The 100-Week Roundup VI

Here’s another quartet of reviews from my July 2018 viewing, with an all-star cast both behind the camera (Stanley Kubrick, Ridley Scott) and in front of it (Keanu Reeves, Leonardo DiCaprio, Russell Crowe, etc).

In this week’s roundup…

  • The Day the Earth Stood Still (2008)
  • Full Metal Jacket (1987)
  • Wind River (2017)
  • Body of Lies (2008)


    The Day the Earth Stood Still
    (2008)

    2018 #163
    Scott Derrickson | 104 mins | Blu-ray | 2.35:1 | USA & Canada / English & Mandarin | 12 / PG-13

    The Day the Earth Stood Still

    Blockbuster remake of the 1951 sci-fi classic, starring Keanu Reeves as an alien who has come to “save the Earth”.

    The original might be best remembered for its message about mankind. The do-over doesn’t so much attempt serious “humanity are the problem” moralising as just nod in that general direction. Instead, it conforms to the Hollywood-remake stereotype of simplification, using the plot as an excuse for a CGI destructathon. Even as that it’s a bit of a damp squib, with no genuinely impressive sequences; some of the CGI is pretty crap, even, like the first appearance of the giant robot GORT.

    I know we all love him now because he seems like a genuinely wonderful guy in real life and the John Wick movies are cool, but, still, the role of an emotionally cold alien pretending to be human but struggling to understand what truly makes us ‘us’ is a perfect fit for Keanu Reeves and his usual acting style. Jaden Smith is equally perfect casting as an irritating brat of a kid. Jennifer Connelly struggles gamely to be the heart of the film, and there are small or cameo roles for the likes of Kathy Bates, Jon Hamm, and John Cleese, none of whom can really elevate the basic material they’re given.

    All in all, it’s inoffensively bland, with some light sci-fi ideas, a bit of loose moralising, and a bunch of pixels whooshing about. Perhaps with a better creative team — or without the demands of a studio blockbuster budget — it could’ve been more; something genuinely thought-provoking about the value (or otherwise) of humanity. But it isn’t.

    3 out of 5

    Full Metal Jacket
    (1987)

    2018 #165
    Stanley Kubrick | 117 mins | Blu-ray | 16:9 | UK & USA / English | 15 / R

    Full Metal Jacket

    Kubrick’s anti-war war movie, about the dehumanisation of abusive army training, the virtue and success of kindness, and how combat can erode and destroy the soul. It’s “a Vietnam movie”, but Kubrick wasn’t interested in Nam per se, rather “the phenomenon of war” and what happens to young men when you turn them into killing machines.

    It’s a film of two halves: first, the training; then, the war. The first half is the better known one, and some people will tell you it goes downhill when they leave training. That first part is indeed horrid but effective and meaningful, but I thought the second half lived up to its impact too.

    A film about war’s effect on people requires strong performances, and fortunately it has those. Most famous is R. Lee Ermey’s nasty drill instructor — an unquestionably accurate portrayal of the real thing, because Ermey used to be one. He was originally hired as a consultant, but decided he wanted the role and convinced Kubrick to cast him, then rewrote his dialogue — the obscenity-strewn insults are all Ermey’s own. But for my money the best performance in the movie comes from Vincent D’Onofrio. Apparently he got the part just because he was a friend of Matthew Modine — it was his first film role — but he’s fantastic. And nowadays best known as a gun-happy right-wing nut-job on Twitter, Adam Baldwin is very convincing as, er, a gun-happy right-wing nut-job.

    Naturally, Kubrick’s work is as on-point as ever. A climactic action scene pits the entire troop against just one sniper, which is both thrilling and horrifyingly brutal. The film’s final death is excruciatingly drawn out, to really convey its emotional toll. Douglas Milsome’s photography frequently looks stunning as well. The fire-lit final act is as visually gorgeous as it is suspenseful and gruelling.

    To paraphrase a commentator in the Between Good and Evil documentary, Kubrick “takes the sympathetic characters and breaks them down so that, by the end, there’s no one left to root for, and the sympathy you feel is not for the character, but for what they’d lost.” And another notes how much you can see Iraq in the film, as if Kubrick was predicting the future of urban warfare too. Or, another way of looking at it: how little changes; how few lessons we learn.

    5 out of 5

    Full Metal Jacket was viewed as part of What Do You Mean You Haven’t Seen…? 2018.

    It placed 8th on my list of The Best Films I Saw in 2018.

