Megamind

OPENING: 11/05/2010

STUDIO: DreamWorks Animation

RUN TIME: 96 min

ACCOMPLICES:

Trailer, Official Site

The Charge
A superhero movie with a mind of its own

Opening Statement
DreamWorks Animation is suddenly a top-tier studio, capable of rivaling even the best of Pixar. While they have dished out their fair share of duds, such as last year’s Monsters vs. Aliens , the scale on which they set their canvases is quite spectacular. What they lack in heart and soul they make up for with dazzling action, witty pop culture references and A-list voice talent. Pixar may have the animation world by the balls, but DreamWorks is not far behind. And with the one-two punch of last summer’s How to Train Your Dragon and now Megamind, they’re proving they can dish out quality entertainment at an alarmingly swift rate.

Facts of the Case
Megamind (Will Ferrell) is an evil super villain in the vein of Lex Luthor, who spends his days battling local superhero Metro Man (Brad Pitt). The two are bitter rivals, arriving on earth under similar circumstances to vastly dissimilar results.

After years of fighting, Megamind suddenly wins, much to his (and everyone else’s) surprise, offing Metro Man in high style. The local denizens, including plucky reporter Roxanne Ritchi (Tina Fey) are forced to endure a world without their beloved star, under the rule of the dastardly blue-tinted villain. All’s well that ends well, right? Not exactly.

Megamind finds himself bored, missing the exciting life Metro Man provided. In a flurry of panic, he channels Metro Man’s abilities into nerdy cameraman Hal (Jonah Hill) and creates another superhero, who calls himself Titan. Things turn dicey, however, when Megamind falls for Ritchi, utilizing an assumed identity to win her heart. Problem is, Hal/Titan has eyes for the reporter too, and turns into a proverbial madman Hell-bent on gaining her affection. An epic dual ensues as Megamind must somehow save the day, discover his true self and win the heart of his lady.

The Evidence
Megamind is terrific entertainment told with energy, pizzaz and heart. I absolutely loved every second of it. The voice cast is top-notch with Ferrell in particular lending depth to the titular bad guy/hero. His is an intriguing character, one who gets what he wants, only realizing too late that what he needs lies elsewhere.

Megamind, you see, is like all super villains–power hungry, smart, but ultimately standing on the wrong side of morality. I’ve often wondered myself what Lex Luther would do in a world without Superman. Would he simply take over? Would he be bored? While villains may hate the heroes who defy them and vice versa, a certain level of respect from both parties is vital to the battle. As the Joker explains to Batman in The Dark Knight, “You complete me.” Good and evil must co-exist–one cannot survive without the other.

And so Megamind, upon defeating the “yang” to his ”yin”, is left in control of the city for which he fought so hard. He is bored, nervous and unresolved. “I didn’t even get to say goodbye,” he solemnly says to a statue of Metro Man, producing a detonator in the process. “But I still have to blow you up. No offense, you just bring up too many bad memories.”

Ferrell’s craft has been anchored in a sort of juvenile irony. Sometimes it works, sometimes it doesn’t. He’s always funny, even in the ill-received Land of the Lost where he played a clueless scientist stumbling around various dimensions, but oftentimes he is too over-the-top for his own good. Here, every line is delivered in pitch perfect style. Ferrell’s Megamind may be an evil villain, but he’s also a lonely soul seeking a genial purpose. The actor provides a delicate blance between the two, infusing the character with wit, style and a sympathetic soul. Wait ’til you get a load of his Marlon Brando-as-Jorel impersonation. Funny stuff, I tell ya. 

Likewise, the always reliable Tina Fey and Jonah Hill contribute some terrific voice work of their own. Fey finds a strong Lois Lane-ish character in Ritchie, with deft comic-timing and an equally ironic tone that matches Ferrell perfectly. These two would do wonders in a live action film together. Hill, meanwhile, has the nerdy slob routine down to a science. His character is a dunce who is suddenly greeted with great power, which he abuses tenfold. As his abilities increase, so does his rage. Not to a frightening level, mind you (this is still a kid’s film after all), but it reaches a point that allows for some dramatic intensity.

That’s what is so great about DreamWorks. They’re not afraid to push the envelope a little. Pixar’s films exhibit a playful quality, basking in human emotions, careful to never dive too deep lest they scare off the target audience. DreamWorks explores adventure, excitement and genuine thrill. The studio takes chances, provides an edge. Their films may not make you cry, or win Oscars for that matter, but they offer crowd pleasing entertainment to the highest degree.

