Holy balls, has 2012 been the greatest year for film in my lifetime?!

As I was driving home today after finally catching ARGO (I know I'm late to the party but it's fucking phenomenal) a weird thought occured to me that has never really entered my mind before tonight:

"Holy sh*t, could 2012 be best year for film in my lifetime."

The short answer is a resounding "Hell and yes!" but if you want the tl;dr version here she be:

For reference I was born at an early age back in September of 1987 with my first memory of going to the theater being Disney's BEAUTY AND THE BEAST (which coincidentally received a 3D theatrical re-release this year, full circle bitches!) at some point in the Winter of 1991. I was four and as such don't remember too much except for being mesmerized but for argument's sake let's say my cinematic appreciation began in 1991. That gives me almost a 21 year frame of reference for what follows, so a couple decades for me to create an informed opinion.

In the past 20 years there have obviously been amazing years for film but looking back for me it seemed like even the best years previous to 2012 I can only remember there being a handful of truly great films but this year has truly broken the curve as every movie I have seen in theaters (and I've seen a butt-ton) has been consistently excellent across the board to a degree I could not expected or have dared hoped for.

Let's break it down, shall we?

2012 is the year that the year Marvel's multi-film ambitious gamble culminated in an inconceivably ridiculous perfect storm that is THE AVENGERS. It is the greatest superhero movie ever made, you don't have to agree with me for me to believe it to be gospel truth. Because let's face it, THE AVENGERS is the superhero team and while some came before and many after this movie, the movies leading up to it and the who knows how many will follow has redefined how this genre of film can be made. Any superhero flicks for me are now classified as Before Avengers (B.A.) and Post-Avengers (P.A.) and that's something that I don't think I'll ever be able to forget.

2012 is the year that an original sci-fi movie completely obliterated the sub-genre of time travel. I knew LOOPER was going to be something amazing (how could it not be?) but great Scott! This movie blew my mind.

2012 is the year Batman hung up his cowl. I'm sure many of you appreciate where I am coming from as I am not the only ferocious Bats fan (although Adam West is from my hometown and I once shook his hand, it's kind of a big deal) but I don't think any of could have been prepared for Nolan's Batman. I lived, ate and breathed The World's Greatest Detective for as long as I can remember and I will be eternally grateful for what Christopher Nolan did with his unique and bold vision ... especially when it came time to say goodbye to The Caped Crusader. While this may just be another end to another chapter in the Batman movie mythos for me it is the end of the Batman chapter of my life. I won't say it can't get better down the line in someone else's hands but I can say it's the best it has been so far ... damn near perfect.

2012 is the year Ridley Scott returned to his roots and created what I would say is something visually unparalleled in the movies of my lifetime and if I cheat and go for all-time probably since Kubrick (yeah, I know, easy comparison but still probably true). Whether or not PROMETHEUS is a film that pleases or even works on a narrative level (the more I think about it the more I am learning to love it) it is an uncompromising vision realized by one of the greatest directors ever to work in the medium and that in itself is something to take note of.

2012 is the hardest I have ever laughed while in a theater, seriously. Who the hell thought what appeared to be a hackneyed rehash of an '80's melodramatic cop tv show could be so fresh? 21 JUMP STREET came out of nowhere and made me a fucking Channing Tatum fan, I will never underestimate another actors comedic chops ever again.

2012 is the year Paul Thomas Anderson created a masterpiece. I still don't know how to feel about THE MASTER but I can't think of another movie that turned me into an existentialist for a week and a half as I tried to mull it all over. I'm still trying to figure out where I stand and probably always will be; that's the fucking human condition right there.

2012 is the year I saw the first martial arts film that I truly felt deserved the word "art" attached to it. THE RAID (screw that "REDEMPTION" title addendum) could be used as a masterclass in action filmmaking on its own. The barebones narrative is a non-issue because as soon as shit hits the fan the only time the film lets up on the action is to amp up the intensity on different levels. I am admittedly not a huge martial arts movie junkie (although I love the genre's "greatest hits" staples) but THE RAID has gotten me excited about a genre that I have simply written off as more-or-less throwaway fun up to this point in my life.

2012 is the year I saw the greatest acting renaissance of my lifetime personified in Matthew McConaughey. For real. I don't know what occurred that has allowed him to do this but he has chosen some spectacular roles that go against pretty much everything he's really done up to this point in his career. While that's commendable enough in its own right the fact that he is completely owning this new direction is mindblowing. If you have seen KILLER JOE, THE LINCOLN LAWYER, BERNIE or even MAGIC MIKE you'll know what I'm talking about. I'll let those movies speak for themselves.

