"A Time to Kill" (Films 42, 43, 44, 45) Welcomed Snow Day
Being snowed in for a couple of days has allowed me to get ahead in my big-little project.
First up.
"A Time to Kill" which was directed by Joel Schumacher, who's had some noticeably terrible misses when it comes to his films (Batman and Robin, anyone? or how about Phone Booth?), so perhaps it is without coincidence that my favorites of his happen to both be adaptations of John Grisham books (The Client was stellar and only a couple years prior to this one) and the fact that Grisham had a large hand in controlling the adaptations of his books to the screen may have something to do with their successful retelling. It is a well-done play on morality that pushes buttons (racism in the South) and forces you to think (ends justify the means? eye for an eye?). Justice. That's all Samuel L. Jackson's character wanted. He he took it into his own hands. What ensues is the trial for his life.
One of the major setbacks to the screen adaptation of "A Time to Kill" is its length and incessant need to tell the entire story that Grisham told in his novel. Its running time is 2.5 hours. The story develops nice and quickly, but the pace is drawn out as Schumacher interlopes the re-emergence of the KKK in the "new South" of Mississippi. The fact that they are trying to cram too much into the film didn't bother me (because I consider myself a patient and well-versed film viewer). What bothered me is that because of this fact and the semantics of racism and the slapped-in-the-face moral dilemma of the death penalty presented, you can become distracted from the true heart of the story/film. The heart of the story is the bond between Carl Lee (Samuel L. Jackson at his most painstakingly quiet, devastated father of a 10-year-old girl who is raped and beaten severely by a couple of rednecks, who end up shot dead by Carl Lee about 30 minutes into the film) and Jake Brigance (brilliantly played by a newcomer, at the time, Matthew McConaughey), the lawyer looking to score big by defending this black man in a very hostile and prejudice Mississippi town.
The film is driven by the performance of these two men and you really begin to feel for both of them. Jake, because he and his family (hello, a blonde and stunning Ashley Judd) get harassed for coming to the defense of this black killer of two white men. Carl Lee, because he is a loving father who did what anyone man in his position would've most likely done.
There are some other key players in this film I'd completely forgotten about (having seen it years ago). Kevin Spacey plays the prosecuting attorney with his own agenda (mostly to get an all-white jury, so that Carl Lee will undoubtedly be convicted and sentenced to death). Oliver Platt (plays the typecast, comic relief, zany lawyer helping out as best as he can). Keifer Sutherland plays the brother of the two white rednecks who were killed, who ends up enlisting the aid of the KKK. I truly felt like his presence in the film was rather unnecessary and you really don't feel sorry for him or even hate him. I watched wondering why he was included, since the film would've had a more emotional draw with just the front-line story. And lost in the shuffle, and a bit wasted for her talents, Sandra Bullock plays the supporting lawyer implanted from Boston with an attitude to match. I wish there would've been more meat in her role, but thankfully her career took off regardless (re: Speed, The Net, Miss Congeniality, While You Were Sleeping). And for a film/story that is so obviously trying to tackle such a heavy issue as racism, why was there a seemingly conscience choice made to not include more screen-time for the black characters of the story. It seemed like a film about racism told through the eyes of white society. Hell, even Carl Lee explains in a speech to Jake ("You're my secret weapon. What would it take for you to set me free?") the irony. And then Jake pulls no punches in his closing statement as he retells the horrific events from the beginning of the film and then instructs the jury to image that the girl "is white." Holy shit! Powerful.
I really enjoyed this film for the performances, but like I said, it could've been told in a more compact and focused way, which also would've made it shorter. Sometimes that's okay. If I've learned anything as a writer, it's that not everything I say is truly that important.
...........................................................
"Sucker Punch"
I've been hesitant to watch this film because of all the negative reviews it received when it first came out. I waited until I could purchase it used at Bull Moose for $5. (I have a slight problem with purchase DVDs. It's a bit of a habit to buy movies, even ones I've never seen, and then let them sit on my shelf- in alphabetical order because I'm slightly OCD about that- for months or even years. This project 365 films in one year was partly planned so that I would force myself to watch these movies.)
Well, I only recently purchased this one and I've been excited to watch it, because bad press usually draws me to a movie. I want to know why so many people hate/or strongly dislike something.
