Tuesday, September 13, 2016

Jaws

A lesson in the real-life effects of storytelling, expectations vs. reality, and the vast difference between a mass view of something and a personal one.

 Major Spoilers.

With Jaws being one of Steven Spielberg's most iconic movies, and with me being pretty well-steeped in film culture from a young age, I have almost always been aware of this movie, but never watched it. For a while I was too young for its scary and maturity level, and for another while I believed I still was. But I always figured I would watch it someday, and that day has finally come.

Okay. Don't look now, but... you're in an iconic movie moment.

Watching this film after so long a time made me realize some things: I realized that avoiding seeing it because I was afraid it would make me scared of sharks was a completely moot point, and I'd been delaying for no reason. The reality of the matter is that the moment I learned that this film made people scared of the water, it had its effect on me. Fortunately I have great parents who explained how sharks really work and how unlikely shark attacks are, and fortunately I'm a reasonable person who believed them, and fortunately I love the ocean so much that the idea of sharks will not deter me from the water, but the fact remains. Just knowing that this film scared people was enough to scare me.

Maybe it would have scared me more if I'd actually seen it at ten, but at the ripe old age of twenty-three, there was no more effect to be had. And this is an excellent example of what Spielberg himself discovered with this film; that the unseen is scarier than the seen. Because boy, that shark is at its scariest when it's represented by a POV camera, or moving barrels and docks, or the fear on a character's face. Just like the shark didn't need to be shown to scare moviegoers, for me even hearing about not seeing it was enough; my imagination did the rest.

"I used to hate the water." "I can't imagine why."

I imagined a ton about this movie, by the way. Not purposefully, but knowing about it and being interested in it for so long, I could hardly do otherwise. Hearing bits and pieces of plot or filming trivia, and lines like, "you're gonna need a bigger boat" or "this was no boat accident" all added up to an idea of it in my head. One that I never really realized I had until it was shattered into pieces. My preconception of it wasn't terribly far off for a good portion of the film, but it's worth noting that for most of my life I thought that was the lead, and didn't even know who was. Besides that not much was unexpected for the first two acts of the film.

I did, however, have a childish apprehension that it would be too scary. I knew it was silly, but it was a bit of a relief and extremely satisfying to have been able to relish the fear element that the film offered up so beautifully, instead of feeling regret and worry for my future sleeping abilities. That was a smaller side of my wrong expectations. Here are some of the bigger ones:

Show me the way to go home / I'm tired and I want to go to bed / I had a little drink about an hour ago / and it's gone right to my head!

I didn't know that the whole last act of the film would be the three men, one boat and the shark. Having them be cut off from the world made everything so much more personal, which increased the suspense wonderfully. I didn't know that all three of the characters would be main characters; I expected a few red-shirts to be present. I thought that they would actually get a bigger boat! That one seems ridiculous now, but I honestly thought that if they needed a bigger boat, they would go get one. I didn't know that the character to say that line wasn't the biggest expert on either boats or sharks, but in my defense, (and his) he was right.

I didn't expect Quint to get eaten. I don't know why, but all the named characters seemed off-limits for some reason. So that whole scene really got me. I knew that there would be some personal, human drama going on with Brody, but still that climax was the biggest change to my expectations of all. Just him and a sinking boat vs. the most vicious shark a fish story has ever invented. I recently read Ernest Hemingway's The Old Man and the Sea, and the parallels between it and this sequence really struck me. Except here it was a younger, inexperienced man who knew nothing about the sailing or the ocean who found himself face to face with the terrifying, otherworldly power that the sea houses within its depths.

I always look for the Spielbergian wonder in his movies, and this one is shot beautifully of course, but that's not all of it. Here, appropriately, the wonder comes from the ocean. And I saw it in this scene.

I even knew that the shark was killed by being blown up. I knew that, yet I knew nothing about the film's hero, hardly anything about his arc and the personal side of his struggle, and absolutely nothing about the circumstances of his victory. Isn't that strange? That was the part that made the film good! It's what makes the film great as well, but seriously, without Brody (and even Hooper and Quint too) and the human, emotional element he brings to the story, this film would probably be long-forgotten by now. Just an aged monster film with a good score. Even the score wouldn't be so effective if it weren't for the acting, which was excellent all-around, creating the lovable characters that we don't want to see get eaten.

