Another experimental film for y’all.
Silent 1923 movie “Le Retour à la raison” (The Return to Reason) by Man Ray.
If it’s of interest to you, there’s a nekkid chick near the end.
Another experimental film for y’all.
Silent 1923 movie “Le Retour à la raison” (The Return to Reason) by Man Ray.
If it’s of interest to you, there’s a nekkid chick near the end.
The Matrix Reloaded sucked.
Let me back up.
My wife and I had our first kids, twins, in January of 2003. It was completely overwhelming, which probably does not come as a surprise.
I love going out to see movies, but the birth of our children put that pastime on hold.
The company I work for sent me to Sun Microsystems’ JavaOne Conference in May, 2003, in San Francisco. So, I reluctantly got on a plane and headed for California, temporarily leaving my family behind, as I grappled with semi-cutting-edge computer programming concepts, eating out, going to Amoeba Records on Haight Street, riding a rented bike across the Golden Gate Bridge to Sausalito, etc. Y’know. Work stuff.
One of the things I made sure I did while I was out there was see a movie. The Matrix Reloaded seemed as good a choice as any. Whoa! The cinema near my hotel had an IMAX theater! I had never been to an IMAX movie! It’s like a movie but bigger!
Now, I’m not a scientist of any kind, but based on the limited empirical evidence I have collected, if you see a sucky movie in a theater, it will exponentially suck on an IMAX screen.
I was so pissed off after seeing The Matrix Reloaded that I seriously thought about writing an entire script to replace the godawful story I had just witnessed. Now, I like the first Matrix just fine — it was a pretty good film, not the best I have ever seen, but passable. I just want you to know this so this rewriting idea of mine isn’t construed as any kind of fan fiction. Corrective fiction is probably a more appropriate term.
The bile in my heart eventually subsided, as did my desire to write a whole goddamned script.
Instead of a full script, I’m just going to give you the bare minimum of the plot for my better idea.
Mistakes/Problems in the movie as it is
Problems In The Real World
I thought one of the bigger mistakes of The Matrix Reloaded is that you start out already in the last human city, Zion, something that was only mentioned in the first movie. The filmmakers wasted some suspense they could have generated in a journey to get to the city. And in the opening scenes of this piece o’ crap, you’re in stupid Zion having your time wasted getting introduced to all these lame-ass secondary characters that no one gives a damn about.
Problems In The Matrix
At the end of the first Matrix, Neo can fly. So, he’s pretty much Superman at the opening of Reloaded. Superman is the one of the more boring things in pop culture, being virtually indestructible and all.
My Better Idea
In my idea for The Matrix Reloaded, there will be two parallel story arcs, one in the real world and one in the Matrix.
Story Arc In The Real World
The story arc in the real world consists of Neo’s ship and crew attempting to reach Zion. Neo’s crew are the only humans you see during the majority of the film. NO JADA PINKETT-SMITH.
Now, in my idea, Zion isn’t so easy to reach. Maybe its location changes from time-to-time — maybe it’s a somewhat mobile city to fool the machines. How does Neo’s crew locate Zion? Through a series of clues placed within the Matrix. Which brings us to….
Story Arc In The Matrix
It’s a scavenger hunt in the Matrix for these clues. I’m not sure how I would work the scavenger hunt, but it couldn’t be much worse than what was happening in the Matrix in the sucky original version of Reloaded.
And here’s another thing. The opening scene of my version of the movie would have Neo flying. All of the sudden, some sort of visual distortion or blip would occur, and Neo plummets to the ground. The machines are adjusting the physical laws of the Matrix to combat Neo’s mastery over it.
During the course of the film, the physical laws in the Matrix get reloaded from time to time, and Neo and his crew have to adjust to the changes in order to survive. This reloading could escalate as the film progresses, and result in more and more drastic physical disruptions — changes in gravity, physics, etc. It would be kind of cool that all people oblivious to the fact they are in the Matrix would be affected by the changes in physical laws, but would be unaware something was amiss.
This reloading of physical laws also gets rid of the problem of Neo being Superman — he’s now more vulnerable.
This stuff happening in the Matrix allows me to even keep the original sequel’s title, as the Matrix *is* being reloaded in order to thwart Neo’s’ powers.
The Ending
I haven’t fully fleshed out the ending of my version, but I have a pretty good idea as to how it would play out. Just as Neo and his crew are trying to figure out where Zion is, the machines are also trying to ascertain its location in order to destroy it.
When Neo gets the final clue and reaches Zion, the machines are, through his efforts, also tipped off to the location of Zion. The last line of the movie — “They’re coming.”
Which brings us to the third movie, which I may or may not indulge/bore you with in a subsequent post.
PEACE OUT
Hi-ho!
Today I start a hopefully somewhat regular feature.
