Could it be more a more timely moment than now for Hollywood to remind the public (and Washington) of the purpose of the free press?
The first hour of The Post is a rather hum-drum by the numbers affair about the lead up to the publication of the Pentagon Papers, first by the New York Times (who instantly get sued by the Nixon administration) and then by the Washington Post. But hey, it’s Steven Spielberg directing…and Meryl Streep as the “I can’t believe I got into this mess but by golly am I gonna make something of myself by leading with my gut here!” owner of the titular Post…and Tom Hanks as chief editor Ben Bradlee (previously featured in All The President’s Men, to which this film cannily sets itself up as a prequel in the final moments)…and just look at all those TV stars in supporting roles (Carrie Coon! Bob Odenkirk! His comedy pal David Cross! Bradley Whitford!). So what the heck, the humming looks and sounds great, even if it’s all a bit dry.
But then, thanks to Spielberg’s midstream change of pacing (and the work of excellent editors), and John Williams’ score that hums like that of a great thriller, all of a sudden this little bit of “history we already knew” plays like a cracker-jack suspense flick as reporters feverishly try to meet the printing deadline working out of Bradlee’s drawing-room, and lawyers and whatnot weigh in on the implications of publishing the top-secret stuff. Continue reading →
Steven Spielberg is a director/producer clothed in immense power. He has carte blanche to do whatever his heart desires in Hollywood after years of pleasing audiences. Sometimes his whims and faults get the better of him – as lame attempts to resurrect past haunts (Indiana Jones and the Kingdom of the Crystal Skull) or return to childhood wonder (The Adventures of Tin Tin) often are rendered mute in artifice and strained sentiment. Yet, when left to his own devices in pursuit of his most sincere ambitions, once in a blue moon, Spielberg is able to pull a rabbit out of his magician’s hat. He did it with Schindler’s List. And he has done it again here with Lincoln – perhaps the crowning achievement of his career and the greatest American film since Paul Thomas Anderson’s There Will Be Blood.
Not surprisingly, like There Will Be Blood, Lincoln is anchored by an impossibly great performance by Daniel Day Lewis. If Lincoln’s political successes (among them the passing of the 13th amendment abolishing slavery, a process brought to painstaking and lively light here in the film) teach us anything, it’s that no matter how much power one is clothed in…nobody can do it alone. There must be compromise, teamwork, and appeals to individual sentiments to achieve the greater good. Continue reading →
…that is of course unless that horse is a War Horse!
People have been crying for years that they don’t make films like they used to, but don’t tell that to Steven Spielberg. That silly Jewish lad from Haddon Township, NJ has been making films like they used to since the 1970’s. His patented brand of cloying sentimentality perplexed me even as a child (I say BOO to you, Mr. E.T.!) but when he was able to combine that with a true sense of wonder (Close Encounters of a Third Kind, I have always loved yee) or found ways to mature it and place it in the context of history and war (cough cough Saving Private Ryan…sniff sniff Schindler’s List) he catapults himself into the ranks of the greatest of pop-culture entertainers.
With his latest, War Horse, Spielberg pays homage to the grand Hollywood epics of the 1930’s and 1940’s in the same manner with which he paid homage to the low-budget matinée serials of the 1930’s and 1940’s in Raiders of the Lost Ark. He also conjures up some of that old Spielberg magic by taking the subgenre of the “Horse Tear-jerker” (a female-targeted niche) and serving it up avec “Epic War Movie” to get guys in the seats. Release it on Christmas Day following a lush marketing campaign targeted to discerning filmgoers of all ages, and gosh dang it, Stevey Old Boy, you’ve done it again! It’s a bloody crowd pleaser, I say, old chap!
Essentially this is a simple tale of a boy and his horse and their adventures, trials and tribulation during World War I. Continue reading →
Recently I couldn’t decide if I wanted to write a scathing critique focusing on the banality of the painfully quirky (500) Days of Summer or pen a love letter to The “feel good” Final Destination where we gleefully watched ridiculously good-looking and stupid young people die in unfathomably moronic and elaborate stunt-deaths — in 3D no less! — but neither film really warrants such efforts or talk. In times like these when searching for things worthy of writing about, my thoughts turn to my blog’s old stand-by and most popular feature: The Greatest “Blank of All Time” Lists.
I’ve toyed for quite some time with doing a list of film’s greatest cinematographers — which, by the way would look something like this: Conrad L. Hall, Freddie Francis, Roger Deakins, Sven Nykvist, Caleb Deschanel (Zooey/Summer Finn’s accomplished father), Robert Elswit, Emmanuel Lubezki…but I digress — Continue reading →