The visuals on display in Megamind are jaw-dropping, and some of the best I’ve ever seen in an animated film. Megamind and Metro Man soar through the sky, topple buildings and wreck havoc on a massive scale. It’s all in good fun, to be sure, but also quite electrifying in execution. Director Tom McGrath stages some impressive set-pieces, one of which sees Megamind and Ritchie attempting to outrun a falling skyscraper whilst riding a jet-propelled motorcycle. The animation is stunning in detail, vibrant in color and epic in scope.

Those seeking comedy will enjoy the sly one-liners writers Alan J. Schoolcraft and Brent Simmons (both making their Hollywood debut) come up with. Their script is polished and fresh; simple, but bracing, in the vein of the original Shrek and last year’s Kung Fu Panda. Here the characters believably interact with one another. Not all of the jokes work, mind you, but for every dud there are several memorable quips (“Get back you savages!”).

On the negative side, I didn’t enjoy the fish guy, Minion. He felt out of place and wrong for the film. David Cross supplies his voice, but the character just never gelled for me. Visually he is an oddity. A try-too-hard bit of comedy that unfortunately falls flat. He disappears for much of the film and you don’t really miss him.

Another gripe is the music. I’m all for pop-culture lending voice to a film, but the onslaught of pop tunes is something DreamWorks can’t seem to shake. Within every single one of their movies are moments where the characters dance, or sing along to the likes of Michael Jackson, AC/DC or Elvis. A little music never hurt anyone, but enough is enough.

I would’ve liked to have seen Metro Man get some more screentime as well. Pitt laces the hero with a cocksure attitude that might’ve made an interesting film on its own. As is, the character is vital to the story, but not in the way you might expect.  

Aside from those nitpicks, I would say this is flawless entertainment. Everything (aside from the fish) just clicks. It’s telling that I walked into Megamind in a bad mood (the trailers for Yogi Bear and that Justin Bieber biopic didn’t help), and found my spirits lifted quite quickly.

Megamind is a great film. Ferrell, Fey and Hill are hilarious. The animation is superb, the story engaging. Even the 3D is cool (but still slightly awkward), especially during the climatic action scenes. Those who want slow ruminations on life can go watch Up or Wall-E. Fine films to be sure, but I happen to like my ‘toons bright, cheery and full of action-packed adventure.

Closing Statement
Megamind is exciting entertainment through and through thanks to incredible animation, and fantastic vocal work from its all-star cast. DreamWorks is slowly but surely emerging as the animation studio to beat.

The Verdict
9/10

Inglourious Basterds

OPENING: 08/21/2009

STUDIO: Weinstein Company

ACCOMPLICES:
Trailer, Official Site

SOUNDTRACK:

The Charge
Once upon a time in Nazi occupied France…

Opening Statement
There aren’t many directors who could get away with re-writing World War II to suit their own personal tastes. Then again, there aren’t many directors like Quentin Tarantino. Oh sure, there are a lot of folks who want to be the next Tarantino and some who think they already are. Fact of the matter is nobody but Quentin knows how to make a Tarantino movie, and brother is Inglourious Basterds one heck of a Tarantino movie. Goofy, historically inaccurate, and arguably in very poor taste, it’s also one of the most thrilling, entertaining, and well-crafted films of the year.

Facts of the Case
The plot — though I hesitate to call it that, since it’s more like a series of extended riffs which happen to connect to a larger story — more or less centers on a group of individuals calling themselves "The Basterds" (I have no idea why it’s spelled that way). Led by the legendary hillbilly Lieutenant Aldo Raine (a very amusing Brad Pitt), the rest of the group is comprised of Jewish-American soldiers whose mission is simple: find and scalp as many Nazis as possible. Lt. Raine has given each man a quota of 100 Nazi scalps, and the men all seem eager to do their part. Their primary nemesis is Colonel Hans Landa (an eccentric Christoph Waltz, deserving of all the praise he has received), known throughout Europe as "The Jew Hunter." Landa is a dangerous and crafty man who dedicates much of his time to hunting down and murdering Jewish families, so it’s no surprise he would love nothing better than to get his hands on Raine and his band of deadly Jewish soldiers.