2012 is the year the grandaddy of modern science fiction/fantasy got the big screen treatment with JOHN CARTER OF MARS (that's what it should have been advertised as Disney, you screwed the pooch on that one) and I adored the hell out of that movie. It's a seminal story that inspired all of the classics I loved that in turn inspired other great movies and despite what the box office would like us to believe it is a great love letter to one of my favorite genres.

2012 is the year that I can say I became a Ben Affleck fan and if this man continues the directorial run he has been having the possibilities are endless. Some critic recently called him potentially the greatest director of his generation. After seeing ARGO he just solidified that title. Who the fucking hell could have seen that coming?!

2012 is the year that the greatest un-movie of my lifetime was ever made. If you've seen SEVEN PSYCHOPATHS you may get where I'm coming from. This flick was so meta it's surreal ... which I guess is kind of the point. It sure helps that Christopher Walken comes out of nowhere in what was probably intended to be a supporting role and delivers what I believe to be the performance of his lifetime. If there is any justice in this world C. Walk better get an Oscar for his performance, not like I put a lot of stock in The Academy's decisions but they'd be blind not to do so.

2012 is the year Liam Neeson punched a wolf in the face in THE GREY, I just felt that was worth throwing in here somewhere because it's totally badass.

Oh and MOONRISE KINGDOM ... fucking loved everything about that movie.

I could seriously go on all night seeing as I'm already past the point of no return on this beast of a blog I'll wrap this up by answering why the biggest reason 2012 is the greatest year for film in my lifetime; it's only fucking October!

This weekend sees the release of CLOUD ATLAS that appears to be nothing like anything we've seen on screen before. On the 50th anniversary of the Bond franchise SKYFALL, which is already being heralded as the greatest Bond film of all time, is loaded in the chamber and ready to blast my fanboy brains out (I have lived and breathed 007 since I could read, it is unquestionably my biggest fandom) in November. Then in December DJANGO UNCHAINED continues Quentin Tarantino's hyperviolent love letter to cinema and we're going back to Middle Earth with THE HOBBIT: AN UNEXPECTED JOURNEY.

2012 film has been so amazing thus far it's almost unfathomable that it can still get better.

I am Jacob Riley, I have spent over twenty years of my life going to the movies and 2012 is the greatest year for film in my life so far ... bring it on 2013!

"Speak in Tongues" - The 25th Hour (2002)

Plot:  A drug dealer ponders his past, present, and future as he spends his last free day with friends and  family before beginning a 7-year prison sentence in our post 9/11 world.  

Assessment:  Continuing on in this lil’ Spike Lee series, we find the director reach a more somber tone in his filmography after mostly upbeat pumped up kicks like Do the Right Thing and Crooklyn (note: still haven’t seen Malcolm X or He Got Game).  The film has its moments of happiness and excitement, but there is also true sadness juxtaposed right along side as we not only begin the last free day of our main character Monty (Edward Norton), but we experience a time in New York after the World Trade Center attacks; a theme most (including me) might look at as cheap and exploitative only a year after the event, but Lee plays it out in the subtext.

Camera work is even more restrained.  There is still the quintessential tracking shot which Lee loves (characters "float" with the camera in slow motion) but he expertly lets many scenes just play out with for the dialogue, including one surprisingly effective scene with Monty's closest friends, played by Philip Seymour Hoffman and Barry Pepper.  The palette effectively changes between bright tones and desaturation, keeping a fine balance and effectively emulating the emotions and story points we see on screen.     

The 25th Hour treads a fine line between enjoyment and despair, the past and the future.  Monty has great friends, a caring father (Brian Cox), and a gorgeous and loving girlfriend (Rosario Dawson).  As we see them all together, the group attend to neglected discussions of mistakes that put Monty in his current position, as well as what will happen once locked away; Monty muses on happenings worse than death, which his friends unconvincingly reject, promising he'll be fine and they'll be there once he's out.  These scenes bounce the viewer into tense anticipation of despair, while at moments finding true bliss between friends.  This fine line is seen in characterization as well: where at first characters are against each other, they end as closer to one another; close to equals.  

