Kill Bill, Vol. 1

I’m going to keep my comments here fairly brief, as this is only the first part of a two-part story. So, briefly, first impressions of the first half of Kill Bill:

  • Much butt-kicking fun.

  • There is far less dialogue than you might expect from a Tarrantino film, but in this case, I can’t see it any other way.

  • There’s also a very bitter, sorrowful tone to the film that is easy to overlook during the fights and general carnage, but is very present, and very important to the tone.

  • Yes, it’s violent. Very violent. But two points on that:

    1. It’s Quentin Tarrantino. Did you really expect anything else?
    2. How can you take it seriously when every severed limb or head (and there are many) is apparently attached to a high-pressure firehose?
  • Best line (delivered by The Bride while spanking the last living henchman — a sixteen (?) year old boy — with the flat of her katana): “This is what you get for fucking with Yakuza! Now go home to your mommy!”

  • I hope that Vol. 2 gives us more of The Bride’s background. But if it doesn’t, that might not matter — in an almost zen-like way, she simply is. More background might actually detract from this.

  • Using anime for O-Ren Ishii’s background: very nice touch.

  • The fight scenes were deliciously over the top. Unrealistic, but enjoyably so.

  • One shot in the mass battle royale towards the end — a grainy, black and white travelling shot of a spinning hatchet — was almost a mirror of a shot in the diner scene of Natural Born Killers.

  • Favorite sequence (at least right now, immediately after my first viewing): the blue background silhouetted section of the battle in the restaurant.

  • I know I’m not catching the majority of the references Tarrantino is making throughout the film. That’s okay, though. I’m guessing there’s enough to fill an entire book — which will probably be at your friendly neighborhood bookseller not long after Vol. 2 is released.

  • This review (which I found thanks to Kalyx) may sum it up the best:

    Gratuitous in the most passionate, brutal and aesthetically exacting way, this first half of Quentin Tarantino’s blood-drenched mash note to the eclectic, disreputable genres he grooved on as a kid is a remarkably pure orchestration of imagery and attitude. The content of those magnificently moving pictures is whatever the opposite of pure might be: an endless orgy of degradation, dismemberment, cruelty and bile. The \”Pulp Fiction’ auteur has ratcheted it all up into a fantasy realm, and he has a point when he claims that anybody who thinks this disturbing stuff is happening to anything like a real person is crazy — or, at least, crazier than he is.

    Still, there’s nothing wrong with avoiding \”Kill Bill’ if you’re easily offended by violence to women, violence by women, violence observed by traumatized children or lots — LOTS — of violently detached body parts scattered all around the screen.

    But if you’re not like that: Man, is this movie cool.

Bubba Ho-Tep

On a whim for something silly and fun, Prairie and I went out and saw Bubba Ho-Tep today. It was exactly what we were in the mood for.

Bruce Campbell as Elvis

Bruce Campbell plays an elderly Elvis, spending the last of his days in a retirement home under the name of Sebastian Half, an Elvis impersonator who he switched places with when he got tired of constantly being in the limelight. Along with his friend John F. Kennedy (Ossie Davis) — also in the retirement home, and now a black man (“They dyed me this color!”) — he has to battle a resurrected Egyptian mummy who is using the retirement home as his personal feeding grounds, sucking the souls out of people so close to death that no-one blinks an eye when they pass on.

BHT was done surprisingly well. While definitely an action/comedy, it did a remarkable job of not taking the camp too far, and instead, taking the time to create real characters that the audience could believe in and empathize with. It may be the best actual acting I’ve seen Campbell do, too. He’s a lot of fun as Ash in the Evil Dead series, but those are so over-the-top that they don’t really feature Campbell the actor, merely Campbell the comedian (not that that’s a bad thing at all, mind you).

Here we have an Elvis facing mortality — questioning leaving show business, losing contact with his wife and daughter, and watching his aging body fall apart. The battle with the mummy is the first thing in years to give him something to live for, and Campbell does a wonderful job of creating the character.

