According to Dark Horizons, Heath Ledger will replace Colin Farrell as Bob Dylan in Todd Haynes’ forthcoming Bob biopic I’m Not There. Purportedly also playing Dylan in the film are Christian Bale, Cate Blanchett, Charlotte Gainsbourg, Richard Gere, and Julianne Moore.
Tag: Heath Ledger
2005 in Film.
Happy New Year’s Eve to everyone..I’m celebrating in San Diego with old college friends and likely won’t update again until 2006. So, without further ado, here’s the 2005 movie round-up. Overall, it’s been a pretty solid year for cinema, and this is the first year in the past five where the #1 movie wasn’t immediately obvious to me. But, still, choices had to be made, and so…
[2000/2001/2002/2003/2004]
[Note: The #1 movie of 2005 changed in early 2006: See the Best of 2006 list for the update…]
1. Syriana: I know Stephen Gaghan’s grim meditation on the global reach and ruthlessness of the Oil Trade rubbed some people the wrong way, but I found it a gripping piece of 21st century muckraking, in the venerable tradition of Ida Tarbell and Upton Sinclair. True, Christopher Plummer was a mite too sinister, but otherwise Syriana offered some of the most intriguing character arcs of the year, from morose CIA Field Agent George Clooney’s ambivalent awakening to corporate lawyer Jeffrey Wright’s courtship with compromise. In a year of well-made political films, among them Good Night, and Good Luck, Munich, Lord of War, and The Constant Gardener, Syriana was the pick of the litter.
2. Layer Cake: If X3 turns into the fiasco the fanboy nation is expecting with Brett Ratner at the helm, this expertly-crafted crime noir by Matthew Vaughn will cut that much deeper. Layer Cake not only outdid Guy Ritchie’s brit-gangster oeuvre in wit and elegance and offered great supporting turns by Michael Gambon, Kenneth Cranham, and Colm Meaney, it proved that Daniel Craig had the requisite charisma for Bond and then some (and that Sienna Miller is no slouch in the charisma department either.)
3. Ballets Russes: Penguins and comedians, to the wings — The lively survivors of the Ballets Russes are now on center stage. Like the best in dance itself, this captivating, transporting documentary was at once of the moment and timeless.
4. Good Night, and Good Luck: Conversely, anchored by David Strathairn’s wry channeling of Edward R. Murrow, George Clooney’s second film (and second appearance on the 2005 list) couldn’t have been more timely. A historical film that in other hands might have come off as dry, preachy edutainment, Good Night, and Good Luck instead seemed as fresh and relevant as the evening news…well, that is, if the news still functioned properly.
5. Batman Begins: The Dark Knight has returned. Yes, the samurai-filled first act ran a bit long and the third-act train derailing needed more oomph. Still, WB and DC’s reboot of the latter’s second biggest franchise was the Caped Crusader movie we’ve all been waiting for. With help from an A-list supporting cast and a Gotham City thankfully devoid of Schumacherian statuary, Chris Nolan and Christian Bale brought both Batman and Bruce Wayne to life as never before, and a Killing Joke-ish Batman 2 is now on the top of my want-to-see list.
6. Harry Potter and the Goblet of Fire: As I said in my original review, I initally thought Cuaron’s Azkhaban couldn’t be topped. But give Mike Newell credit: Harry’s foray into Voldemortish gloom and teenage angst was easily the most compelling Potter film so far. Extra points to Gryffindor for Brendan Gleeson’s more-than-slightly-bent Mad-Eye Moody, and to Slytherin for Ralph Fiennes’ serpentine cameo as He-Who-Must-Not-Be-Named.
7. King Kong: I had this film as high as #2 for awhile, and there are visual marvels therein that no other movie this year came close to offering, most notably Kong loose in Depression-Era New York City. But, there’s no way around it — even given all the B-movie thrills and great-ape-empathizing that PJ offers in the last 120 minutes, the first hour is close to terrible, which has to knock the gorilla down a few notches.
8. Capote: When it comes to amorality for artistry’s sake, Jack Black’s Carl Denham ain’t got nothing on Philip Seymour Hoffman’s Truman Capote. I think it’d be awhile before I want to watch this movie again, but, still, it was a dark, memorable trip into bleeding Kansas and the writerly id.
9. Sin City: One of the most faithful comic-to-film adaptations on celluloid also made for one of the more engaging and visually arresting cinematic trips this year. I don’t know if the look and feel of Sin City can sustain a bona fide franchise, but this first outing was a surprisingly worthwhile film experience (with particular kudos for Mickey Rourke’s Marv.)
10. Munich: I wrote about this one at length very recently, so I’ll defer to the original review.
11. Brokeback Mountain: A beautifully shot and beautifully told love story, although admittedly Ang Lee’s staid Brokeback at times feels like transparent Oscar bait.
