Gary Ross’ Ocean’s Eight is, like all Ocean’s films before it, a pleasantly diverting trifle. But its relative deficiency of zip and pizzazz makes me wonder if co-producer Steven Soderbergh positioned his own Logan Lucky as an act of sabotage. I found myself mentally compiling a wishlist while watching:
I believe it was intended as a plot twist that James Corden’s insurance investigator was chummy with career criminal Debbie Ocean (Sandra Bullock), but it only reduced the stakes.
Nice to see Elliot Gould and Shaobo Qin, but a cameo from Julia Roberts would have been fun and fitting.
Speaking of cameos, I would have LOL’d if one of the hapless chefs Cate Blanchett was training had been Topher Grace.
The insurance investigator could have been a female English star — how about Emma Thompson? Kate Winslet? Thandie Newton? Yes, thematically, it makes sense for the character to be a male antagonist, but it still seems like a missed casting opportunity.
I didn’t note one, just one, quotable line of dialogue — like “and then he’ll go to work on you” or “allllllll reds” or “did you check the batteries” or countless others from Ocean’s Eleven.
A score by David Holmes would have gone a long way.
Some praise: Anne Hathaway was totally the MVP. As in Tim Burton’s Alice in Wonderland, she stole all the scenes, and elevated the material.
Some trivia: I was startled to hear an unmistakable sample of No-Man’s “Dry Cleaning Ray” repeated several times in Daniel Pemberton’s score. I’m a big No-Man fan, and this is a deep cut. I hope Steven Wilson and Tim Bowness were cut a check.
Terminator Salvation was released in a year curiously rife with apocalypse porn. The visions of world’s end in theaters that year varied wildly in tone: everything from illuminating art to alarmism to escapism. The competition to bum you out included Roland Emmerich’s 2012, which utilized the best special effects technology money could buy to depict the systematic destruction of international landmarks, and John Hillcoat’s The Road, which imagined the scattered remnants of humanity scrabbling to survive in a world they may have themselves decimated, but long past a point where blame had any meaning. Technology is both destroyer and salvation in Terminator and 2012, but largely irrelevant to the stragglers clinging to life in The Road. All of humanity’s inventions are gone, and give neither aid nor harm.
For the Terminator series to be such a long-lasting mass entertainment is odd, considering it is set in a desolate, post-nuclear-war world ruled by a self-aware artificial intelligence. It would seem that a distrust of technology and fear of world war is a perpetual motivation to go to the cinema. James Cameron’s original science fiction nightmare is vintage 1984, with old-school optical special effects and stop motion animation that, depending on your point of view, are either quaint or relics of a lost era of handmade moviemaking. But its core concept was strong enough to become archetypal of an entire genre, inspiring countless derivative works.
The Wachowskis stole it outright for The Matrix, where self-aware computer programs turn against the human civilization that created them, like the Terminators before them. The Terminators stage a malicious holocaust of pure extermination, but the Matrix programs instead virtually enslave the human race while they feed on giant electrical batteries comprised of farmed human bodies. While the eponymous Matrix was a weapon of fratricide, The Terminators were instead locked in a game of time-travel chess. But in each case, the offspring of humanity are afflicted with profound Freudian complexes: they are fixated on consuming their parents.
The cast of Terminator Salvation was more populated with famous names than it needed to be. Christian Bale is now the fourth actor to play the role of humanity’s savior John Connor, and with apologies to Edward Furlong, Nick Stahl, and Thomas Dekker, the first marquee name. One need look no further to spot the biggest gamble this film makes: nobody went to see any of the previous three Terminator films because they were fascinated by the good guy. From the very beginning, the big draw for audiences (and the plum role for any actor looking to make a splash) was the villain. The eponymous cyborg antagonist James Cameron created quickly became iconic and launched bodybuilder Arnold Schwarzenegger to Hollywood stardom and, even more implausibly, a political career.
Bale is coming from an entirely different place than a ‘roided-up Austrian amateur thespian in 1984. Bale is a capital-S Serious Actor, from the very beginning of his career as the child lead in Steven Spielberg’s still under-appreciated Empire of the Sun through to his modern resurgence in Mary Harron’s controversial American Psycho. Like Brando and Crowe before him, Bale comes across as an angry and humorless guy — possibly even unstable — in most of his roles and even his public persona. Indeed, rumors of his ill temper were seemingly confirmed by his infamous eruption on the set of Terminator Salvation in July 2008.
A pessimist might even imagine Bale’s histrionics part of a publicity campaign to create awareness and positive buzz — not just for a movie that studio executives might consider an unsure prospect in need of a marketing boost, but even to cement his own sexy reputation as a loose cannon or Hollywood bad boy. In the end, a hissy fit thrown by a handsome and overpaid celebrity wasn’t enough to prevent minor box office disappointment and tepid reviews, (a modest 52% on Metacritic).
At the very least, Bale’s tabloid presence helped most of the celebrity obsessed world become aware that there was a new Terminator film coming out, when previously only Comic-Con attending sci-fi geeks had been paying attention. Personally, knowing about Bale’s tantrum beforehand actually took me out of the experience of watching the film on its own merits. I was continuously distracted by wondering which particular scene stressed him out enough to blow his top.
