Double Feature
So I saw Million Dollar Baby last night, and I’m struck by the realization that Hillary Swank is actually a man. For real. I’m convinced of it. So naturally that Boys Don't Cry Academy Award is a fraud and Hillary Swank is the Milli Vanilli of the Oscars.
I have also decided that Clint Eastwood is the most patient director in Hollywood, and I mean that in a good way. His films all have something in common–they are all slow, letting the story unfold naturally rather than forcing an artificial pace that doesn’t really suit the tone of the movie. I find Clint to be a compelling director–much more compelling than I find his acting (though I do love the Dirty Harry films).
I also saw Hide and Seek last night...you know–that "scary" movie with Robert DeNiro and Dakota Fanning? I’ve decided three things after watching this film:
1. I want my children to be Dakota Fanning (when I have children) (if I have children).
2. Robert DeNiro was better in Cape Fear.
3. Robert Mitchum was even better than DeNiro in Cape Fear.
Don’t get me wrong–Hide and Seek is a decent film, worth at least a rental from most folks. I just think I would’ve liked it more if I hadn’t been waiting for the goddamn twist. It seems that every "suspense" movie these days feels the need to have some shocking, Sixth Sense-style twist ending. The problem is that once the viewer starts anticipating the twist, it’s no longer shocking (I saw Hide and Seek's "surprise" coming a mile away, and I’m sure I’m not the only one).
This "Twist-Mania" is ruining ruining the suspense genre. A great example of my point is M. Night Shyamalan’s The Village. I’m one of the twelve people who actually loved it, and I think the reason why I love it is because the movie’s not really about the "twist." The movie is a love story and a social commentary, first and foremost, and a suspense film second. The film is not a horror film, even though it was marketed as such (I believe this is why so many people were dissatisfied with the movie).
The Village is an example of a film that understands that the movie doesn’t have to be (and indeed shouldn't be) focused on the surprise. Tell a good story. The twist will just be a bonus. Ironically, Shyamalan is the guy primarily responsible for Twist-Mania, and he’s the one that I believe has the best chance of bucking the trend (well, that’s not really ironic–that’s Alanis Morissette ironic).
Next up: Constantine. Keanu Reeves goes to hell. How can you not buy a ticket for that?
I have also decided that Clint Eastwood is the most patient director in Hollywood, and I mean that in a good way. His films all have something in common–they are all slow, letting the story unfold naturally rather than forcing an artificial pace that doesn’t really suit the tone of the movie. I find Clint to be a compelling director–much more compelling than I find his acting (though I do love the Dirty Harry films).
I also saw Hide and Seek last night...you know–that "scary" movie with Robert DeNiro and Dakota Fanning? I’ve decided three things after watching this film:
1. I want my children to be Dakota Fanning (when I have children) (if I have children).
2. Robert DeNiro was better in Cape Fear.
3. Robert Mitchum was even better than DeNiro in Cape Fear.
Don’t get me wrong–Hide and Seek is a decent film, worth at least a rental from most folks. I just think I would’ve liked it more if I hadn’t been waiting for the goddamn twist. It seems that every "suspense" movie these days feels the need to have some shocking, Sixth Sense-style twist ending. The problem is that once the viewer starts anticipating the twist, it’s no longer shocking (I saw Hide and Seek's "surprise" coming a mile away, and I’m sure I’m not the only one).
This "Twist-Mania" is ruining ruining the suspense genre. A great example of my point is M. Night Shyamalan’s The Village. I’m one of the twelve people who actually loved it, and I think the reason why I love it is because the movie’s not really about the "twist." The movie is a love story and a social commentary, first and foremost, and a suspense film second. The film is not a horror film, even though it was marketed as such (I believe this is why so many people were dissatisfied with the movie).
The Village is an example of a film that understands that the movie doesn’t have to be (and indeed shouldn't be) focused on the surprise. Tell a good story. The twist will just be a bonus. Ironically, Shyamalan is the guy primarily responsible for Twist-Mania, and he’s the one that I believe has the best chance of bucking the trend (well, that’s not really ironic–that’s Alanis Morissette ironic).
Next up: Constantine. Keanu Reeves goes to hell. How can you not buy a ticket for that?
posted by Amy at 5:17 PM
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