by Tony Johnson
at 12:54 PM | Permalink
I went and
saw Mission: Impossible – Rogue Nation
twice in the last week and a half. It was an absolute blast the first time
around and the second opportunity was too hard to turn down when I found myself
at Grauman’s Chinese Theatre in Hollywood, Calif., last Wednesday afternoon. It
is a doozy of a cinema house, and if you find yourself in the land of
make-believe (that is, Hollywood), I do recommend an escape to the famous theater
for a tour and a showing in their IMAX auditorium.
But back to
Mission: Impossible 5. The
high-octane action flick is a blast to the very past of its origins. The first Mission: Impossible arrived nearly 20
years ago. Ethan Hunt, the uncannily able, righteously insubordinate agent of the IMF
(that’s the Impossible Missions Force) is as heroic as ever in huge thanks to
none other than Tom Cruise. Cruise is his usual self — sharp as they come,
quipping one-liners and putting his ass on the line for the old-fashioned Hollywood
thrill of watching someone do drastically dangerous things as we watch from the
comfort of a cushioned theater seat, throw popcorn at our faces and slurp on
But Hunt is
not without his team, and his team is a well-rounded crew both in what they
contribute to Hunt and what the respective actors contribute to the chemistry.
Simon Pegg gives us the silly, sarcastic surveillance wiz Benji Dunn. Jeremy
Renner gives us the seriously stressed IMF Field Operations Director William
Brandt. Rebecca Ferguson is the mysterious secret ally to Hunt, who holds the
key between the IMF and their most dangerous enemies, known only as the
the team works from Washington, London, Paris, Vienna and Casablanca in their
desperate attempts to thwart what seems like an unstoppable force of cruel
international intentions. Along the way, we get Ethan Hunt and Co. in their
finest form. They race through tunnels and alleys and mountainsides by foot and
by car and by motorcycle. They infiltrate high-security premises with masks and
soft steps and deep-water diving. They keep us laughing, on the edge of our
seats and constantly wondering, “How can they get out of this mess?”
most impressive thing about Mission:
Impossible – Rogue Nation lies in its star, the Undeniable One, Mr. Cruise.
But perhaps the most important piece of M:I–RO’s
meticulously crafted Hollywood formula is its story, script and direction, all
of which were crafted and brought to life by Christopher McQuarrie, with story
assistance from Drew Pearce (set to write the upcoming Ghostbusters reboot).
expertise at the typewriter is as evident now as it was when he penned the
Bryan Singer-directed, Academy Award-winning screenplay for 1995’s The Usual Suspects. No line is wasted. When
viewers aren’t chuckling, we’re learning about the Syndicate — who they are,
what they want, how Hunt might be able to stop them. Above all, McQuarrie knows
how to paint Cruise as a charming lead. McQuarrie has written three other
scripts (Valkyrie, Jack Reacher, Edge of Tomorrow) that have featured Cruise as the lead man.
charm is what drives the film at the end of the day. Because we’ve all seen Mission: Impossible before. We’ve all
seen Tom Cruise save the day (practically every time we see him, actually). We’ve
all seen explosions and motorcycle races and we’ve all heard big resounding
chords played on horn sections as high-flying stunts are performed on-screen. So
what makes this time around so special, perhaps the best Mission Hunt has seen in his five-installment, 20-year span? It’s something difficult to describe.
What sets M:I 5 apart from so many other stupid
Hollywood blockbusters is its ability to keep us constantly on our toes, unsure
of whether we might be laughing at a surprise punch-line or gawking at a
dangerous stunt or discovering some top-secret information. Rogue Nation
accomplishes that rare, perhaps unprecedented feat of taking a Hollywood
franchise beyond its own limits without uprooting its foundation in its fifth installment.
Like the Fast & Furious
franchise, the Mission: Impossible
universe seems to only get more and more fun as each installment finds its way
from studio back-lots and extravagant shooting locations to the cinema houses. It
is a brilliantly young-at-heart balancing act that buoys the end result upwards
toward Hollywood awesomeness in a silver-screen summer that has been sorely
lacking in good old-fashioned fun.
by Steven Rosen
at 02:17 PM | Permalink
James Crump, the Cincinnati Art Museum's chief curator/photography curator who was a key figure in the planning and programming of the first FotoFocus festival in 2012 and then resigned from the museum in early 2013, has re-emerged as the director of a new documentary, Troublemakers: The Story of Land Art. It tells the story, with plenty of archival footage, of three restless New York artists in the who — as part of the 1960s/1970s rebellion against materialistic values sweeping American culture — sought to create epic art that was one with the outdoor environment, especially in the open and hard-to-access spaces of the west. That, they thought, would make it hard to buy and own. Robert Smithson created "Spiral Jetty" in Utah, Walter De Maria made New Mexico's "Lightning Field," and Michael Heizer did "Double Negative" in Utah and is still working on "City." (The other two are deceased.)Other artists featured in the film are Nancy Holt (who has an environmental artwork at Miami University), Dennis Oppenheim, Carl Andre and Vito Acconci. In an exchange of emails with CityBeat, Crump said he is hoping for the film to show at festivals and then get a limited theatrical release in fall, followed by availability on other distribution platforms. He also said his sales agent, Submarine Entertainment, represented Citizenfour and Finding Vivien Maier.Before coming to Cincinnati, Crump made a documentary about Robert Mapplethorpe's relationship to Sam Wagstaff, Black White + Gray.He has provided CityBeat with a link to Troublemakers' trailer:Trailer courtesy Summitridge Pictures. © RSJC LLC, 2015.
