Some movies, and there is nothing particularly wrong with this approach, only really need to be seen once. They are what many believe movies to be: quite simply, two hours (give or take) of entertainment for the sake of entertainment, designed to be viewed, perhaps even enjoyed, and then forgotten about. Other movies can be revisited like comforting old friends, making us laugh yet again at the same lines we recite with our friends and enjoy as a fun experience, or even a way to bond with and relate to others. Others still reach us in a different way on those repeated viewings. They are the movies that, while first watching them, affected us in such a way that we are compelled to revisit them to get back in touch with those feelings we had when we first saw them, whatever they were. Though it is occasionally unsuccessful, we at least remember the feelings we had if we are unable to recreate them.
Finally, there are those rare few movies that we return to for fresh new perspective, to reassemble familiar puzzle pieces into an image we can now better understand, and see and appreciate the detail of. One of these movies is "Inception."
"Inception" (2010)
Without reveal of specific plot points "Inception" is equal parts action-packed heist film, sci-fi wonder world, existential examination of reality, and very human love story carefully crafted and folded into each other like the film's famous dream world buildings in the previews we've all seen. This special effects driven "wow factor" is what probably got so many people interested in seeing this film in the first place. Once could almost think of this to the film's concept of dream structure, an entry level into this world. And it is on subsequent viewings, eased into the intricate story by the eye-popping special effects, that we as viewers advance further into the details and truly see and feel the characters' motivations. As soon as we hit "Play" we already know how Cobb's story is going to end. But this is the information we use to really understand him when we watch it again, to feel his painful losses along with him and follow his story to its conclusion. And this is by not just observing, but absorbing details we may have missed while we were waiting to see people fly around in hallways. Perhaps we even decide to devote some time and attention to the other story at the heart of "Inception", the reason these characters are here in the first place: the relationship between Robert Fischer (Cillian Murphy), his recently deceased father, and father figure Peter Browning (Tom Berenger). There are so many stories, so many layers to the film that a single viewing could never possibly be enough to process each one. Each viewing brings a new level of understanding, and draws the viewer that much deeper into the characters' world, a dream world the viewers themselves may not be ready to leave once reality sets in for them as it does for us all.
Re-watching "Inception" is not merely revisiting the familiar and comfortable. It is opening a new layer of the film to be examined and experienced. And, perhaps, to provide additional perspective for the next, allowing us to see (and possibly feel) even more than we had before.
Monday, December 27, 2010
Saturday, December 18, 2010
That Personal Touch/IMAX Evangelism.
From the second I finished my last entry, I knew almost exactly what I was going to say in this one, even if the event that was to inspire it hadn't happened yet. The plan all along was for this to basically be a comparison piece about the two different types of IMAX theaters: the digital projection kind you see at AMC theatres, and the 70MM film projection kind (known in technical terms as 15/70) you see at places like the Henry Ford IMAX theater in Dearborn, MI and other museums.science centers. I was even seeing the same movie at both--"TRON: Legacy"--so I could make an honest, apples-to-apples comparison. And I knew in my heart of hearts that on every conceivable level, it was going to be an uncontested victory for 15/70.
What I didn't know is the extra level of enhancement that last night's experience was going to get.
I admit, I'm a bit of an IMAX evangelist. I have fond memories of seeing the old nature documentary movies in IMAX theaters as a young child, swaying in my seat as we fly through the mountains or into the Grand Canyon or raft down the Amazon river. And as IMAX theaters began showing theatrical movies for the first time in 2002, I made it a point to see as many of them there as possible. I went back there to see several films I had already seen in regular theaters (which I even did this past summer for "Toy Story 3"), and in the case of "Inception", I saw the film in IMAX twice, with two different other people, and did not see it in a regular theater at all. So you could say, as a tried and true movie geek, I am a fan.