While a truly effective, believable and stirring film, Lee may overreach in some moments.  Monty shows heavy handed hatred towards all races and New York stereotypes during a moment of regret and anguish at his coming predicament.  This is also brought back later as we see those he imagined on the street, essentially biding him farewell on his journey to prison.  However, with the story presented against a period of sadness and slight uncertainty in the future, perhaps it is appropriate mixing these elements together.  The main character’s plight mirror’s that of the city, and potentially the nation.  And even though we are faced with sudden despair towards the beginning of the third act, Lee finishes on an uplifting note: there is a bright light at the end of the tunnel, and all could be ok.

Man, somber review.  Note to self: do not try and review a movie while watching it.

  

Tid bit: Tobey Maguire was originally going to star, but bailed to do Spider Man.  He still produced (probably for the best; Norton FTW anyway).  

Drink Of Choice: “I haven't had a drink in two years, but I'll have one with you, one last whisky with my boy. Take our time with it, taste the barley, let it linger. And then I'll go. “  One piece of a pivotal monologue being said to Monty by his dad.  Simplify; after this quote, nothing wrong with just whiskey.

"Speaking In Tongues" - Crooklyn (1994)

Note: This will restart my “Speaking In Tongues” column, where I explore a Director’s filmography (or, in case I ever get to Woody Allen, a sample of his filmography) to gain perspective on his/her films, as well as examine potential themes, idiosyncrasies, visual techniques, and other aspects that appear to pop up throughout their oeuvre.  I have a few of Lee’s films, including She’s Gotta Have It, Do the Right Thing, and Clockers within the last two months, but due to time between viewings, we’ll proceed from here (though I can provide succinct commands regarding all three films: CHECK EM).

Plot:  Brooklyn life for the Carmichael family never encounters a dull moment.  Troy, the only daughter, guides us through their trials and tribulations during one eventful summer. 

Review:  Unlike Lee’s previous work, Crooklyn presents a whole hearted family affair that may lack in pressing and vital plot, but nonetheless presents an entertaining and reportedly semi-autobiographical take (the Lee gang is all here in the writing credits) on life in Brooklyn during the 1970s.  Though the family is large and diverse, we eventually find Troy (played to realistic effect by Zelda Harris) is our central character and “odd man out”, being the only female besides the domineering yet loving matriarch (Alfre Woodard).

I couldn’t help but feel vitality and excitement throughout the fast-paced scenes and environment portrayed; not only was the family very enjoyable to watch, but seeing their interactions with the outside also keeps one very entertained, as well as gives you a fairly full world to dive into.  Instead of a diverse and fragmented tale like Do the Right Thing, here we have a consistent look at one group as they happen to be working through a difficult time:  the patriarch (played by Delory Lindo) struggles to keep his finances and his profession as a classical/jazz musician, while the youth of the world only want to hear rock music.  Still, even in times of hard knocks, positivity generally reigns supreme and uninhibited. 

Wendell, PLEASE close your mouth when you chew!

There is an air of familiarity in this work, causing me to reminisce about other “growing up” tales set more than 20 years in the past.  That is not to say that Crooklyn isn’t effective; on the contrary, it could be better than many others of the genre.  However, once the third act sets in, it is difficult to see past certain expectations based on previous knowledge and experiences (maybe Lee was one of the first to establish this archetype).  One must realize that this is more of an immersive experience in a directly specific culture, rather than a story riding on the bumps and beat of a specific plot.  Of course I’m not trying to say this movie doesn’t have a plot; it truly exists!  It’s just not that vital… as are these last two sentences…I need to shut up.

Certain aspects of the film I am still indecisive on relate to consistency.  Troy, being encouraged by her mother, stays with some family relatives for the summer in the more conservative environment of Virginia.  Once we see these new relatives, and for all scenes we spend with them, characters are all noticeably distorted (created by not converting the widescreen format anamorphically after filming was complete) as if she was Alice in the eponymous Wonderland.  I appreciate the movement towards cinematography emulating the characters and their feelings (Troy was essentially in an alien environment) but it was very noticeable.  One should not be taken out of the story if possible, but with this technique, I could not help it.  Was it terrible that at first I thought it was an error?  Props to the effort; not entirely satisfied with the effect.