Maybe that's just me, because I never saw it coming and wasn't prepared for how much I would love those characters and the depth they brought, but there it is. It really surprises me, considering it now: All the things I heard about this movie -- from various sources that loved the film -- were the superficial things that didn't really make a difference to me in the end. Maybe they were avoiding spoilers? And it was probably my fault too, since I was more interested in the neat tidbits and trivia and technical aspects than I was in remembering characters I didn't know played by actors I'd never seen. But my conclusion is this: my original idea of it wasn't mine at all; it was just an average; a general overall perception of it from the general movie audience, culminated inside my head. Now, it's been replaced by a personal view; and what will stick as important has been completely flipped around.

Before, I saw a shark. Now, I see a shark, and a man.

Of course, the action and technical side is as impressive as ever, especially now that I've seen it all working! I will always respect practical effects more than CGI effects, even when the practicals become noticeably dated. There's just no replacing the realism that doing things in camera creates. And no one does practical effects like Spielberg. Actually watching the film hasn't dampened that legendary status I've always attributed to it even slightly.

I still have that feeling, that I mentioned in my Jurassic Park review, where I feel almost unqualified to love a film that's a classic because I'm new to it, but in the case of Jaws, the feeling of being new to it seems like a positive thing in a neat way. Like I've gotten rid of some baggage and am free to move forward in my own direction. I still have a little while to go to develop a full personal love, and I look forward to adding to that, and to my familiarity with it, but one thing will probably never change: I've always thought of this film as a masterpiece.

Wednesday, September 7, 2016

Charlie Bartlett

Some Spoilers.

One of the many movies I watched because of my love and appreciation of , and probably would have never even noticed otherwise. And likewise one of his many movies that wound up surprising me with unexpected greatness. Charlie Bartlett tells the story of a rich high school student who is kicked out of yet another private school and must attend a public school. Charlie's goal in life is to be popular, so he begins to use his rich-kid connections to deal prescription drugs to the student body. Along with listening to their problems and giving them advice, because hey, he's a nice guy.

"Would you like to talk about it?"

I've seen this film twice now, and both times was on TV and edited for content. The original is rated R, just for your information. Also, obviously, the film deals with mature and questionable content. The whole plot is about drugs, and the lead is a full-on drug dealer whichever way you slice it. It's also technically a teen dramedy and ticks all the boxes that usually requires. It touches on a lot of serious subjects and always seems to be on the verge of going down a path that is too dark. The first time I watched it, that all came as unexpected. I was just there to watch Anton and have a giggle, but the movie really is more than that. I sat down with it again yesterday with a totally different mindset, and this time the movie clicked for me.

This time I paid attention to what the movie is trying to say. On the surface it easily seems like a casually promiscuous movie full of characters doing objectionable things and getting away with it. But I was surprised at how morally upright it was in the end (comparatively) and at how good its message and themes were. The movie strikes a neat grey area by having Charlie do bad things with good intentions, particularly selling prescription drugs to students. He doesn't need the money; he does it for two reasons: One, he feel that it's important to be popular during high school years. And two, he actually does care for the students. He knows that they often can't or won't get professional help, and thinks he can be a good third option. And in a lot of ways he is.

The doctor is in.

He spends a lot of time listening to kids who have never had anyone listen to them before, and genuinely tries to help them. When his doling out meds backfires he even continues to listen and give advice free of charge. Charlie always seems to be in the pursuit of doing the right thing. And really this story is about him discovering what exactly the right thing is. He messes up a lot along the way, and almost in some permanent ways, but he mends his mistakes and he gets there, and it's very rewarding when he does.

What's really neat about this character is that, like the film that features him, his surface impression is actually very inaccurate to the real him. Charlie looks and acts like his life is well-put-together, but really he's just as confused and messed up as anyone. His obsession with being liked is very easy to relate to, and slowly we discover ever darker and deeper sides to him. Anger and insecurity which he keeps suppressed -- and even that he does with good intentions -- but it comes out slowly, and impressively subtly for a teen flick. Really I don't think this should count as a teenage movie. It's much too deep, and intricate, and thoughtful for that. Its biggest failings come when it tries to work within the teen flick genre and shortchanges itself.

Charlie's mother played by is excellent.

