On this day, ten years ago, New Line Cinema – then an independent production company – released the first film in a long-gestating film series. Peter Jackson’s The Lord of the Rings: The Fellowship of the Ring hit cinemas on December 19, 2001.

Before December 2001, I was only loosely familiar with Tolkien. I was – and still am – more of a C.S. Lewis guy, and I hadn’t seen a decent fantasy film since my VHS copy of Willow had worn out. Personally, I was in a kind of self-imposed movie drought. After my experience with Jurassic Park in 1993, I took a keen interest in movies, reading as many Starlogs and early movie sites as I could find. I was ten years old when I saw Jurassic Park, but by high school I had lost interest in movies, cynically believing I’d never be able to make the leap from fan to practitioner. I dove into comic books and television, but The Fellowship of the Ring pulled me back into the fold.

Join me in remembering the blockbuster movie landscape of 2001. Up until December, we had seen Hannibal, The Fast & The Furious, Jurassic Park III, Planet of the Apes, Lara Croft: Tomb Raider, American Pie 2, Rush Hour 2, The Mummy Returns, and Pearl Harbor. Sure, we got a Harry Potter movie that only hardcore fans could love, and some solid Soderburgh and Pixar, but by winter I had tapped out. Then a funny thing happened. A friend dragged me to Lord of the Rings, and something clicked in my brain.

First of all, I had no idea what was going on. I assumed Gondor was some sort of deity. I figured Gandalf was dead forever. I paid little attention when the main characters referred to some troll thing floating on a log. I was uncomfortable at the level of Enya I was having to endure.

Despite the film’s apparent impenetrable nature, it worked. In fact, it worked extremely well. The way Jackson’s camera moved, the way he wielded a vast array of movie magic tricks, and the deadly serious tone that the script and performances conveyed re-ignited my love for cinema. I was ten years old again.

Looking back now, the film isn’t as perfect as I had assessed at the time. Tolkien purists take issue with missing or misappropriated characters, or questionable attempts at comedy. Even in 2001, general movie audiences bristled at its length and open ending. I have found myself less intrigued by Jackson’s ever-roaming camera, as it floats and tilts all over the place, with no discernible motivation other than pacing. Although verisimilitude must have felt pretty special in a fantasy film from the era of Dungeons & Dragons, some of the film’s emotional moments can feel overwrought and over-emphasized.

All that said, is there a more dynamic example of mainstream cinematic culture-making from this era? The Matrix had wowed audiences and inspired a whole chic of its own, but its convoluted mythology and cynical approach didn’t seem to stick to the ribs. Lord of the Rings, however, arguably became our generation’s Star Wars, rivalled only by the Harry Potter or Batman series, and for good reason. The Fellowship of the Ring is an all-encompassing adventure movie that takes the audience across a wide array of topographies, emotions, and relationships.

Possibly the best example of The Fellowship of the Ring’s breadth is its opening and closing action sequences. The film opens up with a massive, computer graphic-laden battle scene between generalized characters we’ve never met, composed in wide, swooping establishing shots. The movie closes, however, with a dirty, intimate fist fight between a hero and villain that have been separated and established slowly through the entire story. Jackson starts his film wide and on a soundstage, and ends close-up and in the forest. Much like Jurassic Park, Jackson’s film features every special effect discipline available to the medium up to that point. Both films are almost demo reels for the history of movie magic.

Ten years after The Fellowship of the Ring, I find myself a cinephile that’s wandered from criticism to filmmaking. This movie helped to unlock a talent that I hadn’t tapped into in before. It helped to re-establish and initiate a life-long dream. Come to think of it, I cannot have been the only one. I’d be willing to bet that many of today’s DIY genre filmmakers – as well as stereotypical modern “internet movie nerds” – were forged in the fires of Star Wars and The Matrix, but took their form during the release of The Fellowship of the Ring and its sequels. I’d love to hear some feedback to see if anyone else’s movie fandom intensified after the release of the The Lord of the Rings.

It’s that time of year. The weather’s cold, the food is good, and your schedule is cleared. What a perfect time to re-visit Middle Earth.

 

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In other news, the Film Nerds podcasters have been busy with preview screenings! Check out Cinematrimony’s Tintin preview, as well as Aspect Radio’s discussion on The Girl With The Dragon Tattoo! For more information on my films, check out the sites for The Nocturnal Third and A Genesis Found, or visit the Wonder Mill Films Facebook page or Twitter feed.

 

What is “regional film”?

The term does not have a very concrete, undisputed definition.  Some of my filmmaking peers and myself might categorize a regional film as any that is about the place it’s from. Therefore, we might label a “regional filmmaker” as one who creates films that evoke, speak to, describe, or take place in the filmmaker’s chosen region. A term I like to use are “home-brewed” movies, as in our case, the films are most often also completely independently produced. On a big scale, Martin Scorsese’s or Woody Allen’s New York works or maybe Peter Jackson’s pre-Lord of the Rings projects might be the best examples of regional film. On a much smaller scale, I might humbly submit our own films The Nocturnal Third and A Genesis Found, as well as films like Pop Skull or George Washington.

The unsustainable nature of DIY productions notwithstanding, we are living in an age where an American region can use narrative cinema to represent itself to itself, and to its surrounding regions. Call it “local foreign cinema”… taking a microcosmic look at a national culture. Previously, this kind of cultural understanding had been left to documentary film, a vibrant and flexible medium.

Here are three narrative films from 2011 that are not only region-specific, but evocative, unique, and entertaining.

 

ATTACK THE BLOCK (dir. Joe Cornish)

U.K. comedy writer Joe Cornish surprised us all this year by releasing the Summer’s second “kids versus alien” adventure film, after June’s Super 8. Whereas the J.J. Abrams movie paid homage to Spielberg suburbia, Cornish kept things very local, honing in on his specific South London location. In addition to being central to the inner city, the film also subverts its genre’s expectations, at times making smart – though unsubtle – social statements: Cornish’s young heroes wonder if they’re being dealt with as the monsters they’re perceived to be by society, as well as questioning why social activists travel abroad to take care of global issues while forsaking issues at home. The film wisely uses the helpful tropes of science fiction and action cinema to get across some very specific and heady cultural ideas. That said, it is also a load of fun. Featuring some of the best creature designs I’ve ever seen, a poppy and distinctly modern European style, and a score by Steven Price, Felix Buxton, and Simon Ratcliffe that mashes Kanye West with John Carpenter, Attack the Block is one of the year’s most exuberant movies.

 

MEEK’S CUTOFF (dir. Kelly Reichardt)

All three of Kelly Reichardt’s feature films have been set in Oregon. Her first film, Old Joy, is a morose and lyrical travelogue through the forests of the Pacific Northwest, and here, she finds a brilliant entry point into the culture of her region. By reaching into history and exploring a local legend – that of a wagon train led by a questionable leader – she manages to craft a uniquely revisionist Western that uses genre to hide some of Old Joy‘s more obvious subtexts of ego-driven male certainty and political arrogance. Though Meek’s Cutoff is certainly a Western, it might not be the Oregon Trail video adaptation your nine-year-old self would have wanted to see. Reichardt takes her time in her visual approach, and Jonathan Raymond’s script demands patience. Despite the film’s intentional pacing, every scene is efficient and progressive, leading to a logical, well-earned ending that my fellow Film Nerds might dispute. Regardless of your stylistic preference, Meek’s Cutoff is – for me – a watershed in regional filmmaking.

 

TAKE SHELTER (dir. Jeff Nichols)

Take Shelter has been steadily gaining quite a bit of Oscar buzz, and might be the most visible of all the films I’ve selected. Here, Michael Shannon gives what might be his best performance as Curtis LaForche, a man who begins seeing apocalyptic visions that drive him to question reality. This selection is a bit of a cheat, as the film takes place in Ohio, despite director Nichols being an Arkansas native whose first film, Shotgun Stories, was set in Arkansas. That said, Take Shelter maintains Shotgun Stories‘ rural setting, and the regions are closely related. I’m curious about the change in setting; I would assume it has something to do with the thematic necessity of Curtis’ profession as a sand miner. Regardless, Nichols’ look at rural middle America is unparalleled in modern film, and I hope he maintains his specific sense of place and reliance on character. What floored me about Take Shelter was its inverted use of apocalyptic nightmares as a framing device for marital strife, and how responsible he was with the fragile character dynamic the film begins with. There are more nationalist subtexts in Take Shelter that many critics are drawing out, but on its surface, the film is an amazing and honest look at the Western family unit.