    Wind River
    (2017)

    2018 #166
    Taylor Sheridan | 107 mins | streaming (HD) | 2.35:1 | USA, UK & Canada / English | 15 / R

    Wind River

    A veteran hunter helps an FBI agent investigate the murder of a young woman on a Wyoming Native American reservation.IMDb

    What follows is a neo-Western crime thriller, written and directed by Taylor Sheridan. As a genre piece, it’s most noteworthy for how well it handles the reveal of whodunnit. Just as you think the film’s getting to the point where they find who did it, but it’s only a suspicion and they’re going to have to go off and prove it, the film takes a hard left in a different direction that’s perfectly handled. To quote from a comment on iCheckMovies, the way it goes about this “seemed truly unique to this genre. The closest comparison I can think of is from Se7en, when [Se7en spoilers!] Kevin Spacey just turns up and hands himself in, completely out of the blue. It unexpectedly shattered the cat and mouse formula that people expected it to follow.” By dispensing with narrative oneupmanship (i.e. trying really, really hard to pull a twist out of thin air, as most mystery/thrillers do), it lets “the story unfold into more of a tragedy than the standard mystery or thriller you might expect it to be.”

    Talking of other reviews, some people are heavily critical of the film having a white male lead when it’s supposed to be about the plight of Native Americans, and especially Native American women. Well, yes, to an extent that’s true, but this is where fantasy rubs up against reality: do you really think a movie with a Native American lead would find it easy to get funding, distribution, and gain attention? Sometimes these things are a necessary ‘evil’ if your goal is to reach a wider audience and thereby spread the message. Besides, the film makes a point of treating the white characters as outsiders, in various ways. It’s not pretending this is how it should be, nor that they’re welcomed like, “hooray, the white people are here to save us!” If anything it’s used to emphasise the point: the Native American cops can’t solve the case themselves because they’re underfunded and understaffed; they have no choice but to rely on white people being prepared to help. That’s an indictment in itself.

    Altogether, this is a powerful movie — arguably Taylor Sheridan’s best, most mature screenplay (which is saying something for the man who wrote Sicario and Hell or High Water), and features a superb performance from Jeremy Renner, reminding you why he was Oscar-nominated for The Hurt Locker before his attempts to be a blockbuster action star.

    4 out of 5

    Body of Lies
    (2008)

    2018 #168
    Ridley Scott | 128 mins | download (HD) | 2.40:1 | USA & UK / English & Arabic | 15 / R

    Body of Lies

    A CIA agent on the ground in Jordan hunts down a powerful terrorist leader while being caught between the unclear intentions of his American supervisors and Jordan Intelligence.IMDb

    That’s the simple version, anyhow, because I thought the film itself got a bit long-winded and complicated; but if you enjoy spy movies, it’s smattered with some good bits of tradecraft stuff. That said, I’m not sure I buy Leonardo DiCaprio as the CIA’s man in the Middle East — he stands out like a sore thumb there; not good for a spy.

    Meanwhile, Russell Crowe commands complex world-changing missions over the phone while taking his kids to school or watching a football match — a nice touch, I thought, contrasting mundanity with these high-stakes actions. (Quite why he “had” to gain 50lbs for the role is beyond me, though. Sounds like he just fancied being lazy about his diet and exercise regime.) Still, the standout from the cast is the ever-excellent Mark Strong as the head of Jordanian intelligence, a man who is urbane and always immaculately dressed, but does not suffer those who disrespect him, exhibiting a kind of calm fury-cum-disappointment when they offend him.

    For all the confusion I felt about the plot, what I presume is the intended theme (that America can’t win because it refuses to respect or understand the culture of both its enemies and allies in the Middle East; and that the supposed good guys aren’t any better than the bad guys) comes across quite effectively. It’s also about the ineffectiveness of advanced technology. The CIA, so focused on their shiny new bells and whistles, lose out in the end to old fashioned personal interaction and patient preparation.

    Body of Lies seems somewhat torn between making these points and being an entertaining action-thriller. Ultimately it straddles the two stools, not quite satisfying as either — it has its moments, for sure, but it’s less than the sum of its parts. Maybe Ridley should’ve left the spy thrillers to his brother…

    3 out of 5

  • The Post (2017)

    2018 #125
    Steven Spielberg | 116 mins | Blu-ray | 1.85:1 | USA & UK / English | 12 / PG-13

    The Post

    Perhaps the timeliest historical movie ever made, The Post is, in its plot, about the publication of the ‘Pentagon Papers’, a leaked report that examined decades of US government decisions about the Vietnam war; but, thematically, it’s about press oversight of a government lying to its people to cover up their own wrongdoing, including trying to forcibly stop the press from performing that role — sounds familiar, doesn’t it? Not to mention that it also concerns itself with matters like whether sources who leak classified information are whistleblowers or traitors, and attitudes towards women in positions of power in the workplace.

