(cinema) Chronicle, d. Josh Trank, 2012. There’s a quote attributed to Will Rogers, a very practical guy: When you find yourself stuck in a hole, stop digging. I offer this aphorism for consideration to the lead character Andrew in Chronicle and to the filmmakers behind Chronicle as well. Andrew, a shy teenager, finds himself part of a trio of boys who discover a strange crystal artifact in an underground cavern. The crystal, for some reason, gives the boys telekinetic powers. They can move objects with their minds and even figure out how to fly above the clouds. The external benefits of Andrew’s new physical power include making new friends, becoming popular at school and even attracting the interest of girls. But ultimately Andrew’s damaged ego and personal problems at home are more powerful than his abilities his father is an abusive drunk and his mother has a terminal illness. As Andrew’s telekinetic powers strengthen, his emotional self-control weakens. Instead of being a hero, he becomes a menace of violence and destruction. The “chronicle” part of this is that the whole movie is shot in so called “found footage” style. I call it faux-verite. Andrew carries a video camera and his recording of everything that happens is our viewpoint into his rise and fall. There are a lot of movies using faux-verite but experimenting with the form, Chronicle ventures into original territory. I like the special effects work of the suspended objects and flying teenagers. I also like the story in the first two thirds a lot. Is all this really happening to Andrew or are we a voyeur into his fantasy life? Is this an origin story of Andrew as a comic book style hero, or super villain? There are probably a hundred interesting places Chronicle could have taken us but it doesn’t go to any of them. Instead the story runs out of gas creatively and begins to get boring, even at under 85 minutes. In the desperate feeling last act, Andrew goes on an I-can-destroy-you-all-if-I-chose power binge. The filmmakers have no idea what to do with their own character. So they drag Andrew into a hole of explosions, nihilism, and waste. Unfortunately, Andrew lacks the ability to think of any better solution than to just keep making things worse. In the same manner Chronicle goes from good, to boring, to bad, to worse. I should mention that I saw a strong homoerotic subtext here as Andrew’s fantasy-come-to life seems to be finding a phallic object in a cave and using its secret power to convince attractive, popular boys to runaway with him- just something I was thinking about as I watched this movie go to pieces. ๏ ๏ outof ๏ ๏ ๏ ๏ ๏… The Harvey Girls, d. George Sidney, 1946. Not everybody knows who Johnny Mercer was but everybody knows a Johnny Mercer song: “MOON RIVER”, “JEEPERS CREEPERS”, or “YOU MUST HAVE BEEN A BEAUTIFUL BABY.” Mercer wrote lyrics for and recorded hundreds of songs in the Great American Songbook including “ON THE ATCHISON, TOPEKA AND THE SANTA FE” for the movie musical The Harvey Girls (music: Harry Warren). That song is used in a grand Hollywood production number at the beginning. What happens after that are some less fantastic numbers and a thin story. Judy Garland plays a 19th Century mail order bride from Ohio whose train stops in an old Western American town. Garland takes a job as a Harvey Girl. That’s an ebullient, hard working server in a friendly whistle stop restaurant called Harvey’s. It’s a respectable opportunity for a young, unmarried woman, especially compared to the girls who “entertain” men more provocatively across the street at the local casino and dance hall. A cultural conflict is set up here between the two kinds of girls in town, a conflict repeated in the battle of affections over the same man by both Garland and the leader of the showgirls. There is a longer discussion to be had about how these microcosmic conflicts attempt to play out familiar value themes in musicals: work versus leisure and chastity versus sexual promiscuity. But the case is well summarized at the end when all of the town drunks and gamblers come over to Harvey’s to learn how to waltz. As the town parson says, “For the first time the men in this town chose having a good time over having a wild time.” This movie is a good but not wild time and there are some great, less recognizable Mercer/Warren tunes as well as an amazing tap dance specialty number by Ray Bolger.