True Astronaut.

“We used to look up in the sky and wonder at our place in the stars. Now we just look down and worry about our place in the dirt.”

Those True Detective pun titles keep on givin’: Matthew McConaughey goes asking our intergalactic neighbors for water in the newest trailer for Christopher Nolan’s Interstellar, also with Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, Michael Caine, Matt Damon, Casey Affleck, Topher Grace, John Lithgow, David Gyasi, Wes Bentley, and David Oyelowo.

As before, I like the space case being made here, but remain worried about the apparent Gravity-levels of schmaltz being used to fuel this probe. We’ll see, this November.

Space is a Flat Circle.

“We’re not meant to save the world. We’re meant to leave it.” Matthew McConaughey & co. set sail on an ocean of stars to find an uncorrupted planet in the first full trailer for Christopher Nolan’s Interstellar, also with Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, Michael Caine, Matt Damon, Casey Affleck, Topher Grace, John Lithgow, David Gyasi, Wes Bentley, and David Oyelowo. (The teaser was here.)

Well I definitely agree with the sentiments being expressed, tho’ this trailer is a mite schmaltzy. Some observant commenters at Vulture noted that, given McConaughey’s insistence he will be returning (and I’m not sure how that’s going to work out given his apparent traveling at relativistic speeds), Jessica Chastain is probably the older version of Murphy the teenage redhead. Prompting someone else to say this: “In other words, they get older, he stays the same age.” Ten points for Gryffindor.

Flying, Spidering, Roaring, Zerging.

As a follow-up to the ambitious and underrated Cloud Atlas, the siblings Wachowski return to their manga-centric sci-fi roots in this first trailer for Jupiter Ascending, with Mila Kunis, Channing Tatum, Sean Bean, Eddie Redmayne, and James D’Arcy. Hrm…looks a bit like The Fifth Element, art direction wise, and Kunis sure does seem to fall off things a lot. Anyway, I’m in.

Also in the trailer bin of late, Spiderman (Andrew Garfield) makes at least three more enemies — we’ll get to a Sinister Six soon, no doubt — in Rhino (Paul Giamatti), Electro (Jamie Foxx) and the Green Goblin (Dane De Haan) in the first teaser for Marc Webb’s The Amazing Spiderman 2, also with Emma Stone, Sally Field, and Campbell Scott. After Chronicle, The Place Beyond the Pines, and Kill Your Darlings, I’m a mite tired of DeHaan, to be honest, but I’ll grant that his schtick does work well for Harry Osborne.

Update: And another I missed on the first sweep: David Strathairn gamely rallies the paratroopers in the atmospheric trailer for Gareth Edwards’ Godzilla reboot, also with Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Juliette Binoche, Sally Hawkins and Ken Watanabe. I prefer the leaked one with the Oppenheimer voiceover (“I am become Death, Destroyer of Worlds,” bringing the thunder lizard back to its Hiroshima roots), but I can see how that might’ve been too edgy for a summer blockbuster.

Update 2: Tom Cruise cosplays Starcraft, and gets some mechanized infantry pro-tips from Emily Blunt, in the first trailer for Doug Liman’s The Edge of Tomorrow, a badly-named adaptation of Hiroshi Sakurazaka’s All You Need is Kill. Eh, maybe.

Update 3: Matthew McConaughey and Christopher Nolan celebrate the dream of flight in a brief and relatively vague teaser for Interstellar, also with Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, Michael Caine, Matt Damon, Casey Affleck, Topher Grace, John Lithgow, David Gyasi, Wes Bentley, and David Oyelowo. As it says, one year from now.

Update 4: Speaking of gamely rallying folks, Gary Oldman tries to get San Francisco’s few remaining humans to chin up against those damn dirty apes in the first teaser for Matt Reeves’ Dawn of the Planet of the Apes, also with Jason Clarke, Keri Russell, Judy Greer, and, of course, Andy Serkis. The first one was surprisingly ok, and this can’t be worse than Oldman’s last dystopian epic, The Book of Eli, so I’ll likely matinee it.

