Powerpoint Presentation: Films of the 1980s

 

For Power Point DC, I pulled together a Power Point of the 1980s on film to promote my film of the month club (you would have to click on following me).

 

These were the films I picked and what I riffed off of:

Any Which Way You Can-Clint Eastwood gets into random fist fights, loses Sondra Locke, gains a monkey. It’s better than it looks

Cannonball Run-Is there anything about this film that isn’t fun to talk about? Based on a series of no-holds-barred cross-country races in the 1970s in which cars drove some 150 miles per hour. Roger Moore plays a man who got practical surgery to look like Roger Moore; Jamie Farr plays a shiekh who falls in love with a car hop in 30 seconds minutes; Tony Danza gets paired with a monkey; Terry Bradshaw is in the film; Farrah Fawcett givesboring lectures about how much she loves trees and the men still want her because she’s Farrah Fawcett; and there’s a frankenstein-like doctor who’s sole qualification is that he has a syringe with a mystery substance in it.

A View to a Kill-This James Bond film certainly has some humorously jarring elements: Christopher Walken plays a villain with Christopher Walkenish speech affectations; James Bond escapes death by disrobing into bed with Grace Jones and expecting her to sleep with him; there’s a cheesy California Girls sequence, etc. However, I wouldn’t call this the worst James Bond film because it’s not boring. It’s zany, but boring is the cardinal sin (looking at you “For Your Eyes Only”). 

Cocktail-This film is among the most Tom Cruisiest of Cruise films. It will also make you hate bartenders

Bronco Billy-This movie is on my top films of all time as it embodies the found family trope among a group of misfits who pose as cowboys in a send-off to Buffalo Bill Cody’s Wild West Show. It’s Clint Eastwood at his hammiest

Cocoon-One of a number of 1980s with aliens who are just there (The Abyss is another example). They’re not particularly violent, they’re arrival is greeted with total indifference, and they’re net effect is curing erectile dysfunction in old people. I also talked about how Wilford Brimley is best known for inappropriate commercials, and Don Ameche earned a paper-thin makeup Oscar here.

Passage to India-There wasn’t as much to riff off here, except the abstract concept of discovering the real India. It’s a long film with a capital “L” as it was directed by David Lean of epics such as Lawrence of Arabia and Dr. Zhivago. It’s an excellent period piece with an Oscar-winning performance from Peggy Ashcroft. I reviewed it here: Passage to India

Short Circuit-The inspiration to Wake, Rattle, and Roll. Both Passage to India and Short Circuit have some amusing (though others might consider offensive) brownface

Moore: The mean-spirited and distasteful Bond?

I was recently watching some of the Roger Moore films from the Bond retrospect and a couple moments really stuck out to me. The first is in The Spy Who Loves Me where Bond is fighting a henchman who is about to fall off a tall building and grabs Bond's tie to level himself. Bond asks the henchman where his contact can be found, and as soon as he tells him, Bond flicks him off the hand, and allows him to fall off a two-story building.

The second scene is the finale of A View to a Kill as James Bond is Max Zorin (Christopher Walken), the main villain, is engaged in an axe fight with Bond. He drops the axe and is hanging off the ledge of the Golden Gate Bridge. Zorin reaches out for Bond's hand, and Bond lets him fall off the Golden Gate Bridge to his death as his mentor/father figure is watching.

These are two examples of moments that I find distasteful in the Moore Bond films. Don't get me wrong, I like the Moore Bond films. They usually had the most exotic locations, the best-looking and most competent girls, some of the most imaginative villains. At the same time, some of these moments make me truly cringe becasue they aren't explained in the context of what's going on.

Moore's Bond does something cruel and distasteful by allowing an unarmed man to die rather than bring him to justice and there's an extreme juxtaposition between these cruel acts and the light-hearted tone that's being conveyed. Him finishing it off with a light-hearted joke and a smirk makes it even worse. It would be like if Adam West's Batman allowed Burgess Meredith's the Penguin to be boiled alive in a lava pit before making a lecture to Robin about the deeds of fighting evildoers and buckling your seatbelt in the batmobile.