Anton Yelchin always gave enjoyable performances, but this stands out in a few ways. Firstly he was given a chance to really run wild with exaggerated performances bits. I loved all the scenes where he was at the piano, dramatically showing off. But also there are several moments that required intricate depth too. Like where the character himself his acting -- putting on a front to hide his real emotions -- and he portrays the real emotion and the emotion the character is trying to show. That can't have been easy at all. He pulled it off beautifully.

Also in the cast is as the love interest Susan, and the school principle Mr. Gardner is her father, played by He gives a very good performance too. At first he seems like a bad guy, out to get Charlie like Mr. Rooney in Ferris Bueller's Day Off, but he becomes more and more clearly a mess too, with his own desire to be liked. And all that tension between him and Charlie finally culminates at the end in a great scene by the pool. I love that scene. It's the moment where the movie fully and finally transcends the teen flick genre. The stakes slowly climb during the whole film, and there both the characters are finally in over their heads and the facades come down. And then the drama resolves as forgiveness is passed around and things that were for so long right on edge of toppling into cynical tragedy turn around into happy and encouraging endings.

"Some days are better than others."

The theme of forgiveness is very strong, and there's also plenty to be said for loving your neighbor and selfless love (there is great, realistic examples of this shown between Charlie and his mother, and Susan and her dad), and the movie is also very understanding in pointing out the true unimportance of being liked just for the sake of being liked. "It's not the popularity; it's what you do with it," it says. And if a kid like Charlie can figure that out, I guess there's hope for the rest of us, too.

Sunday, September 4, 2016

Sunshine Blogger Award

A big thanks to Katy of Oh So Geeky for tagging me for this! She came up with some fun questions, so lets get right to it! Rules:

To accept our award, we simply have to: 
Post the award on your blog
Thank the person who nominated you
Answer the 11 questions they set you
Pick another 11 bloggers
Send them 11 questions

Katy's Questions:


1. What movie surprised you the most this year? 
10 Cloverfield Lane. It was the only movie I went into casually, with no baggage and no expectations, and it completely and utterly blew me away.

2. If you published a memoir, what would you call it? 
The World Through Sarah-Tinted Glasses or some slightly silly, slightly witty reference to my perspective, and how I see the world by observing it.

3. What movie character would you love to see made as a FunkoPop (that hasn't been made already)?
I just saw on Twitter some mock-ups or something of Stranger Things characters -- Eleven and Barb! (Because Katy retweeted them, actually!) They were perfect and should be made! I would definitely consider buying a Chief Hopper one.

4. You can only place three movies into a time capsule for future generations. Which titles would you pick?
I'm gonna assume that this means more like my personal picks for future generations that encapsulates this time, and not that these three will be the only movies they will ever see -- because that is just way too much pressure even for hypotheticals. And I will say... Super 8, The Way, Way Back, and Captain America: The Winter Soldier.

5. Is there a movie that took you a couple of viewings to appreciate?
Hmm. Maybe Blade Runner? I didn't understand it at all the first time I saw it, and even now I still probably don't understand half as well as I should, but I do appreciate it now, and will keep on watching it and appreciating it more and more.

6. What actor/actress will make you watch a movie no matter how bad it might be?
I have frequently sat through movies just because the names of... Sam Rockwell, Karl Urban, Anton Yelchin, Cillian Murphy, and Michael Shannon have appeared in the credits. Some of them were very bad. Some are among my favorite movies of all time.

7. What actor/actress will make you less likely to see a movie?
I try not to let a actors influence me negatively towards movies. However, I'm am pretty prejudiced against Keira Knightly, and Kevin Costner.

8. If you had an opportunity to tell a director to their face how much they messed up a highly-anticipated movie, would you? What would you tell them?
I might have a few choice words for Zack Snyder -- over Man of Steel -- but no, I don't think I would tell it to his face. I just don't care that much. But if I did it would involve a lot of ranting about how stupid Kevin Costner's character is, and how pathetic Lois is, and how un-Superman-ish Superman is when he just lets thousands of people die -- and WHY IN THE WORLD DID HE THINK THAT WOULD MAKE A GOOD MOVIE?????? And then I'd be like, "nice job casting Michael Shannon as Zod though." (Actually, maybe that wasn't his call... actually maybe none of that was his call! Maybe I should be more irritated with the writers in this case.)