Zack Snyder, the director, has sort of been a disappointment, because I can tell he has talent, but it seems wasted or almost like he doesn't trust himself. He has adapted graphic novels ("300" and "Watchmen") and remade "Dawn of the Dead" (which I thought was great). And now is he rebooting the Superman franchise with this summer's "Man of Steel" (which I am very nervous about, but thankfully Christopher Nolan has his hands dipped in the fountain with this franchise, after resurrecting the Batman franchise).
With "Sucker Punch," Snyder should take all the blame for the failure that it is. The film was born from his own vision. He wrote it; and then directed it. As a writer, I just didn't understand his story. The story revolves around a girl, Babydoll (Emily Browning), who's been institutionalized by her stepfather. Snyder then throws us into the psyche of this lost girl by interpreting her journey in other world, one where she is an orphaned girl sent to a bordello-of-sorts where she befriends 4 other girls. They are all dancers (not prostitutes, so I commend Snyder for not diving into that pool), but he does sexualize them. But then, he throws another wrench in the story, by next transporting us, in Babydoll's psyche to a third world, one where she and her cohort of dancer friends are sort-of vigilantes on a mission to obtain 4 things which will set them free...in the second "bordello" world. Their mission- obtain a map, fire, a knife, and a key. Then they will be free.
What I didn't understand was why, if Snyder is setting it up that Babydoll is escaping the bordello world because she doesn't want to be used and brutalized anymore, why when she is in the third world (what can only be described as a poorly designed videogame world) is she (and the other girls) wearing the sexy/vixen-like clothing. Doesn't that go against what they are essentially fighting for? In that way, I feel like this was Snyder's way of putting some bizarre sexual fantasy he had on screen. And it just doesn't work for me. You want a sexy vigilante, seeking vengeance against those who scorned her...look to "Kill Bill." Uma Thurman is unbelievable in that. And yes, she does wear the tight yellow suit, but it's not about that. Shame on Snyder for sexualizing these obviously tortured souls.
And the fact that both of these imagined worlds occur while Babydoll is institutionalized felt like the biggest middle-finger to me, as the viewer.
The imagined world while institutionalized only worked for me in an episode of "Buffy the Vampire Slayer." Perhaps Snyder should've enlisted Joss Whedon to write the screenplay to his movie. In fact, I think it would've been so much better that way.
Watch "Normal Again" from Season 6 (episode 17) of "Buffy the Vampire Slayer. It's a lot more fulfilling then "Sucker Punch."
That being said, Zack Snyder's vision and presentation is always a wonderful thing to see on screen.
.........................................................
I also watched a couple of features from Trey Parker and Matt Stone (the infamous South Park creators).
First up, on Netflix, I watched "Cannibal: the Musical" which was their very first film, made in 1993 while they were both in college. Trey Parker actually stars as the mistaken cannibal Alfred Packer, as he leads a group of travelers from Utah to Colorado.
It was then re-released by Troma Films in 1996 and became somewhat of a cult classic. It is certainly a dark comedy and even with this first film it cannot be denied that Trey Parker is a cultural genius. He knows how to write. He knows how to be funny. He knows how to be cheeky. He knows how to be campy. He knows how to be musical. He knows how to push the envelope (if you don't believe me, you obviously haven't seen an episode of South Park, so do yourself a favor and go watch it from the beginning).
It's a great film if you like the sort.
I also watched "Team America: World Police," which took a lot for me, because if you know me, you know that I fucking hate puppets. They freak me out. And this film is daring for the South Park dudes, because it is a feature-length film with marionettes. And it does a superb job. It totally works. I watched the entire thing and I didn't shit my pants in fright over the puppets. And I probably won't have nightmares. But if I hear the quick pitter-patter of something on my apartment's wooden floor, I might freak out, just a bit. Then, I'll remember I have a cat and he's probably just acting crazy, again, and running around in the darkness of the apartment late at night, because that's just what he does.
Anyway, I don't want to spend too much time on the plot. It is basically Parker and Stone's commentary on America after 9/11 and how we amped up fear and the need to polarize the world with hatred for anyone of the Muslim faith. These guys are masters of satire. (re: F.A.G. which stands for Film Actors Guild, in which all the outspoken actors come out against Team America for their approach to the War on Terror).