Meanwhile, we meet Shoshanna (the effectively understated Melanie Laurent), an escaped Jewish woman now living as a Parisian citizen and movie theatre owner. Thanks to an unusual series of events, she finds herself with the opportunity to play host to the premiere of a prestigious German propaganda film, and in turn gain vengeance against the Nazis who murdered her family. Unknowingly, similar plans are also being hatched by The Basterds, having secured the assistance of a popular German actress (Diane Kruger, National Treasure) and spy for the British high command. These plans become even more important, when Adolf Hitler and his chief lieutenants decide to attend the premiere.

The Evidence
As with most Tarantino movies, much of what happens in Inglourious Basterds isn’t quite as important as how it happens. Say what you will about the man, but Tarantino knows his profession inside and out. He is a man hopelessly in love with the medium, and this film takes full advantage of cinema’s power. He can stir our feelings, by employing the tremendously effective music of Ennio Morricone, David Bowie, or Lalo Schifrin, regardless of whether or not the music is appropriate to the period or setting. He can stop a conversation, in order to provide us with a few minutes of background info on a character of interest. He can make a conversation between a group of people so involving and interesting that we nearly forget they’re all pointing pistols at one another. He can employ comedy when we expect horror and employ horror when we expect nothing terribly eventful. He can even take well-known historical events and dramatically alter them to provide a more interesting cinematic version of history. Most importantly, he does it all with fearless glee, and the result is his best work since the one-two punch of Pulp Fiction and Jackie Brown.

Many have noted the film is particularly violent. While Inglourious Basterds certainly has violent moments, Tarantino doesn’t deserve to be labeled as one of cinema’s most bloodthirsty directors. His films are not excessively or incessantly violent, he simply knows how to use violence in an effective manner. It’s not the main course, it’s a deadly spice. As you might expect, his characters spend most of their time talking, talking, talking, and talking some more. One friend I attended the film with grew tired of the endless chatter. Personally, I could listen to Tarantino’s characters talk all day long. This is a man who knows how people speak to one another, and he adapts his pop culture-fused writing style seamlessly with his 1940s artificiality. If you’re expecting something even remotely resembling a traditional World War II movie, you’re in the wrong place. You’ll find no talk of the girlfriends back home, the best friends who have died, the patriotic pride of these soldiers, or the horrors of war. They’re just talking about King Kong, Leni Riefenstahl, Charlie Chaplin, David O. Selznik, and Van Johnson.

You might wonder why Tarantino even bothered to make a World War II movie, if he goes out of his way to make these events play to his own personal strengths and idiosyncrasies. Not to worry. This isn’t an homage to the war movies Tarantino loves. The man has a clear purpose: presenting the Jewish people the same kind of gung-ho revenge fantasy he gave abused and abandoned women with Kill Bill. This time, they’re far from helpless victims.

The Basterds may never existed, but it’s hard not to wish they did. Tarantino recklessly indulges in fantasy, imagining there was indeed a legendary, much-feared group of near-immortal Jewish men who stormed through Nazi-occupied France kicking ass and collecting scalps of evil men. Still, the idea is rather mild when compared to the intensely fetishistic indulgence Tarantino grants himself during the blood-soaked finale. I imagine that scene will make some people angry — and I suppose, from a purely technical point of view, they might have reason to be — but it’s so effectively done I simply can’t argue with it. Tarantino becomes slyly meta-fictional, using one of the same techniques within the film that he’s using on us as an audience — trading a traditional ending for something much more sensational. Considering the final line of dialogue is immediately followed by Written and Directed by Quentin Tarantino, he essentially provides a glowing review of his own work.

Closing Statement
Yes, Inglourious Basterds is irrepressibly in love with itself, but it earns the right to be with the masterful suspense demonstrated in the opening sequence, the subtle tension of the games being played in the tavern, and the sheer audacity of the final act. On a different day, I might have found it to be irresponsible rubbish, but in the stale cinematic climate we live in, I call it a treasure. It’s one of the best films I’ve seen this year.

The Verdict
10/10

Burn After Reading

OPENING DATE: 09/12/2008

STUDIO: Focus Features

TRAILER: Trailer

ACCOMPLICES: Official Site

The Charge
Intelligence is relative.

