Saturday, August 22, 2009

Inglourious Basterds

Film: Inglourious Basterds (2009)
Dir: Quentin Tarantino
Rating: ***** out of 5 stars



After a long streak of great films, I figured Quentin Tarantino had finally begun a downward spiral following the surprisingly flawed Death Proof. The mixed reviews of Inglourious Basterds coming out of Cannes supported that theory. So my expectations were pretty low. As it turns out, I was dead wrong. Basterds is a unique, fun, and mature addition to QT's repertoire.

Basterds is a fictionalized WWII tale set in Nazi-occupied France. Lt. Aldo Raine (Brad Pitt) leads a group of Jewish-Americans (and two German defectors) on a mission with one goal: kill as many Nazis as possible. These "Basterds" and their brutal tactics effectively terrorize the SS. Meanwhile, a young cinema proprietor named Shoshanna (Mélanie Laurent) attracts the attention of a Nazi war hero-turned-actor, who insists on screening his movie at her theatre. What he doesn't know is that Shoshanna - a Jew in hiding - witnessed her family slaughtered by Nazis, and has revenge on her mind. When word of the premiere gets out, the Basterds plan to sabotage the event and hopefully kill a large portion of the attending Third Reich.

Like some of QT's previous films, this one is broken into chapters. This technique is especially appropriate here because the story is more like a fairy tale than a history lesson. It even begins with "Once upon a time...." There are hundreds of films portraying the bleak realities of WWII, but Basterds is not one of them. Frankly, I have seen enough movies about the Jews being tortured, gassed, burned, and buried - it's about time we get to see them kicking Nazi ass! There is only one scene of violence against Jews in this entire film - but a dozen against the SS. And it's awesome. Maybe it never really happened, but who cares? It is very satisfying.

However, one way Basterds is more accurate than most of its predecessors is the fact that the Germans speak German and the French speak French. English is only used when appropriate or explained, and the rest is left to subtitles. Often times, the languages switch back and forth. To accomplish this task, Tarantino hired very talented bilingual actors like Diane Kruger, Michael Fassbender, Daniel Brühl, and Christoph Waltz. All do an amazing job, and give the film a feeling of authenticity. On the American end, Pitt's tongue-in-cheek performance is hilarious.

As much as I love the entire cast, I have to single-out the golden child of this movie - Christoph Waltz. He portrays the charming, scene-stealing Nazi villain, Col. Hans Landa. He provides some of the film's funniest moments, and easily gives the strongest performance. Dare I say, this is the greatest performance Tarantino has ever gotten from any actor. QT said himself he could never have made this movie without Waltz. The former tv actor is one of those brilliant untapped thespians, and I'm so glad Tarantino exposed him to the world. I have no doubts that the 2009 Supporting Actor Oscar is his, especially after winning Cannes' Best Actor prize. It is impossible to watch Basterds and not be captivated by Col. Landa every second he is on screen.

Okay, enough gushing about Christoph. I also must mention the great gore FX courtesy of Greg Nicotero and his crew, and the incredible score by legendary composer Ennio Morricone. All these elements combine into a fantastical war film with the heart of a western. Tarantino's story and dialogue are great, and his self-love is kept to a minimum this time. I have read parts of the original screenplay, and can see where much of his rambling dialogue was cut, thankfully. Contrary to my worries, it is very possible that his films are only getting better.

Saturday, August 08, 2009

Not Quite Hollywood

Film: Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2009)
Dir: Mark Hartley.
Rating: ****1/2 out of 5 stars



Prior to the 1970s, the Australian film industry was practically non-existent. That decade marked the arrival of important Aussie cinema such as Peter Weir's Picnic at Hanging Rock but the social revolutions of the time also spawned a plethora of genre films, affectionately known as "Ozploitation" movies. Mark Hartley's documentary Not Quite Hollywood explores these lesser-known movies and their impact on world cinema. The film is not only informative, but is as exciting and fun as the movies it's portraying.

NQH begins with the history of Australia's film industry, or rather lack thereof. Few Aussies were making movies, and those who tried were marred by extreme censorship. But in 1971, the R-certificate (rating) was introduced and thus opened the door for sex and violence on the big screen. This documentary breaks the genre films into three major waves - sex romps; exploitation horror; and high-octane action flicks.

The early 70s birthed the iconic "ocker" Barry McKenzie, an Australian looking for sex in prudish England. These comedies were known for debauchery, vulgarity, and gross-out humor. There were also a lot of sex comedies that pushed the envelope with endless boobs and bush. This is the least exciting portion of the documentary, but that doesn't say much, as it is still hilarious and enlightening.

