  
• Tropic Thunder - totally politically incorrect lampoon of Hollywood, utterly insensitive and often quite funny; Robert Downey Jr. is seriously back, part 2
  
• Vicky Christina Barcelona - entirely lightweight, but with a fine cast; entertaining, well-written, well-acted and attractive fluff. Javier Bardem shows his range as a sensitive romantic artist in contrast with his well-remembered cold-blooded killer in No Country for Old Men. The dialog here is pure Woody Allen, but the Spanish scenery creates a nice departure.
  

100 Movies, 100 Quotes, 100 Numbers

OK, its not new. But some call this the all-time best Youtube video. I wouldn't attest to that, but this clever compilation from Florida librarian Alonzo Mosley is sure fun.

Top American Films

The American Film Institute has created a new list of the top 100 films by creating lists of the top 10 films in 10 different genres. Check out the list on their website. Movie buffs will also enjoy trying their quiz.

Asian Cinema: a Field Guide

This useful reference guide, published in collaboration with the Smithsonian Institution, gives a good overview of the scope of Asian cinema and the works of prominent directors. The author, Tom Vick, does Asian film work at the Smithsonian, and this 274 page guide, published in 2007, provides a timely introduction to a subject of increasing interest.

While many Americans are familiar with major Chinese and Japanese film-makers, well established and influential here, other noted artists are less familiar. The book provides general coverage of more familiar subjects, but devotes more individual attention to those about whom less is known. There is also an emphasis on films that are available in the U.S.

Separate chapters deal with China, Japan, India, Hong Kong, Korea, Iran, Taiwan, South & Southeast Asia, and Central Asia & the Middle East. There is a good index and bibliography.

At a time when the world seems smaller, and American attention is often drawn to Asia in negative ways, this book points to another dimension of the many peoples and cultures from Turkey to Japan.

Time travelling

I've been spending a lot of time in the early 19th century lately. Without premeditated intent, I've found a pattern in recent reading and viewing:

• Desolation Island by Patrick O'Brian (book & audiobook)
• Sense and Sensibility (PBS Masterpiece TV)
  
• The Jane Austen Book Club (DVD)
  
• Empire of Ivory by Naomi Novik
  

Patrick O'Brian's rich legacy of Aubrey/Maturin novels was most famously developed into the film Master and Commander: the Far Side of the World. The story of two friends -- the bluff, hearty, Captain "Lucky" Jack Aubrey, and the Irish-Catalonian naval surgeon, natural historian and spy Stephen Maturin -- follows them through the Napoleonic wars, the War of 1812, and other adventures.

It's been said that O'Brian writes about what the men were doing while Jane Austen's heroines anguished over matrimonial prospects. Indeed the second and third Aubrey/Maturin books humorously and successfully satirize Austen. But O'Brian shines in the painstaking historical detail, the period language, and above all in action sequences. I'm currently in the eighth book of the series, but the sixth, Desolation Island, was the beginning of a three book story arc and contained stirring battles that almost redefine the term "page turner."

O'Brian's work is also well served in audiobooks with the work of excellent narrators, John Lee and Patrick Tull. Each brings different strengths, but both make it a joy to listen. Lee's work on Desolation Island makes it difficult to stop listening, with fine voice characterizations and narrative power.

Sense and Sensibility, a two part-adaptation on PBS' Masterpiece, is one of the finest screen translations of Jane Austen. Written by Andrew Davies, who famously adapted Pride and Prejudice as a mini-series, this new production holds its own with Emma Thompson's wonderful 1995 feature film. Wonderfully produced, cast, acted and filmed with strong direction, this is a must see for Austen fans.

The Jane Austen Book Club, the film of Karen Joy Fowler's novel, is fun and entertaining chick-flick stuff. But with a large ensemble cast, the screenplay does not have room for deep characterizations, and the movie feels light-weight. The cast turns in good performances as a group reads Austen's novels and applies them to personal problems, but the whole seems contrived.

Empire of Ivory, on the other hand, was a pleasant surprise. I read the first books in Naomi Novik's fantasy series awhile back and enjoyed them, but thought they were fairly predictable. The premise is goofily engaging -- what if the British and French employed fighting dragons during the Napoleonic wars? But the result was engaging but slight.

During the four books of the series, however, Novik has continued to develop larger themes. And now she kicks it up a notch in both seriousness and imagination. She continues to use human exploitation of dragons as an analog for the 19th century slave trade. Here she mixes in the discovery of a hidden, advanced pan-African empire that threatens European dominance. In the earlier books, dragons sometimes seemed curiously tacked on to world history as we know it. Novik has gotten bolder, giving her secondary world a stronger narrative life.

The Forbidden Kingdom

So sue me, I like Jackie Chan movies. Thus it happens that I really enjoyed The Forbidden Kingdom. It's more of a guilty pleasure than great cinema, but I thought it was a fun time. A bit predictable, but still fun.

The story of the Monkey King and the Journey to the West is a classic of Chinese literature. This American-Chinese production seems to fuse many elements from the classic story with plot devices from The Wizard of Oz, -- an American teenager mysteriously journeys to a magical place and has to journey with strange companions to defeat an evil ruler, before he can be sent home. And it works pretty well, as long as you don't think too hard and enjoy the ride.