9. Can a soundtrack make or break a movie?
Absolutely. Though I think it's easier to make a movie with one. An excellent soundtrack can easily be the highlight of a movie, but it's a lot harder to make a terrible soundtrack that ruins a film!

10. What movie made you laugh recently?
Hail, Caesar! There were some moments in that movie that were so unexpectedly and absurdly funny that I couldn't help but burst out is actual, real laughter -- a that happens pretty rarely in films for me.

11. What movie(s) are you looking forward to seeing this fall?
The only one releasing this fall that I can think of off the top of my head is Doctor Strange. The excitement hasn't kicked in for that yet, but I expect it will. Also Arrival looks neat, and there's Jeff Nichols' new film Loving. I am already excited for Rogue One, but that's more in winter. I'm also looking forward to renting/buying all the movies I skipped over the summer, especially the ones that I didn't skip by choice!

I'm gonna opt out of the tagging people part of this one. Partly because I'm feeling too lazy to come up with 11 questions right now. But if you like these questions, and want to answer them then go ahead and do!

Thursday, September 1, 2016

Upcoming Movie Roundup - September

August was a no-go. It was such a no-go that I didn't even watch The Little Prince off Netflix. Netflix. Could have watched at any time and all I did was watch Stranger Things three more times. Not that that was really a bad decision or anything. That show is the greatest.

September has a handful of movies with interesting trailers, but no must-sees currently. I won't be surprised if I don't go to the theater again this month, and that makes me sad.

Does anything look good to you this month? And have you seen Stranger Things yet? You absolutely must!


The 9th Life of Louis Drax
Sep 2nd (limited); R
This one is pretty interesting just because the trailer was very unexpected. I did not expect a creepy sci-fi element. It's also a mystery and a drama, but the supernatural side is really the most appealing aspect to me. Since it's coming out tomorrow there are reviews already, and it's not looking particularly great.




Sully
Sep 9th; PG-13
Not that this isn't an incredibly neat story or anything, but I wonder if it really warrants a full-length film. It seems like they're adding a lot of drama (via "the untold story") just to push up the run time -- to a whopping 96 minutes. Of course Clint Eastwood is a great director, and Tom Hanks is a great actor, so maybe they can make it all worthwhile for more than just a shot at some Oscar attention. The trailer is definitely of a first-rate brand!




London Road
Sep 9th (limited); NR
This movie is so strange I just had to include it. Watch the trailer to see for yourself because it's hard to describe, but it's a musical -- an actual stage musical being adapted for the screen -- about the small, oddball town of Ipswich when a high-profile murder case made them the center of attention in 2006. And it's a musical. And the music is so strange. Seriously just watch this trailer. Olivia Colman and Tom Hardy lead the cast.




Snowden
Sep 16th (limited); R
I'm not really privy to the controversy about this dude, but putting the true story part aside, this trailer makes this film look like an excellent, tight and suspenseful thriller (even though the main genre it's labeled as is "drama"). That, plus Joseph Gordon-Levitt, and I'm sold. If it proves to be what it promises I'll be looking for it on VidAngel.



The Magnificent Seven
 Sep 23rd; PG-13
This is to me the most interesting release of the month. Which is a little sad considering it's a remake and I'm sick to the teeth of terrible remakes. However, I haven't actually seen the original Magnificent Seven, so that helps a lot, and maybe this will be one of the few that actually is a worthy remake. I love the cast, and the trailer -- even with the modern music that is odd but fitting. I definitely want this one to turn out good, but I won't be getting my hopes up anytime soon.




The Dressmaker
Sep 23rd (limited); NR
On the surface this one seems odd -- a little too odd. But I really enjoyed the trailer. The fashion, the mystery, Kate Winslet... it all has an air of originality to it, and that makes me want to see it. Isn't Liam Hemsworth quite a little bit too young to play this part though. Maybe he's playing older and Kate is playing younger. Like I said, odd.




Deepwater Horizon
Sep 30th; PG-13
Ah, true stories of disaster. You know this is gonna be the biggest drama an action film ever was. And still I list it here. Maybe because it's one of the bigger releases of the month, maybe because it looks like there may be some neat action after all, maybe because Dylan O'Brien is in the cast... who knows.




