The Artist Formerly Known as Cage

Nicolas Cage is nothing if not eclectic. In 2006 Cage was a major Hollywood A-lister coming off a run of terrific movies that included Lord of War, Matchstick Men, and Adaptation. He had already won an Oscar in 1996 for Leaving Las Vegas, proving he could do drama to critical acclaim. He was an established action star thanks to Con Air and The Rock. Cage had even cut his comedic teeth with the Coen Brothers in the 1987 film Raising Arizona. As a member of the Coppola family, Cage is practically film royalty and by the mid 2000s he seemed to have it all figured out.

Now it is 2010. Films like Next, Knowing, Bangkok Dangerous, Ghost Rider, National Treasure 2, and The Wicker Man have all bombed both financially and critically. Two films in development that his name has been associated with are Ghost Rider 2 and National Treasure 3. I don't hold particularly high hopes for either of those. The two or three movies he releases a year have become a parade of the bizarre and the uninteresting. Always appearing a bit off kilter, Nic Cage seems to have turned into his own caricature. What happened to the original and fascinating actor who was one of the most popular stars in the world during the '90s and early 2000s?

In November of 2009 Cage underwent a very public humiliation when he tried to sue his business manager for leading him into financial ruin. It was speculated that his epically bad stretch of movies was an effort to earn some money by taking scripts based on the money he was offered instead of their artistic potential. His two new movies, the intriguing Kick-Ass and the less intriguing The Sorcerer's Apprentice might provide a bounce back. Whatever ends up happening with the rest of his career, it is important to remember what a fine filmography Cage has and the collection of meaningful performances he created. Here is one blogger rooting for him to figure it all out again.

Here are some links for your enjoyment.

1. Cinematical interview with Nicolas Cage on his film Bad Lieutenant: Port of Call New Orleans.

2. A trailer and post on Tony Jaa's Ong Bak 3.

3. Logan Lerman might be the new Spiderman in the series reboot.

4. Great article on Dennis Hopper's career from the NY Times. Be warned, there are some spoilers if you haven't seen Easy Rider.

5. Interesting piece from the BBC about the potential ramifications of Kathryn Bigelow's historic Oscar win.

Princess Mononoke

Spirited Away is one of my favorite movies. After seeing it for the first time, I asked for a bunch of Hayao Miyazaki movies for Christmas, and recieved four: Spirited Away, Howl's Moving Castle, Castle in the Sky, and Princess Mononoke. Despite my love for Spirited Away, I hesitated watching the other three. I'm not really sure why. Maybe I didn't want to be let down after my expectations had been raised so high. Maybe it was my general wariness of Japanese anime, which I'd had mixed experiences with. But I'm getting off track; my psychoses are only a partial subject of this blog. I finally saw Howl's Moving Castle around a year after that Christmas, and it met my expectations without overwhelming me the way Spirited Away did. I was relieved, and only a little let down.

My recent viewing of Princess Mononoke raised my Miyazaki expectations back to Spirited Away levels. Mononoke opens with a young prince named Ashitaka (voiced excellently by Billy Crudup) defending his peaceful village from a crazed boar demon (sounds pretty good already, right?). During the struggle, Ashitaka is cursed, and forced into exile. On his travels, Ashitaka attempts to find a cure for his ailment while simultaniously fighting both sides of a battle between forest-destroying humans and the gods of nature.

One of the most interesting aspects of Mononoke is how multi-faceted it is. The nature gods are not just harmonious creatures that prance around in loin clothes crying crocodile tears as their perfect forest world is destroyed (coughavatarcough). Instead, they are ugly, quarrelsome beasts with frightening tendancies and an interesting hierarchy that causes them to fight amongst themselves. The human leader, while selfish and murderous, also possesses virtuous qualities, such as her care for the outcasts of society. The only "pure" character is Ashitaka, whose inner calm and confidence is put at odds with the hate-filled curse that is slowly taking over his body.

