Ready for his close-up? AICN procures a second teaser poster for Oliver Stone’s W. The image is pretty much a direct lift from Fahrenheit 9/11, but I otherwise like the minimalism.
Update: Two more stills also make it onto the Google.
Bring It On.
Tag: Fahrenheit 9/11
2004 in Film.
Happy New Year, everyone. Inauspiciously for 2005, it looks like I’m starting the year a day late on the end-of-2004 movie roundup…but better late than never. As you probably already guessed, this year’s film list will be the first in four years without a Peter Jackson Tolkien adaptation in the #1 spot (although I’m still keeping it warm for The Hobbit in 2008.) Nevertheless, my top choice this year was an easy one, and those of y’all who come ’round here often can probably figure it out.
[2000/2001/2002/2003]
1) Eternal Sunshine of the Spotless Mind. The one true classic of 2004, Eternal Sunshine has only grown in my estimation since its initial release in March. (David Edelstein’s take on it as one of Harvard philosopher Stanley Cavell‘s remarriage comedies is well worth reading.) A heartfelt examination of love, loss, and memory, Eternal Sunshine was also a strikingly adult take on romance and relationships, the kind you usually don’t get from Hollywood. With great performances from a caged Jim Carrey and an electric Kate Winslet, the film managed to be both an earnest, passionate love story and a wistful paean to those person-shaped holes we all carry in our hearts and memories. Along with Annie Hall and High Fidelity, it goes down as one of my all-time favorite films about the mysteries of love. (Why even bother? We need the eggs.)
2) Garden State. Writer-director Zach Braff’s “anti-Graduate” debut was a small but touching ode to home that, along with reviving Natalie Portman as an actress and offering the best soundtrack of the year, delivered exactly what it promised. A bit hokey at times, sure, but Garden State wore its heart on its sleeve and, for the most part, got away with it. It was a witty and eloquent voyage to the Jersey burbs and a testament to the proposition that as Paul Weller put it, it’s never too late to make a brand new start.
3) The Incredibles. Pixar has been delivering well-constructed eye-popping wonders since Toy Story, and The Incredibles is the best of the lot. I figured it might be awhile before a movie topped Spiderman 2 as a sheer comic book spectacle, but, as it turned out, The Incredibles did it only a few months later. One of the best comic book films ever made, The Incredibles was two hours of unmitigated fanboy fun. I’m going to go out on a limb and say it’s probably also the best Fantastic Four film we’re ever going to see.
4) Sideways. Like a fine 1961 Cheval Blanc, Alexander Payne’s elegiac toast to California wine country and the regrets and indignities of middle-age has a tendency to linger in the senses. Paul Giamatti must tire of playing depressive, barely sociable losers, but he’s great at it here…Sideways isn’t as funny as Election, but it is a memorable trip.
5) Spiderman 2. A definite improvement on the first adventure of your friendly neighborhood wallcraller, Spiderman 2 was a perfectly made summer film that stayed true to the spirit of Peter Parker. Along with X2, this is the gold standard for comic book-to-film adaptations right now…let’s hope Batman Begins is up to snuff.
6) Shaun of the Dead. Although it lost its footing shambling to its conclusion, Shaun of the Dead was great fun for the first two-thirds of its run, and it’s now probably my favorite zombie movie (everyone should have one.) A much-needed dry British humor fix to tide us over until Hitchhiker’s Guide.
7) The Aviator. A bit on the long side, Scorsese’s life of Howard Hughes is most fun when it stays away from the airfields and lounges about Old Hollywood. Two very clean thumbs up.
8) The Assassination of Richard Nixon. A dark, unflinching 90-minute descent into violent futility. I originally had this before The Aviator, then figured the degree of difficulty on Scorsese’s flick was much, much higher. Nevertheless, this funereal biopic for non-billionaire crazies, while grim and not much fun, was well-made and well-performed, and I expect it’ll stay with me for awhile.
9) The Bourne Supremacy. Perhaps a bit too much like its predecessor, Bourne II was still a better Bond than anything we’ve seen in the past 20 years. Paul Greengrass’ shakicam work here bodes well for Rorshach in The Watchmen.
10) Harry Potter and the Prisoner of Azkhaban. It’d be hard to make a better film of Harry Potter’s adventures at Hogwarts than Alfonso Cuaron did here — Azkhaban managed to capture the dry wit and subversive spirit of the books that’s so missing in the Chris Columbus movies. That being said, Azkaban also made it clear that much of the fun of Rowling’s tomes is uncapturable on film. What was great fun to read on the page ended up seeming like Back to the Future II on the screen. With that in mind, Year 6 begins on 7/16.