0 Comments · Wednesday, May 13, 2015
The birth of the DIY movement, it could
be argued, arrived when Christopher Stamp and Kit Lambert stumbled upon each other and discovered
their shared dream of becoming filmmakers.
0 Comments · Wednesday, May 6, 2015
Cultural fatigue looms over every frame of Maggie,
the new release from director Henry Hobson and screenwriter John Scott
3, setting up a seemingly monumental obstacle for the newbie feature
filmmaking team to overcome.
by Steven Rosen
Posted In: Movies
at 02:10 PM | Permalink
Documentaries about photographers have the difficulty of making still photographs hold our interest in a medium that is about — obviously — moving pictures. The contemplation and meditation that successful still photographs elicit tend to get lost when your eyes and brain are trying to keep up with something traveling at 35 frames per second. It's like trying to admire an elegant home from a speeding train.A recent (and very good) film about a photographer, Finding Vivian Maier, solved that problem by turning the story of why she was so overlooked in her lifetime into a mystery. The current film The Salt of the Earth, about the questing, humanistic Brazilian-born photographer Sebastiao Salgado and directed by Wim Wenders with Salgado's son, Juliano, may be the best documentary about a photographer ever. Salgado deserves it, too — his years-long, book-length projects chronicling the hardships humans endure in their search for work (Workers) and safety from war and famine (Migrations), as well as his elegiac images of the earth itself (Genesis), mark him as one of history's most important photographers. And he's still active at age 71.Mariemont Theatre has just announced the film will be held over for a second week, starting tomorrow (Friday). The Salt of the Earth accomplishes its profundity by beautifully melding the best traits of film — tracking shots, close-ups, essayist commentary and interviews presented as monologues, color cinematography, music — with deep feeling for the subject and his work. Wenders presents Salgado's monumental black-and-white photographs superbly. He slowly shifts between them and his own filmmaking. It deserved the recent Academy Award nomination it received.Wenders is the German director of some classic narrative films (Wings of Desire, Paris, Texas) who, with his documentaries Pina and Buena Vista Social Club, showed he could find inventive and life-affirming ways to depict on film the work of other artists he respects. Wenders in The Salt of the Earth can be solemn when it's called for — Salgado's work at times makes you wonder if the human race is doomed to cruelty to hardship. But it's also optimistic, as when chronicling how Salgado has restored to health his parched, dying family farm in Brazil.We're fortunate that the Mariemont has elected to hold this film for a second week. I saw it last Monday and the crowd was small, so many of its intended audience might not yet be aware of it. It really deserves to be seen on a big screen. and it's rewarding for all those who take film and photography seriously.
0 Comments · Wednesday, April 29, 2015
Ex Machina writer-director Alex Garland is a thoroughly modern writer,
intent on probing our most human urges and the boundaries that lie
beyond the present moment.
by John Hamilton
at 01:25 PM | Permalink
Reviewing lesser-known films that stand the test of time
have that one Disney movie that we love dearly. The one film that, despite
whatever age we are, we can watch and enjoy. For me there are several that meet
that criteria: The Three Caballeros (1945),
Beauty and the Beast (1991), The Great Mouse Detective (1986) and
countless others. But the one film that takes the No. 1 spot on my list is Davy Crockett, King of the Wild Frontier,
Disney’s take on the adventures of famed frontiersman and one-time congressman.
The movie’s plot ranges from his time in the Creek Wars to his congress years
to his final stand at the Alamo.
If I may
get personal for a moment: I was obsessed with this movie when I was kid. I couldn’t
get enough Crockett related stuff. I even dressed up as Crockett for Halloween
one year. I was heartbroken when the film’s lead actor, Fess Parker,
passed away in 2010. So, yes, this movie meant a lot to me. In a way, it
set me on the path to my love of films and shaped me in a lot of ways.
to some people the biggest flaw with the movie is that the plot is a rather
romanticized telling of Crockett’s adventures. There’s very rarely a moment
where he isn’t an upstanding guy, but to me that kind of works for the film.
Walt Disney had no pretentions about this film (originally a mini-series) — he wasn’t
planning on making this a super deep movie with complex characters and themes.
What Disney wanted to do was take an iconic American folk hero and give the
intended audience a person to look up to and root for. To me, you couldn’t
anyone more perfect than actor and future wine maker Fess Parker.