The setting for the movie is brilliant, too. One of the oddities of mummy movies is always that the mummy, as a desiccated corpse, really isn’t the most threatening of monsters, shuffling along after its prey, who never seem to be able to outrun it. By setting the movie in a retirement home, filled with potential victims in wheelchairs and using walkers, suddenly the threat becomes a lot more real.

All in all, well worth the time and money to see, and definitely recommended.

Sigh

As of right now — 10am on the day that tickets were available to be purchased — the Lord of the Rings Marathon at the Cinerama is sold out.

At least, that’s what I’m getting from the MovieTickets.com website. For all I know, it may be different at the theatre itself, but I don’t have time to go stand in line there.

Bummer.

Ah, well. As they’re playing the Extended versions of both TFotR and TTT in two weeks immediately prior to the release of TRotK, I went ahead and picked up tickets to the Saturday showings of each of those. Not the marathon, but this might be a little more comfortable anyway. ;)

Dec. 16: LOTR Marathon

It’s official: the Lord of the Rings Marathon will be at the Seattle Cinerama on Dec. 16th.

Leading up to the December 17 release of The Lord of The Rings: The Return of the King, the final film Peter Jackson’s epic trilogy, New Line Cinema will bring moviegoers an exclusive, One-time-only in-theater event: The Lord of the Rings Special Extended Edition Screening Engagement.

The schedule for this special theatrical screening series is as follows:

December 5-11
Special Extended Edition The Lord of the Rings: The Fellowship of the Ring
December 12-15
Special Extended Edition The Lord of the Rings: The Two Towers
Tuesday, December 16
One-time-only marathon of both the Extended Edition prints followed by the first screenings of The Lord of the Rings: The Return of the King.

Tickets available October 9th!

Now comes the question — am I crazy enough to do this? I think so…

Saving embedded Quicktime movies on OS X

Thanks to this comment on Mac OS X Hints, I found an incredibly easy way to save Quicktime movies that have been embedded into a page (like, say, the recently released trailer for The Lord of the Rings: The Return of the King).

Well, easy if you’re comfortable with using the Mac OS X terminal, at least.

Simply create a shell script (I named mine getmov) with the following commands:

#!/bin/sh
ditto -rsrcFork /tmp/501/Temporary Items/QT* ~/Movies/$1.mov</code>

Then drop that shell script into your /usr/bin directory, rehash, and you’re set. Now anytime you’re at a page that has an embedded Quicktime movie that you’d like to save, just leave the window open, and call that shell script, setting the destination filename at the same time. For instance, to save the trailer for RotK, I simply typed getmov returnoftheking, and suddenly ‘returnoftheking.mov’ was sitting in my Movies directory.

Underworld

Saw Underworld yesterday. While I won’t go quite as far as to call it a Big. Steaming. Noxious. Pile. of. shite., I will say that I found it very disappointing and frustrating. There was a lot of promise and potential in the film, which unfortunately was entirely wasted. I’d almost prefer that a film be flat-out bad, but when you can see the seeds of a worthwhile effort in the midst of the crap, it makes it just that much harder to deal with.

First off, the good points (and yes, there are some).

The film is extremely pretty. Lots of worthwhile eye candy — cast, sets, costumes — just about everywhere, there’s something worth looking at.

The writers have concocted a new mythology for the creation of both vampires and werewolves, and included an explanation for the enmity between the two species, that I really liked. I’d have to see the movie again (rent, though, not in the theater) to get it down completely, but it involved a disease that one person had an immunity to which was passed to his children. Those two children were bitten by animals — one by a bat, one by a wolf — and the mutation that allowed their father to survive the disease mixed with the animal’s blood to create the beasties. After years of the werewolves acting as the vampire’s daylight guardians, a conflict between the two set off the years of warring between the clans. It’s a definite step away from the traditional storylines, and I liked the new ideas.

Unfortunately…

The writing, the overall story, and the direction were horrid. So much could have been done with the story to make it coherent, and it never happened. Alliances are formed that don’t make any sense, motiviation is never given for much of what happens, and too much of the plot dissolves into an incoherent mess.