11) Ocean’s 12. Two swollen hours of Soderberghian glamour and inside baseball. Not everyone’s cup of tea, I know, but I found it an agreeable improvement on Ocean’s 11. (Don Cheadle’s accent is still terrible, tho’.)
12) Touching the Void. Snap! Aigh! Crunch! Aigh! It’d be hard to forget anything as memorable as Shattered Femur Theater. Well worth seeing, if you can stand the pain.
13) Fahrenheit 9/11. Hmmm…perhaps this should be higher. I definitely left the theater in an angry froth (not that it takes much)…unfortunately, apparently so did all the freepers.
14) My Architect. An excellent documentary on Louis Kahn, brilliant architect and terrible family man. Alas, it’s also a less-excellent documentary on Kahn’s son, and his Oprah-like quest for self-acceptance.
15) Kinsey. Take that, red staters.
16) Hero. A memorable meditation on love, power, and kick-ass kung-fu, until its train-wreck derailing in the last half-hour.
17) The Life Aquatic with Steve Zissou. As I said yesterday, Aquatic was a jaunty Wes Anderson joyride that nevertheless gets a little lost in its terminal cuteness. When you care more about the leaving-behind of Cody the three-legged dog than you do the death of a major character, there’s a problem.
18) I Heart Huckabees. Huckabees had its heart in the right place, and made for a decently appealing night at the movies…but it also had a terminal-cute problem.
19) Collateral. If the movie had maintained the promise of its first hour throughout, Michael Mann’s Collateral would have been a top ten contender. Alas, it all falls apart once Tom Cruise goes bugnut psycho in da club.
20) Kill Bill, Vol. 2. There was probably one really good movie somewhere in the two Kill Bills. The second half was closer to it than the first.
Not Seen: Bad Education, Before Sunset, Finding Neverland, Friday Night Lights, Harold and Kumar, Hotel Rwanda, Maria Full of Grace, Million Dollar Baby, Ray, Spanglish
Worst Movies of the Year: Van Helsing, Sky Captain and the World of Tomorrow, The Chronicles of Riddick, The Village, Code 46, Closer, Alexander, 21 Grams (2003)
Biggest Disappointment: The Ladykillers
Ho-Hum: Team America: World Police, The Alamo, House of Flying Daggers, Troy, King Arthur, Anchorman, Blade: Trinity, Shrek 2
Worth a Rental: Mean Girls, The Manchurian Candidate,
Hellboy, The Machinist, City of God (2003)
Best Actor: Jim Carrey, Eternal Sunshine; Paul Giamatti, Sideways; Sean Penn, The Assassination of Richard Nixon.
Best Actress: Kate Winslet, Eternal Sunshine.
Best Supporting Actor: Thomas Haden Church, Sideways
Best Supporting Actress: Cate Blanchett, The Aviator; Virginia Madsen, Sideways.
2005: On paper, it’s looking like a better year for film, fanboy and otherwise, than 2004. The slate includes Star Wars Episode III, Batman Begins, The Chronicles of Narnia, All the King’s Men, PJ’s King Kong, Burton’s Charlie and the Chocolate Factory, Spielberg’s War of the Worlds, Gilliam’s The Brothers Grimm, Polanski’s Oliver Twist, Malick’s The New World, Harry Potter and the Goblet of Fire, Constantine, Sin City, Fantastic Four, and my own most-anticipated project, Hitchhiker’s Guide to the Galaxy. So here’s to the new year!
The Movie Elrond doesn’t want you to see.
“On a bright sunny day at the end of the Third Age of Middle Earth, a new unelected king was crowned. His name? Aragorn, son of Arathorn. How did it all happen? Was it all just a dream? I mean, it looked real enough. The guys with the pointed ears were there, the short guys with beards were there, even those weird little hobbit guys were there. Who were these people, this elitist group of carnival freaks who wanted to control the fate of Middle Earth?” I can’t say I much agree with its politics, and the same basic joke was made in this McSweeney’s piece last year. Still, the Michael Moore parody Fellowship 9/11 is for the most part pretty clever, and worth watching…if nothing else than to see a mean Brad Dourif impression and to hear Gandalf the Grey croon “Let the Eagle Soar.”
Turning up the heat.