I think Dalton and Craig might do similar things, but it makes more sense in context. They have their conflicted moments where they might do cold-blooded things but the film acknowledges that it might have been hard for the villain to do it, or there was inner conflict. In part, this is because Dalton and Craig are classically-trained actors who take whatever material they're given and seek a human element to it. Brosnam, at his best, was portrayed as someone with that level of inner conflict. In Goldeneye and World is Not Enoguh he had personal connections at stake, first to his former colleague who was like his brother, and second to a family friend and his daughter. In Tomorrow Never Dies, Brosnam was similarly merciless, shooting an unarmed psychiatrist/torture specialist and reigning bloodbaths on workers at a newspaper mill, whose job duties probably did not include a be-prepared-to-risk-life-and-limb-fighting-a-secret-agent-to-the-death-should-one-ever-break-into-the-printing-room clause.

Saturday Night Live keeps going

I think that what's interesting about Saturday Night Live is that while it's not as popular as it was in the Rock/Farley/Spade/Hartman days, it still manages to poke its head into pop culture when you're ready to call it down and out.

I would've actually thought that Saturday Night Live stood a good chance of being killed when youtube started becoming popular since both youtube and saturday night live both cater to the audience who wants their comedy in 5-minute sketches but SNL found a way to jump on board the trend with the digital shorts produced by Andy Samberg, Akiva Schaeffer and Jorma Takome (Andy is the one on camera). "Dick in a Box" and "Lazy Sundae" are two that have gone viral on youtube, but there's also "Iran so Far," Adam Samberg's love song to the President of Iran with Adam Levine providing some of the vocals, and a hillarious one with Tom Hanks singing "Don't Touch my Testicles." The "Iran So Far" is probably the funniest thing Andy Samberg has done in my opinion and it's possibly the best thing Saturday Night Live has done all season.

The other smart thing Saturday Night Live is doing that nothing else on NBC is doing is its not giving away all its content for free on the internet. You can't watch an entire episode of Saturday Night Live online like you can for many shows on hulu or their respective network sites. They usually post about 2 or 3 sketches a week but I recently discovered that the people in charge of posting the sketches online aren't picking the best ones. I think this is smart because SNL isn't like a TV show. It does basically the same stuff as youtube. A lot of the funnier material (the stuff that isn't recycled from past skits) is usually in the show and it's that five-minute stuff that you're dying to see over and over again.

I would have thought that the show would have suffered because about 2 years ago they had some serious budget cuts and had to cut 5 or 6 people, and now their cast is much smaller and less experienced. Then again, an astoundingly high number of the members of the current cast are capable of doing a Christopher Walken impression. Check out this skit where you will see 8 seperate members of the current Saturday Night Live cast impersonate Christopher Walken: http://www.hulu.com/watch/16389/saturday-night-live-meet-the-family#x-4,cClips,1 After watching this, I can reach two conclusions: 1) It's very easy to impersonate Christopher Walken or 2) The cast is, in fact, a talented group of comedic actors All I can say is I tried seeing if I could talk like Christopher Walken for a few minutes by playing this skit and trying to mimic the way they talk. It's harder than it looks.

At the same time, one of the show's weaknesses is that they seem kind of lazy in the writer's room. In my next post I will present what I imagine their pitch meeting went like last week:

My oscar rankings so far through October

I haven't seen many Oscar websites this year, I'm not even sure what the point of it is. Every week there's been a big picture opening starring a former Oscar winner that gets big acclaim.


My Entertainment Weekly magazine praises American Gangster, Atonement, and Charlie Wilson's War as the three front runners, and the next 5 as Into the Wild, Juno, Kite Runner, No Country for Old Men, Michael Clayton, and after that a group of 5 that includes Diving Bell and the Butterfly, Hairspray, Sweeny Todd, There Will be Blood, and 3:10 to Yuma. I heard Eastern Promises got great reviews, so this is the first year where I'm just starting to think the Oscar process is kind of overly random.

