July 20, 2017

Lingering intellectual distrust

“It is perhaps the lingering intellectual distrust of the horror genre that has prevented George Romero’s ‘living dead’ trilogy from receiving full recognition for what it undoubtedly is: one of the most remarkable and audacious achievements of modern American cinema, and the most uncompromising critique of contemporary America (and, by extension, Western capitalist society in general) that is possible within the terms and conditions of a ‘popular entertainment’ medium.”
Robin Wood, Hollywood from Vietnam to Reagan … and Beyond. 2003 edition. 

July 19, 2017

Gun crazy

“One of the points of George Romero’s zombie films is to show how easily America slips into a state of gun-crazed fascism – those rednecks with firearms are ideal citizens. In one of the most shocking moments of the 1978 entry Dawn of the Dead, heavily armed law enforcers storm a public housing building and wipe out some poor immigrant families under the martial-law-like pretext of zombie hunting.” From a review of Zack Snyder’s lesser Dawn of the Dead remake, 2004. None of the late reboots (Land of the Dead, Survival of the Dead, Land of the Dead) added anything to a scene already cluttered with films and series inspired by Romero’s 60s/70s example – by the time we reached Land, the dead were nearly incidental – but they will never detract from the early achievements either. 

July 9, 2017

Placid

Loving (Jeff Nichols, 2016). When so much is at stake, how can everyone remain so placid? Part of it, I suspect, is the hindsight perspective of civil rights movies and their inevitable journeys towards the better present we know and inhabit, and partly, it is a decision that to represent decency we must show calm, quiet patience. 

July 6, 2017

She remembers how hot the sun was


Jackie (Pablo Larrain, 2016). “She remembers how hot the sun was in Dallas, and the crowds.” To read the Life magazine feature depicted in Jackie, as the grave journalist meets the newly widowed subject, soon after seeing the film itself, is to recognise that the film has caught the tone perfectly – the same sadness, obviously, but also the same reach towards a possible future, the same slim sense of hope, while a new myth of the past is constructed in front of us, to stop time from destroying everything. You could argue that this alone makes Jackie one of the great films about journalism. Beyond that, it is a great work of art. There is Natalie Portman’s commitment to the part of Jackie, with the anxious, grieving energy that accompanies the emergency. There is the surprising poignancy of John Hurt in an apt role as a priest. There is the alienating power of Mica Levi’s score. And there is the rare artistry of Pablo Larrain’s directorial methods. He makes the film a visionary biopic that has unexpected topicality.

July 4, 2017

Los Angeles plays itself


La La Land (Damien Chazelle, 2016). The cleverness is limited to the title, thank goodness. This musical for a time without musicals is less about smart-alec post-modernism (worst offender: Moulin Rouge) than trying to recover some old innocence. Who wouldn’t fall for its LA dream vistas, its sense of the movie city as a museum of itself? By the end, the songs hardly matter – if you even really noticed them to start with.