12. Lord of War: Anchored by Nicholas Cage’s wry voiceover, Andrew Niccol’s sardonic expose of the arms trade was the funniest of this year’s global message films (That is, if you like ’em served up cold.)
13. The Squid and the Whale: Speaking of which, The Squid and the Whale made ugly, embittered divorce about as funny as ever it’s likely to get, thanks to Jeff Daniels’ turn as the pretentious, haunted Bernard Berkman.
14. Star Wars Episode III: Revenge of the Sith: Thank the Force for small kindnesses: George Lucas put the Star Wars universe to bed with far and away his best outing of the prequels. The film flirts dangerously with the Dark Side, particularly in the “let’s take a meeting” second act, but for the most part Sith felt — finally — like a return to that galaxy long ago and far, far away.
15. A History of Violence: I think David Cronenberg’s most recent take on vigilantism and misplaced identity was slightly overrated by most critics — When you get down to it, the film was pretty straightforward in its doling out of violent fates to those who most deserved them. Still, solid performances and Cronenberg’s mordant humor still made for a far-better-than-average night at the movies.
16. Walk the Line: Despite the great performances by Joaquin Phoenix and Reese Witherspoon, Walk the Line ultimately seemed too much of a by-the-numbers biopic to do the Man in Black full credit. But, definitely worth seeing.
17. In Good Company (2004): Paul Weitz’s sweet folktale of synergy, downsizing, and corporate obsolescence was too charitable and good-natured to think ill of any of its characters, and I usually prefer more mordant fare. Nevertheless, the intelligently-written IGC turned out to be a quality piece of breezy pop filmmaking.
18. The Constant Gardener: Another very good film that I still thought was slightly overrated by the critics, Fernando Meirelles’ sophomore outing skillfully masked its somewhat iffy script with lush cinematography and choice Soderberghian editing.
19. Primer (2004): A completely inscrutable sci-fi tone poem on the perils of time travel. Kevin and I saw it twice and still have very little clue as to what’s going most of the time — but I (we?) mean that in the best way possible.
20. The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe: The Chronic-what? Andrew Adamson’s retelling of C.S. Lewis’s most popular tome lagged in places, and the two older kids were outfitted with unwieldy character arcs that often stopped the film dead, but it still felt surprisingly faithful to the spirit of Narnia, Christianized lion and all.
Most Disappointing: The Fantastic Four, which I finally saw on the plane yesterday — One of Marvel’s A-List properties is given the straight-to-video treatment. From the Mr. Fantastic bathroom humor to the complete evisceration of Dr. Doom, this movie turned out just as uninspired and embarrassing as the trailers suggested. Runner-Up: The Brothers Grimm. Terry Gilliam’s long-awaited return wasn’t exactly a return-to-form. But, hey, at least he got a movie made, and Tideland is just around the corner.
Most Variable: Hitchhiker’s Guide to the Galaxy: I still haven’t figured out how I feel about this one. I liked it quite a bit upon first viewing, but it didn’t hold up at all the second time around. Still, the casting feels right, and I’d be up for The Restaurant at the End of the Universe, provided they turn up the Ford-and-Zaphod shenanigans and turn down the forced Arthur-and-Trillian romance.
Worth a Rental: Constantine, Aliens of the Deep, Me and You and Everyone We Know, Charlie and the Chocolate Factory, The Island, March of the Penguins, The Aristocrats,Tim Burton’s Corpse Bride, Jarhead, Sarah Silverman: Jesus is Magic, The Ice Harvest, War of the Worlds
Ho-Hum: Inside Deep Throat, The Jacket, Million Dollar Baby (2004), The Ring 2, Kingdom of Heaven, Unleashed, Mr. & Mrs. Smith,
Aeon Flux
Best Actor: Philip Seymour Hoffman, Capote; Eric Bana, Munich; Heath Ledger, Brokeback Mountain; David Straitharn, Good Night, and Good Luck
Best Actress: Reese Witherspoon, Walk the Line; Naomi Watts, King Kong
Best Supporting Actor: Jeff Daniels, The Squid and the Whale; George Clooney, Syriana; Brendan Gleeson, Harry Potter and the Goblet of Fire
Best Supporting Actress: Maria Bello, A History of Violence; Tilda Swinton, The Chronicles of Narnia
Unseen: The 40-Year-Old Virgin, Bee Season, Broken Flowers, Cache, Casanova, Cinderella Man, Crash, Enron: The Smartest Guys in the Room, Grizzly Man, Gunner Palace, Head On, Hustle & Flow, Junebug, Match Point, The New World, Nine Lives, Pride and Prejudice, Serenity (although I watched all of Firefly last week), Shopgirl, The Three Burials of Melquiades Estrada, Wallace and Gromit: The Curse of the Were-Rabbit, Wedding Crashers
2006: Frankly, the line-up doesn’t look too exciting at the moment. Nevertheless, 2006 will bring A Scanner Darkly, Casino Royale, The Da Vinci Code, Flags of our Fathers, The Good German, The Inside Man, Marie Antoinette, M:I III, Pirates of the Caribbean 2, Snakes on a Plane (!!), Southland Tales, Superman Returns, Tristam Shandy, V for Vendetta, and X3.