Films I've seen in loose order from best to worst:

3:10 to Yuma, Darjeerling Limited, Sicko, Michael Clayton, Hairspray, Eastern Promises, Transformers, Lars and the Real Girl, Bourne Ultimatum, Spiderman 3, Across the Universe, Knocked Up, Elizabeth and the Golden Age, Invasion, My Brother, Evan Almighty, I Now Pronounce You Chuck and Larry, Blades of Glory, Fantastic Four: Rise of the Silver Surfer, Music and Lyrics, Superbad, Licence to Wed, Music and Lyrics, Shrek 3, Pirates 3, Nancy Drew, 1408


So, these are the best of what I've seen:


Best Picture:


3:10 to Yuma


Darjeerling Limited


Sicko


Michael Clayton


Hairspray





Best Director:


James Mangold, 3:10 to Yuma-So impressed with him. He's not an auteur in my eyes (no consistent style) but an impressive filmmaker, nonetheless


David Cronenberg, Eastern Promises-His story had such heart-pounding intensity to it (as in my heart was literally beating really hard and fast), even during non-violent sequences, and I just figure you gotta be an incredible director to do that


Michael Moore, Sicko-The master of non-fiction narratives


Wes Anderson, Darjeerling Limited-Even though Darjeerling Limited is ranked 2nd, and Anderson is like my favorite director, I think there were three directors who REALLY surprised me this year, while Anderson just plain delivered his high caliber work as usual.


Tony Gileroy, Michael Clayton-He cornered George Clooney and forced him into a meeting for his film, so I'm pretty impressed with his sheer ambition.




Best Actor:


Ryan Gosling, Lars and the Real Girl-Oscars usually nominate one picture in a light-hearted/character-based/comedic performance and therefore it naturally follows that performances from pictures like Sideways, Little Miss Sunshine, Lost in Translation, Junebug and Stranger than Fiction usually get Oscar buzz or actual Oscar nominations. This performance right up there with all of those other ones.





Virgo Mortgensen, Eastern Promises-When your character is stabbing people and fending off death, it usually ups the ante a little and therefore it can tend to get oscar baity, but this is a great and subtle performance. This is a guy who has a job that involves killing people in cold blood and you're wondering how he manages to be civil and clear of conscience while doing it, and it's not that he has kids to have to raise and be answerable to. There's a sense of decency evident in him when it comes to dealing with Naomi Watts and her uncle, and that provides the answer for who his character REALLY is.


Russell Crowe, 3:10 to Yuma-Crowe is always an artiste. As Chris Rock says, he always appears like he's studied the character thoroughly and is deeply immersed in whatever he's playing. I think Crowe is injecting "Crowe the artist" into his role of Western outlaw, and creating a character who's supposed to be the typical villain, yet he's very passive and thoughtful about everything he's done.


Christian Bale, 3:10 to Yuma-If you thought Bale as Batman was a test of his ability to hide his English accent, wait till you see Bale in western Drawl and how well he pulls that off.


John Trovolta, Hairspray-John Trovolta wasn't as mindblowingly convincing as I thought it would be. I might have been willing to move him up a couple slots if he pulled it off, but he didn't. At the same time, though,his character had a lot of tender moments with Nikki Blonsky that I think were done well.





(Runner-Up: Adrien Brody of Darjeeling Limited or rather, was he a supporting actor? It's hard to say)





Actress:


Cate Blanchett, Elizabeth: The Golden Age-Well, it's just hard to trump the supreme effort of this task. It's just one of those performances that's so intricate and nuanced that even if it wasn't 100% what you hoped for, you can appreciate the whole picture

Naiomi Watts, Eastern Promises-This woman can spin yarn into gold on practically anything. She was, in fact, one of the most protested snubs of the decade for her work in 2001's Mullholland Drive.


Evan Rachel Wood, Across the Universe-Wood's surprising second talent as a singer really stood out to me.

Nicole Kidman, Invasion-Well, it's Nicole Kidman for god's sake. Like Meryl Streep or Naiomi Watts, she's good in pretty much everything she does.