Opening Statement
Since the 1970s, the paranoid political thriller has been a popular genre. There have been quite a few good movies to come from this genre, such as The Day of the Jackal, Three Days of the Condor, and Syriana. In these movies, everything is a conspiracy, and nothing is a coincidence. Now, the infamous Coen Brothers have made a film using similar elements in which nothing is a conspiracy, and everything is a coincidence. It may make for slightly less thrilling cinema, but it is a view of the world that I happen to find a little more convincing. It’s also a heck of a lot funnier.


Ever since they began with Blood Simple, Joel and Ethan Coen have always included a man behind a desk in each of their films. These men have their own unique personalities, but there is a common thread. The more you listen to these men talk, the more you realize that they have gone completely off the deep end. Think of the studio boss in Barton Fink, or The Big Lebowski in The Big Lebowski, or Jerry Lundegard in Fargo. Burn After Reading is a film that takes place within a world where there are many such men: Washington, D.C.


Facts of the Case
The film opens with one of these men (David Rasche), a CIA official who is dealing with the unpleasant task of firing one of his operatives. The operative is Osborne Cox (John Malkovich), a wanna-be intellectual with a hot temper and a considerable drinking problem. Cox responds very badly to the news of his dismissal, and determines to deal with his feelings by writing a memoir (or as he oh-so-carefully puts it, “mem-wah”). Unfortunately, his mem-wah accidentally gets lost, and it is somehow found by a couple of employees at a local gym.

One of the employees is Linda (Frances McDormand), a very friendly woman with a lot of insecurity issues. She is determined to get several cosmetic surgeries in order to make herself look better, and is deeply saddened when she learns that her “Mickey Mouse insurance company” won’t pay for such operations. The other employee is Chad (Brad Pitt), a pop-music loving, bubble-gum chewing fellow who behaves exactly like you would expect someone named Chad to behave. Chad is thrilled to find the disc, and believes that he and Linda can gain some sort of reward by blackmailing Cox. Chad’s plans are barely worthy of being actually called “plans,” they mostly consist of squinting a lot and repeating Osborne’s name in a Clint Eastwood rasp. Osborne is married to a particularly icy woman (Tilda Swinton) who happens to be having an affair with a married man named Harry (George Clooney). Harry winds up getting involved with Linda, and… well, I’ll let the film itself unfold the complications from there.


The Evidence
This is a superbly crafted movie, and it is also a funny movie. The odd thing is that it is crafted like a thriller and acted like a comedy. The technical credits are far sharper than you might expect for a movie with as much silliness as this one. Emmanuel Lubeski’s cinematography is superb, as is the slightly satirical Carter Burwell score that could easily slip into a film like Syriana without anyone really noticing. The fact that such stars as Clooney (Syriana), Malkovich (In the Line of Fire), Pitt (Spy Game), and Swinton (Michael Clayton) are involved also adds to the feeling that we should be taking this a lot more seriously than it actually deserves to be taken.

It takes a while to get used to the film’s unusual tone, but once you do, I suspect you’ll have a great deal of fun. The Coens are nearly unparalleled when it comes to casting, and they select just the right actor for each role once again here. My favorite performance comes from Malkovich, who would probably come across as a very well-mannered and intelligent man if only people weren’t constantly doing things that disrupted his good manners and sense of intelligence. I was also fond of the pair of exchanges between David Rasche and J.K. Simmons, which are so perfectly timed that they had me doubling over. Clooney gets to deliver several absurdly funny moments, and McDormand demonstrates that she can be immensely likable even when she is playing a complete bubblehead. Speaking of bubbleheads, Brad Pitt… well… done, I think. Richard Jenkins also has a nice turn as the most sympathetic character in the film, a gym manager who spends his days hopelessly pining after the clueless Linda.


Closing Statement
If you’re one of the folks who became a Coen convert only after seeing No Country for Old Men, you may not particularly care for what they’re up to here. If you’re a fan of their films like The Big Lebowski, O Brother, Where Art Thou?, and… oh, Barton Fink, I think… then this may very well be up your alley. Nonetheless, this film doesn’t quite fit as neatly into the Coen filmography as you might think. It’s not quite as obviously silly as their comedies, and yet it’s also sillier than all of them. It’s not as serious as their dramas, yet there are deep truths here buried beneath (or perhaps thrown above) the fray. Really, the whole thing is just one big joke, with the punchline being delivered beautifully in the final scene. Would you pay eight dollars to hear a good joke that takes 96 minutes to tell? Personally, I’m looking forward to hearing it again.


The Verdict
9/10