I don't know if there's a world record for it (I seriously doubt it), but I think that a certain derogatory word aimed at African Americans was used a record number of times in Django Unchained. And, considering the movie's based in the South in 1858, it's accurate, as that word was (and sadly, still is) used copiously. And if this was a movie about the many aspects of slavery and how it affected our country and our lives as a whole, maybe I could get past it. However, this is a revenge fantasy, pure and simple. A Quentin Tarantino revenge fantasy. Bring on the blood splatters!
This isn't to say that the movie isn't enjoyable at times. It is. Christoph Waltz is fantastic, and his character is so well thought out. The movie's got a lot of humor (there's an extended scene with the Ku Klux Klan that's hilarious). Jamie Foxx is great going from a passive, meek man to, well, a badass. The soundtrack's outstanding. It has a great start. Then, the film hits a lull.
(This is the second film I've seen in two days that lasted over 2 hours. This one is 2 HOURS AND 45 MINUTES. Hey Hollywood, let me introduce you to a lovely concept called EDITING. Simply because Peter Jackson makes $100 million showing the Hobbits' morning ablutions doesn't mean you can't cut something. Good grief, my butt DOES have an expiration date, idiots.)
The lull does finally come to a close with the introduction of Leonardo DiCaprio's character. Yes, I'm a Leo fangurl, but he does a fantastic job. He's cruel and calculating, and downright bat-crap crazy. He can go from genteel to nutjob in a minute. He picks the film up when it critically needs it. And Samuel L. Jackson? Uhm, you have to see his character to believe it, but he certainly makes you pay attention. Kerry Washington's role is mostly passive and damsel-in-distress, which is a little disconcerting. For all of his faults, Tarantino's always written women pretty strong. I guess it doesn't work for this character in this setting. Anyway, the movie gets back on track, but only briefly. The meandering starts again.
Naturally, that's when the violence devolves into Splatterfest 2012. Which isn't really a surprise, since Tarantino's basically got the mindset and attention span of a 15 year old (and the wardrobe. Quentin, lose the hip hop clothes. You're old. And white.). People are shot, blood splatters, things blow up, yadayadayada. Typical Tarantino.
I did enjoy this, but it's hampered by its copious length and over-the-top violence. I think I'm ready for a nice simple romcom now.
Sunday, December 30, 2012
Saturday, December 29, 2012
The French Revolution Didn't Last This Long...
Okay first, a disclosure - I'm not a huge fan of Les Miserables as a musical. I've seen it onstage, and in my opinion, it's too long, the story's meandering, and half the songs sound the same. But, half the songs are great, and when it works, it WORKS. Just thought I'd put that out there before I go into reviewing the movie. Okay? Okay.
The real strength of the movie is the casting. The cast had to juggle singing live and emoting on key and putting up with having crap thrown at them. A lot. Kudos to Hugh Jackman and Eddie Redmayne for having to endure my vote for Most Disgusting Scene in a Musical, which was crawling through sewers in what looked like VERY realistic, uhm, leavings. Blech. And Tom Hooper directs them to where they can't cheat or phone it in musically or theatrically. Really, they could have had a tonsillectomy with the camera at times as close as it is to their faces. Anyway, the cast really stands out. Hugh Jackman is commanding as Valjean. (Jean ValJean - a real name, or was Victor Hugo really lazy? You decide.) Russell Crowe, while not a great singer, acquits himself admirably as Javert. Eddie Redmayne has a lovely voice and gave a gravitas to "Empty Chairs at Empty Tables" that you just can't get from watching one of the Jonas Brothers sing it. (Seriously, watch the 25th anniversary special that's out on DVD. He looks like he's in pain the whole time, and I was in pain watching him.) Amanda Seyfried has a pretty much throwaway role as the adult Cosette, but she has a sweet singing voice and does a nice job. Samantha Barks plays Eponine with the longing and pain that the role calls for, and does a great job with "On My Own." But really, the film belongs to Anne Hathaway. She dominates every moment she's in, even though it's very brief, scene-wise. I dare you not to be both riveted and choked up at her "I Dreamed a Dream." I know she's a favorite for the Oscar, and I think she's earned it.
The only actors I was disappointed with were Sacha Baron Cohen and Helena Bonham Carter as the Thenardiers. "Master of the House" is supposed to be raucous and fun, and it's rather subdued. They could have really gone all out, and all I got is that they're mean as hell without a bit of mirth. There are moments, but not many. Boo.
I think the decision to have them sing live on set was a great idea. It made for a more realistic setting and less like an opera. I mean, let's face it, even as much of a musical whore as I am, I sometimes don't get why they'd just stop themselves in the middle of the action to sing a song. This at least FELT real and not like a soundtrack.
Overall, it's a good movie, well worth it for musical fans and fans of this particular musical. I still feel it's too long and could have been mixed up a little more musically, but, just when I was fading fast, Anne makes an appearance at the end and gives the film the emotional heft I really needed for it. It's Anne's film, everyone else just lives there.
Standout songs: "Look Down," "I Dreamed a Dream," the duet between Valjean and Javert, "Stars," "Can You Hear the People Singing?", "One More Day," and "On My Own."
The real strength of the movie is the casting. The cast had to juggle singing live and emoting on key and putting up with having crap thrown at them. A lot. Kudos to Hugh Jackman and Eddie Redmayne for having to endure my vote for Most Disgusting Scene in a Musical, which was crawling through sewers in what looked like VERY realistic, uhm, leavings. Blech. And Tom Hooper directs them to where they can't cheat or phone it in musically or theatrically. Really, they could have had a tonsillectomy with the camera at times as close as it is to their faces. Anyway, the cast really stands out. Hugh Jackman is commanding as Valjean. (Jean ValJean - a real name, or was Victor Hugo really lazy? You decide.) Russell Crowe, while not a great singer, acquits himself admirably as Javert. Eddie Redmayne has a lovely voice and gave a gravitas to "Empty Chairs at Empty Tables" that you just can't get from watching one of the Jonas Brothers sing it. (Seriously, watch the 25th anniversary special that's out on DVD. He looks like he's in pain the whole time, and I was in pain watching him.) Amanda Seyfried has a pretty much throwaway role as the adult Cosette, but she has a sweet singing voice and does a nice job. Samantha Barks plays Eponine with the longing and pain that the role calls for, and does a great job with "On My Own." But really, the film belongs to Anne Hathaway. She dominates every moment she's in, even though it's very brief, scene-wise. I dare you not to be both riveted and choked up at her "I Dreamed a Dream." I know she's a favorite for the Oscar, and I think she's earned it.
The only actors I was disappointed with were Sacha Baron Cohen and Helena Bonham Carter as the Thenardiers. "Master of the House" is supposed to be raucous and fun, and it's rather subdued. They could have really gone all out, and all I got is that they're mean as hell without a bit of mirth. There are moments, but not many. Boo.
I think the decision to have them sing live on set was a great idea. It made for a more realistic setting and less like an opera. I mean, let's face it, even as much of a musical whore as I am, I sometimes don't get why they'd just stop themselves in the middle of the action to sing a song. This at least FELT real and not like a soundtrack.
Overall, it's a good movie, well worth it for musical fans and fans of this particular musical. I still feel it's too long and could have been mixed up a little more musically, but, just when I was fading fast, Anne makes an appearance at the end and gives the film the emotional heft I really needed for it. It's Anne's film, everyone else just lives there.
Standout songs: "Look Down," "I Dreamed a Dream," the duet between Valjean and Javert, "Stars," "Can You Hear the People Singing?", "One More Day," and "On My Own."
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