Say no to NOPE

Here’s the obligatory SPOILER ALERT: If you haven’t seen the movie NOPE, there are things in this post that will spoil some of the surprises in the film. Consider yourself warned.

I’m a great audience. Really, the kind filmmakers dream about. I go into comedies wanting to laugh, I go into suspense and horror films wanting to be nervous and scared—even more so than I am in real life—and I go into love stories wanting to fall in love all over again.

I’m easy that way. And other ways. For another post.

The point is when I went to see NOPE, I was ready to be scared and surprised. After all, I loved Jordan Peele’s directorial debut GET OUT, liked but less so his follow up US, and was ready to enjoy his latest offering.

Come to find out the biggest surprise was how disappointing the movie is.

It’s hard to write about it because even though I said SPOILER ALERT at the top—remember way back then—I don’t want to spoil too much if you’re planning to see it even after this review.

Jordan Peele is a massively skilled writer, director and visual artist. There are sequences stunning in their staging, and for the most part he doesn’t fall into horror film tropes like jump scares—for example the bathroom mirror being closed revealing someone, or something, behind it.

For the most part.

I understand Peele is going for symbolism and using the premise as metaphor for a broader message. But the screenplay is unfortunately so jumbled, and trying to convey several messages, it's unclear exactly what the story is supposed to represent or add up to at the end of it all. For me, there was absolutely no emotional attachement to any of the characters, with the possible exception of being afraid for the actors in the scenes with a chimpanzee that I'll talk about in a minute.

I know I like Daniel Kaluuya, who also starred in Peele's GET OUT. But here, he appears to be sleepwalking through most of the film, especially in his scenes with Keke Palmer who single handedly provides the jolt of energy, humor and liveliness missing from the other performances. You can even see it in the trailer:

The main story revolves around the first black Hollywood horse wrangling family, and a flying saucer that visits them to maybe devour them? Take them to the planet from whence it came? Stop by for a spot of tea? Never really clear where it's from or why it’s there other than to hide in a cloud that doesn’t move, and come roaring out once in awhile so the sound design department has something to do.

Steven Yuen is also in the movie, and there’s a backstory to him about being a child star on a sitcom with a chimpanzee as his co-star. There are flashbacks to this, and a horrific incident with the chimp that's without a doubt the genuinely truly scariest thing in the whole film. But sadly the entire sequence is only about five minutes total of a two-hour, eleven-minute film.

And as long as I’m picking at the bones, I know I said Peele is a great visual artist. Which is why it’s so baffling near the end of the movie, the flying sauce which had looked like a solid object earlier transforms into something like a king-size sheet caught in the wind, rippling through the sky trying to be scary.

NOPE has been getting mixed reviews, with an 81% Fresh from critics and 69% from audiences on Rotten Tomatoes. My feeling is Jordan Peele is experiencing what I like to call the M. Night Shyamalan effect. That is to say he's the recipient of a great deal of residual goodwill from his awesome first film, making people show more restraint when it comes to being as honest about his follow up efforts as they might want to be.

It’s probably worth a viewing once it comes on the streamer of your choice, if only for the two horrifying scenes with the chimpanzee. In the comfort of your home, with some Ruffles and onion dip at the ready, and the ability to stand up every once in a while.

But as far as spending money to see it in the theater, paying the concession stand and parking tax, and not be able to stand up for over two hours?

I can sum up my answer in one word.

About last night

When it comes to the Academy Awards, I'm like Charlie Brown with the football. Every year I think they'll get it right, and the show will move at a fast clip and be at least half as entertaining as movies they're honoring.

Needless to say, it never turns out that way.

The good news is last night's Oscars clocked in at only three and a half hours—a good fifty-three minutes shorter than the longest show ever, hosted by Whoopi Goldberg back in aught-two.

The bad news is it felt like it went on forever.

In no particular order, and even though absolutely no one asked for it, here are a few things I liked and didn't like about the show.

Liked Brad Pitt winning and his speech. Funny, humble, genuine. Plus he took a shot at the GOP, so always a plus in my book. And I loved the line about riding Leo's coattails.

Loved that Renee Zellweger won. From the minute I saw Judy, I knew the award was hers. She rambled on a bit too long in her acceptance speech, but the Texas twang she tried not-so-hard to hide was pretty charming.

Loved Steve Martin and Chris Rock. After the Kevin Hart debacle last year the producers started doing the show without a host of record, but Martin and Rock were very host like. And very funny. They'd be perfect non-hosts for next year.

Loved that Parasite swept the big categories. It's a great film and well deserved, even if it did beat out JoJo Rabbit—my personal favorite.

Speaking of JoJo Rabbit, loved that director Taika Waititi went home with an Oscar for Best Adapted Screenplay. I hope that helped make up for his movie being nominated for Best Picture without him getting a Best Director nomination.