I "liked" the Henry Ford IMAX theater on Facebook, and often commented on their posts. What's great is that they reply back, as excited to hear from enthusiastic fans as those fans are to share their experiences and talk about experiences to come. So imagine my surprise yesterday, when my phone chirped that I had received a private message on Facebook. It was from none other than Ron, the head projectionist at the Henry Ford IMAX theater. He had seen than I said I was attending the 10:25 showing of "TRON" there last night and invited me to come up for a tour of the projection booth. To provide a bit of perspective, for my sister Angie, my companion last night and a self confessed Red Wings fanatic, this would be a bit like getting an invitation to tour the locker room at Joe Louis Arena. Naturally, I was more than happy to accept.
After the movie was over (about 12:45 am mind you), we headed up the stairs to the projection booth. There is a clear glass window in the hallway where the projection booth is accessed where anyone who chooses to go up can look in on the projector and the equipment, and the facility will even do tours for school groups and things like that. But a personal invite? Awesome. So after the film stopped running Ron invited us inside the booth. He proceeded to show us all of the equipment and explain how all of it works, from the gigantic, $1 million projector and huge spools of film ("TRON: Legacy"'s are a bit over two feet wide--and there's two of them) to the electric equipment that keeps the whole thing running. He even gave us some swag (pictured below). But through it all he was very friendly and informative, eager to answer questions and share information and talk a little shop with two obvious fans eager to listen. It was a fun, unique experience and one I'll take with me for a long time and remember when I recommend the theater to others.
As for the movie itself, there was absolutely no comparison, and I even enjoyed it more on the second viewing as I picked up on subtle plot touches throughout the film. But the film really shined in the moments when the action filled the entirety of the 80X60 screen and you were sucked into the flawless 3D of the futuristic grid and all of the action contained within. The sound and picture at the Henry Ford were surprisingly clearer and more immersive. And Daft Punk's brilliant score (I downloaded it on iTunes almost two weeks ago and still listen to it constantly) just BUMPS so loud you feel like you're actually in the End of Line Club from the movie. It is a movie going experience--truly the best word to describe it--unmatched by any in recent memory. And it would have been this on the strength of IMAX alone. IMAX is not just a gimmick to keep you from just staying home and watching movies from your Netflix queue on your 50" widescreen HDTV and six-channel surround sound system. Nor is it shameless money grubbing on the part of movie studios and theater owners (in fact, the Henry Ford IMAX is a non-profit venture.) It is an experience (think of it more like a theme park or museum attraction) and truly the best way to watch a movie. Watching a multiplex IMAX theater (referred to by some as Digital IMAX, "Mini-MAX" and even "LIE-MAX") is basically little more than watching a movie on a slightly larger screen with a better sound system. It's in true, 15/70 film format (meaning, 15 holes on each side of the film per frame, which is 70 mm wide) that the word "experience" comes in.
But my "experience" last night was enhanced by something I never would have gotten in a multiplex: the kind of personal touch that inspires a person to ramble on his blog about it. And while I'm sure Ron gives plenty of these tours every year, to school kids and interested movie geeks like myself, the fact that he took the time to personally invite us up and show us all of the equipment, to happily welcome us into his world as fans of his work, so to speak, truly brings this "IMAX Experience" to the next level. Thanks, Ron. We'll see you again soon.
What I didn't know is the extra level of enhancement that last night's experience was going to get.
I admit, I'm a bit of an IMAX evangelist. I have fond memories of seeing the old nature documentary movies in IMAX theaters as a young child, swaying in my seat as we fly through the mountains or into the Grand Canyon or raft down the Amazon river. And as IMAX theaters began showing theatrical movies for the first time in 2002, I made it a point to see as many of them there as possible. I went back there to see several films I had already seen in regular theaters (which I even did this past summer for "Toy Story 3"), and in the case of "Inception", I saw the film in IMAX twice, with two different other people, and did not see it in a regular theater at all. So you could say, as a tried and true movie geek, I am a fan.