Emma Roberts, Nancy Drew-Nancy Drew is right down there with 1408 for the worst film I've seen this year, I took my younger cousins to see it, but a) the pool of female actors is getting low by the time I hit the #5 spot (even with Nikki Blonsky, Kiera Knightly and Katherine Heigel in the running) and b) even if the movie was terrible, I actually thought she was able to make lemons out of lemonade pretty well. Her character came off as spirited and plucky but also a very believable teenager who suffers from being super humanly smart. I think the tone of the film didn't fit her performance. Also, c) I already picked Kiera Knightly last year in my summer '06 awards

(Runner-Up: Kiera Knightly, Pirates of the Caribbean: At World's End: That film put her in the forefront of the story more than the other two. It's kind of close)

Supporting Actor:

Tom Wilkinson, Michael Clayton-This might very well be the performance of the year, no contest. Wilkinson's characters are usually uninteresting heavies so this is quite a change and a good one. I'm really rooting for him.


Clive Owen, Elizabeth-If the movie could be slow and boring at times, it never was when Owen was on-screen. It wasn't a performance with any really intense moments but there was gravitas and conviction to Owen's performance.


Ben Foster, 3:10 to Yuma-You looked at him and saw a lot of bitterness or something hard to quantify. It was a really interesting performance, for sure


Christopher Walken, Hairspray-There's Walken the crazy guy, Walken as a villain, Walken the parody of himself (that you see on SNL), Walken as the singer and dancer (who knew?), but rarely do you ever get to see a compassionate Walken: one with heart and one that can create touching scenes.

Michael Cera, Superbad-His performance was an interesting combination of Michael Bluth from Arrested Development and a kid with a lot more confidence. He might end up having a fairly long career.

Supporting actress:

Tilda Swenton, Michael Clayton-She personified corporate greed and female ambition to create such a great villainess. She was so evil, yet she seemed so familiar to anyone who's ever read testimonies by or stories about crooked CEOs in the business section of their paper.


Amara Karan, Darjeeling Limited-I think female characters who are sexually open (and could therefore be defined as slut-like) but later found to be richer underneath are particularly interesting. She also took away from a lot of Indian stereotypes.

Emily Mortimer, Lars and the Real Girl-A wonderfully awkward film in so many ways

Joan Allen, Bourne Ultimatum-It seemed like Allen took the material very seriously as if this weren't just an innocent action movie, and the movie's tone changed as a result

Tie: Michelle Pfieffer, Hairspray-A wonderfully devious performance that possibly came from channeling all that frustration of not having been cast in any movies this decade.

AND

Vanessa Williams, My Brother-I saw this film at a film festival, that never got more than a week's circulation at most major movie chains after much pushing. It was made by Oscar-nominated shots director Tony Lovern, and it was a labor of love for him to get it through distribution. The movie similarly also loses a little in production values, but is a very emotionally compelling story. Vanessa Williams' role in this is something that you would not expect to see from a former Miss America contestant, singer, and model. The actress knew that the part was gold and either took a pay cut or did it for free, I can't remember which.

Runner-Up: Abby Cornish, Elizabeth and the Golden Age

Cinematography/Art Direction:

Darjeerling Limited-On the art direction end it ranks higher. Wes Anderson is always my favorite in that department

Elizabeth and the Golden Age-An observation: I don't think that the cinematographer was aiming to show this world in as glamorous of a light as he could have. It was very realistic and abstract at the same time. Certainly the most interesting thing about the film, of course, was the art direction.

3:10 to Yuma-Westerns always give one a healthy opportunity to play with cinematography. These top 3 are all very impressive on my list.

Pirates: At World's End-That shipwreck cove was probably the best visual accomplishment of the film, along with the super army of ships.

Michael Clayton-Rather ordinary places like office buildings, the basement of a restaurant where the title character plays poker, and a New York City street were filmed in such a way as to convey a feeling of claustrophobia. Clever.

Ensemble:

1. Hairspray-There was no weak link in this ensemble and that's what made it great

2. Michael Clayton

3. Darjeerling Limited

4. Eastern Promises

5. 3:10 to Yuma

Special Effects:

1. Spiderman 3-Mainly because of Sandman

2. 3:10 to Yuma-A good-old fashioned Western shootout

3. Invasion-To give a loose idea on the bulk of special effects work: People's bodies decompose as alien parasites take them over.

(In this category, I was largely dissapointed with some of the big CGI-based films like transformers)