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Thanks for reading! Be sure to check out some great Christmas present ideas for the Film Nerd in your family in our latest Film Nerds Recommends piece! I might also urge any fans of film chatter to check out the movie podcasts Cinematrimony and Aspect Radio. You can find more information and reviews of my films at http://www.thenocturnalthird.com and find more info about Wonder Mill Films on Facebook and Twitter.

With the Christmas season upon us, we decided to take a slightly different approach this month with our recommendations. Rather than give you our picks for the movies to see this month (I’ll save you the time, see War Horse and Tintin), we decided to shock the world and suggest some of our favorite books about movies, titles that we think would be perfect stocking stuffers for the Film Nerd in your life. If you are interested in picking up any of the titles below, just click on the book cover to purchase the book on Amazon. Merry Christmas and happy reading, nerds!

 

Ben Stark’s Picks

Film Production Theory by Jean-Pierre Geuens

I can unequivocally say that this book changed my life. I randomly picked it up one year from the University of Alabama’s Gorgas Library before leaving town for Christmas break. Film Production Theory does not tell you how to make a film, does not dish on the personal lives of filmmakers, and does not give vicarious anecdotes for a young filmmaker to digest. To the contrary, this book is a hard-line intellectual look at exactly why we make films, and what it means to make films. Geuens examines most of the major stages in the making of a film, drawing from a well of philosophy, critical theory, and – most certainly – his own opinions. The biggest foot print this book left on my brain was its exhortation that the most unhealthy thing a filmmaker could do was to move to Hollywood. If someone is making the decision to be involved in any sort of movie-making, this is the first – possibly only – book they should read.

Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster by Warren Buckland

On the flip-side, here is a book that examines the films of one of the most powerful men in Hollywood. What makes this book special, however, is that it does not go into how personal details shaped the films of Spielberg, or what his process entails. Instead, author Buckland picks a handful of scenes from a few choice Spielberg films, and breaks down his directorial approach, from framing and pacing to blocking and lighting. By assuming Spielberg’s mastery of film grammar, Buckland points out the amazing subtextual and “poetic” statements that Spielberg’s style presents (or in some case, misses out on). This is one of the great apologetics books for the case of Spielberg-as-film-artist.
Hitchcock by Truffaut by Francois Truffaut

This might be the most widely accepted “great” film book. The Cahiers du cinema critic and eventual great filmmaker Francois Truffaut gets the chance to interview his hero, Alfred Hitchcock, and creates the essential Hitchcock commentary book. Like the aforementioned Spielberg book, this elevates and highlights Hitchcock’s intentionality as a grammatical film master. This, along with The Films of Akira Kurosawa by Donald Richie, was my wife’s present to me for our first Christmas together as a couple.

 

Craig Hamilton’s Picks

Seen That, Now What? by Andrea Shaw

This is the perfect book for those folks out there who know what they like, but need recommendations for other films. Seen That, Now What? categorizes and cross-references films in a unique, pre-internet sort of way. The book was published in 1996, so Seen That, Now What? is coming from a world where the many choices that video rental stores provided now became overwhelming. Without Wikipedia to click away into oblivion, the film-loving masses needed something to provide them with not only a starting point, but a legitimate pathway to other great films. This book is designed specifically to give the best recommendations. Let’s say Cleopatra (1963) left a bad taste in your mouth. Just look up Cleopatra in the index and it takes you to pages of suggestions from the 1960’s, like: Doctor Zhivago, Spartacus, Becket, A Man for All Seasons, The Lion In Winter, Exodus and The Cardinal. If Terms of Endearment left you wanting more 80’s drama, then a quick reference of that title provides the following suggestions: Ordinary People, On Golden Pond and Kramer vs. Kramer among many others.

American Movie Critics Edited by Phillip Lopate

This is a wonderful book that is about as dense as a brick, but is mainly meant to pick up and browse through over time. It’s a collection of film reviews and essays from many of the legendary film critics and historians beginning in the mid 1920’s during the transition to sound and coming all the way up to present day. It’s absolutely fascinating to observe the evolution of film and film criticism throughout history. Not only that, but it’s fun to see just how wrong a lot of the legendary critics were at times. Each entry has a short bio of the critic or context of the writing. Along with that is the actual review of a particular film or essay on a subject relating to film and the date that it was published. From essays on the emergence of the “Talkies” to how DVD’s are changing viewing habits, these essays cover tons of ground. From Carl Sandburg to A.O. Scott, this collection spans everything from D.W. Griffith to David Fincher and it’s an excellent book for any film critic’s library.

“Have You Seen…?” by David Thomson

In his follow up to Biographical Dictionary of Film, film critic and historian David Thomson answers his most asked question, “What Should I See?” in this book of one page reviews for 1,000 alphabetized films. Alphabetical order is a good option because the films aren’t grouped by genre or year. In the same opening you can read a review for Robert Altman’s screen translation of the great Raymond Chandler novel, The Long Goodbye and Peter Jackson’s masterpiece The Lord of the Rings Trilogy. Another opening contains the reviews of Michael Mann’s The Last of the Mohicans and The Last Picture Show, written by the great Larry McMurtry. Another great thing about this book is that it ranges from films from 1895 to 2007. It’s thick and full of great suggestions and it’s a lot of fun just to sit down and leaf through.

 

Ben Flanagan’s Picks

Making Movies by Sidney Lumet

The late great Sidney Lumet played a large role in molding my movie mind during freshman year at the University of New Orleans, where I read this book and watched several of his iconic films, including “Serpico,” “Dog Day Afternoon” and “Network.” Lumet pulls few punches in his retroactive accounts of time spent of nearly each set of every movie he’s ever made, dating back to his first masterpiece, “12 Angry Men.” In a nutshell, Lumet offers his best guess based purely on experience on, well, how to direct. That means talking to actors, picking the right lenses, composing shots, placing the lights, etc. It’s technical, and might make your head hurt from time to time, but Lumet’s honest portayal of the craft (which he insists it is) is truly fascinating. A MUST for future filmmakers.

Woody Allen on Woody Allen Edited by Stig Bjorkman

During high school, Woody Allen became a virtual part of the family, whether we watched his films or read his prose books on a daily basis. When I got my hands on Stig Bjorkman’s one-one-one Q&A book going movie by movie with the man himself, I didn’t need much else. I still have trouble putting this book down. Going back and forth from set anecdote to stylistic approach, Woody goes into frank detail about nearly all of his films up to around 2000 in a wonderful conversation worth revisiting as each year passes. There are tons of Woody Allen interview books out there, plenty of them good, but this is definitely the gold standard.

Steven Soderbergh: Interviews OR Getting Away With It Edited by Andrew Kaufman

Soderbergh became another Flanagan fixture in our high school and college days, mainly once again during freshman year in New Orleans, where I read this first book and attacked his filmography on DVD. I’d always heard of SEX, LIES & VIDEOTAPE but never saw it until I drove to a local rental store and finally saw what the fuss was about. While Soderbergh’s stunningly mechanical and sometimes silly approach to the craft is well-represented in the films he makes, it’s often even more enlightening just to hear his matter-of-fact attitude about what he does as an artist. Both in this book of interviews, which you’ll fly through in an afternoon, and his Q&A with British director Richard Lester, you get a terrific peek into the mind of one of our greatest contemporary filmmakers, who sadly has plans to retire soon.

Leonard Maltin’s 2012 Movie Guide by Leonard Maltin

Not as much a book about movies in the vein of these others, the Maltin guide is an annual purchase in our household, not because we rely on ol’ Leonard’s opinions on each film (the man hated BLADE RUNNER, for God’s sake). But as a reference tool, you’ll find fewer equals that aren’t your IMDB app. Sometimes you just want to thumb through a brick of a book and learn the bare bones details of a film: The title, the year, the director, the actors, the plot and a fair-enough take on it. The perfect coffee table book.

Down and Dirty Pictures by Peter Biskind

Peter Biskind’s often-electrifying account of the rise of independent film in the 1980s and 90s as well as that little studio that could, Miramax, and the Weinstein brothers took on Hollywood with their sleeves rolled up. After all, with weapons like a young and hungry Quentin Tarantino, you liked your chances. A sickeningly readable journey into the studio’s birth and evolution with first-hand, detailed accounts of the competitive landscape of development, production and marketing with brilliant stories from all involved in each aspect.

