This film, which could have been a thriller action flick akin to No Country for Old Men, instead devolves into an illogical whimper.
Out in the countryside of Australia, Shane Cooper begins his first day with the local police department. The day goes to hell when it turns out former local and now escaped prisoner Jimmy Conway is on his way back to town. With checkpoints erected and a posse gathered, the locals batten down the hatches for the incoming storm.
The film’s worst enemy is a thinking audience, as extraordinary leaps in logic cause the film to stall out. One guy wastes an opportunity shoot the bad guy; another is bleeding so bad he passes out, but can then ride a horse and lithely dismount; and the number of shotguns pumped for dramatic purposes in this film is just waiting for an internet meme to highlight its absurdity. Toss in the apparition abilities of the hero and re-inforcements, and the film’s potential at the beginning compared to the disappointment at the end, and it reflects the brutal realities of childrearing in a way that I’m sure is unintentional.
If you’re concerned that I’m just being nit picky, I assure you, I’m not. The logic issues and the heroic, exposition-heavy conclusion are like sandpaper to your gray matter. Where the film takes off with moments of mystery and fear, they are promptly stamped out by discordant events or words that just don’t belong in this film.
Sure, there are bullets and bloodshed, but the thin drama fails to sustain any propulsion and makes it a joyless thrill you could give a shit about. Tone dictates expectations and the film does not deliver on its promises.
Oh, and did I mention the film has a black panther? I don’t know why, it just does.
It’s difficult to find someone who just hates the original Star Wars films. Either you like it or you just haven’t seen it yet. The People vs George Lucas airs the long-labored arguments that Star Wars nerds have been making since Lucas made Greedo shoot first–but the film is accessible, and still hilarious, to the wider community.
The film looks at the love/hate relationship between George Lucas and the original fanbase he gained back in 1977 with the release of Star Wars. The film takes the traditional documentary route, with talking heads, archive interview footage of Lucas, and film clips. However, it also includes fan submitted videos explaining how they feel about George Lucas.
The way the story is fleshed out is the true hook. Lucas’ work before Star Wars is presented to showcase his power as a filmmaker (THX 1138, American Graffiti), and to then contextualize the ensuing years that would be solely dedicated to Star Wars.
As the chronology moves closer to the present, the nerd rage get a chance to shine: contributors rail against Lucas’ decisions to digitally change scenes (now Han Solo doesn’t shoot first, so as to make him less of a “dark” character), to add items to scenes, and his refusal to allow fans to have a theatrical cut of the film. Then of course the prequels are brought up, and you have a complete platform of complaints that fans across the world hope Lucas will hear.
The most entertaining touch is the plethora of Star Wars fan films that help tell the story. The variety of filmmaking formats and techniques the amateur fans utilize is truly awe-inspiring and entertaining. Some clips you wish you could just follow those down the rabbit hole…
The film is at its most thought provoking when dealing with the issue of the competing wishes of filmmaker and consumer; the documentary also points out that George Lucas himself argued against the colorization of black and white films on the same “cultural significance” grounds that his fans state as the justification of releasing a theatrical cut.
Though the film deals with Lucas’ conversion to the Dark Side, it is quite fair in its treatment of the man. This could have been a vitriolic piece of hate-mail bubble wrapped with nerd rage, but instead treats the Lucas like a human being. Or better put, a drunk uncle everyone loves because he’s family, but really hates for the grief he’s caused. Either way, it’s classy in a way you never thought fanboys could accomplish.
Though there were too many commentors, that were then cut too brief, the film is funny, intelligent, and a delight to watch, particularly due to the fan films. Now to see if it can get a response from Lucas.
Yesterday was the first day of press screenings, taking place a day before the official kick-off of the Edinburgh International Film Festival. The day’s highlights:
*and Robin Williams is the World’s Greatest Dad, which might be one of the fest’s best.
other news
I also want to thank friend and reader Gideon for his $20.00 donation. He will receive a copy of my DVD (5 shorts for $5) and amazing internet fame for being publicly mentioned on my blog. Thank you very much Gideon, it was a welcome surprise.
Meanwhile, his hard earned money will go toward feeding this hungry film critic between screenings. Seriously, yesterday I only had time for a bowl of cereal, two bananas, and coffee from 8am-9pm.
reviews to come:
The People vs. George Lucas, Evil in the Time of Heroes, Red Hill, and The Illusionist.
Lisa and Peter go see what's hanging out in their basement.
