Skyfall

Directed by: Sam Mendes

Written by: Neal Purvis, Robert Wade, John Logan







Is this it?  Is this the film that finally elevates James Bond from mere genre flick to, perhaps, maybe, actual film?  My conclusion: maybe.

The third installment in the Daniel Craig iteration as 007 separates itself from the first two (2006's "Casino Royale" and 2008's "Quantum of Solace") while simultaneously establishing more connections to the earlier Bond worlds (the introduction and modernization of Q, for example).

Let's get straight to my point, though.  This film has a lot more depth to it than most of the other Bond films.  The characters actually have flaws!  And backgrounds! Oh my!  One of the hallmarks of everything Bond before "Skyfall"was the lack of background - as if nothing really existed before the moment the film began.  Even one of Bond's most significant moments - the death of his wife in "On Her Majesty's Secret Service" - is all but ignored in every other movie in the series.  This is the first movie (beyond a few casual references in "Casino Royale") that James Bond was once a little boy.

Suddenly, Bond is grounded in reality!  Not only that, but he's actually lost a step or two (because of a minor plot point I'd rather not spoil here), and maybe isn't quite the agent he once was.  He makes mistakes - major ones - which have ramifications throughout the whole movie.  He's much more human than usual - almost weak - though he still kicks butt.

Mendes and the writers build into the story some recurring themes which help lift this film beyond the drudge of mere genre action.  For example, every character is dealing with some major setback in their past - Bond, M, Eve, Silva (the villain) - which has thrust itself into their present lives.  To overcome the drama of the present, though, they must confront and explore their pasts.  This element leads to one of the most significant revelations about Bond's past - a visit to his childhood home named... Well... You'll have to see that for yourself.

There is also the recurring element of betrayal. Or, at least, actions which could easily be interpreted as betrayal.  A significant portion of the film is spent with characters betraying each other, apologizing for betrayal, justifying betrayal, or recovering from betrayal.  And all of it is rich and subtle and deep, except for the blatant symbolism at the climax of the film - a literal knife in the back - but I'll forgive them that.

So, the usual question that follows all this is "Where does 'Skyfall' land in the pantheon of Bond?"  A lot of critics (especially the type quoted in advertisements) claim it's the best Bond film ever.  Personally, I'm not a huge fan of "ranking" things, but much prefer categorization.  Anyway, I would definitely list it in the same category as the other elite Bond movies.  Well done!

The Lord of the Rings: The Fellowship of the Ring (Extended Edition)

Directed by: Peter Jackson

Written by: J.R.R. Tolkien (book); Peter Jackson, Fran Walsh, Philippa Boyens (screenplay)









Being the first part of "The Lord of the Rings"...

Peter Jackson was ambitious enough to take on Tolkien's much-loved epic "The Lord of the Rings," and darned if he didn't get it right.  He was so ambitious, in fact, that he had to shorten the film for theatrical and release the "Extended Edition" later.

Middle-Earth comes to life in this first part of the trilogy.  We are quickly, but thoroughly, introduced to a brief history of the ring, and then set about on our journey.  The great design in the way Jackson presents "The Fellowship of the Ring" is that we are essentially bound to Frodo Baggins.  Both Frodo and the audience have little experience in the world of Middle-Earth, and so as he goes forth on his adventure, we go with him.  We learn and experience the world as he learns and experiences the world.  There are only a handful of scenes that do not center on Frodo.

For those looking for loyalty to the text of the book - word-for-word - you will not find it here.  But Jackson does a good job of axing out some of the unnecessary sequences, morphing some characters and sequences for cinematic effect, all while staying true to the spirit of Tolkien's book.  (My only regret is that Tom Bombadil never made an appearance, even as a passing reference, in any of the versions.)

There are a million summaries out on the internet, as well as the source book which, ideally, should always be read before viewing the film, so I will not waste your time with all that here.

I do want to make a quick comment on Howard Shore's amazing score.  After the casting (which I may touch on in a later post), I firmly believe that the background score is what made the film so memorable.  It is, when it needs to be, large and epic.  It is, when it needs to be, mysterious and dark.  It is, when it needs to be, folksy and simple.  The recurring musical motifs help to tie together this film to the others in the trilogy, while never stopping to become anthemic or cliche.

Lastly, the Blu-Ray transfer is pretty fantastic, and so I highly recommend it.

Craigslist Joe

Directed by: Joseph Garner












The central question of the documentary "Craigslist Joe" is simple: Can a person survive an entire month using only the kindness of strangers via Craigslist?  Starting from that point, Joseph Garner sets out to discover what "community" means in 21st century America.  Leaving behind his entire life, he hits the road with whoever will drive him and stays where anyone has an extra room available.