 

Graham Flanagan’s Picks

The Films of Steven Spielberg by Douglas Brode

This exceptional guide to the films of the world’s most famous movie director should be a staple of any Film Nerd’s bookshelf. Although it was last updated in 2000, it warrants a purchase (you can likely get it used for cheap) because of its insightful histories behind each of Spielberg’s films. Brode takes a chronological look at each work, examining how the projects came to fruition with behind the scenes accounts of some of the challenges and hurdles faced by each production. Brode also does an excellent job of analyzing the themes common to Spielberg’s movies. It also includes a healthy biographical section chronicling Spielberg’s early career in independent production and television. After reading this book, you will definitely walk away with a healthier understanding and appreciation for the Beard.

My Autobiography by Charlie Chaplin

Writer, director, producer and star: Many consider Charlie Chaplin to be the first true auteur. He uses this bulky tome to chronicle his entire journey; from growing up in abject poverty in England all the way to fleeing the country that made him rich because of his alleged political affiliations. It’s no surprise that one of history’s great artistic geniuses is so impressively competent as a writer of prose. He displays an uncanny memory of his childhood, the era in which he discovered his talent for the stage: a talent so strong and unique that it prevented him from facing very much professional adversity at all. Even as a young, untested rookie, Chaplin belonged in a class all his own, often upstaging his older colleagues. Fans will no doubt cherish the main portion of the book: the one that goes into distinct detail about his many years in Hollywood. Chaplin gives a fascinating perspective on his films, often supplying harshly critical assessments of his own work that will baffle the fans that truly believe the master can do no wrong. One of the great movie autobiographies ever written, “My Autobiography” is absolutely essential for film fans.

Memo from Darryl F. Zanuck Edited by Rudy Behlmer

I was all set to recommend George F. Custen’s breezy biography of Darryl F. Zanuck (and I still do), but I stumbled upon this collection of correspondence from the 20th Century Fox chief and I admit I’m totally fascinated and definitely plan on checking it out over the holidays (hopefully Santa is reading this). Zanuck began as a producer at Warner Brothers and quickly soared through the ranks by producing profitable adult-oriented classics like Little Caesar, 42nd Street and I Am a Fugitive From a Chain Gang. He left in 1933 to head the Fox Studio, which he renamed 20th Century Fox, and subsequently laid the foundation for the studio that exists today as the distributor of the two highest-grossing movies of all time (Avatar & Titanic) and one of the most popular franchises of all time (Star Wars). This collection of memos written by Zanuck himself will no doubt serve as movie-crack for Film Nerds.

Spielberg, Truffaut and Me by Bob Balaban

Sorry to keep banging the Spielberg drum, but I can’t make this list without including this invaluable peek into the daily routine of an actor working on a super-secret, highly-anticipated big studio tentpole circa 1977. Thanks to his ability to speak fluent French, Balaban landed the memorable role of Truffaut’s interpreter in what would become Spielberg sci-fi classic Close Encounters of the Third Kind. Thankfully for us, the actor kept a detailed account of the experience and shared it with the world. Balaban’s anecdotes about his time with Truffaut, as well as his observations of the French director’s rapport with Spielberg, make this one of the greatest accounts of moviemaking that you’re going to find on any reading list.

Roger Ebert’s Book of Film by Roger Ebert

Film Nerds need to clear off some space on their bookshelves for this hefty brick of a book (800 pages): Roger Ebert’s superb compilation of what he considers the best writing about film from the 20th century. We hear not only from Ebert’s fellow film writers like Pauline Kael and Libby Gelman-Waxner, but also from filmmakers themselves with contributions from luminaries like Buster Keaton and Quentin Tarantino. Everything in this book will remind you of why you love movies and will likely make you love them even more.

 

Matt Scalici’s Picks

Scorsese by Ebert by Roger Ebert

One of the great masters of American film is having an excellent year (critically, at least) but it’s great to go back and explore what has been a pretty wild journey of a career. Ebert’s book is a collection of both interviews he’s done with Scorsese over the years as well as reviews of all his films, dating all the way back to Scorsese’s senior project at NYU. This is a filmmaker that Ebert has clearly had a connection with from the very beginning and the book reveals as much about Ebert, one of the great critical voices we’ve ever had in American cinema, as it does about Scorsese.

 

The Annotated Godfather by Jenny M. Jones

For hardcore fans of Francis Ford Coppola’s gangster masterpiece, this book is a must-have but even for a casual movie fan it’s a great-looking and interesting coffee table book. Flip open to any page and you’ll find Coppola’s original screenplay surrounded by facts and tidbits about the screenwriting and production process as well as beautiful screen shots and set photos. It’s like having a DVD commentary specifically for the screenplay itself and it’s a fascinating and in-depth way to go deeper into one of the greatest films ever made.
BFI Classics: Back to the Future by Andrew Shail and Robin Stoate

The British Film Institute has an entire series of these small collections of essays on individual films ranging from artful classics to popular blockbusters. I just finished their book on Back to the Future and while some of the analysis is perhaps a bit of a stretch (exploring the Oedipal themes of the film) most of the topics touched on in the book are not only thoughtful and fascinating but also highly-researched and cited. This is as deep into the film as I imagine one could possibly go and yet they’re able to do it in a relatively short, easy afternoon read. Great afternoon reading material for the true hardcore Film Nerd.

As someone who was born in the state of Alabama, it’s impossible for me to watch Roll Tide/War Eagle, the latest production from ESPN Films, without feeling some pretty intense emotions. As you’ll see in the film, which airs Tuesday night at 8 pm Eastern on ESPN, being a part of this rivalry means that true objectivity and impartiality is not something you can ever realistically have when looking at the other side, no matter what any journalist covering either of the two teams may tell you. It’s hard to describe to an outsider how all-encompassing, how mind-blowingly intense, and at times how truly miserable it is to be a part of this rivalry – but this movie comes as close as it gets. If I ever need to choose one document to explain what it’s like to live in the state of Alabama, this movie would be it.

That sounds like extremely high praise but it’s really more of an indication of how completely misunderstood this rivalry has been for the length of its existence until very recently. The nation was shocked by the bizarre incident of an Alabama fan poisoning a group of landmark trees on Auburn’s campus last year and while it was certainly an abnormal occurrence, people who live in this state have heard of stranger and more violent happenings resulting from the Iron Bowl rivalry. To the rest of the nation, sports rivalries are something worth getting excited about for a few days a year, the days that the games are occurring. In Alabama, without exception, it’s something that is a part of every single day of your life. That includes Christmas (Auburn or Alabama ornaments on every tree), Thanksgiving (families mentioning Iron Bowl victories among things they are thankful for), and even your own wedding day (so help you God if you planned your wedding on a fall Saturday).

It’s a strange and unique phenomenon that has badly needed exploring by a talented filmmaker and director Martin Khodabakhshian handles it with delicacy by giving both sides equal time to explain their greatest moments and their perspective of the other side. He also chooses both some the most beloved figures from each side (Greg McElroy and Mark Ingram from Alabama, Pat Dye and Bo Jackson from Auburn) as well as some of the most controversial figures from each side (Harvey Updyke, the aforementioned tree-poisoner from Alabama, scandal-plagued Heisman-winner Cam Newton from Auburn) for interviews and manages to get some real insight from every person involved, which is no easy feat considering they are talking about one of the most sensitive subjects they’ve ever been a part of.

ESPN Films in its short life has already produced some of the most fascinating and deeply moving sports documentaries of all time, particularly during its 30 for 30 series that ran on ESPN last year. It has explored much darker and more serious subjects than the Iron Bowl in films like June 17th, 1994 and The Two Escobars (their two finest works so far, in my opinion) but when it comes to getting to the heart of a unique American sports phenomenon, I don’t know that ESPN or anyone else has done a better job than what we see in Roll Tide/War Eagle.

The segment of the film focusing on the strange and sad story of Harvey Updyke was probably the most effective part of the film for me, even though it is the least representative of the normal state of affairs here in Alabama. Updyke is a man who feels both ashamed and astonished at what he did but also deep down has some satisfaction and justification and even pride about what he did. He serves as a parable of what can happen when one lets this rivalry burrow too deeply into the mind and heart. At the end of the day, letting the rivalry get your emotions flowing is part of what makes it fun but you have to learn to turn it off or you could end up like poor Harvey.

Perhaps the most impressive feat of the film is the filmmakers’ resistance to draw some sort of narrative conclusion involving the April tornados that ravaged Tuscaloosa. Many of the less nuanced in-state journalists lept at the opportunity to decide that Alabama and Auburn fans had somehow had their perspectives changed by the tragedy, that it had brought them together and made them forget their silly, petty quarrels. The problem with that viewpoint is that it assumes there is something inherently wrong or petty about the Iron Bowl rivalry. There are freaks out there who take things too far but for the majority of us fans, it’s the source of some of our greatest joys in life. The truth is, people in Alabama love this rivalry and wouldn’t know what to do without it. That’s why the rivalry didn’t diminish one bit after the tornadoes and why it never will as long as both teams continue to care deeply about football.