Update 5: A few more come down the pike for the holiday film season: First up, computer genius Johnny Depp goes the way of the The Lawnmower Man in this short teaser for Wally Pfister’s Transcendence, also with Rebecca Hall, Paul Bettany, Morgan Freeman, Kate Mara, Cillian Murphy, Clifton Collins Jr., and Cole Hauser. The Matrix-style binary is a bit of a cliché at this point, but Pfister has done memorable work as Nolan’s cinematographer, so I’m optimistic.

And, following up on the first trailer of a few months ago, Wes Anderson introduces us to the cast of characters of The Grand Budapest Hotel, among them Ralph Fiennes, F. Murray Abraham, Mathieu Almaric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Saiorse Ronan, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson, and Tony Revolori.

They Finally Made a Monkey Out of Him.

So where were we? Ah yes, catching up on movie reviews. To close that circle (for now), and as you might have heard, Rupert Wyatt’s admirably low-key Rise of the Planet of the Apes — a.k.a. the first half of Roddy McDowell remake month — is a better unnecessary-prequel than anybody really had a right to expect.

I do wish I’d seen Rise before word leaked out that the movie was surprisingly good, because — going in with higher expectations — I mostly felt like I was just sitting through an extended version of the movie’s trailer. Still, allowing for some iffy science throughout, this sixth Apes film turned out to be a decently smart and engaging evening of late-summer cinema. And as a genre B-movie with a patina of political subtext, I’d say it hits at about the level of the Spierig’s pharmaceutical vampire thriller Daybreakers.

As you probably know by now, Rise of the Planet of the Apes tells the story of Caesar (Andy Serkis), a chimpanzee made extra-smart in the womb by an experimental Alzheimer’s drug concocted by a Dr…oh let’s just call him James Franco. When this project gets shut down — the maternal protectiveness of Caesar’s mom Bright Eyes (wink, wink) is misinterpreted as a hyper-aggressive side effect of the drug — Dr. Franco brings Caesar home to live with him and his ailing father (John Lithgow) instead. There, he is raised, Project Nim-style, by the good doctor and his dad, and cute, ethically-minded zoo veterinarian Caroline (Freida Pinto of Slumdog Millionaire) eventually makes four.

But, as Doctor Caroline perennially intones, one should not tamper with the forces of nature. (Ok, sure. But let’s not overstate the case — or should we have something against pasteurized milk?) And, as Caesar grows older and more leery of playing the pet, his chimp tendencies begins to manifest themselves more and more often. Meanwhile, after showing signs of promise under the original medication, Papa Lithgow’s Alzheimers begins to take hold again. This forces Dr. Franco to experiment with more virulent and aggressive forms of his wonder drug, and makes Lithgow even more feeble and disoriented on a daily basis — and we already know what happens when chimps on this particular drug feel overprotective. One way or another, it’s clearly about to get all Frankenstein up in here.

That gets us to about the end of the first act, which is easily the most conventional and weakest portion of the film — not the least because none of the humans make much of an impression. I’m not a James Franco hater — he was in Freaks & Geeks, after all — and I think he gets way too much grief for slumbering through the Oscars last spring. (What can you do? It’s a thankless gig anyway.) That being said, he does seem sorta disengaged, and even bored, throughout this picture. For her part, Pinto makes even less of an impression — She’s a complete non-entity. And the rest of the humans basically only have one note to play, be it John Lithgow and his dementia or Franco’s boss at the pharmaceutical company (David Oyelowo) twirling his moustache.

All that being said, Rise takes it up a notch in Act II, when Caesar finds himself consigned to San Francisco’s primate prison(?), run by the father-and-son team of Brian Cox and Tom “Draco Malfoy” Felton. (Surprisingly, given his scenery-chewing turns in movies like Troy, Cox underplays it, while Felton is suitably Malfoyish — albeit with a quality American accent.) In this ape Alcatraz, Caesar is thrown head-first into the deep end of chimpanzee society — No more sweaters, college boy! Instead, he must survive the prison yard, learn the power dynamics, and figure out how to befriend the key allies, such as a former circus orangutan and a belligerent ape, he will need to make good his escape.

This isn’t A Prophet, exactly, and to be honest — even with all the impressive WETA work on display here — I could never really suspend my disbelief enough to accept Caesar as a real, honest-to-goodness chimp. (The apes and orangutans work better.) Still, the monkey Shawshank stuff in this middle third of the movie is surprisingly compelling, and it put me in a good mood for the final act, when Rise finally lets its funky-monkey freak flag fly. (I won’t give away what happens here, but like the rest of the narrative, it’s pretty well telegraphed by the trailer.)