I "liked" the Henry Ford IMAX theater on Facebook, and often commented on their posts. What's great is that they reply back, as excited to hear from enthusiastic fans as those fans are to share their experiences and talk about experiences to come. So imagine my surprise yesterday, when my phone chirped that I had received a private message on Facebook. It was from none other than Ron, the head projectionist at the Henry Ford IMAX theater. He had seen than I said I was attending the 10:25 showing of "TRON" there last night and invited me to come up for a tour of the projection booth. To provide a bit of perspective, for my sister Angie, my companion last night and a self confessed Red Wings fanatic, this would be a bit like getting an invitation to tour the locker room at Joe Louis Arena. Naturally, I was more than happy to accept.
After the movie was over (about 12:45 am mind you), we headed up the stairs to the projection booth. There is a clear glass window in the hallway where the projection booth is accessed where anyone who chooses to go up can look in on the projector and the equipment, and the facility will even do tours for school groups and things like that. But a personal invite? Awesome. So after the film stopped running Ron invited us inside the booth. He proceeded to show us all of the equipment and explain how all of it works, from the gigantic, $1 million projector and huge spools of film ("TRON: Legacy"'s are a bit over two feet wide--and there's two of them) to the electric equipment that keeps the whole thing running. He even gave us some swag (pictured below). But through it all he was very friendly and informative, eager to answer questions and share information and talk a little shop with two obvious fans eager to listen. It was a fun, unique experience and one I'll take with me for a long time and remember when I recommend the theater to others.
A size comparison of AMC's "IMAX" screen vs. the Henry Ford's (and for perspective, 6' tall Ron the projectionist.)
A comparison of screen and film sizes between IMAX and theatrical films.
Some cool pins and buttons I got.
As for the movie itself, there was absolutely no comparison, and I even enjoyed it more on the second viewing as I picked up on subtle plot touches throughout the film. But the film really shined in the moments when the action filled the entirety of the 80X60 screen and you were sucked into the flawless 3D of the futuristic grid and all of the action contained within. The sound and picture at the Henry Ford were surprisingly clearer and more immersive. And Daft Punk's brilliant score (I downloaded it on iTunes almost two weeks ago and still listen to it constantly) just BUMPS so loud you feel like you're actually in the End of Line Club from the movie. It is a movie going experience--truly the best word to describe it--unmatched by any in recent memory. And it would have been this on the strength of IMAX alone. IMAX is not just a gimmick to keep you from just staying home and watching movies from your Netflix queue on your 50" widescreen HDTV and six-channel surround sound system. Nor is it shameless money grubbing on the part of movie studios and theater owners (in fact, the Henry Ford IMAX is a non-profit venture.) It is an experience (think of it more like a theme park or museum attraction) and truly the best way to watch a movie. Watching a multiplex IMAX theater (referred to by some as Digital IMAX, "Mini-MAX" and even "LIE-MAX") is basically little more than watching a movie on a slightly larger screen with a better sound system. It's in true, 15/70 film format (meaning, 15 holes on each side of the film per frame, which is 70 mm wide) that the word "experience" comes in.
But my "experience" last night was enhanced by something I never would have gotten in a multiplex: the kind of personal touch that inspires a person to ramble on his blog about it. And while I'm sure Ron gives plenty of these tours every year, to school kids and interested movie geeks like myself, the fact that he took the time to personally invite us up and show us all of the equipment, to happily welcome us into his world as fans of his work, so to speak, truly brings this "IMAX Experience" to the next level. Thanks, Ron. We'll see you again soon.
Tuesday, December 14, 2010
Epics and the Test of Time; "TRON: Legacy"
We have all at one point or another in our movie-going lives seen a film that could be defined in some way as "epic". Epics are bigger than life, two hour (give or take) justifications of the creation of such an immersive storytelling medium. Films that are epics are made to be epics; there is simply no other scale they can exist on. The sounds, the visuals, the conflicts draw you into every nuance of the story until, pardon the cliche, it feels like you're "in" it. On subsequent viewings, you can't help but be completely immersed in the details, and your focus suddenly shifts to the story serving the scope and the effects.
"Star Wars" is a key example of this. It is a film that my generation was shown at a young, impressionable age that we fell in love with, and as we grew up and became parents ourselves we found ourselves in the position to pass it down to our children. I personally can't wait until my son is old enough to concentrate on the cool spaceships and funny robots, which hopefully as he matures will lead to a love of the film, and film in general. Who knows, maybe he'll just say "This is stupid!" and go outside and play baseball or something. But I like to think that I can somehow influence that in him.
