The Truth Has No Temperature but The Counselor is Tepid

The Counselor - Cameron Diaz

I’ve come to the conclusion that Cormac McCarthy is incapable or writing interesting women, but he thinks he knows a lot about them.  The men in his screenplay for Ridley Scott’s slick, pulpy and sweaty “massive drug deal gone awry” flick The Counselor spend most of the film’s runtime spouting off quasi-philosophical macho riffs on life and greed and chicks, man…chicks, they’re like crazy.  The men toggle between misogyny and bafflement.  The character played by Javier Bardem (who, god bless him, tells the story to Michael Fassbender’s protagonist with comically black glee) knows his chick is crazy because of the way she made love to his Ferrari.  No, I’m not kidding…the woman literally humps the car.

That woman, the inexplicably named Malkina, is inexplicably played by Cameron Diaz, who looks great and gives it her all, but just isn’t up to par for this type of role.  She’s borderline camp, and a better actress (an Angelina Jolie perhaps?) would’ve either gone whole-hog with the camp or truly smoldered.   – POTENTIAL SPOILERS AHEAD –   Continue reading

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The Silent Land

After getting caught in an avalanche while on vacation at a French ski resort, Jake and Zoe dig out only to find a world empty and deserted…a silent land where “the laws of physics and the laws of dreaming meet” and where “horses shit rainbows.”  No, I’m not kidding.

I don’t know why I always allow myself to be lured into these quasi-fantasy, quasi-apocalyptic, quasi-psychological tales where two people (in this case, a husband and wife) traverse through a mysterious and perhaps dangerous netherworld trying to prove their undying love for each other while struggling to maintain their sanity.  This one even comes complete with a twist ending.  Continue reading

The Road Often Taken

Over the years these grisly post-apocalyptic scenarios have become a dime a dozen in film and literature.  When award-winning author Cormac McCarthy decided to put his spin on the idea with his novel The Road, people took notice.  By focusing on a father-son relationship instead of the usual action and horror that lends itself so well to post-apocalyptic tales, McCarthy received mountains of praise for his stark, horrific fable.  Now, just in time for the holiday film season — and honestly, what screams holidays with the family more than a cannibal holocaust? — director John Hillcoat (previously responsible for the grim Aussie western, The Proposition) delivers his adaptation of McCarthy’s celebrated novel to the big screen. Continue reading

Being There, Done That

BEING THERE:

I recently watched for the first time Hal Ashby’s 1979 satire, Being There, which I found amusingly prophetic.  Satire is so hard to do, and Ashby’s film does it fairly well, though it never achieves the scathing brilliance of Sidney Lumet’s Network, a film made just three years prior.  In Being There, Peter Sellers plays a TV-obsessed idiot savant gardener who through a series of mishaps and misunderstandings becomes the toast of Washington D. C.  For the most part, Ashby plays the satire light and bubbly, until the eerie closing scenes that become rich with overt symbolism and end with Sellers literally walking on water not knowing yet that he has been handpicked by the Masonic cabal to become the nation’s next political wunderkind.

Whereas Network envisioned a society in which reality TV runs amok, corporate fascism rules supreme, and Saudi Arabian oil money holds a controlling interest in American media and politics–sound familiar?– Being There paints a picture of America in the midst of an economic meltdown where a bumbling idiot is gifted the Presidency by the ruling class–wow, that could never happen.  One of the funniest bits in Being There is when the media falls in love with Sellers’ Chauncey Gardner and considers him a breath of fresh air because he doesn’t read any newspapers.  In fact, he doesn’t even know how to read or write.  The public sees him as brilliant because he boils down the economic crisis to a simpleton’s terms by using a gardening metaphor.  There’s also a great bit where his former caretaker (an elderly African-American maid) sees him on TV and proclaims, “That boy is as dumb as a jack-ass.  This proves all you have to be is White in America and you get what you want.”  In 1979 that was spot on, but, wait, have things actually changed?

Well, as we now have one idiot who didn’t read newspapers leaving office after eight horrendous years that produced the worst economic crisis since the Great Depression, and another idiot who failed to get into Washington D. C. after being advertised as a breath of fresh air sweeping down from Alaska, we are about to inaugurate an eloquent African-American as our next President who has proven hard work can trump nepotism in a renewed America.  It seems the era Being There warned of has already come to pass and it was even more horrifically funny than the film that prophesized it.