Late last millenia I had quite the lovely time reporting on the dregs of Hollywood after it had dripped from the first-run moviehouses on to the sticky floors of the Davis Theater.
A few things have happened since my Davis Theater days.
1. The Davis, while still cheaper than many moviehouses, cannot really be called a “cheap theater” any more.
2. I live nowhere close to the Davis any more. I live really, really freaking far away “nowhere close”.
3. I got wall-to-wall freaking kids.
In a crazy mixed-up way, rather than having my blog report on my idiosyncratic behavior, my blog is now working its own influence on my behavior.
I’m going to try and visit my new neighborhood cheap theater, the LaGrange, for the occasional 9:00pm weeknight shows, after the kids have gone to bed. The LaGrange is $2.00 per show. I’ll go see a movie and then review it, most likely being entirely too snarky. Hence, the title “Two Buck Schmuck”.
There’s something I really enjoy about going to Le Cinema to see a shoddy piece of work for a low price, and afterwards taking pot shots at it. And, hey, if the movie turns out to not suck so bad, then I saw a good movie on the cheap.
Initial Impressions of the LaGrange
The LaGrange’s lobby is kinda grungy, with dirty, threadbare carpet, similar to the Davis I fondly remember. The soda on tap is Royal Crown, the faithful, cheaper alternative to Coke and Pepsi.
I can’t really give a good impression of the theater where I saw the movie, as it was dark when I arrived. It was Theater 1, which I’ll call the Curvy Theater. It’s narrow (though not *too* narrow) and the seats all form a curve, as this theater was probably the right side of a larger theater which at some point was split into smaller rooms.
A Snack Dilemma
I had considered sneaking in a bag of plain M&M’s into the movie, while still buying a soda at the LaGrange like a good, proper theatergoer. However, since this was the start of a potentially long and beautiful relationship, I decided that I should just go ahead and purchase my M&M’s there.
To my dismay, the LaGrange only carried the reviled Peanut M&M’s. I told the youngish concessionaire, “Hey, I really want plain M&M’s, so I’m gonna go buy some, then come back, but don’t worry, I’ll buy a soda.” — I figured the assurance that I would buy *some* kind of concession would mitigate the fact that I would be bringing in something from the outside — and, hey I was being straight with him. He paused, shrugged and said, “Okay.” I know what you’re thinking — “wow, that was Joe Camel smooooth.”
The Movie
Okay, so I had three choices — Premonition, 300, and Shooter.
The 9:10 showing of the Sandra Bullock film Premonition was thankfully canceled due to “technical difficulties” according to a posted note. So between 300 and Shooter I opted for Shooter, because I didn’t want some muscular dudes screaming at me for an hour and a half.
I have seen one movie by Shooter’s director Antoine Fuqua, the overrated Training Day, where Denzel Washington grabs the viewer and shakes them until he receives an Oscar (it worked!).
I like this director’s name, if only for the fact that I can say for his new movie, “What the Fuqua were you thinking, Antoine?”
This is an action movie which feels very similar to a 1980’s action movie (particularly the 1985 movie Commando) but tries to play it somber instead of playing up the cartoonish elements that made the 1980’s action movies cheesily enjoyable.
Don’t get me wrong, there’s some freaking cheesy moments here. The name of the protagonist (Mark Wahlberg) is Bob Lee Swagger. OH MY GOD. Why couldn’t his middle name have been “BigBalls”? There are some choice scenes with Bob and his dog, where his dog opens a refrigerator and retrieves a beer for him. No, it didn’t then proceed to pull out a bottle opener, pop the top and pour the contents into a frosty mug. That lame, good-for-nothing dog.
Bob’s love interest is played by an actress who is introduced with nipples in a white tank top. Later on, she is held captive in bra and panties. Now that’s something exploitative they didn’t do to Alyssa Milano in Commando. Granted, she was only twelve.
A couple character actors pop up in this movie that I generally like, but didn’t like in this movie. Ned Beatty is wasted as a Snidely Whiplash-ish senator. Near the end of the movie he’s crawling away from Bob Swagger on his stomach. No, there was no anal rape involved.
Elias Koteas, who has perhaps the most wondrous name ever (say it with me — E-li-as Ko-te-as) plays a reptilian crony of the big bad guys, but not an interesting one. I feel that directors should let this guy improvise in whatever roles he plays. He’d probably come up with something interesting. Aside from having his arm shot off, he doesn’t have a lot to do here.
Danny Glover has a horribly stinky part as an ex-Colonel evil guy, but I don’t like him that much as an actor (two words — Predator 2).
My main problem with this movie wasn’t the cheese, the predicatable plot, or the bad characterization. I realized I find it hard to root for a character that routinely shoots people in the head from a long ways away. You can try to portray the target of a sniper as deserving his or her fate, but still, the sniper is picking people off, literally blowing chunks of their brains out.
