Tag: biopic
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When happens when you tell the Bush Administration what they don’t want to hear: Fair Game
Doug Liman’s Fair Game is an important movie. The legacy of the Bush Administration’s war on terror comprises many grand injustices: civilian casualties, torture, increased resentment worldwide, eroded civil liberties, et al. In other words, lots of raw material for screenplays. Most treatments of the war on terror in movies so far have been fictional…
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Relentless Withholding: Michael Mann’s Public Enemies
Khoi Vinh rightly observes in Minimalism, Michael Mann and Miami Vice that “Mann has produced a taut, stylistic and often brutally impersonal filmography that seems most interested in the concept of work” (via Daring Fireball). I wholly understand and laud the aim of a minimalist, “relentlessly withholding” narrative, but I don’t believe it’s ignorant or…
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Jane Campion Visualizes the Invisible, in Bright Star
As an English Major in another life, I’m not uninterested in poetry, or Keats in particular. But movies about poetry are another matter. It’s difficult to imagine a less natural source material for the eminently visual medium of cinema than poetry. You can mute the sound, drain the color, or take off the 3D spectacles,…
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Oliver Stone skips over the defining moments of George W. Bush’s life in W.
I had the same issues with Oliver Stone’s W. that I do with every biopic. As virtually every feature film biography attempts to do the job of a book, they inevitably fall into the same trap: they become highlights reels that merely illustrate key moments in a real-life figure’s life, spanning decades. With a few…
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Jake Kasdan spoofs the musical biopic in Walk Hard: The Dewey Cox Story
This blogger finds most so-called biopics wanting. The two- to three-hour feature film format is more akin to an essay or short story than a book, and as such is ill-equipped to sum up the entire life of a human being in more than a string of highlights. Yet studios and filmmakers keep churning out…
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Todd Haynes deconstructs Bob Dylan in I’m Not There
I always find it interesting to ponder my preconceived notions of a movie after I’ve actually seen it. The marketing and buzz on I’m Not There mostly centered on two talking points: the quirky device of multiple actors all playing incarnations of Bob Dylan, and Cate Blanchett being just plain amazing as usual (what else…
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The camera is an eye, in Julian Schnabel’s The Diving Bell and the Butterfly
Julian Schnabel is an artist-turned-filmmaker, evidently preoccupied with the lives of other artists and writers: Jean-Michel Basquiat in Basquiat, Reinaldo Arenas in Before Night Falls, and now Jean-Dominique Bauby in The Diving Bell and the Butterfly. Several years ago, this blogger designed Fine Line Features’ official website for Before Night Falls. But frankly, I had…
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Cate is great in Elizabeth: The Golden Age
I’ll have to gang up with the general critical consensus around Elizabeth: The Golden Age, best summed up as: Cate Blanchett is astounding, as usual (yawn – the Academy Award nomination was virtually assured before the cameras rolled), but the movie is a disappointing sequel to a powerful original. Oh, and did I mention that…