I must admit that I’ve only really seen Lee’s work when Brooklyn is involved (see first paragraph) though one look at his filmography shows he’s not restricted to the setting.  However, considering those previous films listed, and the film I’m currently writing about, one has to wonder if the setting he arguably knows best (growing up there) is the setting in which he creates the best.  After all, a wise man once said, “Film what you know.”  It may be hard to compare this film to the impact and visceral nature had by previous staples (as well as consistency), but with the maturity and patience he shows in his camerawork and storytelling, along with a run along the emotional gambit from happiness (mostly) to sudden real world disappointments, one can’t help but appreciate where Spike Lee is headed, as well as the vibrant look into a period, time, and place he knows so well. 

Drink of Choice:  A film that periodically delves into the battle between traditional and modern, refined jazz and contemporary rock, needs fun and class at the same time: it needs top shelf liquor and a smiley-faced soda.  I’m going with Crown Royal Reserve…and Coke.  

See unlimited movies in theaters for just $50 a month?! MoviePass is coming!

Yes, you read the article title correctly, MoviePass is going to basically be Netflix for the theater crowd by allowing you to subscribe for unlimited theater screenings for just $50 a month! If you see a lot of movies in theaters, or wish you could but it is just too damn expensive MoviePass may just be something to consider.

Here is how MoviePass will work once it gets up and running:

• For $50 a month a MoviePass subscriber's smartphone is transformed into a ticket, or more more accurately an unlimited movie pass for the month.
• An application (pictured below) on the subscribers phone will allow them search for local theaters, showtimes and then "check-in" to the theater.
• The subscriber then walks straight up to the counter, verifys their MoviePass is in order and then heads on in.
• Rinse and repeat as often as you want, simple as that!

Again, just in case it hasn't quite sunk in yet: you will be able to go to as many movies as you want each month for just $50, which if you frequent the theater could easily save you hard earned green. But the perks don't stop there!

Not only will the flat-rate service allow you to see unlimited movies each month but it will also make going to just see a new trailer more practical, subscribers will have the potential to download digital copies and pre-order DVDs and Blu-rays of the movie they just watched   and subscribers could even get invited to promotional and advanced screenings based on their picks.

All around this is starting to sound too good to be true, but MoviePass is real and is having a trial run this month. For 3D and Imax there would be a $3 surcharge per-flick, still not a bad deal and if you have a minute be sure to head over to MoviePass' Official Site to enter to win free movie tickets for a year.

The test launch began in the San Fransisco Bay area on the July 4th weekend and is ongoing, if you live in and around SanFran and are interested in checking out MoviePass the theaters and locations ar below, let us know how it goes!

San Fransisco:

The Clay, Bridge, Lumiere, Embarcadero, Opera Plaza Cinemas and AMC Van Ness 14

Berkeley:

AMC Bay Street 16 in Emeryville; California Theatres and Shattuck

San Jose:

Big Cinemas Towne 3, Camera 3, Camera 12, AMC Eastridge 15 and AMC Saratoga 14

As well as the Piedmont Theatre in Oakland; Albany Twin in Albany; Camera 7 in Campbell; AMC Mercado 20 in Santa Clara; AMC Cupertino Square 16 in Cupertino; Camera Cinemas Los Gatos in Los Gatos and the Aquarius in Palo Alto.

Roger Corman's Cult Classic Battle Beyond the Stars coming this July

If you aren't familiar with the name Roger Corman you must have been living under a rock your whole life, a large dark and boobless rock.

One of his classic flicks from way back in 1980, Battle Beyond the Stars, is actually a blatant rip-off of The Magnificent Seven (Hell, Robert Vaughn even reprises his role!) which in turn is a rip off of Kurosawa's Seven Samurai and then he throws in a bit of Star Wars for good measure. Sounds like the greatest movie ever made, right? It very well could be!

I really would have loved to be in the planning stage of this movie as it had to go something like this:

"Ok guys, I have this brilliant idea of seven cowboy samurai in space!"

"Umm ... Mr. Corman that sounds an awful lot li-"

"Shut up and get me more strippers and blow!"

This is the result of that historic discussion:

If you haven't had the privilege to seet Battle Beyond the Stars you are missing out, this space Western has it all. Space battles, laser gun shootouts, green blood and a ship shaped like a giant pair of boobs. Yup, this is one for the record books, my friends, and it is coming to DVD and Blu-ray July 12th.

There is no word yet on special features but a previous DVD release did feature commentary tracks, productions stills and trailers so it would probably be safe to assume those will pop up again.

Bonus: Battle Beyond the Stars also features composer James Horner's first official score, and it is pretty awesome!