    For various reasons related to these elements, it’s attracted a lot of comparisons and accusations. For example, some have criticised it for being about a case in the ’70s rather than one in the present day. I guess allegory is tricky for some people to understand… Or, alternatively, that any such parallels were accidental, as if experienced director Steven Spielberg wasn’t aware of them. I think the film went from script to screen in just nine months for a reason…

    Then there’s the inevitable comparison to Spotlight, another recent newspaper journalism-themed true-story movie, and a Best Picture winner to boot. Those who thought Spotlight was exceptional tend to think The Post doesn’t measure up. Personally, I thought Spotlight was good, but I didn’t love it as much as some others. I would hesitate to say The Post is better than it, but I would be equally as hesitant to say it isn’t as good. Arguably Spotlight is a better movie about journalism, focusing as it does on the everyday legwork and procedure that go into putting together a major story, whereas The Post has more on its mind than just the facts of how reporting works. There are also many comparisons to All the President’s Men, but I’ve still not seen that so can’t comment fairly (there is this rather excellent trivia/connection, though).

    Reading the papers

    Relatedly, some people think this film should’ve been about the New York Times, as they were the paper that first broke the Pentagon Papers story and initiated the legal case it all led to (and, later, they were the only paper awarded a Pulitzer Prize for the publication). There’s certainly an argument for that being the real story, but, conversely, that would be to assume the focus of this movie is solely the publication of the Pentagon Papers. In fact, The Post is the story of Katharine Graham and the Washington Post, and how the Pentagon Papers changed them both. It’s the story of an underdog-like local paper making an (inter)national mark by doing something at odds with a legal ruling — the fact they chose to back-up the Times by publishing too (even if the action was instigated as much by friendly rivalry/jealousy as it was by “freedom of the press” ethics) is an important point in itself.

    It’s also the story of a woman — a business owner at a time when women didn’t hold such roles; and not a woman who confidently elbowed her way in either, but one who found this position thrust upon her — going from meek and overpowered to confident in her own mind and running the show. I’ve read reviews that think this latter element is somehow forced on the film, as if the makers didn’t notice it until halfway through and only decided to draw it out when they reached a shot near the end where Streep walks past a crowd of other women with admiring expressions. That’s not the case, obviously — that’s simply not how movies are made — and that arc is clearly in mind from the very first scene where we meet Graham. Meryl Streep is excellent in the role, which is easily the film’s most fully-realised character. Everyone else is certain of themselves and what they believe is the right thing to do, but over the course of the film she goes from quiet, uncertain, and reliant on her trusted advisor, to believing in her own instincts and standing up for them. It’s a clearly-charted but believable journey.

    A man's world

    Nonetheless, it’s somewhat hard to divorce The Post from the context of when it was made — the way it reflects the current climate in American politics and the news coverage thereof. But then, is that a problem? Are works of art not as much about the time in which they were made as the time in which they’re set? I guess that’s a whole other debate. That said, it carries a message that would be important in any era, about the need for reasoned, responsible, independent oversight of those who govern us.

    4 out of 5

    The Post is available on Amazon Prime Video UK from today.

    The Deer Hunter (1978)

    2016 #181
    Michael Cimino | 176 mins | streaming (HD) | 16:9 | UK & USA / English, Russian, Vietnamese & French | 18 / R

    The Deer Hunter

    One of the first movies about the Vietnam war made after it ended, The Deer Hunter was controversial before it was made (no American company wanted to touch it, leaving British group EMI to put up the initial funding), controversial when it was released (Peter Arnett, who won a Pulitzer for his coverage of the war, called the use of Russian roulette “simply a bloody lie”), and remains controversial today (Mark Kermode called it “one of the worst films ever made, a rambling self-indulgent, self-aggrandising barf-fest steeped in manipulatively racist emotion”), but is cited by some as one of the best movies ever made.

    The plot concerns three Pennsylvanian steel workers (Robert De Niro, Christopher Walken, and John Savage) who have been conscripted. It follows their final days before joining up, then some of their time in the conflict, then how they react once home — this is a Vietnam movie where under a third of its running time actually takes place in ‘Nam. But, as per producer Michael Deeley, the film “wasn’t really ‘about’ Vietnam. It was something very different. […] It was about how individuals respond to pressure: different men reacting quite differently.” It takes its time getting there (this is a long movie that feels long), but that’s what the famed Russian roulette stuff is all about, really — a way of coping with some kind of mental collapse; of leaving suicide up to chance.