Seeing this movie made me think of soldiers getting killed in Iraq, and the sniper shootings in the D.C. area from a few years back.
There is something really cowardly, non-action-movie-heroic about picking people off while you’re hiding. I’m sure it’s a very valuable military strategy, but I didn’t really root for Mr. Swagger as he amassed an impressive body count.
And don’t get me even started on the ending. It’s too late! I’ve already started! During most of the run of the movie, Bob Swagger is the suspected attempted assassin of the President of the U.S.
He gives himself up and is granted a five minute discussion with the US Attorney General. His sniper rifle (which was supposedly used to attempt to kill the President) is in the room where he is meeting with the Attorney General. An FBI agent who he hooks up with during the course of the movie is also present.
To prove his gun was not the gun used in the assassination attempt (he had removed some sort of firing pin from it making it inoperable), Bob has the FBI agent secretly gives him a bullet for the rifle, which he then uses to aim, point and shoot at his FBI buddy. In the office of the Attorney General. Well, he sure as hell would be tackled down to the ground for that, right?
Nope. The Attorney General, then convinced of Bob’s innocence, lets him go. Not only that, the AG basically implies to Bob Swagger that he should kill the people responsible for framing him because justice does not always work. THIS IS THE ATTORNEY GENERAL SAYING THIS.
CONCLUSION
This review will be too late for most theatergoers, perhaps even too late for DVD-renters.
If it’s not too late, I’d say you’d be better served by Commando.
“LET OFF SOME STEAM, BENNETT!!!”
Hi, Mr. Depp. I can’t imagine how you stumbled upon this page, but I am glad you did.
I have loved all the movies I have seen by Roman Polanksi, and The Ninth Gate is no exception.
Since as an actor I imagine you probably have some degree of empathy for the characters you play, I wanted to ask you some questions about the ending of the movie.
How do you feel about the fate of your character?
Where is the character going?
What is the character becoming?
Is the ending positive, negative, neither?
What does the ending say about the character’s journey from a cynical bookseller to … something else?
I’m not so much interested in the physicality or mechanics regarding where the character is now, more interested from a spiritual, metaphorical perspective.
Anyone that is not Johnny Depp, please also feel free to put in your two cents.
For the record, I liked the ending.
With the introduction of popular culture, and the mass production and consumption of goods, an unfortunate side effect of all this is that many things that you encounter, and have great love and affection for, may become tragically unavailable.
In some cases, as technology advances and we repeatedly trade in one format of a product (videocassettes, vinyl) for another (supposedly) superior format (DVDs, CDs), a lot of very good stuff never makes the leap and stays in its archaic format forever.
Thankfully, there are many people out there who take matters into their own hands and make copies of beloved movies and music, and in some cases share them with the rest of us.
Still, it’s nice to have a slick, pretty product of something that really moves you in some way.
Here’s a short, incomplete list of stuff I wish was still in print.
The Blade: Shellville High School Yearbook
A great yearbook by Don Novello (aka Father Guido Sarducci) of a high school of sheep. Real sheep.
The Shmenge Brothers – The Last Polka – a pseudo-doc on the famous polka duo from SCTV — starring John Candy and Eugene Levy. Probably the funniest thing I have ever seen on the teevee.
Most music that I have been jonesing for I have actually been able to find through my friend Buford T. Lawless, who somehow downloads music from the Internet through something called “bitemorebits”. Buford says he would love to find a copy of the double-LP UK version of Little Figures, by the early 80’s Athens, GA band The Method Actors. Oh, Buford! You and me, both!
#1 – Jim Carrey IS Axl Rose
The bad news is that Jim Carrey is in this clip from The Dead Pool.
The good news is that this clip is less than 2 minutes long.
#2 – Frankie Goes To Hollywood Goes To A Porno Movie In Brian De Palma’s head
I saw the movie Body Double and I still have no freaking idea what’s going on in this scene from it.
#3 – Jack Nicholson Poops Garbage From His Mouth
Jack Nicholson is a doctor. No, he’s a doctor with a tempermental English accent. No, wait, wait. He’s a doctor with a tempermental English accent who sings. Yeah, that’s it.
Hey, lyrics just happen to me, man.
Like this one, that flew out of my head this morning like a wet booger.
Like Oral Roberts
Or Roberts Blossom
Like the swarthy guy from Hostel
Playin’ possum
I graduated with a Film Production/Studies degree from Southern Illinois University in Carbondale.
The film program was not so much geared towards learning the trade of a classical Hollywood kinda production, but more about making films that you would find personally interesting (and not necessarily commercially viable). Documentaries and experimental films were big at SIUC.
In this program I was able to see a lot of experimental films — from the early days of Man Ray and Salvador Dali to more contemporary fare like Michael Snow, Stan Brakhage and Standish Lawder.
