May 18 2014

Why Godzilla almost did it for me



I guess I like my monsters served with a little cheese and humor.

First the good stuff. Five cities were wrecked in fine style by well-imagined, well-executed prehistoric beasts. Lots of things blew up. There were some awesome clash of the scaly titans scenes near the end. Godzilla had wonderful sound effects, good graphics, and an exciting 3-D visual experience that made this a fun monster movie.

When I voiced my disappointment with the characters and plot the outcry from my family was, “What did you expect!?” Ok, ok, I get it. I know what Godzilla is supposed to be, but most world-threatened-by-____________(aliens, monsters, nature-gone-wild, military-experiments-gone bad, etc.) films  include some sort of clear, on-going conflict between major human players.

Godzilla was sort of the anti-Pacific Rim, last summer’s soap-meets-monsters blockbuster. Where Pacific Rim went too far, Godzilla didn’t give me enough. Nice round characters with clear goals and motives perform their roles earnestly and seriously. This is probably what you’d want in real life, but I felt like the film needed some human antagonists.

Even when the main antagonist is a monster it helps to have characters dealing with fear or guilt or displaying some hubris or ambition. The closest to conflict Godzilla came was a difference of opinion as to the best way to eradicate the monsters. Admiral Stenz was way too reasonable and professional. Dr. Serizawa (who, by-the-way, should have been close to 70 years old if his father was at Hiroshima) and Vivienne Graham made their recommendations and didn’t put up much of a fight. The young Brody family were all loving, brave and supportive.

The most interesting conflict played mostly off camera with backstory on Joe Brody. Introducing a conspiracy theory then killing off the theorist took away a lot of opportunities for entertainment and conflict. It might have been cheesier, but it would have been more entertaining for me to keep him around. Godzilla rushes through the coverup without giving the conspirators faces, except for Serizawa and Graham who are way too nice; a conspiracy theory needs a General Donald McClintock (Outbreak) or Albert Nimziki (Independence Day).  

Godzilla focuses almost exclusively on military response to the monster problem, which helped its length and focus, but I missed the disaster management piece that is usually part this type of movie. No Theirry Umutoni (World War Z) or Mike Roark (Volcano) to coordinate the response, no President Morgan Freeman agonizing over necessary sacrifices (Deep Impact). Last year’s World War Z used specific characters and scenarios to represent the conflicting complexities federal and local governments, the military, the press, hospitals, etc. might face in dealing with a mega-monstrous disaster. Godzilla included rushed scenes of nameless, faceless players. The best scene related to this was the baller bus driver on the Golden Gate.

The Mutos/Godzilla conflict reminded me of Jurassic Park. The part of the Velociraptors was played by the Mutos while Godzilla performed the T-Rex’s exterminator function. I did love the scene with the Mutos’ egg sac but, I didn’t find the Mutos as interesting as the Velociraptors. Godzilla himself was lots more fun but didn’t get as much screen time as the Mutos. I would have enjoyed seeing more of him.

Finally, having Godzilla tromping through San Francisco’s Chinatown made me long to have Hank Hill pop up and ask “Are you Chinese or Japanese?” Godzilla was originally imagined in Japan as a symbol of nuclear weapons and a metaphor for the United States so there was a certain irony in assigning the nuclear role to the Mutos. Whatever the thinking there, it didn’t matter much. It was still a bitching monster fight.

Mar 10 2014

The dark territory of True Detective



True to form the last episode of True Detective called Form and Void features the dark and grisly conclusion to a bleak, dark series about two homicide detectives unraveling a ritual murder in South Louisiana. Errol, the incestuous, Cary-Grant obsessed witch king makes an utterly creepy grindhouse villain. Previous episodes offer up a series of tantalizing possible suspects and co-conspirators, including Cohle himself. The Tuttles come off as redneck Illuminati with a long reach and powerful resources. The story ends with many of these loose ends still flapping, but Cohle and Hart’s journey resolves, and that’s the real heart of the story.