 

The 23rd James Bond film has been announced. Titled Skyfall, the film will see Daniel Craig return, will be directed by Sam Mendes, and will not continue the Vesper/QUANTUM arc from the first two Craig 007 films.

Of course, rumors of this type have been flying around for months. Javier Bardem will, in fact, play a villain, and the script will be written by Bond vets Purvis & Wade, in addition to star screenwriter John Logan (Any Given Sunday, The Aviator, Rango). I’ve only been burned by Bond films twice. Die Another Day was an experience I did not enjoy, but Quantum of Solace really stung. I loved Casino Royale for its sure-handedness, twisting narrative, and cinematic flair. I was optimistic about Quantum bringing on a German director, and its first trailer was impressive. Fellow Film Nerd Ben Flanagan spied hints of the Bourne Supremacy influence early on, but I maintained that if the series stuck with the style established in Casino Royale, the hand-held frenetic action that worked for Bourne would not be shoe-horned into this franchise. Of course, I was wrong. In addition to a rushed script and a bored, License to Kill -flavored tone, the film was, in fact, very dependent on the 2nd Unit action choreography and photography of Dan Bradley.

So, here we are, and I’m honestly trying very hard to be optimistic, and that’s a big problem. The problem with today’s James Bond series is that these movies cannot afford to be bad anymore. The great thing about the grand history of this series is that it always survived bad or under-performing films. In fact, the ability for a Bond film to be critically or financially disappointing gave us some of the character’s gems – the low-grossing masterpiece On Her Majesty’s Secret Service, for example. When I walked out of The World Is Not Enough, which has a thrilling first act that quickly loses steam, I wasn’t hopeless that Bond would disappear forever. In fact, there was another film already in the works. What I didn’t know was that this film would be financed, packaged, and released in a fashion similar to a Lord of the Rings or Spider-Man movie. Die Another Day had to be one of the biggest films of the year, or it would be considered a failure. Consider this: GoldenEye was produced for $58 million. It was a huge success, so Tomorrow Never Dies (an underrated entry, in my opinion) was rushed into production, finally breaching the $100 million budget mark. James Bond movies are no longer kitschy, escapist adventures. Now, they have to be full-on event movies with budgets usually reserved for Roland Emmerich pictures.

Here’s what I’d like to see from the franchise, which has been mostly well-protected from the Hollywood economic system from producers Barbara Brocolli and Michael G. Wilson.

 

There is Safety in Numbers.

Tone down the budget, crank down the risk. I’d much rather see a fun, creative Bond film every two years than a big, bloated “event” Bond movie every five. Treat it like a TV show, hire a writing staff, and crank some of these out. I should credit The Hollywood Saloon’s John Jansen with opening my eyes to this Bond philosophy. Again, so much of the strength of EON Productions is their insular nature. The only thing these guys need the studios for is distribution, so why even let Hollywood in the door to begin with?

 

Stay Away from the Auteurs.

Can you really blame kitchen-sink directors like Marc Forster and Sam Mendes if they flub a James Bond movie? The appeal of these movies are not the directorial vision or thematic strength they show off, rather their suspense and character moments. Both of these directors do care about character, but they usually prioritize character under theme (Revolutionary Road, American Beauty, Stay, Finding Neverland). When the series excels, it is under the guidance of a scrappy, skilled craftsman with an ear for dialogue and a mind for visual strategy (Peter Hunt, John Glenn, Martin Campbell). I’d prefer the producers hired a team of young British directors in the vein of Attack the Block‘s Joe Cornish to trade between smaller films, rather than putting such a big task on one man’s shoulders.

 

Make it British.

I understand that Bond’s adventures were always on a global scale, but I think it’s important to continually show us his regional centrality. In the 60′s, Bond represented a meddling empire. In the 90′s he represented a progressive, humanist “fixer”. It’s important for us to see the “Britishness” of James Bond, as well as his contrast with the government (which has been handled nicely in the newest films). This is why it’s important for a Bond actor to have roots in the Commonwealth, as well as Bond directors. Again, this shouldn’t be a global property just because of its global implications.

 

Make it Fun.

Contrary to popular belief, Casino Royale was an extremely fun motion picture. Its Bond was brash, rude, and funny, unlike the icy Bond of Quantum of Solace. The action scenes in Casino Royale are among the most playful and imaginative of recent years. In fact, the two biggest action scenes in that film – the opening foot chase and airport car chase – end with quite an ironic punchline. I hope that in Skyfall, as well as in future Bond productions, this wry sense of mischief isn’t traded for icy brutality. On the whole, I could certainly use more Brosnan “smugness” and less Craig “thugness”. I do think Craig has it in him to crack some jokes, but it’s up to the writers, producers, and directors to give him that playground.

Again, I’m forcing my optimism for Skyfall, and I really wouldn’t have to if I knew there was a 24th Bond film that could potentially redeem it. I’m troubled by the scale and risk of these productions. However, I’m also encouraged that, at the very least, the producers are attempting to put some sort of polish on their films. I guess I’ll see everyone at the theater next year, listening to Tom Petty’s newest 007 single, “Skyfallin”.

 

*In Wonder Mill Films news, we’ve announced our third major project, as well some updates on our newly released feature film, The Nocturnal Third. Check out all the details at www.facebook.com/wondermillfilms and www.thenocturnalthird.com!

It’s that time of year again, Halloween. More than most other holidays, Halloween is a movie-lover’s dream, or nightmare if you’re Cinematrimony co-host Francesca Scalici. Some of the other FilmNerds decided to bring you some last minute recommendations for your Halloween night movie marathon and while you’ll probably need to beg, borrow and steal to find them at this point, for future viewing purposes we’ve included Netflix links (just click the images). Enjoy!

Classic Horror (pre-1980)

Ben Flanagan’s Pick – The Texas Chainsaw Massacre (1974)

The first time I saw Tobe Hooper’s road movie bloodbath was in the far too intimate confines of the Ferguson Center theater at the University of Alabama. My brother Graham was running the movie series that fall and had dressed the theater lobby up with cobwebs, fake blood and other Halloween decorations, making for a terrific environment for the eager packed house there for a late night screening of the cult classic. Turns out, the intimate setting wasn’t so much as fun as it was horribly upsetting, yet deeply effective for this particular film. Following several of the genre rules it helped write, the film thrusts today’s seasoned viewer into what might seem like cliched moments, but it all feels perfectly new and disturbing, especially the “family dinner,” where I just wanted to leave. By the end, the screaming vixen might have escaped Leatherface’s wrath, but we sure haven”t.

Craig Hamilton’s Pick – The Texas Chainsaw Massacre (1974)

I grew up on Horror.  So by the time I got to college, I thought nothing could faze me.  Then I caught The Texas Chainsaw Massacre around Halloween of my freshman year at Alabama (2001) at the Ferguson theatre (I could venture a guess at who was running the show at that time) and was completely floored at what I was watching.  The tension building up during the opening minutes that lead up to the inevitable chaos had my heart beating out of my chest.  And, of course, that shockingly brutal and graceless first kill.  It’s perhaps one of the best ever.  I’ll never forget that steel door bursting open and slamming shut following that unforgiving hammer blow to the head and the dragging of the convulsing victim’s body into the hidden labyrinth of that hideous house.  That feeling of horror was back inside me and in full force.  My jaw was on the floor.

Matt Scalici’s Pick – Alien (1979)

I’ve been derided by my fellow nerds for calling this arguably my favorite horror film of all time but I stand by the pick. Firstly, it’s undeniably a monster movie in its most basic form. Our heroes creep around dark hallways trying and failing to avoid being eaten by a terrible beast. Simple enough. But there are deeper things going on here that explore societal horrors, things like corporate greed gone horribly awry, the paranoia created by ever-advancing technology. I believe Alien still holds up today when it comes to terrifying effects, even when you include the shockingly highly-lit birth scene. Not many horror movies can still effectively turn stomaches 30 years later.

Graham Flanagan Pick – Rosemary’s Baby (1968)

Polanski’s classic smash-hit about a woman who unwittingly becomes impregnated with the Son of Satan still exists as one of the creepiest, if not scariest, movies ever made. Polanski takes an absurd, almost laughable premise and stages it within a totally realistic environment. This is what makes the film work: the idea that something so frightening could happen in someone’s comfort zone.