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DONE THAT:

In the “done that” category, I finally read Cormac McCarthy’s The Road.  You know, The Road is one of those books everyone you know who reads has read and has been telling you, “YOU HAVE TO READ THIS”, but you didn’t read it until you heard it was being made into a movie.  The Road is a grim tale of a father and son roaming a post-apocalyptic wasteland trying to survive.  In this dark future, ash covers everything, charred bodies litter the landscape, most animals have become extinct, and marauding groups of cannibals pick off survivors one by one.

McCarthy crafts the novel in a stark, lean style meant to mirror the savage existence he describes.  I found the fragmented sentences and unmarked dialogue hard to get used to, but the book moves at such a quick and horrific clip that it soon becomes easy to overlook the stylistic idiosyncrasies.  Much of the storyline is repetitive:  father and son search for food, father and son find food, father and sun run out of food, father and son search for more food, they stumble upon a cannibal here, a terrifying scene there, they find an idyllic shelter they only have to leave too soon out of fear–and many readers will find it frustrating that the apocalypse is never explained and the ending arrives all too conveniently.  I also found the religious underpinnings to be overly simplistic.

Despite these flaws, The Road held me mysteriously captivated.  It was the fist time since I was a child that I raced through a book in only two days.  I don’t know if that speaks to the style in which the book is written or the power of its story.  When I was a teenager, I was more inclined to enjoy these post-apocalyptic-sci-fi-horror-infused tales, and this would’ve been just the type of thing my immature mind would’ve loved.  Now, I’m a bit more cynical and tied to the real world, and The Road seems like the relic of a juvenile past.  I give credit to McCarthy, however, for delivering something that is completely unlike anything I’ve read in the past five years.  It will be awhile before I fully digest his vision.

The film adaptation of The Road is set for an early 2009 release.  It is directed by John Hillcoat, who was responsible for the grim Aussie Western The Proposition, and stars Viggo Mortensen.

Written by David H. Schleicher

A Review of the Coen Brothers’ “No Country for Old Men”

Blood, not so Simple, 12 November 2007
6/10
Author: David H. Schleicher from New Jersey, USA

A Vietnam vet (Josh Brolin) stumbles upon a drug deal gone wrong and casually takes off with two million dollars that a psychopathic bounty hunter (Javier Bardem) will do anything to get back. Meanwhile, a Sheriff nearing retirement (Tommy Lee Jones) strolls behind the mayhem always a few steps behind. Set in Texas in 1980, “No Country for Old Men” is a meticulously crafted misfire from the Coen Brothers and adapted for the screen from the Cormac McCarthy novel.

Roger Deakin’s stark cinematography matches perfectly the brilliant mise-en-scene and signature Coen Brother’s pacing. The audience is also treated to a revolving door of quirky side characters and dark deadpan humor in the dialog that have become the trademarks of a Coen Brothers’ dramatic production. It would seem to be a return to form, but there’s a wandering coldness to the film that leads to grave dissatisfaction.

The most disappointing aspect is that there’s a near perfect forty-five minute “mini film” riddled with white knuckle suspense involving the cat-and-mouse shoot-em-up between Bardem and Brolin that is lost inside yet another dour opus where Tommy Lee Jones plays a grizzled but good-hearted authority figure philosophizing about the sad state of the world for the umpteenth time. While Bardem and Brolin are sensational, Tommy Lee Jones seems to be playing an on-screen persona that has trumped his ability to show any type of range. He’s typecast, and his character is made moot. Meanwhile Bardem gives a career-defining performance as the psychopath working with his own warped sense of morals. In what may prove to be ironic in the future, it’s exactly the type of portrayal that risks making Bardem typecast in the same vein Anthony Hopkins was after his Hannibal Lecter character was born.

The brooding tension built around Bardem’s unforgettable villain and the inevitable showdown with Brolin’s wayward cowboy is completely wasted in anti-climactic fashion with no resolution that leaves the film to meander in philosophies that ultimately signify nothing. Coming off three straight comedies (the last two of which, “Intolerable Cruelty” and “The Ladykillers”, were abysmal) the Coen Brothers have clearly lost their footing in trying to get back to their roots. “No Country for Old Men” boasts many of their popular hallmarks and an instantly classic turn from Javier Bardem, but it lacks the moral fiber of “Fargo” and the dramatic climax of “Blood Simple”. Coming home, it seems, isn’t as easy as it looks when the roads are dusty and lead you nowhere.

Originally Published on the Internet Movie Database:

http://imdb.com/title/tt0477348/usercomments-26

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Check out my review of “Fargo”:

http://imdb.com/title/tt0116282/usercomments-316