Well, I’m a bit behind on this one, but I finally got out of the apartment to catch Michael Moore’s Fahrenheit 9/11 yesterday afternoon. And the verdict? Well, it’s undoubtedly an extremely powerful piece of cinema. And, judging from the reactions of the afternoon crowd, it looks as if it might do some real good in crystallizing popular discontent with the Bush administration outside of the blog-world echo chamber. Still, even though I know Moore is playing by the rules set by right-wing freak shows like Rush Limbaugh and Ann Coulter, I found myself wishing at times that he had played F911 a little straighter. Simply put, Dubya and his cronies are guilty of so much blatant incompetence and documentable malfeasance that it’s disappointing that Moore feels he has to rely on cheapshots and push-button emotions some of the time.
If you’ve been keeping up with pretty much any lefty blog since 2000 (including this one), the central and most powerful allegations made here — that Dubya and the Neocons played bait-and-switch on the American people in Iraq and used 9/11 as a pretext for all kinds of terrible legislation, while doing pathetically little to minimize the actual threat of terrorism — will not come as a surprise. Still, when the data is laid out before you here like ducks in a row, from the Florida fiasco in 2000 through to the recent stonewalling of the 9/11 commission a few weeks ago, the continued pattern of incompetence and mendacity that has characterized this administration becomes unmistakably clear. As the story unfolds, Moore offers plenty of intriguing footage — Bush’s 7 minutes of Pet Goat superfluousness may perhaps be overemphasized by now, but it’s still out-and-out eerie. Equally damning is footage of Dubya at the ranch a month prior to 9/11, in which he has absolutely no clue what his agenda is for the day and, whatsmore, doesn’t seem to much care (particularly when contrasted with his obvious enthusiasm for armadillos exhibited a few scenes later.)
But while there are plenty of blows landed, I ultimately thought that Fahrenheit 9/11 would have been much more impressive if it had focused more closely on the facts and avoided the more obvious attempts at sentiment. For example, instead of examining in detail the clear civil liberties transgressions occurring at the Gitmo Gulag and elsewhere under the Patriot Act, or noting the discrepancies in its enforcement (no gun checks?) under Attorney General-cum-balladeer John Ashcroft, Moore spends too much time interviewing an aging weightlifter and various Fresno peace activists — all of whom have run afoul of goofy anti-terrorist inquiries — for laughs. Similarly, instead of talking about Dubya’s spiking of the Nunn-Lugar act or his continued cutting of First Responder funding, the film dinks around Western Oregon with two underfunded deputies – as a result, I thought the larger point about Bush’s failure to protect the homeland was lost.
As the film moves overseas, the problems with F911 become more evident. Regarding the war in Afghanistan, Moore talks about a proposed UNOCAL pipeline to the exclusion of virtually anything else, which I think invites charges of shrillness (Exhibit A: The Bonanza riff) and blurs one of the most serious charges against this administration – that it gave up a chance to catch Osama Bin Laden in order to play regime change in Iraq. Speaking of Baghdad, I think Moore would have done better to talk more about missing WMD and lies to the UN and spent less time with Lila Lipscomb, the mother of a deceased US soldier. This last section of the film is undeniably powerful, but it also feels extremely manipulative, particularly as it’s hard to envision very many situations where a mother’s grief wouldn’t be harrowing to behold. (The same goes for the grisly scenes of charred bodies and horrifically wounded Iraqi children.)
Still, what do I know? Perhaps Fahrenheit 9/11 needs these human touches to get its point across to a larger audience, a goal which it so far seems to be accomplishing with great aplomb. The fact is, Michael Moore can undoubtedly be a blowhard with grating populist pretensions, but if we had any semblance of a functioning national media these days, Fahrenheit 9/11 would have been a non-event. In the absence of anything like an independently critical television press, and given the existence of such a well-oiled, well-funded right-wing propaganda machine these days, perhaps somebody out there had to co-opt conservative talk-radio techniques to get the message out. I’m more of a “destroy the ring” than a “use the ring” kinda guy, but, as I said, what do I know? I could write in this space a hundred times over and still never reach an infinitesimal fraction of the people who will see this film and be newly angered by the idiotic and unethical behavior of this administration.
In short, if a picture is worth a 1000 words, this film is worth 10,000 blogs – by stringing so many of the Bush-bashing beads together in such entertaining and moving fashion, Fahrenheit 9/11 should bring the heart of the anti-Dubya critique right to the Heartland. I just wish it had covered its flank a little better by sticking to the cold, hard facts about the national embarrassment of historic proportions that is George W. Bush, rather than indulging every so often in cheap laughs and reflexive sentiment.
Bowling for Dubya.
So the word emerging from Cannes on Michael Moore’s Fahrenheit 9/11 is very positive so far. I’m very curious to see what kind of reaction this film will get stateside, once the distribution situation has been resolved. Hopefully, it’ll end up doing more than just preaching to the converted in arthouses across America, as it sounds like it has the potential to be very big.