You may be wondering at this point what any of this has to do with "TRON: Legacy", which is the reason I'm babbling on about all this nonsense to begin with.
"TRON: Legacy" (2010)
A little background first: "TRON: Legacy" is a sequel to a movie released 28 years ago. Some considered the original "TRON" to be everything from the birth of modern special effects, to the ultimate cautionary tale of corporate control over art, to a defining moment of the computer age. Others don't consider it at all, as it was never much of a financial success, seldom gets shown on TV (it is also officially out of print on video), and is looked at as dated and even a bit laughable. Over the years it took on a bit of reverence among computer and film geeks, who hungered for years to see the further adventures of Kevin Flynn but had little reason to believe they ever would.
That day has finally come, and the wait has been well worth it.
"Legacy" is about Kevin's 27-year-old son Sam, still dealing with the disappearance of his father after two decades. When his father's former business partner receives a page he believes to be from Kevin, Sam decides to investigate and gets sucked into the grid himself. I don't want to give away much after this, particularly what happens on the grid (I tried very hard to keep myself blind to as much of the actual story as possible, and was amazed how well I was able to do so.) But I will say that the film succeeded in drawing you in with visuals until you were invested in the story (not particularly original, but still very engaging.) Just like an epic is supposed to do.
When you watch some films, particularly for the first time, you know you're watching something special, something that is going to resonate long after the audience leaves the theater. It will be analyzed by fans and picked apart by critics. It will be discussed, questioned, speculated and even dreamt about. Most importantly, it will be watched again and again, beloved in the future and passed down for new generations to appreciate and enjoy. "TRON: Legacy" has the potential to be this. It is far more technically innovative than its predecessor--in fact, more so than nearly any other film before it--and certainly more resonant. Perhaps it's a bit presumptuous, or even bordering on hyperbolic, to state that this film could belong in the company of films like "The Matrix" or even God forbid "Star Wars" (both of which I was reminded of at times during "Legacy"--in a good way); time will have to tell how that turns out. But if any film released this year can do just that, it's "TRON: Legacy". Don't miss the opportunity to experience it for yourself (preferably in IMAX 3D, it's worth it.)
"Star Wars" is a key example of this. It is a film that my generation was shown at a young, impressionable age that we fell in love with, and as we grew up and became parents ourselves we found ourselves in the position to pass it down to our children. I personally can't wait until my son is old enough to concentrate on the cool spaceships and funny robots, which hopefully as he matures will lead to a love of the film, and film in general. Who knows, maybe he'll just say "This is stupid!" and go outside and play baseball or something. But I like to think that I can somehow influence that in him.
You may be wondering at this point what any of this has to do with "TRON: Legacy", which is the reason I'm babbling on about all this nonsense to begin with.
"TRON: Legacy" (2010)
A little background first: "TRON: Legacy" is a sequel to a movie released 28 years ago. Some considered the original "TRON" to be everything from the birth of modern special effects, to the ultimate cautionary tale of corporate control over art, to a defining moment of the computer age. Others don't consider it at all, as it was never much of a financial success, seldom gets shown on TV (it is also officially out of print on video), and is looked at as dated and even a bit laughable. Over the years it took on a bit of reverence among computer and film geeks, who hungered for years to see the further adventures of Kevin Flynn but had little reason to believe they ever would.
That day has finally come, and the wait has been well worth it.
"Legacy" is about Kevin's 27-year-old son Sam, still dealing with the disappearance of his father after two decades. When his father's former business partner receives a page he believes to be from Kevin, Sam decides to investigate and gets sucked into the grid himself. I don't want to give away much after this, particularly what happens on the grid (I tried very hard to keep myself blind to as much of the actual story as possible, and was amazed how well I was able to do so.) But I will say that the film succeeded in drawing you in with visuals until you were invested in the story (not particularly original, but still very engaging.) Just like an epic is supposed to do.
