Jocky Mark Wahlberg as Tommy, a student straying from existentialism and going into nihilism? Is he showing his intellect through his scruffy beard? He deserves the criticism that Brad Pitt gets when either of them get to speak big words and political pontifications, and I guess it isn’t fair that both men get that kind of flack. Well, at least he nice to look at especially when he’s beating people up. I always wondered why he keeps coming back to be work with one of the most vilified directors to ever live. It’s like the Skarsgard-von Trier collaborations but with mixed results. In David O. Russell’s I Heart Huckabees Tommy’s a de facto big brother to Albert Markovsky (Jason Schwartzman), a role reminiscent of the one he’ll altruistically take in The Fighter.
Jonah Hill, whose father is played by Richard Jenkins. Half a decade or so ago they were pre-fame and pre-Oscar nominations. These shots belong to a sequence that will get their family into a verbal argument with Tommy, which ends in breaking Godwin’s law. There are too many beards in this movie.
Naomi Watts, the pretty cheerleader with problems.
Preparing for Contagion, I watched Outbreak, since both have the same subject. Col. Sam Daniels (Dustin Hoffman) and Robby Keough (Rene Russo) – are a divorced couple but they stay amicable, his military status still maintaining her respect, her bravery calling for his devotion. Besides, they’re both in the medical industry and any developments in that field both concern these high-positioned professionals.
Patrick Dempsey looks less McDreamy and more longer haired, leather jacketed Scott Speedman. His character, Jimbo Scott, in 1995, is a leftover from the grunge movement. He is one of chains in smuggling a non-indigenous monkey into California and lets her out into the redwood forests. She sneezes on him, making him this film’s Gwyneth Paltrow, and when Robby finds him, he’s too sick to utter a word. He falls victim to the airborne and mutating Motaba virus, its original strain being discovered in Zaire three decades before the film’s time frame. He dies along with his girlfriend, one of a few doctor dying through human error (Kevin Spacey) and more get infected.
After ‘going rogue’ from corrupt higher-ups (Morgan Freeman and Donald Sutherland), Daniels and Maj. Salt (Cuba Gooding Jr.) find the Motaba carrier, they go on TV and a concerned mother of a rural home call in that the monkey is in their backyard, her daughter christening her as Betsy. Cue the character’s spectator-ship echoing ours in such a tense moment – this happens a bit in many movie so I’m not surprised. Salt points a tranquilizer gun near the girl, the girl’s parents telling Hoffman ‘I can’t stand this.’ I can’t stand it neither. These officers characters get Betsy, then they fly away again.
This film is punctuated by characters flying in and out of America that they might as well call this movie “Army Helicopter.” Personal and worldly issues mix here in the most melodramatic of ways. The world was still reeling from AIDS, which gets a shout out in this movie, but thankfully Twelve Monkeys gets released seven months later, adding surrealism to 1990’s apocalyptic paranoia.
Outbreak‘s director Wolfgang Petersen is also responsible for The NeverEnding Story, about a kid who gets bullied because he reads or something. Again there’s the spectator within the spectacle, for example Bastian telling Atreyu (Noah Hathaway, whose credits include playing a ‘Harry Potter Jr.’ before the books came out) to run. The story engages Bastian so much that he’s reading and staying in school way after closing to find out how it goes. He’s aware that the story isn’t real, but he cares about fictional characters in a way that never stops after childhood. The film also shows that like him, a great reader bridges those two worlds to learn lessons about himself and the dangerous real world.
This film is pre-CGI so it’s still marvelous how Petersen gets most of the giant creatures and sets on-screen, both of which produce wonderment and fear. The talking creatures don’t look like mere scale sculptures and the sets look painted on to colourful effect. Some of the magical entities, like double sphinxes that kill passerby with their laser eyes, are accurately created to standards of antiquity that won’t ever be depicted the same way. I also get Flash Gordon/Clash of the Titans ’81 flashbacks because of the topless sculptures/violent subject that is still right for a children’s film. And despite the faltering British accent, Hathway’s Atreyu never gets lost within the magnificently designed sets.
- Cinema de Gym: ‘Outbreak’ (thefilmexperience.net)
I saw “The Cove” this past Thursday. To call it a documentary fits the rudimentary description, but the word “documentary” however implies certain qualities among the film that might make those prejudiced against it turn away. “The Cove” shows shots of people talking or groups of people doing fascinating or horrifying things, but that’s not all there is to the movie. Instead it actually has a deeper aesthetic value and pattern.
The first shots in the film are, if I’m right, taken from infrared cameras, then a few more from night vision. We hear the deep, benevolent voice of Louie Psihoyos, telling his audience that he did his best to try to make the movie legally. This first scene, both in visuals and words, warns us of not being allowed to see and roadblocks and denials. The movie also shows other people who have tried to do what Psihoyos as his team are doing, and failing. Some get murdered, as indicated by stills of web pages announcing these deaths.
Psihoyos’s documentary tells the story of dolphins being hunted in the coastal town of Taiji, Japan. He learns about this from Rick O’Barry, an Alfred Nobel figure in his transformation from TV show producer to dolphin activist. Seeing some of the action, he assembles a group with different skills helping him expose what’s happening. They have to do everything at night, which explains the infrared and the night vision. SPOILER ALERT, but they use the infrared cameras to install regular digital ones and hide it in the right places, they go back to the hotel rooms to look at the footage, the screen goes black, we as the audience go underwater, and the infrared and night vision fully contrast the clarity of what’s recorded.
And this movie makes me jealous that this guy only went to one week of film school.
And this movie makes me unable to hate Hayden Panettiere, not that I did in the first place.
I also saw “All The President’s Men” on TCM the same night, and I’m not sure whether I would be equally erudite with this movie as I was on “The Cove.”
The movie stars Dustin Hoffman (playing Carl Bernstein), the greatest American actor in the New Hollywood era. The first few scenes of the film made me think that he’s unfairly playing second fiddle to Robert Redford (playing Bob Woodward), but both men even out eventually. Not to mention that this is the first time I’ve seen Robert Redford act, and I feel shitty and reductive for saying that but I haven’t checked out his oeuvre yet. It still seems that Redford gets a 60/40 in the movie because he gets mano-a-mano with Hal Holbrook’s Deep Throat, their meetings sprinkled with neo-noir elements. I guess it’s more cinematic that way for a person to meet another instead of being interrogated by two.
The reason I bring up the Deep Throat meetings is because the first movie I’ve seen of the subject is “Dick,” where both Woodward and Bernstein meet “Deep Throat.”
Both movies show how the little guys are intelligent and can beat the bullying big guys with a rock and slingshot. and in “All the President’s Men,” Bernstein’s friendliness and hunger and Woodward’s innocence complement each other. They’re both underestimated but as we realize, one brain’s as good as the next, as both guys meticulously look at details and scour the right interviewees and follow the money, as Deep Throat has said.