Bale’s prickly persona might make him eminently suitable for roles like the driven resistance leader John Connor, but it makes his range seem quite limited. He employs the exact same set of mannerisms he used for Bruce Wayne in Batman Begins and The Dark Knight: a hoarse voice, tensed posture, and lowered-head thousand-yard stare. Bale may play the top-billed role in The Dark Knight and Terminator Salvation, but he is arguably not the real protagonist in either, and is overshadowed by Two-Face (Aaron Eckhart), The Joker (Heath Ledger), and Marcus Wright (Sam Worthington) — both in terms of screen time as well as actorly showiness. Perhaps it’s a deliberate choice on Bale’s part to seek out essentially supporting parts in which he allows his character to be subordinate to a cast ostensibly billed below his name. Fittingly, Bale was to earn an Oscar the next year for an actual supporting role in David O. Russell’s The Fighter, so at least in one case his real-life persona completed its redemption arc, if his Terminator role John Connor didn’t.
I have nothing to back this allegation up, but I’ve heard rumors that the original script for what became Terminator Salvation centered around the characters of Marcus (Worthington) and Reese (Anton Yelchin). Worthington and Yelchin would have shared the focus, while the character of John Connor was relegated to a cameo appearance, but the role was greatly expanded when Christian Bale became attached. This rumor could account for the relative richness (albeit truncated) of the Marcus character arc, as compared to the one-note Connor. It would have served both characters better had the movie focused on just one tortured male savior.
Director McG’s Terminator Salvation is by no means equal to James Cameron’s two original films, but it’s really not all that terrible, and certainly better than Jonathan Mostow’s Terminator 3: Rise of the Machines. My theory is very simple: it’s too grim. The first three movies all had some degree of humor, but Terminator Salvation‘s trailers and TV commercials made no attempt to tart it up as a good time. By far the highlight for the audience I saw it with was the sudden appearance of a famous T-800 model Terminator, not entirely successfully realized by applying a CGI Arnold Schwarzenegger head atop bodybuilder Roland Kickinger. If a little less than convincing, it at least provided some relief from the oppressive apocalyptic despair.
Also, a newly recorded voiceover cameo by Linda Hamilton was a nice touch for nostalgic fans. The always entertainingly eccentric Helena Bonham Carter appears in an significant cameo, with Bryce Dallas Howard in a totally inconsequential part that could have gone to a newcomer. Following the established rules of action flicks (perhaps best exemplified by Cameron’s Aliens), the cast includes the requisite cute kid, but thankfully she’s mute.
I was able to go along with the plot for the most part, but found the reduction and oversimplification frustrating. A global war against artificially aware machines is condensed down to a hand-to-hand battle with a single T-800 on a factory floor — a self-conscious retread of the climax of the original film. But perhaps this is a better dramatic choice than what Cameron did in Aliens, which excessively multiplied the single alien threat of Ridley Scott’s original, effectively diminishing the core premise that was appealing in the first place: an almost indestructible creature driven by pure biological instinct, not malice.
Another fatal flaw with Terminator Salvation is a consistent problem with many characters’ comically blasé reactions to extraordinary situations. Connor’s right-hand man Reese rescues a guy who claims never to have seen a Terminator before, or even know what year it is. But Reese simply answers his questions, and never wonders just where the hell this weirdo’s been the past few years. Also, I understand Williams (Moon Bloodgood) bonding with Marcus after he rescues her from gang rape, but she risks the safety of an entire human outpost when she decides to free him. This choice goes beyond understandable impulsiveness and into the realm of lunacy.
Also curious is an apparent lack of imagination in realizing futuristic technology. We’re told the Terminators communicate over old-school shortwave, so evidently SkyNet hasn’t taken over the satellite network and blanketed the planet in Wi-Fi or 3G. Maybe the robots found their reception was as bad as Manhattan AT&T subscribers. I won’t go into how the gleamingly sleek SkyNet HQ includes fancy touchscreen graphical user interfaces designed for humans, or how Connor miraculously witnesses a nearby nuclear explosion without being atomized by the shockwave, or at least going blind or contracting radiation sickness. Such a thin line between suspension of disbelief (for the purposes of thrills & spills) and sheer stupidity would bother any viewer with half a brain, whether the other half is cybernetic or not.
As Pottermania began some years ago, I recall being amazed at how similar it all seemed to Neil Gaiman’sBooks of Magic, which predates J.K. Rowling’s first Harry Potter novel by about five years. In it, boy wizard Tim Hunter, equipped with broken glasses and an owl, is prophesied to be an immensely powerful wizard. The forces of good and evil each seek to manipulate his upbringing in an effort to claim him for their own. For Gaiman fans, it was tempting to cry plagiarism. But subtract the glasses, and substitute the owl for a cute droid or two, and you could just as well be describing Luke Skywalker.
The generation that grew up with the Harry Potter books will just as surely sit rapt through the movies as they will quibble about the compromises made in their adaptation. Beware what follows is from the perspective of an older non-fan, who’s read the first book and seen the movies, but doesn’t hold them deep in the heart as the Harry Potter generation does.