True Detective‘s mysterious King in Yellow references a Robert Chambers story about a play that elicits madness and despair in those who see it. The story Cohle and Hart live as they work their case contains enough bizarre evil to induce similar responses. Cohle’s philosophic nature and nihilistic outlook make him particularly vulnerable to emotional and spiritual damage. Hart’s proclivities run to the more standard tropes TV cops use to cope. He cheats on his wife, drinks too much, and is disconnected from his children. Hart ends up in a place something like despair in which he’s lost his family and left his job after exposure to yet another urban legend horror, the baby in the microwave.

Cohle and Hart’s determination to close the case appears to be part-destiny and part obsession. In spite of a serious rift between them, when Cohle shows Hart the horror inducing videotape of one the victims, he’s in. This tape is used to induce former cop Steve Geraci. While immediate exposure to the tape loosens his tongue, Steve does not seem permanently traumatized by his experience, displaying the same self-interest after they finish with him that he has before. He tells them Sheriff Childress is the one who closed the case. Interviews in previous episodes suggest that Errol might be a Childress and possibly an illegitimate child of one of the Tuttles.

After making arrangements to unveil their evidence should they not come out alive, Cohle and Hart follow their leads to Errol’s house. Earlier the episode treats us to scenes of Errol’s Psycho-Louisiana-style domestic bliss. Cohle and Hart’s journey lead them into the heart of Carcosa where the evil is as thick as hot, humid swamp air. Continue reading

Jul 25 2013

Pacific Rim was conflict on an intimately enormous scale


Pacific Rim is another of the many apocalyptic movies out this summer. I was intrigued by the science in this movie, but mostly I enjoyed the action and the wholesale destruction that makes this a summer blockbuster. Because Guillermo Del Toro directed the visual style is artistically interesting. Since Pacific Rim is a summer blockbuster and not Pan’s Labyrinth his themes aren’t too ponderous but I found a few to ponder nonetheless.

Much of the action takes place in Asia with obvious tributes to Japanese monster movies, especially Godzilla. The name, Kaiju is a reference to the stable of monsters from Japanese film. Del Toro says that Goya’s painting The Colossus and George Bellows‘ boxing paintings were also inspirations for the look of the film. There is an intimacy in boxing and wrestling that is not present in other types of combat. Their weapons are their own bodies. For me, this idea of internal, intimate engagement was the most intriguing theme. Continue reading

Jul 3 2013

World War Z and my top 10 Films of the Zombie Apocalypse


I love me some zombie apocalypse and World War Z was both action packed and thoughtful. The basic premise of the quintessential  zombie movie is intact and well executed: kill zombies and try not to become one, but World War Z also offers an insightful look at how solutions are discovered and applied. Brad Pitt plays Gerry Lane, a husband and father who is asked by surviving members of the UN to leave his family behind and apply his considerable skills to solving the problem of finding a cure for a virus spreading across the globe, a virus that turns its victims into zombies. His trek takes him to several places around the world where those in charge are trying to figure out how to manage the epidemic and protect as many people as possible. He encounters the fallibility and sometime hubris of political, social, and scientific entities making life-and-death decisions for other people. In an environment where mistakes are costly, Gerry’s ability to pay attention, notice details, and make connections in the midst of chaos and horror may be his greatest strength. It doesn’t hurt to have quick reaction time either. We may not be in a zombie apocalypse but acquiring this same skill set as Gerry could serve us well as we navigate the pace, unpredictability and dangers of modern life.

I am interested in reading the book. Apparently it covers a lot more than the movie and includes what happens after the pandemic. World War Z is definitely in my top 10 Zombie Apocalypse movies:

1. 28 Days Later. Directed by Danny Boyle this is a really great apocalypse survival film. While the zombies aren’t technically dead they possess enough zombie-like characteristics to count. As a zombie movie, this film was a trendsetter. With a few exceptions, before 28 Days Later zombies were pretty slow. Giving them speed made them so much more frightening. The vision presented in 28 Days Later of society and government reaction to the zombie virus is nearly as frightening as the virus itself. The acting in this was really good, especially Cillian Murphy, Brendan Gleeson, and Naomi Harris. Continue reading