Miss Peregrine's Home for Peculiar Children
Sep 30th (limited); PG-13
I read the book, but strangely it didn't make me all that interested in seeing this movie. Asa Butterfield as Jacob will probably be perfect, but otherwise the adapting doesn't have that since of love and devotion you look for in franchises like this. The lead girl has someone else's powers, and the other character is cut out completely? What's up with that? Anyway, I will probably watch this, it's just a matter of when -- as determined by how good or bad it is considered to be by fans and critics.



Tuesday, August 16, 2016

Hail, Caesar!

Essentially a day-in-the-life movie about a film studio producer and "fixer," Hail, Caesar! follows Eddie Mannix (a guy whose name and vocation is true to real life -- who knows about the rest) played by as he goes busily to and fro various movie sets, smoothing wrinkles and covering up scandals.

Hail, Hollywood!

Set inside of Hollywood's golden age of bright cheesiness, 1951, this latest caper from the Coen Brothers has gobs and gobs of distraction on it's surface. So much so that you might not even notice that it actually is about something underneath all that cheese and glam. Mannix is mulling over the idea of leaving his hard job of long hours for something else that is tempting, but he feels is lacking in some way. Then one of the studio's biggest actors (and star of their new epic "Hail Caesar," a story of Christ told from the perspective of a Roman soldier), Baird Whitlock, () goes missing! He's actually been kidnapped by commies -- a bunch of Hollywood writers who came up with a ransom scheme to get the money they believe they deserve. They sit around and fill Baird's head with communism while Mannix continues to take one problem at a time.

This one thing at a time attitude is where the distraction comes in. Every time Mannix visits a different film set, we get a lengthy view into the world of filmmaking, which may or may not be your cup of tea, but it sure was mine. Water sets, tap dancing scenes, cowboy flicks, period drama romances, all with their own thing going on and their own problems. Played for comedy, and really quite amusing. I was almost disappointed at times when we didn't get to see a second take -- or the third take -- and instead had to move along. Here we are introduced to the film's wide spread of big-name talent, most of whom are really no more than a fun cameo. Like 's very amusing part, or ' humorously refined but irritated director. Everyone is some stereotype or another. was unexpected in a part that reminded me slightly of Lena Lamont of Singing in the Rain. 's duel-role was brilliant. And was... well, more then I expected.

Hail to the guy who leads?

Some of the characters felt unnecessary if you think about it. But, at the same time, I wonder if you go even deeper, would they all eventually make some kind of sense? I certainly get the feeling that the film is very purposeful; more purposeful than meets the eye. To get to the theme and the message of the story I had to go deeper than I expected to considering the style of the storytelling and the fun and quirky atmosphere, but there it is. Maybe Tilda Swinton didn't need to play one, let alone two characters, maybe she did, but some of these characters do play into a purpose, and drive home a rather abstract, but interesting idea.

Of course this is most obviously found in our lead Mannix. Josh Brolin hits the perfect key with this guy, by the way -- as he always does. He's a great lead, and the character is a powerful guy; he has respect and authority, but he also is very religious going to confession every day. He tries very hard to make people happy, especially his wife (Zelda Fitz-- I mean ) who wants him to quit smoking. He seems very much like the boss, but of course he has a boss of his own, albeit an absent one. Then there's Baird. He's not a really likable character and Clooney plays him well in that vein. He's a huge actor. Mention his name and people go "Ohhh!" But he's an empty coconut if ever there was one. He has an influential voice but his words are given to him -- by a script, or by a commie, or couple hard slaps upside the head. He's importance in on the surface only.

Hail to the guy who looks like the leader?

Then there's the guy who you wouldn't think is important but really is. That's as Hobie Doyle. Hobie is a smaller-time lead; the cowboy guy. He's always in the pursuit of doing something right, whether it be a handstand on a horse, or, when he's moved over to the posh romantic drama, saying that line just as he's supposed to. Maybe he doesn't have the talent for certain things, but he's a dedicated worker and does everything he's given to do the very best that he can. And in the end that devotion makes him a pivotal character to the plot. Ehrenreich of course is a delight to watch which helps even more -- he has that screen presence that makes everything he does twice as interesting, and then he actually does quite a lot of interesting things! He's a dedicated performer himself, learning those lasso tricks. And he was the movie's scene-stealer, hands down.