David Yates’ Harry Potter and The Half-Blood Prince is very, very long, and demands that the audience has retained an awful lot of lore from the previous movies (but again, the counterargument stands: you can say the same about Star Wars and Star Trek). I found the trailer totally incomprehensible, and the movie at times befuddling. I longed for a less novelistic and more movie-like narrative.
When a MacGuffin is finally introduced late in the movie, it adds a much-needed dramatic spark to drive the story, giving Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon) a clear quest. But for those of us without a Potter wiki stored in our brains, what they seek — a Horcrux — is not clearly explained, despite reams of exposition from Dumbledore, plus a recap from Harry and Hermione (Emma Watson) at the end. Apparently there is more than one, two have already been found, and a third turned out to be counterfeit?
It must have been quite a gamble to cast such a large troupe of child actors, trusting that they would grow into the acting profession over the course of several years. I wouldn’t say any of the child actors are bad, but they’re all unsurprisingly outclassed by the large complement of veteran British actors.
Timothy Spall and Helena Bonham Carter both play baddies with relish, but I can’t say I recall much about who they are and what motivates them. Nor whether returning characters played by Emma Thompson, Gary Oldman, and David Tennant are still good and/or evil, alive and/or dead. Didn’t Oldman appear in a fireplace in one of the previous movies? I guess he’s feeling better now. I can’t keep this stuff straight.
Alan Rickman is superb as always, every line reading a delicious mixture of humor and menace. As with Ian McShane in anything, Rickman is doing Shakespeare while everyone else is in a soap opera. His character Snape turns out to be the titular Prince, which I suppose raises two questions for the next installment: was his dangerously annotated potions textbook deliberately left to fall into Harry’s hands? And: what’s the significance of the nickname? He appears to be some kind of double-agent.
Recurring villain Draco (Tom Felton) remains a wet noodle. Every movie sets him up as Harry’s nemesis at school, as well as cosmically fated for evil as Harry is for good. But he always winds up spanked and running away crying like a baby. It’s unclear to me if we’re supposed to consider him a real threat, but perhaps I’m overthinking things, and it is simply childish wish fulfillment that the school bully always get his embarrassing comeuppance.
Most of the rest of the movie is concerned with the teens’ romantic lives. I don’t happen to recall Ginny (Bonnie Wright) being a significant character in the previous movies, so the mutual infatuation between her and Harry seemed to have developed offscreen between movies.
But what has always puzzled me the most about this whole epic is Harry himself. What makes him so special? He’s not necessarily the most clever (Hermione of course), brave, or powerful. From what I recall from the backstory, his biggest claim to fame is that he survived an attack by the Dark Lord Voldemort. But the world’s most powerful wizard Dumbledore apparently trusts Harry more than anyone else. Surely there’s any number of more experienced wizards he could have brought along with him to look for the Horcrux; why did he specifically need Harry?
Anyone who’s ever had the misfortune of a conversation about movies with this blogger is no doubt aware that I like musicals about as much as I like biopics. That is to say, not at all.
I do, however, love Tim Burton, and count Ed Wood among my personal favorite films. So if he could make a biopic I can love, I didn’t think it unrealistic to hope that he might melt my cranky moviewatcher’s heart with a musical. But it’s been a long time since Burton has directed a personal project, instead working on existing franchises and remakes like Planet of the Apes and Charlie and the Chocolate Factory. He did add a healthy dose of the trademark Burton flavor to each, not to mention key members of his troupe (Helena Bonham Carter in Apes and Johnny Depp in Charlie), but fans like myself are still waiting for the next burst of pure Burton madness in the spirit of Edward Scissorhands.
The Sweeny Todd tale originated in a prose serial form in 1846, and after several permutations, eventually became a stage musical by Stephen Sondheim in 1979. Burton’s 2007 film adaptation doesn’t quite manage to break free of its stagebound, er, staging. Despite the opportunity a film has to expand a play’s world, the action is limited to just a few locations. The rich art direction doesn’t defeat the impression that the whole thing was shot on a small soundstage. Speaking of art direction, Burton’s vision of late 19th century London is very colorful, provided that that color is blue. That said, it isn’t long before a few generous gallons of red are splashed about the place.
Timothy Spall, once of Mike Leigh’s British kitchen sink dramas, continues to indulge in the new scenery-chewing persona he developed as Peter Pettigrew in the Harry Potter films. Helena Bonham Carter looks like she just stepped out of The Nightmare Before Christmas, and Sascha Baron Cohen sports no less than two outrageous accents.
Sweeney Todd: The Demon Barber of Fleet Street has joined Waitress in the most unlikely mini genre of 2007: movies about pie shops. But while Waitress was a largely cutesy concoction, Sweeney Todd adds to the recipe a preoccupation with vengeful cannibalism a la The Cook The Thief His Wife & Her Lover.
And finally, a technical note: the DVD edition suffers from an unusually uneven audio mix. The music is far, far louder than dialogue sequences, so be prepared to drive your remote control volume switch throughout.