 

Contemporary Horror (last five years)

Ben Flanagan’s Pick – Let the Right One In (2008) - Available via Netflix Instant

If you can’t already tell from one of his three stellar trailers for “Tinker Tailor Solider Spy,” few directors have a better grasp on tone than Tomas Alfredson, the Swedish auteur behind this beautifully haunting tale of youngish love and survival from 2008. Alfredson and cinematographer Hoyte Van Hoytema’s depicts a greater scope than the flat and quiet landscape might typically suggest. Alfredson never shoves any of the violent or scary moments in your face, often hiding them and earning every last second. The wintry, desolate atmosphere creates a thoughtful sense of dread and unpredictability, all rocking at a deliberate and steady pace few contemporary horror films have the discipline to match.

Craig Hamilton’s Pick – The Orphanage (El Orfanato) (2007)

I can appreciate a good scare, but when the film is particularly well made, then that’s quite an achievement.  The Orphanage is a beautifully made Spanish film set in an old orphanage where Laura, a woman who grew up there takes her family back to live.  The film has some extremely creepy scenes, including one great scene involving the Spanish version of Red Light, Green Light.  It’s a scene where you know what is going to happen, but the anticipation is where the fun’s at.

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Matt Scalici’s Pick – Paranormal Activity (2007) - Available via Netflix Instant

It’s been a rough decade for horror but in light of the recent (and hugely successful) release of the third installment in this franchise, I’d like to fully endorse the original film to any of you who haven’t seen it yet. Is it deeply and powerfully disturbing in a way that touches on something important in the human psyche? No. Will it make you curl into a ball of suspense in your chair and then jump and scream even though you knew something was coming? Yes, and really is there any more we should ask of a cheap horror film? This is the perfect Halloween night popcorn movie as are both of its sequels.

Graham Flanagan’s Pick – Catfish (2010)

Last year’s underrated indie “thriller” delivered some of the most brilliant movie marketing we’ve seen in years. Its ambiguous trailers portrayed the film as a Blair Witch or Paranormal Activity-esque ‘found-footage’ horror film. Those brave enough to see Catfish found out that the directors had indeed made a horror film: the first one about Facebook, that is.

 

Most Disgusting

Ben Flanagan’s Pick – The Fly (1986) – Available via Netflix Instant

David Cronenberg’s twisted sci-fi/horror black comedy mixes some Frankenstein with Dr. Jekyll while throwing in some seriously silly gore that still kinda grosses me out. If you’re a fan of bones not snapping on screen, you might avoid it. I remember many years ago when I saw “The Fly” on TV at about 6-years-old and nearly throwing up in my mouth during the climactic showdown between Geena Davis’ editor and Brundlefly, who pukes up this disgusting acid stuff that melts flesh and bone. Ick. For Cronenberg and gore purists, it’s a must, but for your average film fan, it’s a doozy. Jeff Goldblum’s delightfully wiry performance should win most people over.

Craig Hamilton’s Pick – The Last House on the Left (1972) – Available via Netflix Instant

Thanks to Joe Bob Briggs and his recommendations made on the weekly TNT variety show, MonsterVision, my little sister and I decided to rent the film when we were younger and it didn’t take long before we were scarred for life.  It’s not really a horror film.  It’s an exploitative and unnecessarily violent film; one made with hardly a budget and those are the scariest kind.  A girl is kidnapped, raped and murdered by a gang of convicts who end up staying at the house of the parents of the very girl they had just killed.  The Last House on the Left crescendos into a spraying of vengeful and horrific acts of violence by the victim’s parents once they realize who their visitors are.  This being a recommends piece, I suppose that I’m technically recommending it, but it’s not for everyone.  In fact, it’s hardly for anyone.

Matt Scalici’s Pick – Day of the Dead (1985)

As a whole, this movie is pretty talky and philosophical but I wanted to mention it here because it has perhaps the most disgusting and well-executed practical effects I’ve ever seen in a horror film. Late in the film, one of the key characters, who frankly has had it coming, gets rather horrifically drawn and quartered by a group of hungry zombies. We watch as his guts and appendages are torn off as he screams (simple enough, right?) but what’s truly shocking is when we see his still-screaming head ripped from the body. It’s a combination of great sound effects mixed with truly remarkable prosthetics and puppetry but while you’re watching it, all you can think is “they just ripped that dude’s head off!”

Graham Flanagan’s Pick – Evil Dead 2 (1987)

As if this film’s praises haven’t been sung enough since its cult-fueled video renaissance, I feel like I have something somewhat unique to add. I fear this movie’s title and its cover art might dissuade certain audiences (namely women) from giving it a fair chance, which would be a serious shame, since – despite numerous instances of absolutely revolting blood and guts – Sam Raimi’s low-budget masterpiece serves as one of the funniest (with emphasis on the word ‘fun’) entries in the history of the horror genre.

 

Worth Another Look

Ben Flanagan’s Pick – The Prestige (2006)

You might not find Christopher Nolan’s dueling magician opus in the horror section of Netflix, but fewer films in recent memory give me the creeps than when Andy Serkis shows Hugh Jackman where Tesla gets his power in an infinite field of giant light bulbs. Honestly, whenever Borden (Christian Bale) or Angiers (Jackman) reads the other’s journal, and the narration begins to address the reader, I catch myself looking over MY own shoulder. Nolan toys with an audience as well as anyone working today, perhaps no better than in “The Prestige,” a sophisticated sleight-of-hand that has you guessing at the onset when the opening shot fades in and Bale asks, “Are you watching closely?” The disjointed timeline, off-kilter handheld camerawork and eerie soundtrack make for as pleasant an unsettling feeling as you could possibly imagine.

Craig Hamilton’s Pick – The Shining (1980)

Having just finished the book I think it’s appropriate to recommend the film for another look.  Aside from the fact that it’s Kubrick and Nicholson, you should watch it because it has some of the most frightening images and scary scenes ever made.  The Shining is just a brilliant work of horror from a director who specialized in making unforgettable images.  A family occupies a closed down hotel during the winter season and the snow completely cuts them off from anyone for the entire winter.  With Kubrick, you get minimalism and it’s apparent in The Shining.  Not only the images, but the story too is minimal.  Nearly every shot is creepy and nearly every shot is slow.  It creeps along at a stalking pace, but the speed and tension both pick up to an incredible ending.

Matt Scalici’s Pick – Scream (1996) – Available via Netflix Instant

I admit I’m a little behind the curve when it comes to this franchise, which recently released a fourth installment earlier this year. I didn’t watch the Scream films growing up, as I had parents that cared for my mental well-being and kept me away from slasher films at a young age, except of course when they came on USA Network in a heavily-edited format. I marathoner the Scream movies recently with some friends and while I certainly think it must have had a stronger impact in 1996, when being “meta” was still a fresh idea, I still think the original holds up really well today. The plot is so aware of the audience watching and assumes they are as smart as the filmmakers when it comes to familiarity with conventions of the horror genre. That assumption gives even us jaded film nerds a chance to experience something that horror films rarely give us: genuinely surprising and clever plot twists.

Graham Flanagan’s Pick – Bram Stoker’s Dracula (1992)

One of the most underrated movies of the 90s (and perhaps the most underrated movie in Francis Ford Coppola’s vast filmography) Bram Stoker’s Dracula definitely deserves another look… both for its amazing technical merits and its all-star cast, led by… Keanu Reeves!

While on a recent roadtrip with my wife, it occurred to me that Steven Spielberg’s Jurassic Park might be my favorite film of all time. I have very personal reasons for unabashadly loving the film, which is releasing on blu ray today. I was 10 years old when the Michael Crichton adaptation hit the big screen, and I knew nothing about it going in, except that it had something to do with dinosaurs… unfortunately, I was pretty sure these dinosaurs didn’t talk, unlike those in Super Mario Bros., which I would have rather seen. Yes, my best friend had to convince me to go see Jurassic Park over Super Mario Bros. I relented, and we caught the first showing on opening day.

So, what’s so great about an effects-laden, seemingly brainless early summer creature feature? Well, let’s start at the beginning:

1.) THE SOUND – You can choose John Williams’ amazing score – the main march of which accompanied my wife and I back up the aisle on our wedding day – or the ominous off-screen sound which everything on Isla Nublar seems to exude, or the ear-piercing shriek of the film’s star animals. Whenever your ear tunes into a sound in this movie, there’s going to be something to pay attention to. Gary Rydstrom and his crew deserved that Oscar, and John Williams added another classic to his ever-growing list, 18 years after he did Spielberg a huge favor by giving Jaws its tune.