And Mannix himself, as high up as he is, is only a background worker. The movie studio would fall apart without him, but he gets very little of the glory. However he (and we) discover the importance of the way things work, and get a reinvigorated belief in the importance of the work being done. (A little bit of a love-letter to film never hurts!) The movie's multiple layers of the movie within the movie is neat and draws some interesting parallels, but at the same time, there is a jumbled aspect going on that is difficult to see through, with all those distractions of so many films being placed together in this one. I was impressed at how neatly everything tied together though, in the end. I expected it to be more pointless going in.

If only it were so simple. If only it were so simple. If only...

I can certainly understand criticism of this film, as it is very unusual, and not what one might naturally expect it to be. It has the plot of, I guess, I popcorn flick, with it's bright-and-breezy entertainment qualities, and what seems like a main arc of trying to recover the missing actor. That's something that could very easily go action-y in the final act, but instead the film at the surface stays the same; light and inconsequential. Underneath builds the mildly abstract and not exactly prominent ideas of power, authority, and dedication that is driven by characters; characters, who, for the most part, don't get it any more than we do. For them, it's just another eventful day. But it was an important day, and this film does have some interesting things to say, in typical, understated Coen fashion. It may not a be a masterpiece, but if you want more from it than a plethora of quirky performances, hearty laughs and light, colorful entertainment, it's there for you to find.

Tuesday, August 9, 2016

The Intern

Spoilers.

In this chick flick by , the writer and director of one of my favorite rom-coms, is Ben, a recently retired widower who gets a job as an intern for a up-and-coming online clothing store run by Jules (), a young and inexperienced but dedicated businesswoman.

... Who rides he bike through the workplace to save time. Cute, but those poor people who have to run after her!

Since I liked The Holiday so much, I thought this would certainly be worth a look, considering the nice cast, and the quirky trailer that promised a lighthearted good time. And as it started out it delivered on those promises. The setting in the open floor-space of the business gave everything a breezy feel, so there's a comfortable flow, and a few neat quirks to make it all memorable. It was like a happier, more modern The Devil Wears Prada. Anne Hathaway comes across as a good boss; friendly and kind, if also a perfectionist and not extremely personable. Robert De Niro's Ben is an unfailing optimist and a very classy gentleman, and he pulls off the adorable-old-man vibe perfectly.

I thought that I'd mirror the movie with this review. I started out with some promise and a few positives that seem to be leading in the right direction, but now I'm going to make you wonder how good this review might actually be. That's what the movie did next. As Jules doesn't warm to Ben, things start to stagnate. The super-positive work environment sometimes comes across as insincere; I would feel unnerved like something sinister was going on, or would be very aware that I was watching a movie. We find out that Jules has a family, which seems like an odd rabbit trail. I started liking the supporting characters more than the leads. Then, Ben wins Jules' approval and things appear to head back in the original direction.

Yay felonies! Or is it a misdemeanor? Either way, yay!

That's when the robbery takes place. Sure, in the movie it's just breaking and entering to delete an accidentally sent email, but it sure did feel like a robbery to me. Suddenly the movie's relaxed charm was gone and replaced by unfunny situational comedy that served no other purpose than to extend the run time. In one scene this film went from cute-little-flick to tonally confusing and borderline disaster. But don't worry, it doesn't end there...

It gets much worse! After the original airy tone was discarded, a new one was quickly set in its place. Fortunately, it wasn't the dumb comic one you might expect considering the scene that brought on the change. No, it was actually what I'd call a haphazard melodrama. Either there was not enough girl power in the character of Jules, a woman who built up her own company from nothing with dedication, style, and grace... or too much. I'm not really sure. Which is it when you take a confident businesswoman (who's fair to her employees and so hands-on that she gives out her cell number to clients in case they have problems) and turn her into a weepy mess of indecision and neediness? What is the goal here?

Her face is my reaction to all that. Followed by an eye roll and a face-palm after what happens next.