๏ ๏ ๏outof ๏ ๏ ๏ ๏ ๏ … (television) Smash. This show premiered on television after a great deal of marketing and other ballyhoo. It’s premise is to follow the evolution of a fictional Broadway musical and the lives of its creators and performers. So far I don’t quite give it a “smash.” The pilot was more of a “ring” or a “bang” to me. The characters started out kind of flat but they promise to be much more interesting than the nitwit cartoon characters on Glee (Hate it!). I’m impressed with the quality of Smash’s original music by Marc Shaiman, composer/lyricist for musicals like Hairspray and Catch Me If You Can. I wonder if they’re going to be able to maintain the quality of that music over the course of a television series. One of the principle character conflicts is going to be the two young singers fighting for the lead role. I thought Megan Hilti, the blonde, was amazing and that Katherine McPhee, the brunette, was just really good. However my unbinding straw poll revealed that there are people who feel completely opposite, that McPhee clobbered Hilti. What did you think? I think Smash could turn out to be a lot of fun to watch. WATCH IT… In my continuing power screening of old Golden Girls episodes I just finished the 3rd season. LARCENY AND OLD LACE (S3, Ep.21) Sophia is dating a retired gangster and finds a wad of money she thinks he robbed from a bank just to impress her. One of the big problems I have with GG is that they enlist a lot of great Hollywood and Broadway actors as guest stars and then never give them anything funny to do, perhaps to contain them in upstaging the regulars. However, this episode features Mickey Rooney as the old crook and he’s in great form. WATCH IT. BTW, Mickey Rooney was older than any of the GG actresses. They’re all dead except for Betty White and Rooney’s still alive. ROSE’S BIG ADVENTURE (S3, Ep.22) Rose has to convince her newly retired boyfriend to do something with his life. Also, the girls hire an old Sicilian architect to remodel their garage. This isn’t a bad episode but neither story line is particularly believable or funny. SKIP IT. MIXED BLESSINGS (S3, Ep. 23) Dorothy forbids her son to marry a woman twice his age. Meanwhile the bride’s family is forbidding the marriage because they are black. It’s a weird pattern to me that the adult children are always flying into Miami to spring shocking news to their Golden Girl mother at the front door. Ever hear of a telephone? And what’s with all the parental forbidding? It’s okay though, the white people come out looking really tolerant in this one. SKIP IT. MR. TERRIFIC (S3, Ep. 24) Now Rose is dating a television kiddie show super hero named Mr. Terrific. What happened to the good for nothing she was seeing two episodes ago? Through sitcomy circumstance Dorothy gets Mr. Terrific fired from his gig and has to fill in for him on the air. I wanted that situation of comedy to be funnier. Also, I’ve always disliked the character actor Bob Dishy who plays Mr. Terrific. He never fails to irritate. SKIP IT. MOTHER’S DAY (S3, EP.25) Each GG recalls a memorable Mother’s Day story. Again, the show goes to the lengths of getting the great comedian Alice Ghostley as a guest star and she’s barely in it. But the writing in this episode is pretty touching. WATCH IT.
Posts tagged ‘found footage’
Paranormal Activity 2 (2010, d. Tod Williams)
Chubby Checker’s “The Twist” went to #1 on the Billboard charts twice. His sequel “Let’s Twist, Again” only made it to #8. Paranormal Activity, from 2009, was derivative of other horror movies using hand-held video and a found-footage conceit, but it was a creative twist. As for Paranormal Activity 2, I’m sorry, but sequel, prequel… whatever, you don’t get credit for making the same movie twice.
A married couple brings their newborn baby home to their suburban dramatization, and unhealthily video tapes every living moment of their unextraordinary lives. After the house is curiously vandalised, but not robbed, they install an elaborate security camera system that documents every inch of their laminate and Oak Express interiors. So, most of the found-footage from this point on comes via those cameras (which actually helps to address a lot of the “if their so freaked out why do they keep filming it?” criticisms). What we see, from our fly on the wall view, is the hour by hour behavior of some evil apparition, a demon in the house, gradually more and more ornery. Mostly the demon comes in the form of a crescendo of audience-jarring noises. At the beginning of the movie we hear a snap. By the middle is ascends to a crackle. And finally, near the end, the intense pop! My question is, if the demon is so pissed off, why doesn’t he just start terrorizing the family at full volume? Eventually it’s revealed that the demon is after the baby. Well, he should just ask for it. Instead we have 90 minutes of the same wondering when something’s going to happen , the same zombie lady standing around possessed for hours sped-up – all the same spooky tricks used in PA1. In between there’s the continuation of the vague, cursed family back story that has really nothing to do with what’s happening in front of us.
Paranormal Activity 2 operates on this marinating model to build dramatic impact. That would be fine if it weren’t the exact same drama building device they used in the first movie. I don’t dislike Paranormal Activity 2. I just think my movie dollar should stretch farther.