The most entertaining part of Mononoke, however, is its sheer beauty. The opening sequence is breathtaking. Watching Ashitaka perform simple tasks like calling his mount, adjusting his bowstring, and taking off in persuit of the boar demon is a pleasure. The animators think of the little twitches in human motion that you ordinarily never notice, but bring a realism and depth to the film. Scenes are allowed to play out as the score (always a strong point in Miyazaki films) swells behind it.

Mononoke treads a perilous line. Its message against globalization could be hit on too strongly (as I felt was occasionally the case in WALL-E), but the subtle and very real characters help bring the epic stakes down to a relatable level. Princess Mononoke hasn't supplanted Spirited Away as my favorite Miyazaki film, but I sure wish I hadn't waited so long to watch it.

27/30

Smokin' Aces

After reviewing several films I liked or loved, I figured it was about time to go negative. I really did not like this movie. Smokin' Aces was made in 2006, written and directed by Joe Carnahan. Carnahan created the excellent cop movie Narc back in 2002, and had assembled a huge cast for this picture. The personnel behind it, combined with a good marketing campaign had me revved up for it right on through the trailers in the movie theater. And then I actually watched the film.

Buddy "Aces" Israel (Jeremy Piven) is a small time Vegas performer who has inside info on a big time mob boss and is going to rat him out. The FBI is placing him under witness protection when the hit gets put out on Israel. Plenty of hitmen line up to take a crack at Israel, all on the same day, as the FBI tries frantically to keep him alive. Not exactly the most original plot, but one I could stand if it was accompanied by the appropriate amounts of comedy and action. This film had neither.

Carnahan fails to strike up any real humor, Piven plays Israel like a coked-out Ari Gold, and the host of otherworldly hitmen merely come off as bizarre. The giant cast is mostly adequate, but there are a few swing and misses. Nobody really deserves special mention. The only two people with even moderately watchable moments are the rapper Common as Israel's bodyguard, and Ryan Reynolds as one of the FBI agents. Even they only do enough to get by.

With sparse action this film feels a lot longer than its 109 minutes, and never really finds itself. I won't spoil it for those of you who wish to subject yourselves, but the conclusion is especially botched as it essentially negates the purpose of the entire film. All things considered it is mostly unoriginal, boring, and actually pretty depressing despite the fact that I didn't care about anybody the entire film. Bad things for a comic book movie.

By the way, in case your interested a sequel was just released this year called Smokin' Aces 2: Assassins' Ball. I will leave you to draw your own conclusions there as I probably won't be seeing it.

8/30

Barton Fink

If you're going to watch a Coen Brothers movie, you have to know what you're in for. Unless you're watching one of their more mainstream films, preparing yourself for a bizarre, metaphorical, and perhaps inconclusive ride is a good idea. If you're not expecting the typical exposition, conflict, and resolution of most movies, a Coen Brothers film can be an extremely refreshing break from the usual fare. Barton Fink is no different.

Barton Fink's story starts out simply enough. Fink (John Turturro) is a Broadway play write in New York who has just released a critically and commercially admired play. He then receives an offer he can't refuse: to make gobs of money in L.A. writing for the pictures. The transition isn't easy on Fink. There's his gregarious neighbor, Charlie (John Goodman), new bosses with strange business mentalities, and Fink's inconvenient case of writers block. The end of the film turns into a bizarre, abstract look inside a confused writer's head.

It has been suggested that Barton Fink is the Coen Brother's most personal film (though A Serious Man may have supplanted it). It provides an interesting take on the process of writing, and the delusions it places on a man who clearly has a skewed vision of himself. Barton Fink certainly has the Coen's pedigree: a meticulous script, beautiful cinematography courtesy of Roger Deakins, and terrific acting. The scenes between Turturro and Goodman are both engaging and hilarious; providing wonderful insight into the characters. The film's end doesn't resolve much at first glance, however I still found it extremely satisfying. As reality blends with the surreal, the powerful final scenes give you much to think about after the credits roll.

26/30

Sausage LINKS anyone?

First of all, a big thank you for the great shout out from my friend Dan over at The Goal Posters. They are a brand new sports blog with lots of potential. I will also be contributing over there from time to time if you should happen to be interested.

Now, back to business of movies. Just a few quick links tonight. Should have another review either tomorrow or Thursday.