When you watch some films, particularly for the first time, you know you're watching something special, something that is going to resonate long after the audience leaves the theater. It will be analyzed by fans and picked apart by critics. It will be discussed, questioned, speculated and even dreamt about. Most importantly, it will be watched again and again, beloved in the future and passed down for new generations to appreciate and enjoy. "TRON: Legacy" has the potential to be this. It is far more technically innovative than its predecessor--in fact, more so than nearly any other film before it--and certainly more resonant. Perhaps it's a bit presumptuous, or even bordering on hyperbolic, to state that this film could belong in the company of films like "The Matrix" or even God forbid "Star Wars" (both of which I was reminded of at times during "Legacy"--in a good way); time will have to tell how that turns out. But if any film released this year can do just that, it's "TRON: Legacy". Don't miss the opportunity to experience it for yourself (preferably in IMAX 3D, it's worth it.)
Sunday, December 12, 2010
Just a test...
I'm testing a new app I got to make this easier to do on my phone. I just want to make sure this works. Please refer to previous post for relevant content. Thanks!
Define "classic".
I have never seen "It's A Wonderful Life." Not all the way through anyway. Nor have I seen "Holiday Inn" or "White Christmas" or basically any traditional version of "A Christmas Carol." What could be considered even more potentially sacrilegious is that I'm not certain I have any interest in seeing them either.
On the other hand, I have seen "Scrooged" many times. (In fact, I am watching as I type this.) I can recite portions of "National Lampoon's Christmas Vacation" from memory with little provocation. I really enjoyed "The Ref" and "Die Hard". And it as almost become tradition to have the "A Christmas Story" marathon on as background noise while wrapping presents on Christmas Eve.
The point of this is: What defines a "holiday classic"?
Few if anyone would argue that the movies in the first paragraph are classics. But why? Because Turner Classic Movies told us they were? Maybe because these are the movies we associate with memories and feelings and ideals of what Christmas is supposed to be. And there's nothing wrong with that. It's just not... me, I guess. I suppose I look at the holidays different than some... or better yet, I react to different stimuli. I get my holiday spirit from movies like these, or more contemporary versions of Christmas songs, or things like that. A lot of other people I know feel the same as me. So I guess that raises the question... Is a "classic" whatever an individual perceives it to be, or has the definition of a "classic" expanded to include these modern movies and songs that have endeared themselves to us over the years, however fewer there were? Or maybe it's best not to concentrate on titles and surround ourselves with the things and people, whatever they are, that put us in the holiday spirit.
On the other hand, I have seen "Scrooged" many times. (In fact, I am watching as I type this.) I can recite portions of "National Lampoon's Christmas Vacation" from memory with little provocation. I really enjoyed "The Ref" and "Die Hard". And it as almost become tradition to have the "A Christmas Story" marathon on as background noise while wrapping presents on Christmas Eve.
The point of this is: What defines a "holiday classic"?
Few if anyone would argue that the movies in the first paragraph are classics. But why? Because Turner Classic Movies told us they were? Maybe because these are the movies we associate with memories and feelings and ideals of what Christmas is supposed to be. And there's nothing wrong with that. It's just not... me, I guess. I suppose I look at the holidays different than some... or better yet, I react to different stimuli. I get my holiday spirit from movies like these, or more contemporary versions of Christmas songs, or things like that. A lot of other people I know feel the same as me. So I guess that raises the question... Is a "classic" whatever an individual perceives it to be, or has the definition of a "classic" expanded to include these modern movies and songs that have endeared themselves to us over the years, however fewer there were? Or maybe it's best not to concentrate on titles and surround ourselves with the things and people, whatever they are, that put us in the holiday spirit.