Jet Li gives every appearance of gleefully portraying the Monkey King, but things kick up a notch when Jet Li and Jackie Chan are fighting together. Jackie seems to be reprising his Drunken Master character. This sure seemed like classic Saturday matinee fare, updated with 21st century FX and martial arts wire work. I was waiting for the double feature -- would it be Tarzan or Roy Rogers?

All things considered, the Monkey King has fared worse. The graphic novel American Born Chinese may have done the legend better justice, but as screen adaptations go, this is a durn sight better than Dragonball Z!

Equinox Flower

This was Yasujiro Ozu's first color film in 1958. Throughout his work, Ozu controlled his elements so tightly and formally that adding color must have been a big step for him. The color serves to punctuate and tie together many scenes, though compared with the later Floating Weeds, the color sometimes seems overstated. But it enhances the visual imagery, as do several instances of reflected images which seem to comment on the characters. Ozu fans will relish this film, a poignant blend of family drama and societal change.

The story is similar to Early Summer in dealing with a daughter who wishes to make her own marriage decisions. But in Ozu, story doesn't count for much -- it's all about characters and relationships. The characters here are harder-edged, sometimes rude and manipulative, and in at least one case, blatantly hypocritical.

Much of the drama is watching the traditional father make a fool of himself as he publicly praises romantic love and privately condemns his own daughter for practicing what he has preached. He is utterly insensitive to his long-suffering wife. When the wife says, without apparent irony, that she was really happy when the family was all together in a bomb shelter during an air raid, her husband should have some clue as to what his family has endured since. Workaholic affluence has brought about greater distance between the father and his wife and two daughters. Can he ever see it, or will he left the family fall apart in his pride?

Relationships in other families mirror these dysfunctions in different ways. Ironically, the father who is driving his own family apart is seen as a source of wisdom and advice by other troubled parents. The end result is characteristically engaging and thought provoking in the quiet way that is uniquely Ozu.

Best films seen 2007

Top films seen either in theaters or on new DVD releases this past year:

1. Charlie Wilson's War
2. Paprika
3. Equinox Flower
4. Sweeney Todd
5. Waitress
6. The Taste of Tea
7. Apocalypto
8. Black Book
9. The Lives of Others
10. Blood Diamond
    
11. Letters from Iwo Jima
12. Babel
    
13. Volver
14. Pan's Labyrinth
15. Children of Men
    

The Taste of Tea

This film may be easier to experience than describe. Beautiful, cosmic, and goofy, this Japanese family comedy is overlong at 143 minutes, but never fails to entertain. Writer-director Katsuhiro Ishii's 2004 feature won several awards and was featured at Cannes.

The episodic story features overlapping vignettes following the lives of six members of the Haruno family in their strange world. The daughter is plagued by a giant-size version of herself, and the lovesick teenage boy has trains coming out of his head. Mom is trying to restart her career in anime, hypnotherapist Dad practices on his family, and the sound mixer uncle is drifting, unable to resolve emotional issues. Grandpa is just strange, listening to tuning forks, striking poses for Mom and hiding in his room.

Then there are lots of quirkier minor characters, including cosplayers, yakuza, a horndog manga artist aspiring-musician brother-in-law, and a free-spirited dancer. There are lots of little throwaway scenes, both charming and hysterically funny, and nature panoramas beautifully photographed. Legendary anime director Hideaki Anno has a cameo as -- an anime director.

This is reminiscent of an Ozu film as a quiet family story, with not much action but just the progress of life. While the gentle humor sometimes recalls Ozu, there are outrageous gags as well, a lot of surrealism and general strangeness, adding up to lots of fun!

Here's the music video that brother-in-law made with Grandpa:

The Golden Compass

The headline in tonight's paper reads "Atheistic Agenda?" I hope this sensationalized criticism sells lots of tickets. Then Hollywood will make the sequels and we'll find out about that atheism thing, since the theological problems in the novels are much more convoluted as Pullman's original trilogy progresses.

But you sure can't tell it from this film.

I enjoyed the movie, for lots of reasons. The production design is very good, ditto the special effects. The performers are well-cast and the performances uniformly good. The young lead, Dakota Blue Richards, can speak volumes with her eyes, and Sam Elliott was born to play Lee Scoresby.

The movie gets a couple of down-checks for over-simplification, particularly moral over-simplification, and an all-too-abrupt ending. But this is a largely satisfying fantasy. It's unclear how much the over-simplification and skating over plot points weakens the film. It bothered me, but I've read the book. People new to the story seem likely to find it more confusing.

Does this film assail religion? Not particularly. This is a fantasy after all, and patently not set in our world. It attacks authoritarianism, and indicates that there's a struggle to preserve free will. Anyone who feels threatened by that might wish to avoid the film.

Classic quickies: The Seven Samurai

This is my favorite film, but I'm not very successful in persuading people to watch it. Maybe the idea of spending over three hours reading subtitles for what sounds like a martial arts film is daunting. I'll admit the first time or two I watched it, I was not all that impressed. But it's really important to watch the full-length version, not one of the shorter cuts extant. The film is full of richly developed characters and little vignettes that make it rich.

Although it seems like a war story, and its definitely a men's movie, Akira Kurosawa's theme is social change and progress. There is humor and pathos in plenty for the patient viewer. The two stars, Takeshi Shimura and Toshiro Mifune absolutely light up the screen among many fine supporting performances. Shimura's strength and confidence nicely plays off Mifune's over-the-top scenery chewing, even as the director plays off the tropes of John Ford westerns against those of historic Japanese samurai stories.