1. According to Jerry Bruckheimer, the third installment in the National Treasure series is a go.

2. Interesting NY Times article on the new Steve Carell, Tina Fey movie "Date Night" and others of its kind.

3. "Tron Legacy" hasn't even come out yet and they are already talking sequel. Apparently some writers from the TV show "Lost" will be involved.

4. Blasphemy! The Val Kilmer emblematic 1980s flick "Real Genius" is in talks for a remake.

The Iceman Cometh

This is a remarkably difficult film to watch. John Frankenheimer's 4 hour epic (239 minutes to be exact) pulls no punches. "The Iceman Cometh" was made in 1973, based off of a Eugene O'Neil play, this depressing and dialogue filled movie will be way too much for most people. I had to break it up into three installments just to push through. With that being said, I thought it was terrific.

The story opens on a shabby old bar in the early 1900s. We are slowly (very slowly) introduced to the various regulars who are slumped in the back room sleeping off the previous night's revelries. We gradually discover that these broken down old men are waiting for someone named Hickey. Hickey comes once a year, every year, and always brings free booze and plenty of jokes with him to liven up the bar a bit. This year however, when Hickey arrives he reveals that he is no longer drinking and has come to perform a service for his old buddies. Hickey is intent on destroying the pipe dreams and lies that each drunk tells himself so that he can accept his lot in life. Hickey has come to get them off the sauce and on the wagon.

The cast and crew are wonderful. The set feels very much like a play, a feeling which is aided by remaining faithful to the source material almost word for word. This film is notable for several unusual performances by all-time great actors. Lee Marvin as the titular "iceman" Hickey puts the tough action persona on hold and attempts one of the most difficult roles in theater. He pulls it off. Jeff Bridges, a youthful 23 when the movie was released, displays tremendous range as a young man attempting to enlist the aid of one of the drunks that he knew from another life. Bridges often claims that this part was the one that made him get serious about acting. Robert Ryan and Frederic March, two titans of cinema, are both playing their last roles here. March as Harry Hope, the hapless bar owner, is the barometer for how the drunks are feeling and calls up the few moments of levity, while simultaneously being an object of pity. Ryan, who knew he was dying during filming, plays Hickey's adversary. Ryan is the only one of the drunks to claim that he is being honest with himself. He pretends to no pipe dreams and claims he is only waiting for death. These four performances carry the film.

This grueling movie provides a harsh look at what people do to get by every day. Self-delusion is the brutal theme. Their are sixteen characters who come in and out of the bar, and each one of them is subjected to Hickey's quest for truth. This adds to the film's running time, but there isn't a poorly written or acted character in the film. Fair warning, this plot has essentially no action and very little development, its a full four hours long and feels it, and it is one of the most depressing movies I have ever seen. This film is not for the faint of heart. But if you can stand it, it is a magnificent cinematic experience.

25/30

Welcome and links

To my good friend and colleague Ben, I'm glad to have you as a co-author here on Routinely Average. Ben and I differ on some subjects and agree on some subjects, but we always come at it from different perspectives, so I really think he can bring a lot to this blog. Of course Ben actually works with cameras and knows infinitely more about the technical side of making movies than I do.

One pair of movie makers that Ben and I both enjoy tremendously are the enigmatic Coen brothers. The Coen's dry wit and detached cynicism is combined with some really terrific technical abilities to make some of the most interesting and unusual films of the last 30 years. The Coens never do a remake and never make an unoriginal movie. That is why their upcoming film seems to be completely out of character for them. Joel and Ethan are remaking the 1969 Henry Hathaway classic, "True Grit".

Now, the 1969 version is a wonderful old western starring the all-american cowboy John Wayne (in his only Oscar winning role) as an old worn out marshal named Rooster Cogburn, tracking down a killer with some eclectic companions. While I do enjoy a good western, and Wayne in certain doses, this movie seems out of place for the Coens. That being said, this might be the movie I am most excited for in 2010. I think the Coens will create one of the most unique westerns in years, and potentially revitalize the genre. To help them do this they have assembled an enormous cast including a Coen bros favorite in Jeff Bridges, Matt Damon, Josh Brolin, and now, according to the buzz, Berry Pepper. Who else is ready for the Dude to take a crack at one of the Western genre's most iconic roles?

