This week, Tom Cruise puts his life on the line for your entertainment, Christian Petzold builds a literary comedy around a dyspeptic writer and theater kids put on a show.
Funny, after watching The General the other day, I was thinking about how the natural successor to Keaton's work is the practical-effects driven action movie. Specifically Hong Kong films like Project A, but the Mission Impossible franchise certainly fits the bill as well. I'm sure there's some people who enjoy the dialogue and plotting of the series, but for me, they almost function like a silent film.
I've loved (and seen in IMAX) every MI movie since 4* and I honestly couldn't describe a single specific thing about the plot or villains in any of them. Normally that's the kind of thing that would frustrate the hell out of me but somehow they pull it off.
*I skipped 3 after not liking 2 much. I know I need to get back to it if only for PS Hoffman.
Saw M:I-DR1 just now in the very theater that Cruise and McQ popped up in last night. Alas, no famous guests (or much of anyone else, hallelujah) for a Wednesday morning screening. Liked it for the reasons, even though I thought I was watching Tatiana Maslany as the pickpocket for most of the film (she's even referred to as an orphan, heightening my confusion). I have the requisite amount of A.I. anxiety these days, so it came as something of a relief that this version has not yet transcended Ebert's Fallacy of the Talking Killer....
as for AdirondACTS: does the Troy character actually add any value to the film? I've seen a couple promos for this, and he seems thrown in for people who don't know anything about Theater Kids, but every time I think: this movie would be better without him there. Just Wet Hot American Summer for theater camp.
Troy is an important character, I think, because he gives you the contrast Keith suggests in that opening graf: He's a dopey business-bro who knows nothing about his mother's operation and has no feeling about how to relate to these kids. He has to be won over. (Ayo Edebiri's character is the one that really doesn't work in the film at all, though I think I'm more mixed on Theater Kids overall than Keith.)
I get that she’s ultimately a spare part that doesn’t really play into the plot but also she made me laugh every time she was on screen, which definitely counts for something.
a new Like on my comment brought me back today. I watched TK over the weekend and it was consistently funny and knowing about it's subject, but ultimately too thin for me to love it. There just wasn't any substance. Troy was not the irritant I was fearing! And I'm not sure Rebecca-Diane's character's backstory makes a lot of sense once the reveals are made? But it was an enjoyable 90 min and I'll just sit on my desire that it had been a little more satirical.
I'm with you on this one. We did the film for a Next Picture Show episode (paired with Waiting For Guffman) and I think I was on the lower end of appreciation for it. Pleasant and knowing for sure. I just wish it has a little bit more zip to it.
Yeah, that seems about right for this one. It kills me that I didn’t like it more, given how much I love Petzold, but I’d urge anyone to ignore me on it.
I love Petzold too, and I'll hold out hope that I still love it. In my memory, reception out of Berlin to UNDINE was on the cooler side and I ended up loving that. (Any memory of Feb/March 2020 is liable to be mistaken, though.) But if this is his first less-than-stellar movie since JERICHOW/YELLA, that would still be a hell of a run.
Just watched Afire, and the calibration of Leon's character traits and arc kept me from fully embracing it. Some critics are seeing more humor in Leon (although the character himself doesn't intend it, or "will not allow it", if you will), and I wish I did. Because, without that, the efforts of Nadja and Felix began to feel contrived -- Leon is giving them nothing back. A reverse Homer Simpson out of the bushes and one wan smile at the very end just doesn't cut it. A shame, because otherwise I found it to be a charming Rohmer-ian hang.
What if Mrs. Davis were the Mission Impossible AI villain? Think of the crossover potential!
Funny, after watching The General the other day, I was thinking about how the natural successor to Keaton's work is the practical-effects driven action movie. Specifically Hong Kong films like Project A, but the Mission Impossible franchise certainly fits the bill as well. I'm sure there's some people who enjoy the dialogue and plotting of the series, but for me, they almost function like a silent film.
I've loved (and seen in IMAX) every MI movie since 4* and I honestly couldn't describe a single specific thing about the plot or villains in any of them. Normally that's the kind of thing that would frustrate the hell out of me but somehow they pull it off.
*I skipped 3 after not liking 2 much. I know I need to get back to it if only for PS Hoffman.
Dana Stevens talked with Chad Stahelski about Keaton's influence on the John Wick movies. The thought is out there!
Chan's pretty open about the influence of Chaplin, Lloyd and especially Keaton.
Saw M:I-DR1 just now in the very theater that Cruise and McQ popped up in last night. Alas, no famous guests (or much of anyone else, hallelujah) for a Wednesday morning screening. Liked it for the reasons, even though I thought I was watching Tatiana Maslany as the pickpocket for most of the film (she's even referred to as an orphan, heightening my confusion). I have the requisite amount of A.I. anxiety these days, so it came as something of a relief that this version has not yet transcended Ebert's Fallacy of the Talking Killer....
ANOTHER surprise two parter this summer?
as for AdirondACTS: does the Troy character actually add any value to the film? I've seen a couple promos for this, and he seems thrown in for people who don't know anything about Theater Kids, but every time I think: this movie would be better without him there. Just Wet Hot American Summer for theater camp.
Troy is an important character, I think, because he gives you the contrast Keith suggests in that opening graf: He's a dopey business-bro who knows nothing about his mother's operation and has no feeling about how to relate to these kids. He has to be won over. (Ayo Edebiri's character is the one that really doesn't work in the film at all, though I think I'm more mixed on Theater Kids overall than Keith.)
I get that she’s ultimately a spare part that doesn’t really play into the plot but also she made me laugh every time she was on screen, which definitely counts for something.
a new Like on my comment brought me back today. I watched TK over the weekend and it was consistently funny and knowing about it's subject, but ultimately too thin for me to love it. There just wasn't any substance. Troy was not the irritant I was fearing! And I'm not sure Rebecca-Diane's character's backstory makes a lot of sense once the reveals are made? But it was an enjoyable 90 min and I'll just sit on my desire that it had been a little more satirical.
I'm with you on this one. We did the film for a Next Picture Show episode (paired with Waiting For Guffman) and I think I was on the lower end of appreciation for it. Pleasant and knowing for sure. I just wish it has a little bit more zip to it.
oh man, I had forgotten you covered this on the Pod. Gonna have to give it a listen!
Tom Cruise: Saving cinema stunt by stupefying stunt
Bummer that AFIRE isn’t playing Chicago for another two weeks and that it’s only at the Siskel.
Yeah, that seems about right for this one. It kills me that I didn’t like it more, given how much I love Petzold, but I’d urge anyone to ignore me on it.
I love Petzold too, and I'll hold out hope that I still love it. In my memory, reception out of Berlin to UNDINE was on the cooler side and I ended up loving that. (Any memory of Feb/March 2020 is liable to be mistaken, though.) But if this is his first less-than-stellar movie since JERICHOW/YELLA, that would still be a hell of a run.
Just watched Afire, and the calibration of Leon's character traits and arc kept me from fully embracing it. Some critics are seeing more humor in Leon (although the character himself doesn't intend it, or "will not allow it", if you will), and I wish I did. Because, without that, the efforts of Nadja and Felix began to feel contrived -- Leon is giving them nothing back. A reverse Homer Simpson out of the bushes and one wan smile at the very end just doesn't cut it. A shame, because otherwise I found it to be a charming Rohmer-ian hang.
Well I liked it more than both of you. There's a good interview with Petzold here:
https://mubi.com/en/notebook/posts/burning-down-the-house-christian-petzold-on-afire
You're spot on about the Rohmer influence!