There was another version of this article that actually went on quite a bit of a rant, but I had to scrap it. I scrapped it not just for you, my reader, but also for myself, as I was writing more out of impassioned irritation than I was to make a coherent article about my relationship with film, as I had originally set out to do. I think this is a bit more focused, and a bit more biographical than that lecture, which I am honestly glad I had second thoughts about – and I do mean lecture as in “scold,” not “educational speech.” Part of what I almost lost sight of was an expression of my love for the medium of film, which, let’s face it, is the main topic of this blog is, after all!
I do love film, though. I even admittedly sometimes love watching bad films, when the mood strikes, despite the fact that I usually end up griping about how awful they are by the time the credits begin – oftentimes earlier. I guess I’m a part time hate-watcher. That being said, however, I am admittedly an amateur when it comes to film appreciation. I’m rarely driven by more than gut instinct when it comes to analyzing the individual parts of a film, so I’m often left feeling quite inadequate to judge things like the composition of shots, the quality of the score, and the inventiveness of certain other techniques unless they really stand out to me. And, honestly, so long as those elements are either so well done that they either don’t call attention to themselves or are so transcendently novel that I can’t help but notice, I’m largely okay with that. For me, film has always been more than just the sum of its parts and more about what it’s actually saying on behalf of the artists involved and the subject it’s covering. (And, sometimes, films are mostly just entertaining, and that’s honestly okay, too!) Read more…
Just a small update for now. I’m not certain how many of you out there reading read regularly, but I’m still doing this just ’cause, for myself.
I’m currently working on something a bit more challenging than just a mere review, as I’ve been wanting to do that for a while, but for some reason have been held back by a number of things, most of them personal. I really want to write this, however, and it’s somewhat of a personal writing that will shed some light on why I love the film medium so much. Basically, it’s going to be sort of a mission statement, but in the form of a personal, semi-biographical perspective.
I am also planning on tackling more diverse films, not just to grow myself, but hopefully to help anyone out there who is reading to grow, as well, which was my original intention with this blog, beyond just keeping up a writing hobby. I’ll have more details of what kind of idea I have in that article, but, for now, I just wanted to get this little teaser out of the way, as well as just motivate myself to get it done by making this announcement. I’m excited to share it, and I’m excited for some changes I’m going to hopefully have the willpower to enact on this blog — even if only for myself.
Produced by: William LeBaron
Screenplay by: H.S. Kraft
Story by: Jerry Horwin, Seymore B. Robinson
Edited by: James B. Clark
Cinematography by: Leon Shamroy
Music by: Harold Arlen
Starring: Lena Horne, Bill Robinson, Cab Calloway, Katherine Dunham, Fats Waller, Fayard Nicholas, Harold Nicholas, Ada Brown, Dooley Wilson
I’d largely forgotten this film’s existence until I saw that Screen Archives had done a limited release of the film on Blu-Ray (Thanks, Blu-Ray.com!). The name immediately stuck out, and so I alerted my mom, an avid fan of old musicals, to the film, knowing about its historical significance as one of the earliest major studio films to feature an all-black cast, but having admittedly very little knowledge of what it was actually about – apart from the fact that it was a musical, and I had seen Lena Horne’s performance of the title song somewhere, probably in one of those musical documentaries that always aired on TCM or AMC. After purchasing it (and accidentally shipping it to myself instead of my mom), I did watch it, though, and realized something fairly interesting about the film, divorced from the racial significance: It’s actually kind of boring if you’re not that invested in the characters or their story, and I wasn’t. Read more…
Produced by: Armand Leo, Lloyd J. Schwartz
Written by: Lloyd J. Schwartz, Hope Juber
Edited by: Terry Stokes
Cinematography by: Robert Seaman
Music by: Laurence Juber
Starring: Shelley Long, Gary Cole, Chad Doreck, Autumn Reeser, Blake Foster, Ashley Eckstein, Max Morrow, Sofia Vassilieva, Tannis Burnett, Saul Rubinek, Reagan Pasternak, Dave Nichols, Joshua Peace, Noah Danby, Jef Mallory
Based on the TV series The Brady Bunch
The following review was originally conceived as an impromptu Facebook rant after I decided to watch this movie out of boredom while browsing Netflix, so if this review seems kind of random, it was. It wasn’t long before I realized, however, that I’d essentially written an impromptu movie review instead, so I took it and punched it up a bit and decided to publish it officially instead.