Without a doubt, for me the standout moment of the night was director Bong Joon Ho—in the middle of his acceptance speech for Best Director—paying tribute to Martin Scorsese. And then Scorcese getting a standing ovation. It was heartfelt, spontaneous and genuine. It brought me to tears, and almost did the same for Scorcese.

Hated Eminem performing Lose Yourself. Sure it won Best Original Song—seventeen years ago. It had no relevance at all to the proceedings, and seemed to cause more confusion than entertainment.

Still undecided about James Corden and Rebel Wilson in their Cats costumes to present the Best Visual Effects award. I like that they were trashing the movie in a funny way, but I thought it went on a bit too long.

Liked Joaquin Phoenix winning Best Actor. Didn't like that it was for Joker, which I thought was a terrible movie. Yes he was good, but he has so many great performances he could've won it for before this.

Didn't like the way it ended or how Jane Fonda wrapped it up. At least I think it was Jane Fonda. It looked more like Katherine Helmond in Brazil. Anyhow, it seemed awfully abrupt and not well thought out.

On the bright side, after three and a half hours there was no risk of leaving anyone wanting more.

What about Bob

Robert Redford has a movie coming out the end of the month. It's called The Old Man & The Gun. From the trailer, you can see Redford doing what he's always done: charming us with his talent, humor, intelligence and the twinkle that still shines in those knowing eyes.

The sad part is Redford, now a hard-to-believe 82-years old, has said he's retiring from acting after this film. Which got me to thinking that we're coming up fast on the end of an era.

Redford is one of the last of a golden generation of actors. Each time out, he gave us something different, but always intelligent whether he was in front of the camera or behind it. He never pandered to the audience, and you never got the feeling he was phoning it in for the payday. And while like all actors, some films were better than others, his instincts for quality material rarely failed him.

From Three Days of the Condor to All The President's Men to The Natural to The Way We Were to Ordinary People to Quiz Show to Butch Cassidy and the Sundance Kid, and even to fluff like Indecent Proposal, we believed he was who he said he was.

Redford brought his best game every time out. And we showed up to see it.

I was talking to the wife years ago about Indecent Proposal. I said it was about someone who got to sleep with Robert Redford for a million dollars. She said, "Great. Who do I have to pay?"

I realize each generation has its own stars, but really, will we feel the same way when Bruce Willis retires from cranking out the same movie over and over again? I'm guessing we won't.

As Roy Hobbes in The Natural, Redford said, "I've got to reach for the best that's in me." Somehow he always found it.

Thank you for sharing it with us.

The lost art

A long time ago, in a world and time that seems more quaint with each passing minute, people had this thing they used to do with each other. Can you guess what it was?

I'll give you a hint. It didn't involve phones, smart or otherwise. Or glowing screens. Not even fast typing with your thumbs. Give up? People used to talk to each other.

Uninterrupted, interested, interesting, engaging conversations. Even in disagreement, their tongues managed to stay civil. They were receptive to new ideas. And found joy in the camaraderie. Told you it was a quaint time.

The picture above is from a movie that wouldn't stand a chance of getting made today, unless it had commitments from Vin Diesel and Mark Wahlberg. But, you know, neither of them are known for being great talkers. So probably not even then.

The movie was called My Dinner With Andre. Made 37 years ago, it was directed by Louis Malle and starred Wallace Shawn and Andre Gregory. The entire film is the two of them sharing a conversation at Café des Artistes in Manhattan. They talk about their lives, their philosophies, the simple pleasures. There are no car crashes, no CGI monsters or superheroes and no phones ringing.

And it is wildly intelligent and entertaining.

What brought on this unexpected nostalgia for a time where a social network was a cocktail party at Tavern On The Green was a conversation I had with my writer friend Eric at work today. We weren't solving any of the world's problems. For that matter we weren't solving any work problems either (Shhhh!). We were just chatting it up about cars, family, movies, This Is Us and how the older our kids get the stupider they think we are.

I enjoyed it immensely. The exchange of viewpoints, the in-the-momentness of it all. Nobody was rushing to answer a call or get back to work.

It's a contradictory world we're living in, what with devices that promise connection yet deliver isolation. Yet without a two-year plan, roaming charges, eye strain or digital chimes we can make a human connection that's so much more entertaining and enjoyable.

As Wallace Shawn in another movie might say, "Inconceivable!"

Goodbye Bill Paxton

Here's how I met Bill Paxton.

One of my best friends and my best man Scott Thomson was filming Twister in Ponca City, Oklahoma. Coincidentally, Scott was going to have a rather significant birthday while he was shooting. So the wife and I decided to fly out there and throw him a surprise party to celebrate the occasion. We also thought it might be a hoot to take in the sites Ponca City had to offer—one of which was the WalMart on a Saturday night. Whole other post.