"Craigslist Joe" was interesting, though I'm afraid I'm not sure it made a point.  (Perhaps I wasn't paying enough attention?)  Ostensibly, the filmmaker is attempting to find "community," but rather than providing an answer, the film meanders around the country, providing brief glimpses into the lives of those who are generous enough to post on Craigslist.

I found the movie interesting, but flawed.  It didn't seem to have a point, and felt more like a video diary than a real documentary.  (So, maybe that's where I'm missing the bigger picture?)  Still, it's a interesting look into modern life and the many paths that are opened through the internet.

American Gods

Written by: Neil Gaiman












I went into this book with pretty high expectations ("The Graveyard Book" is one of my all-time favorite books), and these expectations may have actually gotten in the way of my enjoyment of the book.  I'm not saying "American Gods" is bad - it's quite good - but it doesn't live up to my ultra-high expectations for a Neil Gaiman book.  It felt, at points, like a one-trick-pony, or a novella that became a bit bloated out of control.  (Ironically, I just found out there is apparently an expanded "Author's Preferred Text" with some significant additions.  Perhaps these are the missing pieces which bring the whole novel together?)

Hitchcock

Directed by: Sacha Gervasi

Written by: John J. McLaughlin (screenplay); Stephen Rebello (book)










I'm not sure how accurate this film is, in terms of historical veracity.  It is at least entertaining, as it tells the story of how Alfred Hitchcock came to make his landmark movie "Psycho."  The storytelling is a bit clunky at points, and it could have probably used a little more editing focus (a few subplots disappear or fall flat), but it definitely has its charms.  There are a lot of interesting shots of someone looking in on someone else, which obviously references the element in "Psycho," but also raises a lot of questions about the nature of making a film (not to mention suggesting something important about those of us who watch them).

Sleepwalk With Me

Directed by: Mike Birbiglia, Seth Barrish

Written by: Mike Birbiglia, Joe Birbiglia, Ira Glass, Seth Barrish












I've heard this story once or twice on "This American Life," and it's a very interesting story. Essentially, a sleepwalking disorder and a quest to become a comedian help Mike learn some important life lessons. Unfortunately, aside from a few funny scenes, it didn't really translate into the film medium as much as I had hoped.  It may be worth watching if the story is new to you, but there isn't much added in the film that isn't already available elsewhere.

Darth Paper Strikes Back

Written by: Tom Angleberger












In this second book of the "Origami Yoda" series, a villainous Darth Paper shows up to wreak havoc with the Origami Yoda universe.  Not quite as charming as the first book, but at least a fitting sequel.

Lincoln

Directed by: Steven Spielberg

Written by: Tony Kushner (screenplay); Doris Kearns Goodwin (book - "Team of Rivals)









Abraham Lincoln is such a massive figure in American history, that it's hard to believe that any one movie could reasonably define him.  Of course, only Steven Spielberg could even reasonably attempt a movie of this scale.  And, for the most part, he was pretty successful.

Part of the film's success lies in its relativey limited scope.  "Lincoln" only shows the president at the peak of his leadership, nearing the end of the Civil War while he is trying to have the 14th Amendment passed and ratified.

Daniel Day-Lewis somehow becomes Lincoln (or, at least, how I always imagined him to be), but great performances are pretty much expected from him.

The Strange Case of Origami Yoda

Written by: Tom Angleberger












"The Strange Case of the Origami Yoda" compiles a "case file" proving the wisdom of a paper Yoda.  (And that makes even less sense than when I planned it in my head, but bear with me.)  It's a fun young-adult book, well worth reading and crammed with enough Star Wars references to choke a wookie.

The Game

Directed by: David Fincher

Written by: John D. Brancato, Michael Ferris










This film is a plot twist within a plot twist, a reveal within a reveal.  Its a bit clunky at a few points, close to stalling on itself, but picks back up again a few beats later.  The acting isn't terribly remarkable, but the film is carried mostly by its story.  The last twenty minutes of the movie make some of the earlier sluggish scenes worth the slogging.

Quick Note

I'm using the New Year's Day holiday to catch up a bit and start the year off fresh.

Anything posted today (from "The Crucible" to anything else I can get through) may be shorter and shallower than usual.  I simply don't have the time for reflection on these that I usually do.  Please keep that in mind.

The Grapes of Wrath

Written by: John Steinbeck












Easily one of the greatest and most important novels ever written.  If you haven't read it yet, there's not much I can add hear that would be meaningful.  You need to experience if yourself.