A little late on this, but in honor of Tomorrowland, here is another, more successful, Disney attempt to turn a theme park attraction into a live-action film, a success that has haunted their follow-up attempts to this day…
Pirates of the Caribbean: The Curse of the Black Pearl is a little bit of lightning in a bottle. It shouldn’t work; in fact, it didn’t just ten years later – when the principal actor and director teamed up again with a similar tone and dollar signs in their eyes, only to be trounced by generally divested cinema-goers and critics. It didn’t work the half-dozen or so times that Hollywood has tried to return pirates to the mainstream since the end of their heyday ransacking Hollywood way back in the misty yesteryear of the 1930s. And it didn’t work just the same year The Curse of the Black Pearl was released, when Disney took two other Disneyland/ Disneyworld rides and made films out of them, both to negligent box office results and dismal critical failure. Continue reading →
First aired in 1999, the “SpongeBob” animated television show is defined primarily by an aesthetic of chill, off-the-cuff, non-confrontational madness. It is a show left uncontrolled with its own id in a room, forced to confront its own nonsense and live with it and have the most glorious time of its existence simply being itself. It is a wonderful slice of animation as character definition, radical in subtle ways and existential and playful without ever seeming over-worked or tired. Above all, it never really seems to try. It simply exists in its own state, not so much working to function a certain way as laying itself down and exploring whatever comes out of its mind at that moment. It seems gloriously uncontainable, but never too hungry to lash out or rush around for the sake of energy in every direction it can. It’s a show of quiet confusion, aloof froth, and lazy charm. It is something that does not seem to have been produced or created, but found and observed. It is free of exposition, free of explanation. It is pure, un-worked, and unworkable. It seems effortless. Continue reading →
Birdman’s story is awards season catnip, a foolproof middle-brow example of Oscarbait if ever there was one. It’s all right out of the playbook. Let’s check the boxes, shall we? An aging, past-his-prime central performer in a showy role? Check. Said performer playing a loose-version of himself in real life? Check. A talented cast of supporting players doing some of their best work in smaller roles? Check. Commentary on aging and performance? Check. The theater? Check. Monologues? Double Check. Add in some long takes and you’ve got Birdman, right?
Well, kind of, except director and co-writer Alejandro Gonzalez Inarritu decided to wholly and absolutely decimate the film’s middle-brow core with a blast of pure lightning in a bottle. His chief delivery mechanism: Emmanuel Lubezki long takes. Or, long take might be more appropriate, for the film unfolds as if through one movie-length single-take . Of course, there’s trickery afoot, but the seems are noticeable only because those who pay attention to showy long takes know a quick, hectic camera movement usually means a cut lies hidden within. Continue reading →