From the haunted happenings of Poltergeist to Guillermo Del Toro’s excellent The Devil’s Backbone, children in film have been regular objects of ghostly terror. Two Eyes Staring continues this tradition, with decent results.
Christine’s mother wills her a small mansion that her husband Peter loves, and her daughter Lisa loathes. Peter convinces Christine to move in, but the house, and Christine’s past, are steeped in mystery by Christine’s evasive attitude concerning her mother. As Lisa copes with the move and the subsequent loss of friends, she hears strange noises emanating from the basement. Insert creepy music here.
Without spoiling the film, it does deliver fair horror atmosphere, with the accompanying jump scares that have become a staple of the genre. The relationship between Lisa and Christine is deftly displayed as strained and cold, in comparison to how difficult it is not to smile at the warm relationship between father and daughter. The mother is too interested in work, but dad’s affections come through in his respect and familiar attitude. The establishment of these cold and hot relationships supports the film’s final act – which delivers more than most horror tales.
However, the film’s length blunts its edge. POSSIBLE SPOILER In an effort to firmly establish the reality which is then overturned, it spends laborious amounts of time hitting the same key. SPOILER ALERT OVER In short: The length could have been trimmed to keep taut the flagging tension. Further, the music crowds what could develop into deeper moments of terror; these items undermine the development of atmospheric and psychological creepies. The Sixth Sense did an impressive job of generating mystery, sustaining tension, and horrific scares sprinkled throughout. Two Eyes Staring is almost of that caliber, but not quite.
Even though the film makes some missteps, it’s by no means a bad ride. It leaves you unsettled and your mouth agape with “Holy Sh*t!”-ness, which is more than most films are able to achieve. Just give it some time.
The Edinburgh International Film Festival has just released their schedule for the 12 day long festival, which starts June 16 and ends June 27. Tickets for the festival go on sale tomorrow at noon.
Due to your readership, dear Film Fan, I have secured a Press Pass for the festival. This makes almost all of the screenings free. Without your readership, I would be spending over a 100 pounds trying to cover a fraction of the festival’s events. So thank you.
To honor your support, please look through the festival’s brochure and tell me what films you want reviewed – or simply if I’ve overlooked a great film at the fest. I cannot promise I will be able to deliver all reviews given time restraints, but I will do my best.
There are an insane number of films being shown, so the following are the main titles I’m looking forward to seeing.
22 Bullets
“Jean Reno gets shot 22 times…and he’s not happy about it.” Produced by Luc Besson (Unleashed, The Fifth Element) and starring our favorite hit man, this is high on my list.
BAFTA Scotland Interview: Sir Patrick Stewart
Who would pass up a chance to see Captain Picard?
Cigarette Girl
A dystopia in which smokers are separated from the rest of the city, it looks like a fun B-movie.
Get Low
Robert Duvall plays Felix Bush, an old timer who wants to have a funeral party – while he’s still alive. Throw Bill Murray into this 1930’s period piece and I’m there.
H.P. Lovecraft’s The Dunwich Horror
This will be a “audio horror movie,” using the cinema’s sound system to tell Lovecraft’s tale.
Lucky
Documentary from Jeffrey Blitz (Spellbound, Rocket Science) detailing the lives of lottery winners. Given the greatness of Rocket Race and an NPR piece I heard discussing the making of the film, it should deliver the goods.
Monsters
After contact with alien life has gone awry, the Mexican/U.S. border becomes “infected” territory. Monsters received buzz at SXSW and has been compared to District 9. Probably the film I’m most anticipating at the festival.
My Son, My Son, What Have Ye Done?
Directed by Werner Herzog and produced by David Lynch, that’s enough to watch. Adding Michael Shannon (a little known actor who was phenomenal in Shotgun Stories), Michael Pena (Crash, The Shield), Chloe Sevigny, and Willem Dafoe is just icing to the cake.
Outcast
Looking forward to this based solely on the reviews, tagging it as a UK horror that throws out the rules.
R
Described by the EIFF as a prison story that makes A Prophet “look like porridge.”
Red Hill
“This Western-style outback thriller is action cinema at its very best.”
Restropo
“The Afghanistan war film that renders all others unnecessary.” After being embedded for 15 months, the film is supposed to be an unflinching analysis of modern warfare, featuring civilian and military casualties.
The Last Rites of Ransom Pride
It’s 1910 and a young woman is hellbent on returning the body of outlaw Ransom Pride to Texas for a proper burial. Described as a “dark, violent western” reminiscent of Tarantino, Pekinpah, and Sergio Leone, with cameos from Kris Kristofferson, Dwight Yoakam, Jason Preistly, and a shotgun wielding Peter Dinklage, it sounds like a good ride.