    Walken a fine line

    It’s certainly a problematic film, with its depiction of the Vietcong particularly tin-eared — they’re an old-fashioned baddie, cruel and evil without any apparent provocation. Coupled with a final scene that sees the cast singing God Bless America, it comes across a bit too right-wing to be wholly palatable. It’s also a slog, particularly the first third and its never-ending wedding sequence.

    These things can’t completely negate the qualities Deeley highlighted in the above quote, or that many viewers clearly see in it. That said, if I’m completely honest, I think Kermode may be closest to the truth.

    4 out of 5

    The Deer Hunter was viewed as part of my What Do You Mean You Haven’t Seen…? 2016 project, which you can read more about here.

    Apocalypse Now Redux (1979/2001)

    100 Films’ 100 Favourites #3

    Francis Ford Coppola presents an all new version of his groundbreaking masterpiece.

    Original Title: Apocalypse Now (obviously)

    Country: USA
    Language: English, French & Vietnamese
    Runtime: 202 minutes (theatrical/DVD) | 196 minutes (Blu-ray)*
    BBFC: 15
    MPAA: R

    * This appears to be due to the Blu-ray removing the end credits, but the number of disc reviewers who haven’t even noticed the discrepancy is remarkable.

    Original Release: 15th August 1979 (USA)
    UK Release: 19th December 1979
    Redux Release: 11th May 2001 (Cannes) | 23rd November 2001 (UK)
    First Seen: DVD, c.2002

    Stars
    Martin Sheen (Badlands, The Departed)
    Marlon Brando (A Streetcar Named Desire, The Godfather)
    Robert Duvall (THX 1138, The Godfather)
    Dennis Hopper (Easy Rider, Speed)

    Director
    Francis Ford Coppola (The Godfather, The Conversation)

    Screenwriters
    Francis Ford Coppola (Patton, The Godfather Part II)
    John Milius (Conan the Barbarian, Red Dawn)

    Based on
    Heart of Darkness (loosely), a novella by Joseph Conrad.

    The Story
    In the middle of the Vietnam war, burnt out soldier Captain Willard is given a top-secret mission: locate US Army Colonel Kurtz, who’s gone renegade and is leading his own personal army in unauthorised attacks, and terminate his command. Travelling up the river on a Navy patrol boat, its crew unaware of Willard’s goal, they see snapshots of the war and the elements of human nature it exposes — the very horrors that drove Kurtz insane…

    Our Hero
    Martin Sheen is Captain Benjamin Willard — not exactly a hero, but certainly the narrator. Already mentally wracked by his experiences in Vietnam, he may not be the best person to send after another officer similarly mentally afflicted…

    Our Villain
    Marlon Brando — top billed, only on screen for minutes, and a nightmare to work with… but another performance for the ages as the rambling, insane, but insightful, Colonel Kurtz.

    Best Supporting Character
    A Golden Globe, a BAFTA, and an Oscar nomination rewarded Robert Duvall for his turn as the commander of a helicopter unit, Lt. Col. Kilgore. More than that, though, was true immortality in the form of the movie’s most famous quote: “I love the smell of napalm in the morning.”

    Memorable Quote
    Colonel Lucas: “When you find the Colonel, infiltrate his team by whatever means available and terminate the Colonel’s command.”
    Willard: “Terminate the Colonel?”
    General Corman: “He’s out there operating without any decent restraint, totally beyond the pale of any acceptable human conduct. And he is still in the field commanding troops.”
    Civilian: “Terminate, with extreme prejudice.”

    Memorable Scene
    The sound of unseen helicopters circle. The Doors playing. A pretty forest… which explodes into flame, under the barrage of a napalm attack. One of the most iconic opening scenes.

    Technical Wizardry
    Apocalypse Now was one of the films that pioneered the creation of surround sound, now the industry standard. Nowhere is it better exemplified than in that opening scene, with the helicopters circling the room.

    Making of
    “My movie is not about Vietnam, my movie is Vietnam.” Apocalypse Now was a notoriously troubled shoot, for all kinds of reasons, from an uncooperative Brando, to Martin Sheen’s heart attack, to the cast and crew’s copious drug use… Originally scheduled to shoot for six weeks, it ended up filming for 16 months, and took nearly three years to edit.

    Awards
    The original version won 2 Oscars and 2 BAFTAs, and was nominated for 6 more Oscars and 7 more BAFTAs. In 2002, the Redux was nominated for 7 World Stunt Awards.