The middle section of the film covers the extreme horror - needless to say, my favorite part of the documentary. Virtually every movie mentioned is a must-see - Patrick, Long Weekend, Roadgames, Howling 3, Razorback, Next of Kin, Dark Age, and more. We get outback thrillers, supernatural chillers, and psychopathic killers. Oh, and a giant ravenous pig. What's not to love?

The third portion of the movie focuses on the wild action movies that were dominated by explosions, kung fu, car chases, and biker gangs. Examples include Mad Max, Stone, Turkey Shoot, Mad Dog Morgan, The Man From Hong Kong, and Fair Game. This is another part of the documentary where you want to take notes so you will remember to watch all these awesome movies.

In addition to an impressive array of film clips, the movie offers hilarious interviews with virtually every major Ozploitation filmmaker, along with actors, critics, and film experts. Their anecdotes are some of the funniest I've ever heard. A few of the better known interviewees include Barry Humphries (Dame Edna), Dennis Hopper, Stacy Keach, Jamie Lee Curtis, and Quentin Tarantino, who bounces with fanboy excitement.

Hartley also injects a lot of cartoony humor into the documentary's look, so it is never boring. With a filmography of short Ozploitation docs under his belt, the man clearly knows his stuff, but his sense of humor is also quite evident here. Nobody could have made this better. If I absolutely had to find one flaw, it would only be the time spent on newer Aussie films (Undead, Wolf Creek) as those films, exploitative though they may be, are neither good nor influential, and people like me know enough about them already. But it's a petty observation - Not Quite Hollywood is an impressive tribute to Ozploitation and one damn entertaining movie.

Friday, August 07, 2009

G.I. Joe: The Rise of Cobra

Film: G.I. Joe: The Rise of Cobra (2009)
Dir: Stephen Sommers
Rating: 1/2 out of 5 stars



And so the serial raping of our childhoods continues this summer with G.I. Joe. This movie somehow managed to be worse than Transformers: Revenge of the Fallen. Then again, with the combined fail skills of Channing Tatum and Stephen Sommers, I shouldn't be surprised. Not only does this adaptation shit all over the television series, but it is practically unwatchable.

Hot-shot soldiers Duke and Ripcord are recruited to an elite international operation called "G.I. Joe." They train with veteran Joes like Scarlett, Snake Eyes, and Heavy Duty. Their mission is to stop a nefarious arms dealer called Destro. His evil organization intends to use their advanced weapons to cause widespread panic, resulting in a new world order. Destro's crew includes Baroness, who happens to be Duke's former fiancee, and the masked Storm Shadow, who of course has history with Snake Eyes.

I'll begin with the characters. This movie ruined Duke. The first misstep was casting the laughably bad Channing Tatum. Additionally, they wrote him as reckless hotshot instead of a strong leader. And he was also kind of a pussy in the film. Pining over Baroness? Stop making shit up! Okay, now Ripcord...nevermind that he is now black, whatever, I don't care. But again, he's a hot-shot smartass, and instead of jumping from planes (which is where he got the name RIPCORD you assholes), he flies jets. And of course he's chasing Scarlett's ass. Could the screenwriters have possibly fucked this up any more? Creative liberty is one thing, but when adaptating a beloved series, can't you TRY to retain some of its biggest elements?

I was disappointed with how they handled Cobra, and his look altogether. Both he and Destro have really lame masks in the end. Bring on the blue hood and the obnoxious voice! While Baroness looks good, her relationship with Duke kills it. And she is completely ruined in the end, but I won't say how to spare you a spoiler. I did like Snake Eyes (despite the lips) and Storm Shadow because, let's face it, ninjas are always cool no matter how you slice it.

A lot of the acting is bad, but this falls largely on Tatum. I dare you not to laugh out loud a few times. Furthermore, all the cheesy drama is laughable. Like Baroness having flashbacks of loving Duke as he is getting his ass kicked by Destro's men. Irritating on SO many levels.

So, ridiculous story and inconsistencies aside, how does Rise of Cobra hold up as an action movie? Not at all. The computer-generated FX are just awful. Not a single visual FX shot looks passable. Whether you give a shit about the 1980s cartoon mythos or not, there is nothing likable about this flick. Before seeing it, I had one hopeful request - that there might be a PSA after the credits. But alas, Sommers isn't even that clever. Fuck this movie.