Anyway, with Apollo 13 taking off (no pun intended), in order not to be bothered Bill didn't use his own name when he checked into hotels. In one of the conversations we had while he was filming, Scott happened to drop the name Bill did use. I made note of it, then called the luxurious Holiday Inn the cast was staying at, got hold of Bill and we proceeded to plan Scott's party.

Unfortunately, on the weekend we were going to have it, Bill was going to be in Houston doing PR for Apollo 13. But we set it up, and since we were flying in on Friday would have a chance to speak with him before he took off for his home state of Texas.

Bill was one of Scott's best friends, and we'd heard a lot about him over the years. We were excited to meet him.

Scott introduced us, and with a firm handshake and smile as wide as Texas—with a drawl to go along with it—Bill said hi to us. He was gracious, funny, energetic and didn't let on at all we'd been talking and planning Scott's party.

I don't remember exactly what my wife said to him, but the answer Bill gave in his Texas drawl, with a little Elvis thrown in, is a line we use to this day, and deliver in Bill's voice: "That's right baby.""

The next time I met Bill was at an Academy screening of a film he directed called Frailty. He was in a whirlwind that night, but he took time to speak with me and we reminisced a bit about the time we spent on set with him watching them film Twister.

My other memory of the party by the way is being in the basement of the Ponca City VFW, playing Barrel Of Monkeys with Helen Hunt, which I wrote about briefly here. She won, but I don't hold it against her.

You hear the term "underrated" a lot when people write or speak about Bill Paxton. But it doesn't quite jive with the place he held in the industry. Well respected and well liked by his peers, he was money in the bank. A guaranteed great performance given with everything he had, regardless of the medium, the material or the location.

Just this week I watched Bill in A Simple Plan, one of my favorite films. I know from Scott he had a less than fun time filming the movie, but testimony to his exceptional talent, it's one of the best performances he's ever given. There are dozens of reviews to back me up on that.

I'm going to miss Bill. He was always a bright light for me whenever I saw him on screen. Rare as an actor, even rarer as a person, Bill was one of those personalities deeply liked by everyone he encountered.

There was so much more of his talent to be revealed. But for now, all I can do is be grateful for having met him, and the work he leaves behind.

That's right baby. Rest in peace.

Oooowwwwdi

Every once in a while, a commercial comes along that restores my faith in advertising. Well, faith is a strong word. Let’s just say occasionally a spot grabs hold of me and won’t let go.

The Audi Super Bowl spot called Prom is one of them.

I love this commercial. Everything about it is perfect. The casting, the writing, the performances, the cinematography, all of it.

The fact that it’s for a car I love – yes I still miss my A6 – doesn’t hurt either.

Occasionally a director is able to catch lightning in the lens. I think he/she did it here with the shot of the prom queen opening her eyes, just after the shot of him behind the wheel with his black eye. It’s a reaction shot of her, but you feel as spellbound as she does.

So many car spots make the mistake of trying to communicate what it feels like to drive their vehicle. Where this spot succeeds brilliantly – from taking the principal’s parking spot to the beeline he makes towards the prom queen – is conveying how driving the Audi makes you feel inside. Everyone knows that feeling. Everyone wants it. What's engaging about this spot is that it’s about so much more than the car.

If you’re a regular reader of this blog, you know I don’t lavish commercials or the business with praise very often. But to me, the simplicity, the universal truth of it, the underdog winning consequences be damned, is all done so well I wanted to make sure people are aware of it.

You know, besides the billion people who saw it on the Super Bowl.

Face the music

I have a lot of sympathy for actors, especially women, who feel they need to have a nip and tuck just to stay competitive in an industry that worships youth, and tosses anyone over thirty to the curb.

But as Joan Rivers, Jocelyn Wildenstein (the cat lady in New York) and Priscilla Presley would be the first to tell you, sometimes the results are less than what you hoped for.

I feel particularly sad for Lara Flynn Boyle.

I know she made the decision to do it, and I know she has to live with the consequences. But you have to wonder what she saw when she looked in the mirror that drove her to such extremes. It obviously wasn't the beautiful, talented actor the rest of the world saw.

I'm not a doctor. I don't even play one on TV. It's just my opinion that sometimes there's a thin line between doing what you have to do and mental illness.

LFB was in one of my favorite films ever, John Dahl's Red Rock West with Nic Cage. She also displayed her comedy chops in Wayne's World, and her very sinister side in The Temp. Sadly every time I see one of her films now, it's overlaid with a veneer of pity and sadness for her each time she's on screen.

Rumor has it she's had some corrective surgery to regain some semblance of her former self. But unless she has a DeLorean that goes 88 mph, I don't think her former looks are coming back any time soon.