You have to watch the film for yourself. You'll laugh. Guaranteed.
Well, I'm off to enjoy more of this snow!
First up.
"A Time to Kill" which was directed by Joel Schumacher, who's had some noticeably terrible misses when it comes to his films (Batman and Robin, anyone? or how about Phone Booth?), so perhaps it is without coincidence that my favorites of his happen to both be adaptations of John Grisham books (The Client was stellar and only a couple years prior to this one) and the fact that Grisham had a large hand in controlling the adaptations of his books to the screen may have something to do with their successful retelling. It is a well-done play on morality that pushes buttons (racism in the South) and forces you to think (ends justify the means? eye for an eye?). Justice. That's all Samuel L. Jackson's character wanted. He he took it into his own hands. What ensues is the trial for his life.
One of the major setbacks to the screen adaptation of "A Time to Kill" is its length and incessant need to tell the entire story that Grisham told in his novel. Its running time is 2.5 hours. The story develops nice and quickly, but the pace is drawn out as Schumacher interlopes the re-emergence of the KKK in the "new South" of Mississippi. The fact that they are trying to cram too much into the film didn't bother me (because I consider myself a patient and well-versed film viewer). What bothered me is that because of this fact and the semantics of racism and the slapped-in-the-face moral dilemma of the death penalty presented, you can become distracted from the true heart of the story/film. The heart of the story is the bond between Carl Lee (Samuel L. Jackson at his most painstakingly quiet, devastated father of a 10-year-old girl who is raped and beaten severely by a couple of rednecks, who end up shot dead by Carl Lee about 30 minutes into the film) and Jake Brigance (brilliantly played by a newcomer, at the time, Matthew McConaughey), the lawyer looking to score big by defending this black man in a very hostile and prejudice Mississippi town.
The film is driven by the performance of these two men and you really begin to feel for both of them. Jake, because he and his family (hello, a blonde and stunning Ashley Judd) get harassed for coming to the defense of this black killer of two white men. Carl Lee, because he is a loving father who did what anyone man in his position would've most likely done.
There are some other key players in this film I'd completely forgotten about (having seen it years ago). Kevin Spacey plays the prosecuting attorney with his own agenda (mostly to get an all-white jury, so that Carl Lee will undoubtedly be convicted and sentenced to death). Oliver Platt (plays the typecast, comic relief, zany lawyer helping out as best as he can). Keifer Sutherland plays the brother of the two white rednecks who were killed, who ends up enlisting the aid of the KKK. I truly felt like his presence in the film was rather unnecessary and you really don't feel sorry for him or even hate him. I watched wondering why he was included, since the film would've had a more emotional draw with just the front-line story. And lost in the shuffle, and a bit wasted for her talents, Sandra Bullock plays the supporting lawyer implanted from Boston with an attitude to match. I wish there would've been more meat in her role, but thankfully her career took off regardless (re: Speed, The Net, Miss Congeniality, While You Were Sleeping). And for a film/story that is so obviously trying to tackle such a heavy issue as racism, why was there a seemingly conscience choice made to not include more screen-time for the black characters of the story. It seemed like a film about racism told through the eyes of white society. Hell, even Carl Lee explains in a speech to Jake ("You're my secret weapon. What would it take for you to set me free?") the irony. And then Jake pulls no punches in his closing statement as he retells the horrific events from the beginning of the film and then instructs the jury to image that the girl "is white." Holy shit! Powerful.
I really enjoyed this film for the performances, but like I said, it could've been told in a more compact and focused way, which also would've made it shorter. Sometimes that's okay. If I've learned anything as a writer, it's that not everything I say is truly that important.
...........................................................
"Sucker Punch"
I've been hesitant to watch this film because of all the negative reviews it received when it first came out. I waited until I could purchase it used at Bull Moose for $5. (I have a slight problem with purchase DVDs. It's a bit of a habit to buy movies, even ones I've never seen, and then let them sit on my shelf- in alphabetical order because I'm slightly OCD about that- for months or even years. This project 365 films in one year was partly planned so that I would force myself to watch these movies.)
Well, I only recently purchased this one and I've been excited to watch it, because bad press usually draws me to a movie. I want to know why so many people hate/or strongly dislike something.