Brokedown Palace.
Brokeback Mountain, which I caught last night, is a somber, slow-moving, and ultimately rather mournful film, but a worthwhile one, and it’s a return-to-form for Ang Lee after his atrocious attempt at The Hulk. In fact, you can see shades of his Hulk, and particularly The Ice Storm, in this tale of two young men who meet, fall in love, and subsequently spend their lives trying to escape the constraints of society once or twice a year amid the photogenic peaks of Wyoming. All three Ang Lee films are stories about the calamitous consequences of repression, and how readily it can become redirected into anger, bitterness, and melancholy, with the elemental forces of the natural world as a backdrop. As such, Brokeback (which was filmed in Alberta) includes some amazing Western landscapes throughout. And, to borrow from my Cold Mountain review back in the day, they also act as a pretty solid metaphor for this film, which is absorbing and gorgeously shot, yet in the end also somewhat cool and remote.
Both the strength and the weakness of the film lies in Heath Ledger’s performance as Ennis Del Mar, the more reticent of the pair. (Jake Gyllenhaal is very good as Jack Twist, a much more communicative character — in a way, and particularly in the early scenes, when Gyllenhaal hoops and hollers like a natural-born extrovert, he doesn’t seem all that far removed from his recent stint in Jarhead.) Heath Ledger’s performance is engrossing, in part because you spend much of the film just trying to figure out what he’s thinking. At times, his character is taciturn to the point of being inarticulate. This speaks in favor of the film’s realism, I suppose — Ennis’s whole life after Brokeback is about caution, misdirection, and concealment. (As a child, Ennis is quite literally “scared straight” by his father, who goes out of his way to show him the gory consequences of an anti-gay hate crime.) At the same time, though, Ledger seems like he’s underplaying an underwritten character, and as such it becomes harder than it might should be to get inside his head and feel the story. (That being said, the very last scene in the film is a masterstroke, far more powerful than a somewhat similar sequence at the end of A History of Violence.)
So, how will this movie play in Middle America, where gay-camp has hit the mainstream (“Queer Eye,” “Will & Grace”) but, at least judging by ballot initiatives, gay marriage is still bizarrely considered a threat to the American way of life? To be honest, I don’t know. Perhaps the “gay cowboy” angle will keep people away, which would be unfortunate. Speaking of which, the “gay cowboy” thing is a bit of a misnomer — For one, they’re sheepherders, not cowboys; for another, they don’t identify themselves as gay or straight, so much as simply in love. That both partners are men is a quirk of Fate…At times, both are mystified by the powerful connection between them. And, one early sex scene excepted, the film is really rather staid about the relationship between the two. (As J. Hoberman noted, “Brokeback Mountain is the most straightforward love story — and in some ways the straightest — to come out of Hollywood, at least since Titanic.“) Yet, even in bluest of the blue NYC, many in the audience cracked up at the sight of Michelle Williams (Ledger’s real-life love interest, here his wife) catching Ennis and Jack in full embrace. And, as least as I could tell, there’s nothing funny about this scene of infidelity, and you could hardly say it was played for laughs.
At any rate, Williams and Anne Hathaway (as Jack’s wife) are both good here as well, although like Ennis they seem underwritten and (particularly Hathaway) at times inscrutable. (And keep an eye out for Anna Faris and Linda Cardellini, both of whom are actresses I root for and was surprised to see here…hopefully better roles will soon be in the offing for Lindsey Weir.) And that’s ultimately the modest problem with Brokeback Mountain, which is otherwise an excellent film — at times, it feels as somber, restrained, and delicate as Kabuki theater. Particularly in a film that warns of the dangers of bottling up passion, it’d be nice to have seen less Big Sky Country pageantry and more emotion from all the characters on-screen. If that wouldn’t have played in Peoria, so be it. Still, I think it would’ve made the central dilemma between our two lovers that much more trenchant and tragic if we glimpsed more potency of feeling from these often expressionless people. But perhaps that’s just the code of the West: As Ennis says, “If you can’t fix it, you gotta stand it.“
Grimm Fandango.