I hear people joke about celebrities that have plastic surgery, but I get it. No one is harder and more critical of our physical looks than we are. Times a thousand for people who make a living being looked at by millions of people.

While it's obvious LFB won't get the roles she used to, I hope she's able to continue working in the industry. On her IMDB page, she's just completed a low-budget family film directed by the same person who did Gabe The Cupid Dog and Unstable.

Be that as it may, I'm grateful at least someone in town looks past the surface, and still sees a talented actor looking back.

Night calls

I’m in the minority, but I feel sorry for M. Night Shyamalan. I know, it’s hard to feel sorry for a Hollywood wunderkind who showed the kind of promise, made the kind of money and then crashed and burned the way he did. But I do.

I thoroughly enjoyed three of the ten films that Night’s directed. That’s at least one more than most people.

Like almost everyone, I loved The Sixth Sense. Even though I knew the secret from the very first time I saw the trailer (Haley Joel Osment looks at Bruce Willis and says, “I see dead people.” Hello? What do you need, a roadmap?), the mood, writing, look and secrets in the film were spellbinding.

His next, Unbreakable, was also a keeper. For any comic book or superhero fan such as myself (Comic Con again this year?! Why yes), the ending and reveal of who Samuel L. Jackson really was didn’t exactly come as a surprise. But it was still thrilling, as is the idea of the long-talked about sequel.

This third film is where I part ways with almost everyone I know. Signs. I liked this story of a man, Mel Gibson, who once was a man of the cloth but now finds himself questioning his faith. That’s what the movie was about, despite the fact it was sold as an alien invasion, sci-fi film. There is nuance, genuine heartbreak (SPOILER ALERT: I dare you to keep a dry eye as Gibson is talking to his wife before she dies) and redemption.

With these first three successes (yes, Signs made money), Night was allowed to write, produce, direct and often give himself larger acting roles in his films than he should have, seemingly without any supervision from the studio. From The Village (a rip-off of this Twilight Zone episode), to The Happening (which wasn’t), to The Lady In The Water, to The Last Airbender, each film stunk up the place more than the next.

Part of the problem was Night tried to duplicate the big twist/reveal ending of Sixth Sense in each of the subsequent films. He couldn’t.

He fancied himself a Spielberg. He wasn’t.

The studios thought they’d make buckets of money using his name as a brand. They didn’t.

What I don't understand is the extreme hate. When his name comes up on a film, people boo. Or laugh. Or groan. Why is he box office poison any more than Kate Hudson or Jennifer Aniston or Kathryn Heigl, all of whom seem to keep finding work. I think every Adam Sandler film deserves the same reaction (except for the laughing part). Maybe that's the reason the only place Night's name shows up for his latest film, After Earth starring Will Smith and his son, is on the poster. (By the way, it's been getting eviscerated in the reviews, and has a bottom-dwelling 13% on Rotten Tomatoes).

At least he's consistent.

Not that he asked me, but if I were him I'd walk away from the genre for a while. I'd direct something totally out of character and unexpected. Perhaps a comedy, which he's shown some real flair for in portions of some of his films. And I'd give myself a cameo, because as director it's fun to do that. But I'd make it a real cameo - the kind Hitchcock gave himself, usually about two seconds of screen time.

There are already a million Sixth Sense jokes, and even a YouTube video, about the secret of Night's career being that it was already dead. There's also a book about how he crashed and burned.

I can't say I've enjoyed a film of his in a long time.

But I'm still hoping the story of his career has a surprise ending.

Argo and see it

It seems to me one of the toughest hat tricks to pull off when you’re making a movie based on a real-life incident is building suspense when the audience already knows how it ends.

In fact, that used to be my joke when anyone said they were going to see Passion Of The Christ. I’d say, “Want to know how it ends?” I love that joke – if they ever re-release the movie I may resurrect it.

BAM! Thanks, I’ll be here all week. Tip your waitress.

Back to the point.

When a movie’s able to pull it off well, to make you forget the actual real life outcome and root for the ending, it’s downright miraculous. The ones that do it well, movies like Apollo 13, Miracle, Thirteen Days or JFK, are rare.

The reason I mention it is I saw Argo for the second time this weekend. It’s an outstanding picture, and Ben Affleck – already one of my favorite directors - is batting three for three. Not a lot of people knew about the clandestine operation by the CIA to get the six hostages out of Iran disguised as a movie crew during the height of the hostage crisis. But once the publicity machine started, everyone knew it was successful.

Despite that knowledge, the suspense is breathtaking. You’re literally on the edge of your seat.

At the end of the film, during the credits, the actors are show side-by-side with the real life people they're portraying. If there was ever a film that made the argument for a casting director Oscar, this would be it.

After a long, summer drought of movies I've wanted to escape from, it's refreshing to find one I want to escape to again and again.