It was always interesting when I would walk into an experimental film class – what was going to happen? We could be discussing the filmmaker prior to seeing some of his or her films, but I really had no expectations — it was exciting.
Years later, there is this huge history, this huge body of work out there, created by people funding their own expensive projects (film ain’t cheap) that reflect their own personal vision. And where are they now? How can one see these films?
I looked for Real Italian Pizza, a film by David Rimmer that completely bowled me over when I first saw it. I found it at Moving Images, available only in 16mm.
I searched for some Standish Lawder films, a filmmaker who also I liked a great deal, and found his stuff available at Canyon Cinema, also available only in 16mm.
I searched for another film, Serene Velocity by Ernie Gehr (apparently an inspiration for the title of a recent Stereolab compilation), and couldn’t find any way of seeing or acquiring it.
Are these films going to survive? Are these films going to be seen?
With the explosion of personal filmmaking on YouTube, it seems like it is a ripe time for people everywhere to see this whole world that for the most part has only been seen by film school students.
Is YouTube the answer for these experimental films? Often the quality of YouTube video is pretty substandard, due to the needs of keeping filesizes reasonably small. But if not that, what? Something has to be done.
From time to time, I’ll try and post links to experimental stuff I find.
Here’s Standish Lawder’s probably most widely-seen film — Necrology.
I recently read a post by Dale about Notes On A Scandal, which pushed me to finally get off my couch and then sit back down to watch it.
It was pretty good, but I had a couple thoughts during my viewing.
1. If you’re going to have a suspenseful film featuring two strong female leads with a lesbian component underlying their relationship, one of them at some point *has* to kill a guy by hitting him in the eye with a stiletto heel.
2. I don’t see how any self-respecting fan of Strangers With Candy can avoid wondering how this story would play with Amy Sedaris as Jerri Blank taking the Judi Dench role.
As I mentioned before, they are shooting a scene for the new Batman film The Dark Knight near where I work.
As I was hoofing it to Union Station to catch the train home yesterday evening, a police officer stopped me from my usual walking route on Canal Street. The Dark Knight production had a couple block radius cordoned off around the old Chicago Post Office. I was kind of irked by this as I would have to go out of my way to get to the train station and did not want to miss my train. As I walked up Clinton Street, I briefly looked down Van Buren to see what was going on. At that time a black helicopter whooshed off the ground into the sky from the corner of Canal and Van Buren. Cooooooool.
My annoyance was replaced with a “gee whiz” kind of feeling.
I have worked on a couple movies before, as a production assistant, as an electrician, and once as a jack-of-all-trades on a low budget 16mm feature film I was doing with a friend of mine. There’s something really appealing about being a part of a film production, particularly when you are shooting “on location.” It’s like being part of this self-contained world which seems to defy the traditional conventions and logic of good ol’ fashioned reality.
One time I was working on a film where there was a dialogue scene in the middle of a cornfield. I was there for several hours as they were filming. There’s a lot of downtime as things are readied and perfected prior to them actually starting the cameras rolling, so I’m just standing there, thinking…
I am standing in a cornfield…
I am standing in a cornfield…
I am standing in a cornfield…
Something about that, that I was part of some beast that was, for its own reasons, hunkering down in a cornfield for a few hours, just struck me as really neat. I have felt the same way when I have been part of film shoots in businesses — offices, restaurants, bars, etc. Often times I have met the real owners and workers of establishments we are filming in, and I get a sense of excitement from them when we are there as well. I am possibly misinterpreting the excitement vibe I get (maybe they’re hoping being in a movie will help out with business, for example) but the way I think about it is someone you don’t know has entered your place of work and suggests everyone go out and play a spontaneous kickball game.
My film experience is pretty paltry compared to most people who make a career out of the movie business, but I did have something amusing happen to me that others might not regularly experience. The 16mm feature film I mentioned was all done in various locations around Chicago, and we didn’t have any permits to shoot anywhere. We were out on Columbus Drive near Buckingham Fountain shooting a scene where a character is on a pay phone. Across this big street was a large number of trucks, people, some police cars, etc. We eventually realized it was another film shoot, but not a dinky one like ours.
A production assistant (P.A.) from their crew yelled at us from across the street, “GET YOUR SHOT!” — as in finish up, you film hoboes, because WE are filming here.. We noticed a guy with a large rolled-up newspaper sticking out of his back pocket, and we realized it was Kyle Chandler, and the cast and crew was from the CBS show Early Edition, whose bubble we were bumping against. It would have been nice if the P.A. could have personally walked over and cut off our balls, but he probably was busy doing other things.
So, if you have an opportunity to be on a film, as an extra, etc., give it a try. It will be freaking boring and there will be lots of waiting, but you might catch some of this “joyful bubble” feeling. Just make sure you don’t set any buildings on fire.