Eventually, all this movie wants to do is preach to us about feminism, and sexism, and gender roles and things like that. I have my own opinions on those subjects, but no matter what perspective I look at it from, it's not good on a storytelling level. It's not entertaining or compelling here. Jules' home life falls apart because she spends every waking hour working, and then her husband Matt () "makes a stupid mistake" and cheats on her. Whoops! This very efficiently turns him into that character that typically the female lead is dating at the beginning of the rom-com and eventually is happily rid of, except his speech about how he'll do better actually works. She forgives him, but she continues to work just as much, so everything's hunky-dory, but nothing has changed.

The message the film brings to this is that it wasn't Jules' fault that Matt cheated, which of course is true; so obviously true to me, that I thought it was odd and unnecessary how big a point they made out of it. However, just because Jules' constant absence isn't a free pass or even a bad excuse to cheat doesn't mean that it was okay for her to be such a workaholic, and it's presented that it was. Seriously, in every movie where a man is never home and obsessed with work he's invariably put in a bad light and either is a flawed character that must change, or is an actual villain -- and those morals ring true. Are we really supposed to accept that it's fine that Jules values her job over her family?

I didn't want to get into the politics, but I guess I just did. Oh well.

Back to criticizing the entertainment aspects: Around when the political agenda is heating up is when the entertainment takes the backseat. There's very little comedy left, and everything melts into a puddle of tears -- and unconvincing, unmoving ones at that. Sad characters drag the movie down. Drama appears out of nowhere and tries to pull the plot in awkward directions. Jules' character arc set up at the beginning is abandoned for a cheap, flimsy one, and the problem set up at the beginning of the company needing a CEO is suddenly not nearly so urgent and is dismissed with a wave of the hand. Ben also loses a lot of interest, but does remain the film's most consistent and best character throughout. Other characters are completely forgotten, like Becky () who feels undermined and underused, and her suitor () who's trying to get back into her good graces.

is in the movie. (I'm just trying to think of some pros.) He's a part of one sequence that is quite funny where Ben is being interviewed for his position and almost none of the questions apply to him. But that was at the beginning of the movie; when it was a good movie with fun and quirky potential. It sure did all fall down fast. And the charming appeal of the beginning only made its speedy and uninspired decline all the more disappointing.

Friday, August 5, 2016

5 Favorite Couples Tag

Rules:
Pick one couple from each category
Tagging is optional
Link back to Revealed in Time.

Thanks to Ivy Miranda for creating and tagging me to do this! Time to let my romantic side run loose! I'll steer clear of spoilers for the plots of the movies/TV shows these characters inhabit, but there may or may not be some spoilers concerning the characters, individually and as a couple. Also click the links on the titles to read my reviews of said movies/TV shows! Let me know what you think of my picks in the comments, and participate in the tag if you want to! I'm not going to tag anyone, but would be delighted to see anyone's answers! On to it...

Categories:
1.) Period Drama Couple
2.) Sci-Fi/Fantasy Couple
3.) Superhero Couple
4.) Preferred Couple (from a love triangle) 
5.) Couple Ended Too Soon


Period Drama Couple:
Lizzy Bennet and Mr. Darcy
 "By you, I was properly humbled. I came to you without a doubt of my reception. You showed me how insufficient were all my pretensions to please a woman worthy of being pleased.” -- Mr. Darcy
 
Film-wise I do prefer the 1995 version (as you may be able to tell...) but this couple is more a credit to Austen's book than anything else. Lizzy and Darcy might even be my most beloved fictional couple of all time. First of all, the fact that I actually love both characters individually is pretty unusual. I love Lizzy's spirit and teasing nature, and how she delights in the ridiculous. And Darcy has that appealing sense of mystery to him, but then once the mystery begins to unravel he only gets more interesting and lovable with his heart of gold. Then together, especially in the novel, they fit together better than any other couple I can think of right now. Darcy is naturally serious and intimidating, but once they are engaged Lizzy gets right to him with her playful teasing and sharp wit in a lovely scene in the book that didn't make it into any film adaptation. They bring each other down from their lofty proud perches while raising up and enhancing their better qualities. A hate-turned-to-love relationship for the ages.


