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Monday, October 09, 2017

Mother!

MOTHER! (2017,   Darren Aronofsky)

I looked at my watch and counted down the seconds because I knew what was coming. The TIFF press screening of Darren Aronofsky's MOTHER! was just over and I expected the usual tweets. Sure enough, right on cue, came tweets dismissing the film and calling it garbage. A few more angry tweets appeared. I waited and then as expected, a tweet praising the film. Less than 30 minutes later, a tweet came out referencing where the director called the movie about "climate change". Then another, "hey guys, there are Biblical references. Does that change things?".

In less than an hour, the whole range of reactions had taken place regarding the film. I smiled and headed off to my next screening. These reactions were normal for any Aronofsky movie and I was glad to see that nothing had changed.

The film references the Bible and even climate change but the scope is much bigger than that. The scope is the entire history of our planet, from creation to evolution to destruction, and then like a loop, starting all over again. The movie is about what we humans do to our planet, how we use religion to divide and fight, how wars take place, both world wars and civil ones, how organized gangs take out humans, how government organized disappearances take place, how we blindly believe in someone's words, how we end up consuming and destroying the very thing we claim to love.

Of course, such scope and the manner with which it is presented opens the door for plenty of ridicule and negative reaction. Yet, there are moments which make it hard to dismiss the work. For example, the segment of the unfolding of our planet's history is a roller coaster ride where the camera goes from room to room and documents all the horrors of our society in unflinching detail.

The film is all about allegories so here's another one.

A famous soccer player steps up to the penalty spot. The crowd is expecting a goal yet the player blasts the ball over the crossbar. Silence. Complete shock that how such a player could have blasted the ball so high and far from the goal. Years later, fans don't remember the goals that were scored but still talk about that one player who blasted the ball over. That miss ends up being more spectacular than the goals scored.

Friday, August 11, 2017

Cinema of Cool

Baby Driver (2017,  Edgar Wright)

Black Shades. Music. Fast cars. Heist. Cool gangsters. Smooth talkers. Attitude. More music. Extremely intelligent sounding dialogues. Money. A girl, always a girl. For a change, some coffee.

xXx: Return of Xander Cage (2017, D.J. Caruso)

Neymar. Cool stunt, all for a soccer game. Extremely intelligent sounding dialogues. More cool stunts. Money. Lots of weapons. Exotic locales. For a change, an international cast, featuring Deepika Padukone, Donnie Yen and Tony Jaa. Of course, the father of coolness, Mr. Samuel L. Jackson is there as well.

The Fate of the Furious (2017,  F. Gary Gray)

Bigger cast, increasing with each film. Of course, fast cars. Exotic locales. Weapons. Loud explosions. Women and Men with attitude. Like last few films, all about a family.

John Wick 2 (2017,  Chad Stahelski)

Quality suits. Tailored expensive fabric. Cool lighting. Atmosphere. Weapons. Bullets, lot of bullets. Blood. Attitude. Money. Expensive tastes. Characters made to appear extremely intelligent. For extreme coolness, the presence of Morpheus to exchange some witty dialogue with Neo. For a change, it is Neo who offers the choice to Morpheus.


Four completely different movies yet all united by their ability to claim ample room in a multiplex. Of course, these four have to pounce on whatever space remains after the Super hero movies have come and gone.

All four vary in their quality. Baby Driver is the most refined of this group and has the acclaim of many critics while John Wick has its fans. The Fast and Furious movies have their admirers as well.

Christopher Nolan’s Dunkirk is also a refined film, albeit a video game/war movie hybrid.

All these films drip with style yet are hollow in their core. Once the layers of style are removed, there isn't any substance.

This is cinema now. It sure ain’t dead but these movies are certainly trying very hard to kill it.

The rich strange doctor

Doctor Strange (2016,  Scott Derrickson)
 
An arrogant rich man lives selfishly and feels he is invincible. One day, his reckless driving causes him to get into an accident. This accident does not cause him to do any soul-searching. Instead, he blames everyone else around him for not helping him. He has enough money to pay for his treatment but when his money runs out, he blames the health system. Then, he learns that he can be cured by Asian medicine. So he travels to exotic Nepal. There, he finds others like him. He never associates with the locals, nor eats with them. He is cured and in turn he learns how to travel around the world for free. He learns how to travel without going through airport security or sitting in an airplane. He also learns how to steal books from libraries.

He is given a gift for being selfish. Then, he is given a chance at redemption, to erase his entire selfish life by one act of goodness. He saves the world and is made an instant hero.

How does he repay the world? Does he help the poor and needy? Does he start a company to offer health services to those who need it?

Of course not! He opens a private service to help rich privileged super heroes like himself. His first job is to act as a mediator in a family despite between Thor and his brother.