Wednesday, December 8, 2010
Hello Blogosphere; "Crank"/"Crank 2: High Voltage"
I have made a New Years Resolution to watch every single movie in my DVD library starting in January of next year. This will be the primary function of this blog, at least as long as I carry out that particular experiment. Before and after that (and possibly during) I'll either post short but hopefully insightful reviews of whatever other movie I happen to be watching, or post whatever random thought pops into my head that I don't feel like posting on Facebook or Twitter or annoying whatever friend I decide to text at that moment. One thing I will try not to do is turn this into a "woe is me" whiny emo kid ego trip slapped out there for the purpose of attracting attention to myself (hello, LiveJournal!) Movies (or whatever portions of pop culture I feel most like discussing at that particular moment) shall be the order of the day.
For starters:
"Crank" (2006) and "Crank 2: High Voltage" (2009)
I recently watched both "Crank" movies in more or less one sitting. (I had to watch the last half hour of the sequel, "Crank 2: High Voltage" the next day due to a freak power outage. Thanks, black ice!) I've been a fan of Jason Statham ever since I watched the first 15 minutes of "The Transporter" at my friend Matt's apartment and declared them to be 15 of the most fucking badass minutes of film I had seen at that point. He went on to play basically the same role in every other movie: a guy who speaks very little (with a cool accent) but kicks a lot of ass. So this is more or less what I expected in these movies. I knew the basic premise of the movies (man is injected with poison, must keep adrenaline up to stay alive; or must keep artifical heart charged up via electric shock in the sequel) so I was interested in just enjoying 180 minutes of solid ass-kicking. What I didn't expect was how completely batshit crazy these movies are in every conceivable way. Imagine "The Transporter", "Scott Pilgrim vs. the World", "Grand Theft Auto", "Run Lola Run" and the video for "Smack My Bitch Up" by the Prodigy thrown into a blender with three Four Lokos, gasoline and some crystal meth. Then light that blender on fire and throw it out the window of a moving car on a busy freeway. That ALMOST describes the insanity of these movies. Both movies are full of quick edits, loud music, odd special effects, extremely public sex and some graphic, very bizarre fight scenes. "High Voltage" ups the ante significantly from the screwed-up-enough-on-its-own original, as its 90 action packed minutes feature a fight redered in claymation, an annoying but kind of endearing Japanese prostitute, and the final film role of Corey Haim (with a mullet!) Words really can't contain the sensory overload of the "Crank" movies; they simply must be witnessed to be disbelieved. Pure, concentrated fun.
This is what you're in for, folks. Proceed at your own risk.
For starters:
"Crank" (2006) and "Crank 2: High Voltage" (2009)
I recently watched both "Crank" movies in more or less one sitting. (I had to watch the last half hour of the sequel, "Crank 2: High Voltage" the next day due to a freak power outage. Thanks, black ice!) I've been a fan of Jason Statham ever since I watched the first 15 minutes of "The Transporter" at my friend Matt's apartment and declared them to be 15 of the most fucking badass minutes of film I had seen at that point. He went on to play basically the same role in every other movie: a guy who speaks very little (with a cool accent) but kicks a lot of ass. So this is more or less what I expected in these movies. I knew the basic premise of the movies (man is injected with poison, must keep adrenaline up to stay alive; or must keep artifical heart charged up via electric shock in the sequel) so I was interested in just enjoying 180 minutes of solid ass-kicking. What I didn't expect was how completely batshit crazy these movies are in every conceivable way. Imagine "The Transporter", "Scott Pilgrim vs. the World", "Grand Theft Auto", "Run Lola Run" and the video for "Smack My Bitch Up" by the Prodigy thrown into a blender with three Four Lokos, gasoline and some crystal meth. Then light that blender on fire and throw it out the window of a moving car on a busy freeway. That ALMOST describes the insanity of these movies. Both movies are full of quick edits, loud music, odd special effects, extremely public sex and some graphic, very bizarre fight scenes. "High Voltage" ups the ante significantly from the screwed-up-enough-on-its-own original, as its 90 action packed minutes feature a fight redered in claymation, an annoying but kind of endearing Japanese prostitute, and the final film role of Corey Haim (with a mullet!) Words really can't contain the sensory overload of the "Crank" movies; they simply must be witnessed to be disbelieved. Pure, concentrated fun.
This is what you're in for, folks. Proceed at your own risk.
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