Sci-Fi/Fantasy Couple:
Jim and Selena
"That was longer than a heartbeat." -- Jim

This one could have gone to almost any number of couples. Sci-fi and fantasy genres have no shortage of cute couples after all. I decided to go with these two for one main reason: Often with science fiction, the point isn't really the romance. There can be great romances, but most of the time it's the sci-fi itself that really takes front and center. And that's certainly what you'd expect out of a zombie horror film. However, Jim and Selena's relationship ties directly into the theme of the film and becomes one of the film's most prominent features in the end. Jim is new to the zombie world and hasn't become a hardened survivor, but Selena has. She knows what it is to kill loved ones about to turn and we see her do it without hesitation. She tells Jim that she'd do the same to him in a heartbeat. She's become jaded, and survival has become the only thing left in her eyes. However the two develop a cute friendship, and Selena begins to see more than survival in like. And just as Jim completes his journey to becoming a hardened killer to survive, Selena regains her heart. When she thinks Jim is infected (but he isn't) she hesitates. And that says it all.


Superhero Couple:
Peggy Carter and Daniel Sousa
Agent Carter (Season1) (Season 2)

Sousa: "Nothing to say? No quick comeback?"
Peggy: *giant KISS*
Sousa: "...Good point."

This one's maybe a bit of a stretch since neither of these two have actual superpowers, but they are Marvel characters, so I'm gonna go with it! And it's not that I don't like Peggy's brief romance with Captain America in The First Avenger, but we all knew that could never last. From the very first episode of the first season of Agent Carter, I thought that Daniel would be perfect for her and hoped that they'd get together and that he would be confirmed as the husband she refers to in The Winter Soldier. I got one wish granted when they finally happen at the very end of season two. And as much as I would have been all for a third season, everyone knows that a happily ever after doesn't make for good drama, so at least they got that with their future being unexplored. Though I would have loved to see them together and happy a little longer than that brief make-out session -- they were all kinds of adorable even before they were a couple!
 

Preferred Couple (from a love triangle):
Jonathan Byers and Nancy Wheeler
Jonathan: I guess I'd rather observe people than... you know...
Nancy: Talk to them.
Jonathan: I know. It's weird.
Nancy: No!
Jonathan: No, it is! It's just, sometimes... people don't really say what they're really thinking. But when you capture the right moment, it says more.

This category is the reason I took so long to make this list. All the love triangles I knew of I was tired of (like The Hunger Games) or weren't really fair, having a clear correct winner. But then I saw Stranger Things. Jonathan (left), Nancy, and Steve make up a very well-balanced and amazingly realistic triangle and are the most interesting side plot of an incredibly interesting show. Jonathan is the weird, unpopular loner who's too busy trying to be the man of his house to engage in high school social drama, and Nancy is a nice girl well on her way to becoming a grade-A jerk, dating the charming but wild and worldly Steve. But when she and Jonathan are thrown together by certain plot events, the friction between the two quickly turns to sparks of romance. Nancy leaves the path to becoming a popular snob, and Jonathan opens up to her. They bring out the best in each other, and there are so many sweet moments to appreciate. But, in a wacky twist, their friendship opens Steve's eyes to his less-than-commendable ways, and he improves his character as well, with a surprisingly awesome redemptive turn. And suddenly there's no clear frontrunner. Jonathan is my favorite character on the show (or in the top two, at least) so he's my pick, but really the two sides are so evenly balanced that I may be swayed in the future as plot and characters develop. We'll see where season 2 takes them!


Couple Ended Too Soon:
Morse and Joan Thursday
Morse: "Well, there are coppers and there are coppers."
Joan: "And what kind are you, then?"
Morse: "I'm the kind that sees young ladies safely to their door."

Poor Morse and his relationship woes! I've been shipping Joan (the daughter of Inspector Thursday, Morse's boss) with Morse ever since their first meeting -- as I'm sure we were meant to -- and in the most resent season we got as close as I fear we ever will concerning them. That is of course, because Morse has eternally bad luck with love -- to his increasing endearment, and in spite of his being one of the biggest hopeless romantics of all time. And Joan seems like a perfect match for him; a young girl in need of a direction and an influence, and whenever she is influenced by Morse she doesn't seem so lost. And Morse always needs someone to care for, and Joan almost constantly provides that for him. The both of them obviously have crushes cultivating, but Morse doesn't do anything about it for so long. Who knows why; maybe he's scared of Inspector Thursday. But when a life-changing event occurs that prompts Morse to finally declare his love, that same event drives Joan further away than she's ever been. Over as soon as it began. Just another step in the steep staircase of Morse's tragic love life.