And some links

1. The Barry Pepper, "True Grit" article.

2. Fresh off of winning an Oscar for "The Hurt Locker", Kathryn Bigelow appears to be assembling a monster cast for her next movie.

3. Chris Evans is officially going to be Captain America in the upcoming Marvel movie.

4. Studio Briefing compiles several reviews on "Clash of the Titans".

30 Days of Night

Apparently, while living in a sparsely populated arctic town, you still have a pretty good shot at finding a gorgeous arctic mate. Such is one lesson I learned from the Hollywood adaptation of the graphic novel 30 Days of Night, directed by David Slade (who is, interestingly enough, directing the third Twilight movie, due out this summer). Josh Hartnett stars as the sheriff of a tiny Alaskan village that is plunged into 30 days of darkness every year. It is upon such an event that the town is besieged by vampires. Havoc ensues.

Slade takes a fairly good premise and shoots it well, using the dark landscapes for some beautiful imagery. The story itself is nothing special, providing the usual plot twists, turns, actions, and characters you expect from the horror genre. 30 Days cranks up the intensity a few notches by amping up the awesomeness of the vampires a few levels; however, I would have liked to see more of them. Apparently, the comic centered more on the vampire leader, portrayed brilliantly in the film by Danny Huston. Huston, the most interesting part of the movie, takes a supporting role, leaving us to watch the humans struggle improbably for survival.

It is a mostly entertaining struggle, however. The violence is doled out sparingly and satisfyingly, never being overly graphic or gimmicky. The humans are mostly smart characters who react realistically to the awful things happening to them. My favorite horror movies deal more in psychological terror rather than pure jumps and startles, and in that respect, 30 Days is an enjoyable movie to watch. Overall, nothing new, but a fun ride.

19/30

Hello

Good evening, internets. Hopefully I don't break this blog.

My name is Ben; the other brain behind the genius "out of 30" rating system. I'll be contributing periodically to these reviews with a variety of movies from Netflix.

I did take an HTML class in college, so look for a little extra technical wizardry from my posts. Prepare yourself, internet.

See you all in cyber space!

Links Galore!

Ever since the first time I saw "Goldfinger" and Pussy Galore, I have been a devout fan of both Sean Connery and James Bond. I loved the innuendos, I loved the gadgetry, the tongue-in-cheek dialogue. The Bond movies provided great action, without ever really taking itself too seriously. Roger Moore took the joke a little too far, and Pierce Brosnan brought the iconic spy right back towards the middle ground.

Over the last two films starring Daniel Craig, "Casino Royale" and "Quantum of Solace" (the worst Bond title ever), the pendulum has swung too far the other direction in my opinion. After the monstrous success of the recent Jason Bourne films, the new Bonds have been far too serious and action heavy for my taste. Graphic torture scenes, brutal beatings, a near total lack of gadgets, humorless seductions, and even (gasp) Bond in love has populated the newer films while simultaneously removing the joke of the series. Bond is not meant to be taken seriously. Craig appears to have fine charisma and should be capable of playing the role, but the writing and direction have not given this franchise any room to breath.

All this is why I am nervously optimistic about the recent news out of hollywood. One of my favorite current directors appears to be taking the helm for the next Bond venture. Sam Mendes, most famous for his masterpiece, "American Beauty", is in talks to direct the next Bond film. Mendes, while being a terrifically talented artist, has never directed a movie like this before. I am more than willing to give the man a chance, but another Bond disappointment will be tough to take.

Now for some links.

1. The link to the James Bond article.

2. Interesting rumor from Film Shaft about a possible Clint Eastwood - Leonardo DiCaprio collaboration.

3. A new trailer for the Angelina Jolie film "Salt".

4. Clip of the Nicolas Cage character Big Daddy doing some damage from the new film "Kick-Ass". Be warned, there is some blood letting.

5. Talk about Joss Whedon of "Firefly" and Buffy fame possibly directing the new Avengers movie.