My only real complaint, is that I might’ve done more with the Soderberghian ALZ-113 angle here, but I guess one can figure out for themselves what happens next, and/or they were saving that for the sequels. Return of the Rise of the Planet of the Apes, anyone?

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.

Top 20 Films of 2004:
[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!

Sex Education.

Hoo boy, the Red Staters obsessed with “moral values” out there are just gonna love Kinsey. With its unflinching recognition of myriad forms of human sexual behavior, its intimations of bisexuality and wife-swapping among team Kinsey, and its occasionally graphic (albeit antiseptic and not at all titillating) depictions of the act of coitus (to channel Maude Lebowski), Bill Condon’s biopic of Indiana’s famous sex statistician is the closest movie we have this year to a Passion of the Christ for science-minded free-thinkers. In fact, the film seems almost genetically designed to get under the skins of the abstinence-firsters and moralist types who’ve decried Kinsey’s studies for fifty years.

That being said, the strength of Kinsey, and what elevates it to being a better-then-average biopic, is the way it ultimately gets under everybody’s skin. Alfred Kinsey is not simply white-washed as a martyr to science and a hero of sexual enlightenment (although, in its most conventional moments, such as the last ten minutes, the movie hammers those particular points pretty hard.) Rather, Kinsey is portrayed as a man whose relentless pursuit of sexual knowledge often leads him down some troubling and morally ambiguous roads. Even the most open-minded libertines in the audience may find themselves feeling that things seem to have gotten a little out-of-control around the home office in Indiana by the end, and get extremely discomfited when Liam Neeson’s Kinsey sits down with an even creepier than usual Bill Sadler, a pedophile and sexual predator who’s taken some notes of his own.

Kinsey is at its best when it rides this razor’s edge, honoring the professor’s undeniable contributions to science and society while recognizing that his dispassionately treating sexual behavior as he earlier treated gall wasps ultimately opened the door to immense personal pitfalls, particularly for the men and women around him who had trouble maintaining such a scientific distance. Speaking of which, while Neeson is solid and Laura Linney is Laura Linney as usual, the supporting character work in Kinsey is particularly good. Special marks go to a fearless Peter Saarsgard as Kinsey’s #2 (Watch out, Ewan – you’ve got a competitor now for the full-frontal roles), John Lithgow for his bleary final scene as Kinsey’s father (which redeemed an otherwise one-note character), and Dylan Baker as the long-suffering Rockefeller Foundation point person (who must partly have been picked here for his memorable role in Happiness.)

In sum, although it ends with a rather bland huzzah for the march of science, Bill Condon’s Kinsey is for the most part an intelligent, nuanced, and multifaceted appreciation of one man’s probing (and occasionally perilous) quest to illuminate humankind’s most intimate frontier. (And as such, it’ll probably go over like a lead balloon in American Pie country.)

Let’s Talk About Sex.

The full trailer for Bill Condon’s Kinsey biopic is now up, and while Laura Linney still has a huge debt to pay for her last film on academia and sex (The Life of David Gale), it looks like Liam Neeson will nevertheless be backed up by solid character work from Peter Sarsgaard, Timothy Hutton, John Lithgow, Oliver Platt, Dylan Baker…and Chris O’Donnell?

Being There.

In the trailer bin, Geoffrey Rush channels Inspector Clouseau, Dr. Strangelove, and countless others in The Life and Death of Peter Sellers, also featuring Charlize Theron (Britt Ekland), John Lithgow (Blake Edwards), Stanley Tucci (Kubrick), and Emily Watson (Long-Suffering Wife.) Well, it looks like more fun than Shine.

Captain Kinsey and the Phantom’s Treasure.

Several new trailers have emerged since the last update around here: Along with a new look at Sky Captain and the World of Tomorrow (looks bluescreen-ish, to be sure), Liam Neeson channels Alfred Kinsey, Joel “I tanked the Batman franchise” Schumacher goes after Phantom of the Opera, and Nicolas Cage, Sean Bean, and Helen of Troy undertake a search for political booty in National Treasure. Of these new three, I might pay money to see Kinsey.