    What the Critics Said
    “this might be the most audience-friendly art-house film ever made, and that’s where the sheer majesty of Coppola’s daredevil balancing act comes into true focus. Coppola’s art is stripped of pretension; what lies on screen may as well be Coppola’s — and probably several other peoples’ — heart, laid bare for all to see, somehow expressed through arguably the most populist of all mediums. It may be messy, but it’s also vivaciously alive.” — Rob Humanick, Slant

    Score: 93%

    What the Public Say
    “The most critically acclaimed movie of 2001 was made 22 years ago… The new material isn’t entirely necessary, and some may find it excessive… But Redux’s virtues far outweigh its flaws. Apocalypse Now in any version remains one of the richest, most extravagant moviegoing experiences of my life.” — Jeffrey Overstreet, Looking Closer

    Verdict

    The first (and, indeed, last) time I watched Apocalypse Now was shortly after the Redux version had been released, when Francis Ford Coppola was busy proclaiming it was the only version that would be made available ever again. That didn’t last, of course. Adding some 49 minutes of footage to the praised theatrical version, Redux divides viewers and critics on whether the extensions make a classic even better or just dilute it. If there’s a consensus, it’s that in either version this is a great movie. I’ve never got round to the original cut to compare for myself, so it’s the longer one that makes my list. My favourite quote about it comes from Danny Boyle: “It’s imperfect; which every film should be.”

    #4 will be… the 13th.

    Tropic Thunder: Director’s Cut (2008)

    2015 #24
    Ben Stiller | 116 mins | DVD | 2.35:1 | USA, UK & Germany / English & Mandarin | 15

    Tropic Thunder: Director's CutA bunch of obstreperous actors are too much to handle for the director of a Vietnam war movie, so he dumps them in the jungle to shoot it with hidden cameras. Things go awry; hilarity ensues.

    Conceived by co-writer/director Ben Stiller in the ’80s when all his actor friends were in war movies, “struggling” with training boot camps that made them feel like they were “really in the army”, the idea of skewering pretentious actors hasn’t dated in the intervening decades, though the specific targets may have been updated. De facto lead is Ben Stiller as a cheesy action star looking to go legit with a serious movie, but best is Robert Downey Jr.’s Oscar-nominated turn as a Daniel Day-Lewis/Russell Crowe-type actor, who has an operation to dye his skin so he can play a black character. Less well-served among the leads is Jack Black, as the drug-addicted star of a series of ‘comedies’ based around fat suits and fart gags, who feels superfluous more often than not.

    Following events from the safety of Hollywood are a pre-McConaissance* Matthew McConaughey as Stiller’s agent, and a Surprise Cameo™ as the film’s other best character, studio head Les Grossman (I imagine you’ve learnt who that is at some point in the last seven years, but in case not…) There’s an element of Hollywood-insider comedy to some parts of this, I suppose, but the characters are broad enough to generate laughs from a wider audience too.

    Character buildingThe film may run a little long in the middle, though I don’t think that’s the fault of this extended cut. It adds just over 17 minutes across many little changes and extensions according to movie-censorship.com, but the most notable of these are character-building beats that struck me as fairly worthwhile. Nonetheless, it’s not so padded that it outstays its welcome, generating pretty consistent laughs.

    While not all the gags or characters may land, there’s enough that works (mainly thanks to Downey Jr and Mr Surprise Cameo™) to render Tropic Thunder a jocular pillorying of The Movies.

    4 out of 5

    * I would like to apologise now for using that term. ^

    Good Morning, Vietnam (1987)

    2014 #88
    Barry Levinson | 116 mins | TV | 1.85:1 | USA / English | 15 / R

    Good Morning, VietnamInspired by the true story of a US Army DJ in Vietnam during the war, the resulting film is a showcase for star Robin Williams — reportedly, his antics aren’t even close to what really happened.

    Doesn’t matter though, does it, because this is Williams at his best. His radio monologues show off his fast-paced improvisational riffing — as hilarious as always — while the more dramatic parts engage with the conflict and remind us of the serious flipside to Williams’ considerable skills.

    Comedy-dramas are notorious for not being particularly comedic or particularly dramatic. This is funny and engrossing enough to subvert that.

    5 out of 5

    Good Morning, Vietnam is on Film4 tonight at 11:25pm.

    This review is part of the 100 Films Advent Calendar 2014. Read more here.

    In the interests of completing my ever-growing backlog, I decided to post ‘drabble reviews’ of some films. For those unfamiliar with the concept, a drabble is a complete piece of writing exactly 100 words long. You’ve just read one.