Now as I
stated before, Crockett’s portrayal in the film is a romanticized, but that
doesn’t mean there aren’t some powerful moments — outside of the heroic times —
with him. For me, one of the best emotional moments in the film is when Crockett
receives word about his wife’s death. His sidekick throughout the film Georgie
Russell (Buddy Ebsen) reads a letter delivering the unfortunate news and you
can see the news slowly sinking into him. Russell consoles him and asks
him if there’s something he can do, and all Crockett says is, “Just give me some
time to think.” He then slowly and quietly walks into the woods to try and
figure out what to do without his other half. Without any dialogue or music
playing, we get a true sense how deeply this has affected him.
doesn’t shy away from all the historical facts; the most obvious example is
that in the end he and his comrades die at the Alamo. Granted, they don’t show
Crockett’s death onscreen but, then again, given how nobody knows how Crockett
actually died it makes sense that we don’t see it. The movie ends with him
swinging his rifle like a club at the overwhelming forces without a hint of
lot of classic Disney films, it features many great qualities: It has a memorable
soundtrack that will have you humming its songs for hours on end; a great sense
of adventure and excitement; and a terrific cavalcade of characters performed
by great character actors. I mentioned earlier Parker and Ebsen who have
amazing chemistry together. There’s also stunt-man Nick Cravat as the mute
Comanche Indian named Busted Luck who shows that not only does he have bravery
but he's also very witty and smart. There’s a great scene where he foils a
trickster’s attempt at swindling him out of food. Speaking of which, there’s
the dandy riverboat gambler Thimblerig played by Hans Conried who is a delight
in every scene. Some of you know him best as the voice of Captain Hook in
Disney’s Peter Pan (1953) and as
Thorin in Rankin/Bass’ version of The
haven’t seen this Disney gem, do yourself a favor and check it out,
especially if you have youngsters. Then check out the prequel Davy Crockett and the River Pirates
featuring the fun and bombastic character actor Jeff York as Mike Fink, King of
0 Comments · Wednesday, April 22, 2015
Maria Enders (Juliette Binoche) lives in
rare air. She is an accomplished actress on both stage and screen,
beautiful and recognizable by those within the industry — the power
players who matter most, especially when it comes to casting.
0 Comments · Wednesday, April 15, 2015
Viviane Amsalem (played by co-writer and
co-director Ronit Elkabetz) wants a divorce from her husband Elisha
(Simon Abkarian). Viviane is a quiet and unassuming woman, a mother of
four children with an established career as a hairdresser outside the
by John Hamilton
at 02:01 PM | Permalink
Reviewing lesser-known films that stand the test of time
As I said
in my in Silverado review, western
films fell out of popularity during the ‘80s and ‘90s with some obvious
exceptions. One of these was the TV miniseries Lonesome Dove, based on the novel of the same name by Larry
McMurtry. On a side note: Lonesome Dove is
probably my favorite novel of all time and you should all read it.
connection does that miniseries have to today’s film Quigley Down Under? Both feature the same director, Simon Wincer,
and the same music composer, Basil Poledouris, but unfortunately the film was
sort of passed over when it should have been watched and at least given the
compliment of, “that was pretty good.”
Quigley Down Under is the story of an American cowboy
and skilled sharpshooter named Matthew Quigley (Tom Selleck) who receives a job
on an Australian ranch run by Elliott Marston (Alan Rickman). But upon his
arrival, Quigley runs into a woman named Cora (Laura San Giacomo) who confuses
Quigley for her abandoning husband Roy and he finds out that his job will be
shooting the native Aborigines. Quigley disapproves of what Marston wants to do
and goes against him, only to be left for dead in the Australian desert with
Cora. He must survive the harsh environment and then stop Marston from
continuing his cruel treatment of natives.
kind of surprise me how well Australia’s Outback works as a setting for a
western. It really shouldn’t, though — the scale of the desert almost matches
the grand scale of Monument Valley on the Arizona-Utah state line. Add in the
intense heat and it adds another element of suspense for the story.
One of the
best elements in the movie is the script itself. It has a very good story and
some great dialogue, which is delivered with charm courtesy of Magnum, P.I.’s Selleck. It makes me
wonder why this film was passed up by Warner Bros. The role of Quigley was
originally offered to Steve McQueen and Clint Eastwood, and while I could see
Eastwood doing this kind of role I think Selleck fits perfectly.
The other performances
are also very good. Rickman is also great as the villain who wishes to be a
Wild West gunslinger. So, yes Harry
Potter fans, you get to see Prof. Snape in a gun duel.
highlight performance comes from Laura San Giacomo. She just steals every
scene she’s in as the half-crazed woman
who has demons of her own. During her first few scenes she could be seen as a
just another forced comedic character but as time goes on we hear about her
back story and see what led her to her crazy attitude.
mentioned before, the movie’s film score was compose by the last Basil
Poledouris. To me, Poledouris is a film composer that deserves to be held in
the same regard as people like Elmer Bernstein and John Williams. The music he
composed for this movie, along with Robocop,
Starship Trooper and every other film he’s worked on is amazing. It can
capture a sense of excitement and it can be touching as well.
haven’t checked this film out then do yourself a favor and track down a couple
in the near future.