So, what’s good? Well, as you might expect, the best parts of the film are the Gilliamesque visual flourishes. When the movie involves enchanted forests or sleeping beauties or malevolent mirrors or little red riding…capes, Gilliam is in his element, and his kid-in-a-candy-store enthusiasm is infectious. If you’re a aficionado of the guy, these moments almost make the film worthwhile on their own…almost. Art direction aside, however, the effects often have a real budget FX-house look to them. (Memo to the studios: CGI and werewolves don’t ever seem to mix — cf. this, Underworld, American Werewolf in Paris, etc.) If your tale involves a man-wolf of any kind whatsoever, use an old-school make-up guy like Rick Baker or Rob Bottin.)
And, the story…oof. For what it’s worth, Matt Damon (Will) and Heath Ledger (Jakob) both acquit themselves admirably as the brothers/ghostbusters, and Damon in particular has a gleam in his eye that suggests he’d make an even worse movie if it meant he could continue to hang around the Gilliamverse. But the Brothers Grimm are cursed with a grafted-on fraternal backstory — Will wants to protect Jakob, Jakob wants Will to believe in him — that feels artificial from the start and forces them to spit out increasingly unwieldy chunks of character development as the movie progresses.
Worse, scenes just happen one after another with no feeling of narrative development at all. The brothers are in a dungeon, no…the forest, no…the dungeon again, and so on. The brilliant Jonathan Pryce is wasted in a subplot involving a French general that never makes one iota of sense. (Mackenzie Crook, a.k.a. Gareth from The Office, is also wasted, in more ways than one.) And Pryce’s henchman, the usually amiable Peter Stormare, singlehandledly ruins every scene he’s in with a grotesquely hammy performance of Olympian proportions — seriously, he makes Anthony Hopkins in Bram Stoker’s Dracula seem like Ralph Fiennes in The Constant Gardener. Conversely, the film could have used a good deal more of Monica Bellucci’s evil queen (but, to be fair, most films, and most endeavors in life, could stand to use more Monica Bellucci…the world would be a happier place for it.)
Ultimately, the Brothers Grimm is less grim than it is sadly pedestrian, and it has to be counted as a occasionally diverting swing-and-a-miss for Gilliam. But, I’d say that’s more due to the weakness of the material here than it is Gilliam, who shows flashes of his usual mojo. As such, I still have high hopes for Tideland, which, thankfully, is right around the corner.
Mirror, Mirror, on the wall.
Worlds of wonder abound in the trailer bin today, including our first real look at Terry Gilliam’s The Brothers Grimm (looks a bit Munchausen-y…and I hope I can get used to Matt Damon’s accent) and this trippy voyage into Neil Gaiman’s Mirrormask. And, speaking of Gaiman, his and Robert Zemeckis’ forthcoming version of Beowulf has a cast: Ray Winstone, Anthony Hopkins, Brendan Gleeson, and Robin Wright Penn.
On War, Violence, and other Grimm Matters.
In this weekend’s movie bin, yet another new look at Stephen Spielberg’s War of the Worlds and a higher quality version of the trailer for David Cronenberg’s A History of Violence that premiered at Cannes last week. And, further into the future, the one-sheet for Terry Gilliam’s return, The Brothers Grimm, makes it online. Along with Heath Ledger, Matt Damon, and the lovely Monica Bellucci, Grimm also includes Peter Stormare and Jonathan Pryce. Seeing Sam Lowry back in the Gilliam-verse should be worth the price of admission by itself.
Grimm-Visaged War.
Argh. Terry’s Gilliam’s spate of studio trouble continues, with The Brothers Grimm getting pushed back a full year to November 2005. (Star Matt Damon suggests it may be due to FX.) It was already shaping up to be a particularly lousy fall film-wise, and this doesn’t help.
Brothers and Arms.
Dark Horizons and Dreams (a quality Terry Gilliam fansite) gets the first look at The Brothers Grimm (a.k.a. Heath Ledger and Matt Damon.) I for one am looking forward to seeing the inimitable Jonathan Pryce and the incomparable Monica Bellucci. Also in cinema news, for those of you who shared my confusion over the weekend’s Arthur pics, Clive Owen discusses the film, and why he’s apparently running around in legionnaire’s garb.
Grimm Amusements.
Terry Gilliam fans take heart: Although Don Quixote may be dead and buried, it looks like The Brothers Grimm has now secured funding from a parnership of MGM and Dimension. The film currently stars Heath Ledger and Matt Damon as the eponymous brothers, with Robin Williams and Jonathan “Sam Lowry” Pryce as the villains. Dimension, the senior partner, has a pretty lousy track record with regard to burying films they don’t have control over (Re: Existenz and Below), but hopefully Gilliam can buck the curse this time around.