I think I just watched one of the most bafflingly horrendous movies I’ve ever seen – The Brady Bunch in the White House. The first two movies that took the characters and placed them in the 90s weren’t exactly comedy masterpieces, but they were pretty witty and smartly put together satires of the original show’s absurdity by mostly having the wholesome characters be unchanged and defiantly unfazed by the explicit realities of the then-modern world (save for Alice, who, as an honorary Brady, was given a bit more of an edge). It was a fairly clever concept, dodging the pitfalls that most other TV-to-movie adaptations succumb to, and even on an artistic level, those movies got everything just right: a near perfect cast, the musical cues, the sitcom style camera angles, the kitschy costumes and sets, and just enough heightened reality to let you know the people making it were doing it all in good fun while making it tolerable and enjoyable for all people, regardless of whether or not they actually liked the original show. (I hated it.) This third film, though… Read more…
Produced by: Adam Sandler, Kevin James, Barry Bernardi
Written by: Kevin James, Nick Bakay
Edited by: Jeff Freeman
Cinematography by: Russ T. Alsobrook
Music by: Waddy Wachtel
Starring: Kevin James, Jayma Mays, Keir O’Donnell, Bobby Cannavale, Adam Ferrara, Peter Gerety, Stephen Rannazzisi, Jamal Mixon, Adhir Kalyan, Erick Avari, Raini Rodriguez, Shirley Knight, Allen Covert, Jason Ellis, Natascha Hopkins, Mike Escamilla, Rick Thorne, Mike Vallely
You know what the nice thing about Redbox is? They know that when a sequel to a film releases, a lot of people might want to see the original film, too. So they’ll distribute copies of the original film for rental again, no matter how old. Paul Blart: Mall Cop 2, as you may know, has been recently and inexplicably unleashed upon moviegoers this year after a six year gap since the last incident occurred, and Redbox was kind enough to still stock up on the original to remind us all why we should not feed into the box office of this completely unnecessary and, from all accounts I’ve heard, thoroughly putrid film. Thank you, Redbox. Surely those who gave the film the $88 million it’s accumulated so far at the box office were simply ignoring your warnings.
Produced by: Kevin Feige
Written by: Joss Whedon
Edited by: Jeffrey Ford, Lisa Lassek
Cinematography by: Ben Davis
Music by: Brian Tyler, Danny Elfman
Starring: Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johasson, Jeremy Renner, James Spader, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, Linda Cardellini, Claudia Kim, Don Cheadle, Samuel L. Jackson, Cobie Smulders, Anthony Mackie, Hayley Atwell, Idris Elba, Stellan Skarsgård, Andy Serkis, Julie Delpy, Kerry Condon
Based on the Marvel Comics
I don’t think anything will compare to the anticipation that led up to the release of Marvel’s first Avengers movie. When Samuel L. Jackson showed up at the end of the first Iron Man back in 2008 and basically announced Marvel’s intentions to create a cinematic universe in which pretty much all of their characters would coexist in one massive multimedia project, each subsequent addition to this universe has basically been made with the goal of getting people excited for the next while being fairly to immensely entertaining in its own right. This is something that could have easily imploded on itself, particularly if Marvel screwed it up by either playing it too safe and mucking their characters up in order to cater to audiences who might not be willing to accept them or by getting caught up in their own hype and letting the films coast on brand recognition and not paying attention to quality control. Read more…