2.) CHARACTERS – The characters are organic and unimpeded by star wattage. Just look at Alan Grant’s transformation from an obsessed, mission-centered scientist to a protective father figure. Sam Neill, who gained fame as a villain in Phillip Noyce’s Dead Calm*, starts the film typically cold, and ends up a hero. Had Spielberg gotten his first casting picks, rumored to have been Kevin Costner or Harrison Ford, we would have been begging for high adventure from the first time we met Dr. Grant. Add to Neill other fantastic character actors like Laura Dern, Bob Peck, Wayne Knight, Samuel L. Jackson, and the 90’s most unlikely action hero, Jeff Goldblum, and you have a cast that gets out of the way and lets story be the star.

3.) THE THEMES – The subtext of Jurassic Park is clear, unprojected, and perfectly communicated through sharp, to-the-point dialogue. The inevitabily of chaos, he thunderous power of nature versus the invasiveness of discovery, the danger of rampant consumerism, nihilistic commercialism… All at once, the film praises science, then assaults its worship. Jurassic Park is a Frankenstein story, as all great science fiction stories are. Even the script’s more implausible threads – such as the moment where a middle school student “hacks” an entire digital infrastructure – at the very least reflects one of the film’s major themes: the fallibility of technology.

4.) SHOTS – Oh, the shots. Spielberg is at his suspense-building best here, crafting two of cinema’s greatest scenes of tension. He uses off-screen space magnificently in both the first T. Rex attack and the harrowing Velociraptor kitchen hunt. Blink, however, and you’ll miss one of the great uses of “the fifth dimension of off-screen space”. Spielberg buries the subject of the film’s opening shot in the frame itself. Rarely has there been as a great use of misdirection as in the film’s first seconds: Spielberg opens the film looking high at a tree top, as we watch it rustle, expecting a monster to pop out at any moment… and yet, what do we get? Machinery. Technology. A crate, a forklift, and a look at the film’s true threat: the doomed attempt to cage nature.

5.) EDITING – Again, look at the end of the opening sequence: Juxtaposing the harrowing death of a dock worker in a prestine industrial environment against a smary, white-suited lawyer struggling to walk through a muddy jungle. Jump to the end of that scene, as Spielberg and editor Khan cut from one relic of the Cretaceous – the amber-encrusted mosquito – to another – an uncovered Velociraptor skeleton. How about cutting from the ominous shut down of park electricity to a photo of J. Robert Oppenheimer on Nedry’s desk? Again, look at the T. Rex attack. The pacing of that scene is maniacal. The most terrifying moment in that whole sequence is the pause that we have to endure right before the Rex plunges his snout through the sunroof of the kids’ Jeep.

6.) THE DESIGN – My definition of “design” includes everything in the frame of the film – the mis-en-scene, if you will. I’ve glazed over Jurassic Park’s game-changing visual effects because, in the end, they perfectly mesh with the rest of the movie. Production Designer Rick Carter nailed the look of a sanitized, concrete amusement park, as well as realistic jungle sets. Although current Spielberg cinematographer Janusz Kaminski gets plenty of credit these days, one should not overlook the work here from The Thing and Back to the Future veteran Dean Kundey, responsible for some of the most sure-handed and confident camera movement in action cinema. Again, the shots here are solid, on-point, and the typical Spielberg “atmosphere” is perfectly placed, for example, by lights streaming through jungle mist.

7.) IT’S PERSONAL – Look, I like dinosaurs. I always have. I also like jungle movies. Oh, and I like heroes that wear hats. Plus, John Williams music… aaand corporate espionage. Hm, and the Frankenstein archetype… In fact, man’s struggle to control the uncontrollable might be my favorite narrative theme in general… as if to suggest that’s something you can pick.

Although I’m not quite ready to oust Raiders of the Lost Ark, O Brother Where Art Thou, Seven Samurai, or any of the other movies that have held my “favorite of all time” spot, Jurassic Park has certainly climbed to the top of the mountain and wrangled itself into my top five. One of its greatest feats is its unending rewatchability and likability.

Not only is Jurassic Park a formalist example of the kind of directing I strive for as a filmmaker, it also showcases the kind of fun I like to have in a movie, despite it never losing a sense of sharp commentary and intellectual trajectory. Take another look at Jurassic Park. You won’t be disappointed.

*According to poster Christian, “Sam Neill was hardly a villan in Dead Calm, he was the hapless husband. Billy Zane was the villan.” He is, of course, right. My point about Neill being more of a sinister character actor stands,  I think. (I hope.)

We’re trying something new here on FilmNerds, something that promises to be both humiliating to our writing staff as well as (hopefully) enlightening for our readers. We call it The Shelf of Shame. In each installment, one of our FilmNerds contributors will reveal five indisputable classic titles that for some inexplicable reason they have not yet seen. In an attempt to earn back the respect of their fellow FilmNerds, each contributor will then set out to see all five of these films some time in the next six months (we felt that was a fair interval, even for the busiest of nerds) at which point we’ll check in with them to see how they did.

We’ll start off with our very own in-house filmmaker Benjamin Stark, who is fresh off the premiere of his directorial debut The Nocturnal Third (HIGHLY recommended, by the way). ‘Herr Direktor’ took a nice sampling of films from different eras and even different international cinemas that he feels ashamed for having not seen and we’ll be rooting for him over the coming months to fill in these gaps in his otherwise respectable knowledge of film.

 

5.) Dazed & Confused – The apparent memoir of an entire generation, and a kind of opening salvo into the film scape of the 1990′s, this is probably Richard Linklater’s most well-regarded film, right? Well, I haven’t seen it, despite having several choice lines burned into my memory by friends and co-workers over the years.

4.) 8 1/2 – The only Fellini movie I’ve had the pleasure of seeing is La Dolce Vita, which is the type of episodic European New Wave film you really must be in the mood for. Italian cinema in general is a weak spot of mine, beyond a few neo-realist pieces and a pepla epic here and there. I am drawn to Fellini’s era of Italian films, as they seem to represent the era in which my dad fell in love with the country. Although the glamor of La Dolce Vita honestly alienates the tar out of me, I’m curious to further discover the humility and squalor at the heart of Fellini’s characters.

3.) Bringing Up Baby – I’ve also never seen It Happened One Night, My Man Godfrey or Some Like it Hot. However, as a purveyor of the finest screwball comedies I can find, I’m most ashamed that I’ve never seen this Grant/Hepburn classic from screwball master Howard Hawks. Like most of those other major entries in the genre, the biggest shame is that this is openly available in numerous places. For whatever reason, I’ve never had the time to check it out.

2.) Gone With the Wind – The modern consensus seems to be that this movie is an insensitive and poorly drawn populist product of its time. Taking that into account, I still think its seminal place as one of the great cinematic cultural experiences makes it required viewing. Birth of a Nation or Intolerance also belongs here, because of their lessons in early film grammar. I should probably just make a day of these three.

1.) The Decalogue – I call myself a director, and yet I’ve never seen one frame of a Krzysztof Kieślowski movie! This is the wrong I’m most eager to rectify, as the man’s reported use of color, framing, and performance in support of theme and story are right up my alley, as far as what I find to be exquisite directing. It would appear that his “Colors” trilogy would be the most accessible entry point, but The Decalogue just seems too grand a challenge not to tackle first. Straddling the line between TV mini-series and cinema, this ten-part collection of mini-features looks at the Ten Commandments through intimate, character-driven vignettes.

Runners Up:

Good Will Hunting, Tokyo Story, Paths of Glory, Lolita, Strangers on a Train, Spirited Away

After a long summer of movie-watching, the FilmNerds crew has emerged from their air-conditioned screening bunkers to bring you an all-new edition of FilmNerds Recommends, our special feature where we do our sacred duty as film geeks by telling you which movies we think are worthy of your valuable home entertainment time. With footballs flying and leaves turning, the fall movie season is nearly upon us and the FilmNerds contributors are here to offer you their top picks for this fall.

 

Popcorn Flicks

Ben Stark’s Pick – Tintin: Secret of the Unicorn

After seeing the trailer for TINTIN: SECRET OF THE UNICORN in digital IMAX 3D yesterday, I have been swayed. I will brave the land of the dead eyes to gladly experience Spielberg’s first foray into motion capture filmmaking… the place former Spielberg collaborator Phil Tippet says is “where good directors go to die.” All that said, the visuals look amazing, and the source material is very strong. I doubt it will make any money in the States, but I think it’ll be a fun ride.