Zack Snyder, the director, has sort of been a disappointment, because I can tell he has talent, but it seems wasted or almost like he doesn't trust himself. He has adapted graphic novels ("300" and "Watchmen") and remade "Dawn of the Dead" (which I thought was great). And now is he rebooting the Superman franchise with this summer's "Man of Steel" (which I am very nervous about, but thankfully Christopher Nolan has his hands dipped in the fountain with this franchise, after resurrecting the Batman franchise).
With "Sucker Punch," Snyder should take all the blame for the failure that it is. The film was born from his own vision. He wrote it; and then directed it. As a writer, I just didn't understand his story. The story revolves around a girl, Babydoll (Emily Browning), who's been institutionalized by her stepfather. Snyder then throws us into the psyche of this lost girl by interpreting her journey in other world, one where she is an orphaned girl sent to a bordello-of-sorts where she befriends 4 other girls. They are all dancers (not prostitutes, so I commend Snyder for not diving into that pool), but he does sexualize them. But then, he throws another wrench in the story, by next transporting us, in Babydoll's psyche to a third world, one where she and her cohort of dancer friends are sort-of vigilantes on a mission to obtain 4 things which will set them free...in the second "bordello" world. Their mission- obtain a map, fire, a knife, and a key. Then they will be free.
What I didn't understand was why, if Snyder is setting it up that Babydoll is escaping the bordello world because she doesn't want to be used and brutalized anymore, why when she is in the third world (what can only be described as a poorly designed videogame world) is she (and the other girls) wearing the sexy/vixen-like clothing. Doesn't that go against what they are essentially fighting for? In that way, I feel like this was Snyder's way of putting some bizarre sexual fantasy he had on screen. And it just doesn't work for me. You want a sexy vigilante, seeking vengeance against those who scorned her...look to "Kill Bill." Uma Thurman is unbelievable in that. And yes, she does wear the tight yellow suit, but it's not about that. Shame on Snyder for sexualizing these obviously tortured souls.
And the fact that both of these imagined worlds occur while Babydoll is institutionalized felt like the biggest middle-finger to me, as the viewer.
The imagined world while institutionalized only worked for me in an episode of "Buffy the Vampire Slayer." Perhaps Snyder should've enlisted Joss Whedon to write the screenplay to his movie. In fact, I think it would've been so much better that way.
Watch "Normal Again" from Season 6 (episode 17) of "Buffy the Vampire Slayer. It's a lot more fulfilling then "Sucker Punch."
That being said, Zack Snyder's vision and presentation is always a wonderful thing to see on screen.
.........................................................
I also watched a couple of features from Trey Parker and Matt Stone (the infamous South Park creators).
First up, on Netflix, I watched "Cannibal: the Musical" which was their very first film, made in 1993 while they were both in college. Trey Parker actually stars as the mistaken cannibal Alfred Packer, as he leads a group of travelers from Utah to Colorado.
It was then re-released by Troma Films in 1996 and became somewhat of a cult classic. It is certainly a dark comedy and even with this first film it cannot be denied that Trey Parker is a cultural genius. He knows how to write. He knows how to be funny. He knows how to be cheeky. He knows how to be campy. He knows how to be musical. He knows how to push the envelope (if you don't believe me, you obviously haven't seen an episode of South Park, so do yourself a favor and go watch it from the beginning).
It's a great film if you like the sort.
I also watched "Team America: World Police," which took a lot for me, because if you know me, you know that I fucking hate puppets. They freak me out. And this film is daring for the South Park dudes, because it is a feature-length film with marionettes. And it does a superb job. It totally works. I watched the entire thing and I didn't shit my pants in fright over the puppets. And I probably won't have nightmares. But if I hear the quick pitter-patter of something on my apartment's wooden floor, I might freak out, just a bit. Then, I'll remember I have a cat and he's probably just acting crazy, again, and running around in the darkness of the apartment late at night, because that's just what he does.
Anyway, I don't want to spend too much time on the plot. It is basically Parker and Stone's commentary on America after 9/11 and how we amped up fear and the need to polarize the world with hatred for anyone of the Muslim faith. These guys are masters of satire. (re: F.A.G. which stands for Film Actors Guild, in which all the outspoken actors come out against Team America for their approach to the War on Terror).
You have to watch the film for yourself. You'll laugh. Guaranteed.
Well, I'm off to enjoy more of this snow!
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