The actors are something of an on-again, off-again mix. Kate Beckinsale does decently with what she has, she just wasn’t really given that much to do — her character is essentially either brooding or fighting during the entire movie. Bill Nighy as Viktor, the recently-resurrected elder of the vampire clan did fine by me up until the end, when a suddenly bleated out, “But I loved my daughter!” line completely destroyed all credibility for the character in my eyes. Sure, it was bad writing, but he played the line so badly that it just made it that much worse. Shane Brolly as Kraven, leader of the vampire clan until Viktor’s appearance was fairly ridiculous, to tell the truth. In fact, the only actor — and character — that I really though much of was Lucien, leader of the werewolves, played by Michael Sheen. Not only did he get the only character in the film given any decent amount of personal backstory and motivation, but he was the only actor to really seem like he fit his part.

Special effects wise, the movie was decent for the most part, with a few sudden moments where it got so astoundingly bad that it surprised me (Celine’s sword-slash-and-floating-jump across the pool of water at the end [which can also be seen in the trailer — it’s the sequence that looks like it could be straight out of a video game] stands out in my mind). The soundtrack, both musically and just as effects, drove me nuts. Apparently the sound designers felt that the best way to make sure that something was interesting and intense was to make it loud, and then they decided that everything in the movie counted as interesting and intense.

So that’s Underworld — some definite promise and potential that was completely pissed away during its two hours on screen. A shame, really — in my minds eye, I can see the same elements creating a film that would have been well worth watching, but it just didn’t happen here.

More on Gibson's 'The Passion'

Dad sent me a couple articles over the last few days looking at Mel Gibson’s “The Passion“, lately seeming to be the most controversial religious film that almost no one’s seen since Dogma was in pre-release. Anyway, if you’re at all interested in the film or the controversy around it, both of these are worth a look.

‘You Can’t Whitewash the Events of the Bible’: New Testament scholar Darrell Bock recently spoke with Beliefnet about Mel Gibson’s film “The Passion,” which dramatizes the last hours of Jesus. Critics–including Catholic biblical scholars and the Anti-Defamation League–have raised concerns about the movie’s historicity and its portrayal of Jewish authorities. Bock saw a rough cut of the film in late August.

What Mel Missed: Most of us have yet to see Mel Gibson’s “The Passion,” but we’ve gained one sure impression: it’s bloody. “I wanted to bring you there,” Gibson told Peter J. Boyer in September 15’s New Yorker magazine. “I wanted to be true to the Gospels. That has never been done before.”

Shaolin Soccer needs to be released, dammit

Among the top 10 movies downloaded on the Internet in August were the usual blockbusters: Pirates of the Caribbean, The Hulk, Matrix Reloaded … and Shaolin Soccer.

Can’t say as I’m surprised, I’ve been waiting for word of its release since I first saw the trailers. I don’t do the online downloading thing, either, so c’mon, Mirimax — get your act together and release this thing!

Persistance of Mouse

Dalí, whose previous film experience included two short films with the Spanish master Luis Buñuel, approached Disney at a dinner party at the house of Warner Brothers head Jack Warner. Dalí, then working on Alfred Hitchcock’s Spellbound, believed he and Disney could create what he called “the first motion picture of the Never Seen Before.”

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Disney agreed, and assigned director John Hench to help Dalí turn the Mexican ballad “Destino,” by Armando Dominguez, into a kind of prototypical music video. (Hench, now 95, continues to come to work every day at the Disney lot, and consulted on the new Destino.)

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Dalí spent his time at the Disney studio painting, drawing and discussing with Hench the challenges of adding motion to what he described as his “hand-colored photographs.” The project continued for eight months, and was abandoned in 1947 when the Disney studio ran into financial problems. Dalí died in 1989.

Thanks to some of today’s Disney animators, Destino has been completed, and will likely be shown in theaters next year before a Disney film, and eventually end up on DVD. I’m really looking forward to seeing this.