Corey Craft’s Pick – The Muppets

I’m throwing my lot in with THE MUPPETS, because I love THE MUPPETS (who doesn’t? no, seriously, which one of you contrarians is going to be the first person to pop up here and say “I don’t love THE MUPPETS”?). And as far as Muppet movies go, this looks pretty aces; mix a healthy amount of nostalgia and just glee to see Kermit and co. on the big screen again with a filmmaking team that has no only knowledge of but reverence for the Jim Henson workshop, add the characteristic irreverent humor, and I’m ready to go.

Ben Flanagan’s Pick – Mission: Impossible – Ghost Protocol

While some feel animation guru Brad Bird deserves a better live-action feature debut than the fourth installment in an already-established action franchise, my thought is if we’re stuck with it, then it’s better him in the spy adventure genre than someone else. Where M:I3′s narrative fell short, JJ Abrams did deliver some exciting set pieces. But here’s hoping Bird, who gave us one of the best action movies of the last decade with THE INCREDIBLES, can top that and more. Ignoring that Eminem song, the trailer promises plenty of spectacle, which in Bird’s hands, means good things.

Craig Hamilton’s Pick – The Girl With the Dragon Tattoo

As a book, THE GIRL WITH THE DRAGON TATTOO is as brilliant as it is violent and masochistic. The books, penned by the now deceased Stieg Larsson, are some of the best contemporary crime novels out there. All three books in the “Millennium Series” have been made into extremely successful and well-reviewed films in Sweden. It’s always thrilling to see an adaptation of a favorite book (throw Tinker Tailor Soldier Spy in there) and the fact that David Fincher is directing only excites me more. Rooney Mara stars as Lisbeth Salander and Daniel Craig as the investigative journalist. Prepare thyself for a thrill ride, though your appetite may not allow for popcorn consumption while watching.

Graham Flanagan’s Pick – War Horse

With WAR HORSE, Steven Spielberg steps back into the spotlight for the first time since 2007 in an attempt to redeem the tragic misstep otherwise known as INDIANA JONES & THE KINGDOM OF THE CRYSTAL PRAIRIE DOGS.WAR HORSE already entered the zeitgeist this year via a highly successful Broadway show that uses complex puppets to tell the tale of a boy’s quest to reunite with his loving equine companion amidst the horrors of World War I. For the movie’s initial trailer, Spielberg went light on the dialogue; instead relying on a combo of music and images from his main two collaborators: composer John Williams and DP Janusz Kaminski. Everything we see in those precious 2 minutes far surpasses the numerous nuclear failures that characterize Spielberg’s previous effort. If WAR HORSE doesn’t turn out to be a masterpiece, at this point we can all agree it’s at least a BIG step in the right direction.

Matt Scalici’s Pick – Paranormal Activity 3

First of all, everyone else took the good ones but that said, I am legitimately intrigued by where this plucky, low-budget horror franchise is going. Have there been some cheap haunted house gags? Yes. Are the thrills plentiful? Not really. But what these movies have done a great job of is building enormous tension that carries with you through even the least scary scenes of the film and created a mythology that not only lends itself to a prequel but almost requires it. I’m down for seeing how these guys wrap this creepy story up.

 

Awards Contenders

Ben Stark’s Pick – War Horse

While WAR HORSE seems like an obvious Oscar grab, I’m going to go ahead and throw my lot in with TINKER TAILOR SOLDIER SPY, which is already getting great buzz. Tomas Alfredson is an auteur to watch, Gary Oldman looks to be giving a career-defining performance, and the production design seen in the trailer looks like it hits the mark.

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Corey Craft’s Pick – The Descendants

In 2004, SIDEWAYS came out and dominated critical attention and acclaim for a large chunk of the Oscar season (only to have its thunder stolen by a late-breaking Eastwood surge and MILLION DOLLAR BABY). I don’t think anyone at that point thought anything other than, “This Alexander Payne keeps getting better and better. I can’t wait to see what’s next.” Well, here we are, seven years later — a gap that seems unbelievable — and I still can’t wait to see THE DESCENDANTS, despite a trailer that doesn’t do much for me. But early reviews out of Telluride are quite strong for this one. We’ll see, but the more Alexander Payne, the better, as far as I’m concerned.

Ben Flanagan’s Pick – Young Adult

YOUNG ADULT marks Jason Reitman’s fourth feature film and likely his third straight Oscar contender, which is loaded with some prestige. Once again collaborating with JUNO’s Oscar-winning screenwriter Diablo Cody, Reitman teams with Oscar-winner Charlize Theron, who plays a writer who returns to her home in small-town Minnesota to rekindle a romance with an ex-boyfriend who now has a wife and kids. Cody’s language always gives way for suspicion, given her last outing in the feature arena, JENNIFER’S BODY, straight up stunk. But in the capable hands of Reitman, who progresses as a storyteller with each of his films, I feel less suspicious.

Craig Hamilton’s Pick – The Ides of March

It’s hard to believe that at least a couple of acting nominations won’t stem from THE IDES OF MARCH. All one has to do is check out the cast list which includes: George Clooney, Ryan Gosling, Evan Rachel Wood, Marisa Tomei, Paul Giamatti and Phillip Seymour Hoffman. I know, I know, a stellar cast does not a Best Picture make, but the trailers and movie clips available online should provide further encouragement of the performances in this film. What’s more, George Clooney takes another stab at directing. When I think of Clooney as a director the first film that comes to mind is GOOD NIGHT, AND GOOD LUCK, one of the best films of 2005. If Clooney’s acting chops in THE IDES OF MARCH comes close to that film, then we’re in for something special.

Graham Flanagan’s Pick – The Artist

I’m seriously intrigued by the Cannes-sensation THE ARTIST, which picked up the Best Actor prize at the French fest for leading man Jean Dujardin. It chronicles the rise and fall of a silent film star as just as Talkies begin to change Hollywood forever. The main commercial challege facing THE ARTIST is the fact that it is indeed a silent film. To add insult to box office injury, director Michel Hazanavicius also shot the movie in black & white! However, its Cannes screenings generated overwhelmingly positive buzz, and it promises to lure fans of the Golden Age of Hollywood… hopefully more than were “lured” by THE GOOD GERMAN.

Matt Scalici’s Pick – Extremely Loud and Incredibly Close

Every movie Stephen Daldry has ever directed has earned him a Best Director nomination. All three. With Tom Hanks, Sandra Bullock and the backdrop of September 11th to work with, I don’t expect this time to be any different. It’s been a while since Hanks got an opportunity to deal with any truly dramatic material and expect Paramount to give Hanks and the film a huge push come Oscar season.

 

Sleeper Hits

Ben Stark’s Pick – Take Shelter

TAKE SHELTER, from Arkansas filmmaker Jeff Nichols, could be Michael Shannon’s big break-out lead performance after several fantastic supporting roles. The movie’s trailer hints at a kind of meteorologic-ally motivated psychological drama (again!?!?), and some elements might really hit home with those of us ruminating the spiritual implications of 2011′s bizarre weather onslaught.

Corey Craft’s Pick – We Need To Talk About Kevin

Speaking of untenably long waits between films, Lynne Ramsay’s last film, MORVERN CALLAR, came out in 2003 (I think)? So here we are eight years later awaiting the release of her latest, WE NEED TO TALK ABOUT KEVIN, an unnerving-looking drama about a mother dealing with a son she not only can’t relate to but who seems to be a “bad seed” in the classic sense. Ramsay’s visual style has been missed — say what you will about the plotting of her first few films, but she’s an true artist behind a camera, and the fact that a few out-of-context shots in a trailer managed to unsettle me speaks well for the upcoming WE NEED TO TALK ABOUT KEVIN.

Ben Flanagan’s Pick – Margaret

I stand among the few who stubbornly anticipated Kenneth Lonergan’s follow-up to his powerful 2000 drama YOU CAN COUNT ON ME. I first heard about MARGARET when it was in production circa 2005 and couldn’t find a release date until now thanks to editing disputes and lawsuits. Finally, we get Lonergan’s second feature film, starring Anna Paquin as a student who must cope in the aftermath of a fatal New York City bus accident. Not that Paquin’s my favorite actress, she’s at least joined by the likes of Matt Damon, Matthew Broderick, Allison Janney, Mark Ruffalo and Rosemarie DeWitt. I’m a little scared of how often this thing visited the chopping block, but I’m even more pleased to see Lonergan’s return to the game.

Craig Hamilton’s Pick – Moneyball

MONEYBALL isn’t among the handful of elite movie titles that come into conversation when discussing potential blockbusters or award winners, but this film has lots of potential. It is very gradually gaining buzz and once the reviews pour in from Toronto in a couple of weeks we might not consider this a sleeper anymore. Directed by Bennett Miller (Capote) and starring Brad Pitt and Jonah Hill, MONEYBALL is based on the true story of Billy Beanne, the general manager of the Oakland A’s, and his avant-garde approach to building a successful baseball team.