The People vs. George Lucas
I posted a blog piece about this that you can read here. Super pumped for this one.
Toy Story 3
UK premiere of Pixar’s latest.
World’s Greatest Dad
Starring Robin Williams in a dark comedy/drama directed by Bobcat Goldthwait, it’s sure to be interesting given Williams abilities showcased in One Hour Photo and Death to Smoochy.
Other film of interest include: Act of Dishonour, And Everything is Going Fine, Au Revoir Taipei, Blank City, Boy, Caterpillar, Chase the Slut, Cherry Tree Lane, Crime Fighters, Evil in the Time of Heroes, Fog, Gravity, Henry of Navarre, HIGH School, Hotel Atlantico, Jackboots on Whitehall, Lucky Luke, Ollie Kepler’s Expanding Purple World, Perastroika, Police Adjective, Postales, Privelege, Putty Hill, Skeletons, Snowman’s Land, Son of Babylon, Soul Boy, The Dry Land, The Hunter, The Oath, The Red Machine, The Robber, The Sentimental Engine Slayer, Third Star, Two Eyes Staring, Vacation, and Went the Day Well?
There are still some costs to covering the film festival, so if you like the blog and can afford to support my work, donate below. If you donate $10 or more, I will send you a DVD of my short films. One finds more value in their work when people are willing to pay for it.
Darren Aronofsky (<em>left</em>) and the Unknown Interview Lady (<em>right</em>).
As was the same with the Sam Mendes talk: I was able to get a last minute ticket for the Darren Aronofsky event that had been sold out. I secured a front seat and the following video footage below. I did not have enough memory on my camera to cover the entire talk, so the rest is dictated word for word from my old school tape recorder (I really need to buy a digital one…).
Worth highlighting are his thoughts on 3D, music from his films cropping up in shitty trailers and sports events, and why some people hate The Fountain towards the end of Part 6. Please leave your thoughts at the bottom.
Welcome everyone to my film diary. While I am waiting to start school here in Edinburgh, I’m working on my film knowledge and jotting down ideas. I will dedicate this journal to the discussion of cinema (and even some literature), but right now the big thing is the Edinburgh International Film Festival.
The fest is one of the largest in the U.K. and will be showcasing Sam Mendes’ Away We Go, the sci-fi film starring Sam Rockwell, Moon, and talks with directors Sam Mendes, Darren Aronofsky, and King of the B’s himself, Roger Corman. Unfortunately I was unable to get tickets in time for Mendes and Aronofsky. However, I feel my uncanny ability to meet bands like Everclear, Queens of the Stone Age, Papa Roach through cunning and persistence will be helpful in getting into the talks in some way.
Here is a list of the events I’ve bought tickets for (and in brackets the events I’ll try to get into):
June 17 Away We Go
June 18
[Sam Mendes: In Person]
June 19 The Hurt Locker (from the director of Point Break)
June 20
Roger Corman’s The Intruder, starring William Shatner. (This was the best trailer I could find for the film, but it’s still good for some background on the film and Corman)
Moon (sci-fi film with Kevin Spacey and Sam Rockwell)
June 26 Pontypool (radio dj gets reports of strange things going on outside)
The festival begins tonight with Away We Go and I’ll post my thoughts tomorrow. If there are any films you see on the site that you would recommend, please comment.
This film, which could have been a thriller action flick akin to No Country for Old Men, instead devolves into an illogical whimper.
The Filmsmith 
Darren Aronofsky: In Person
Darren Aronofsky (<em>left</em>) and the Unknown Interview Lady (<em>right</em>).
As was the same with the Sam Mendes talk: I was able to get a last minute ticket for the Darren Aronofsky event that had been sold out. I secured a front seat and the following video footage below. I did not have enough memory on my camera to cover the entire talk, so the rest is dictated word for word from my old school tape recorder (I really need to buy a digital one…).
Worth highlighting are his thoughts on 3D, music from his films cropping up in shitty trailers and sports events, and why some people hate The Fountain towards the end of Part 6. Please leave your thoughts at the bottom.
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Posted in Edinburgh International Film Festival, Filmmaking, Interviews
Tagged 3D, Batman, Cinema, Clint Mansell, Darren Aronofsky, Edinburgh International Film Festival, EIFF, Filmmaking, Frank Miller, Hubert Selby Jr., Mickey Rourke, Movies, Pi, Requiem for a Dream, Robocop, Steroids, The Fountain, The Wrestler