Graham Flanagan’s Pick – Martha Marcy May Marlene

Expect the unfortunately-titled Sundance hit MARTHA MARCY MAY MARLENE to cause at least a minor ruckus at big-city art house theaters. Sean Durkin – producer of Antonio Campos’ AFTERSCHOOL – makes his feature-directorial debut with this thriller about a young woman who breaks out of a cult.. seems like a mumblecore version of BIG LOVE. While the main attraction for most audiences will no doubt be the presence of Elizabeth Olsen a.k.a. the other Olsen sister… but for me it will definitely be the work of cinematographer Jody Lee Lipes whose hot streak continues after stellar work on last year’s indie-hit TINY FURNITURE. Take notice: we may be witnessing the emergence of the next Gordon Willis.

Matt Scalici’s Pick – Carnage

Yes, this one might look like one of those movies that’s such obvious Oscar bait that no one takes the bait but we’re looking at three Oscar-winning actors (plus one nominee) and an Oscar-winning director putting on a play for us in an enclosed space. The trailer is manic and looks like it could verge on silliness at times but the potential for great dialogue and better delivery is here with these four heavy-hitters on screen together.

 

Top Five Most Anticipated of the Fall

Benjamin Stark’s Picks

1. War Horse
2. Tinker Tailor Soldier Spy
3. Take Shelter
4. Tintin: Secret of the Unicorn
5. The Skin I Live In

Corey Craft’s Picks

1. Melancholia
2. Tinker Tailor Soldier Spy
3. The Descendants
4. We Need to Talk About Kevin
5. Martha Marcy May Marlene

Ben Flanagan’s Picks

1. War Horse
2. The Girl with the Dragon Tattoo
3. Tinker Tailor Soldier Spy
4. Martha Marcy May Marlene
5. Contagion

Craig Hamilton’s Picks

1. Tinker Tailor Soldier Spy
2. The Girl with the Dragon Tattoo
3. The Descendants
4. The Ides of March
5. Moneyball

Graham Flanagan’s Picks

1. Tower Heist
2. War Horse
3. The Artist
4. The Rum Diaries
5. Hugo

Matt Scalici’s Picks

1. War Horse
2. The Muppets
3. The Iron Lady
4. The Girl with the Dragon Tattoo
5. Martha Marcy May Marlene

The Movies:

• Fast Five
• Thor
• Pirates of the Caribbean: On Stranger Tides
• Bridesmaids
• X-Men: First Class
• Midnight in Paris
• Super 8
• Green Lantern
• Tree of Life
• Transformers: Dark of the Moon
• Harry Potter & The Deathly Hallows, Part II
• Captain America: The First Avenger
• Rise of the Planet of the Apes

As if we needed a sure sign, the cool weather and rainy Labor Day weekend has announced loud and clear that Summer 2011 is over. Before football season really cranks up and before we invest in tons of pumpkin-spice flavored treats, I want to take a quick moment and review the movie season that was.

Looking back, I think we can confirm that the thematic through-line of the summer’s movies was nostalgia… whether in remakes (Rise of the Planet of the Apes), period pieces, (Super 8, Captain America), revisionist histories (Transformers: Dark of the Moon, X-Men: First Class) or backwards-gazing spiritual ruminations (Midnight in Paris, Tree of Life), it seemed that the past was on Hollywood’s mind.

The industry’s stubborn attempt at indoctrinating the public with the importance of 3D was stronger than ever, and it does seem like the public is responding. I, myself, am still leery towards 98% of 3D experiences. I will admit that 3D seems to have brought Michael Bay closer to being the revolutionary visualist he has the potential of becoming, but a billion extra dimensions will never fix an inability to read tone or cut fat.

My most pleasant technological discovery this summer was the long-derided digital IMAX experience. Call it Diet IMAX. Call it IMAX, Jr. Call it LIE-MAX. There’s no denying that this is not the enormous, domed cinematic experience that has been sold to us for decades, but -regardless of the bad branding- seeing a film in digital IMAX is worth the up-charge and makes the experience special.

My wife and I didn’t get to make it to many comedies this summer, and we happened to skip all of the animated features. One “achievement” we did nail was checking out all of the summer’s superhero movies, and I’m proud to say that both of us can champion Captain America: The First Avenger as the summer’s best superhero movie. Much of that is probably because the movie does not play out in the standard superhero sub-genre template, but works more as a character-based adventure film. Overall, I don’t think any of the comic book adaptations will hold up as well as a Dark Knight or a Spider-Man 2, but we’ll see how X-Men: First Class and Captain America -both crowd favorites- fare on repeat viewings.

For some chatter about the summer’s box office performance, check out this article.

 

All that said, here are some of my favorites of the season, with rankings in various categories:

 
SCORE
1.) Henry Jackman, X-Men: First Class
2.) Michael Giacchino, Super 8
3.) Alan Silvestri, Captain America: The First Avenger
4.) Patrick Doyle, Thor & Rise of the Planet of the Apes
5.) Alexandre Desplat, Harry Potter & The Deathly Hallows, Part II

CINEMATOGRAPHY
1.) Emmanuel Lubezki, Tree of Life
2.) Larry Fong, Super 8
3.) Amir M. Mokri, Transformers: Dark of the Moon

EFFECTS
1.) Transformers: Dark of the Moon
2.) Rise of the Planet of the Apes
3.) Harry Potter & The Deathly Hallows, Part II

SUPPORTING PERFORMANCES
1.) Elle Fanning, Super 8
2.) Alan Rickman, Harry Potter & The Deathly Hallows, Part II
3.) Corey Stoll, Midnight in Paris
4.) Dwayne Johnson, Fast Five
5.) Adrian Brody, Midnight in Paris

LEAD PERFORMANCES
1.) Kristen Wiig, Bridesmaids
2.) Michael Fassbender, X-Men: First Class
3.) Joel Courtney, Super 8
4.) WETA & Andy Serkis, Rise of the Planet of the Apes
5.) Chris Evans, Captain America: The First Avenger

 

 

ACTION SEQUENCES
1.) Tower Topple, Transformers: Dark of the Moon
2.) Train Heist, Fast Five
3.) Uprising, Rise of the Planet of the Apes
4.) Train Wreck, Super 8
5.) Harry vs Voldemort, Harry Potter & The Deathly Hallows, Part II
6.) Bus Attack, Super 8
7.) Climax, Fast Five
8.) Final Plane Chase, Captain America: The First Avengers
9.) Getting to Sentinal Prime, Transformers: Dark of the Moon
10.) Chasing the Hydra Spy, Captain America: The First Avenger

SCENES OR MOMENTS
1.) Argentina, X-Men: First Class
2.) Train Station Performance, Super 8
3.) Final Moment, Super 8
4.) Childhood Montage, Tree of Life
5.) Caesar is Home, Rise of the Planet of the Apes
6.) Dinner Table, Tree of Life
7.) Interrogating Griphook, Harry Potter & The Deathly Hallows, Part II
8.) Cookie Distribution, Rise of the Planet of the Apes
9.) Wedding Boutique, Bridesmaids
10.) Final Moment, Thor

BEST THEATRICAL EXPERIENCES
1.) Super 8 – Live music with dinner, followed by coffee with friends, topped off by a midnight screening in digital IMAX. Loud, vibrant, and very fun.
2.) Midnight in Paris – I surprised Danielle with a picnic after work. Wine, sandwiches, and a great screening.
3.) Transformers: Dark of the Moon – The eye-popping visuals and kinetic energy of this movie’s final act, rendered in IMAX 3D – with no loss in exposure, color, or clarity – more than makes up for its annoying eccentricities and fatty “character” moments.

 

 

GRADES:

A
Super 8
Tree of Life

A-
Captain America: The First Avenger
Rise of the Planet of the Apes
Harry Potter & The Deathly Hallows, Part II

B+
Midnight in Paris
Bridesmaids
Transformers: Dark of the Moon

B
Fast Five
Thor

B-
X-Men: First Class

D+
Green Lantern
Pirates of the Caribbean: On Stranger Tides

 

So, that’s it. The ice cream’s melted, the pool is covered, and those short shorts are wholly inappropriate. I’d be remiss if I didn’t mention that our newest movie, The Nocturnal Third, is premiering locally and online this Friday, September 9th, despite missing its chance to be a Summer movie… as well as its promised Spring release date.

You can watch The Nocturnal Third, in its entirety, for free all weekend long at http://www.thenocturnalthird.com