The Usual Suspects (1995, Bryan Singer)

Twist endings have, in general, never appealed to me. It always seems like the cheap way to get out of having to figure out a way to wrap up loose questions. We move along through the film, thinking "How the hell will this all come together? Oh, but the plot ends are so disparate! I can only hope that the writer has come up with a clever and unique way for it to all make sense."

So what can I say about a movie that's famous for a twist ending that I could see coming? Indeed, one reason I never saw this film until now is that everybody raves about the ending without ever mentioning any other sort of merit to the film - there didn't seem to be anything else there. Sadly, that's all there is here.

Bryan Singer, a fellow who would go on to direct such films as X-Men, X2, and Superman Returns, displays all the talent of a talented TV director. I would feel as satisfied listening to an audiotape of the movie as I was watching it. There's a distinct lack of any sort of visual flare, and perhaps that's the way it should be. The sentiment stands. The acting, from Kevin Spacey to that Baldwin brother, is average to good, and here, allow me to digress.

***SPOILERS FROM HERE ON***

Perhaps my largest problem with the film is that it trusts the audience to be stupid - to see things in extremes and to not possibly see the truth. Spacey's portrayal of Kint is so reserved, inwards, and meek that we couldn't possibly think - or so Singer hopes - that he could be Söze. Here, it could be the film's reputation for a twist that works against it. In knowing that there will be a huge revelation, it's only natural to begin to look for what the twist could be. What could be a better twist than having the reserved, inwards, and meek character suddenly become a violent psychopath? Well, you couldn't have a better twist. It may seem that I'm judging the film too harshly - after all, I was looking for a twist, and that's a bit unfair, isn't it? Well, I don't think so. Consider this: suppose I didn't see the twist coming, and I was floored by the shock of it all. It remains to be true that there's a distinct lack of craft present here. A twist wouldn't save it from that, and my thoughts would only slightly be better. The first 95 minutes are uninteresting with little to no thematic development, and it doesn't pick up until the execution of the twist, which, I must admit, was unexpectedly well done - one pro in a list of cons.

****

Not just another "fluffy penguin movie."

Encounters at the End of the World (Werner Herzog, 2007)

Encounters at the End of the World, Werner Herzog's take on Antarctica, is one of the finest documentaries I've ever seen. Not only does it do an excellent job of showing us that wondrous land that's been labeled "Antarctica," but, in typical Herzogian fashion, it goes beyond just what we see on the screen, into profound human truths. Consider, for example, the wonderful sequence at the penguin colony. After asking the reclusive penguin expert if there are any insane penguins, he cuts to a shot of a group of penguins. About half of the penguins are waddling away towards the sea, while the other half is going back to the colony. There's only one left the middle; he can't decide which way to go. In the midst of his indecision, Herzog tell us, he decides to head towards the mountains, some 10000 kilometers away.

While it's an utter delight to watch that lone penguin steadily making his way towards the distant hills, Herzog doesn't leave us happy for too long. In the final moment of the scene, he tells us that the penguin will starve and die. Whether this is true or not is immaterial - here is the crux of Herzog documentaries. In his documentaries, from Lessons of Darkness to Little Dieter Needs to Fly to this, he is far less interested in realism than in metaphor, and what the metaphor implies. The metaphor, here, I think, is that the whole group of penguins represents us. We go our different ways in the world; that is the penguins that go to the ocean and those that go back to the colony. And then there's the lone penguin. He gives representation to those who came down to the bottom of the world. He's caught between the ways of the world, and he tumbles into that opportunistic and hopelessly idealistic vision of the mountains. Let me continue.

Throughout the movie, we're presented with the eclecticism of the people down under (not Australia ;-)). They're described as "professional dreamers," if my memory serves me well. A computer expert says his dream is to be able to stand on an iceberg and feel which way it's moving. There were other examples I'm afraid I don't remember so well. As another interview subject says, everybody just tumbled down there. Everybody is looking for that special dream that they can't find anywhere else in the world. In such is the penguins idealistic idea: his mountain range is our Antarctica. It's a wonderful metaphor.

Don't let all my pretentious posturing fool you. It's not a heavy handed movie by any mark. It happens to be one of the funniest movies I've seen in a while. In many interviews, Herzog's narration cuts off whoever's talking, saying "And they just go on and on..." And then there's the welder obsessively pleased with his hands, which have fingers that are exactly equal in length. I guess it's a big deal for some people.

Leaving room for Herzog's even finer Lessons of Darkness, this is almost the finest documentary I've ever seen. It really gives a personality to everyone working down there; it's hypnotically beautiful; it's strange; it's moving; it's hilarious. Outstanding.

Welcome.

If you found me here, then you've probably already realized that this is a worthless blog. I don't call it inane for nothing. Having said that, please stick around, even if you don't want to. It's even better that way.

All this is going to be is some relatively short (and always inane ;-)) reviews of some movies I come across. I love movies, and of course, there's nothing better than to talk about them. For some reference, here are my current 10 favorites:

2001: A Space Odyssey
Barry Lyndon
The Bicycle Thief
Children of Paradise
Citizen Kane
City Lights
Days of Heaven
Metropolis
Sansho the Bailiff
Vertigo

My top 3 directors, and my top 3 from them:
1. Stanley Kubrick (2001, Barry Lyndon, The Shining,...)
2. Orson Welles (Citizen Kane, Chimes at Midnight, F for Fake,...)
3. Werner Herzog (Lessons of Darkness, Encounters at the End of the World, Even Dwarfs Started Small,...)

So yeah. Those are the general sort of movies I like. Mostly, the classics do it for me, but modern movies occasionally stun me (a la Assassination of Jesse James), but admittedly, I haven't seen as many modern movies as I really should have. As such, my comparisons are far from fair.

Eh, what the hell. I'll also do a top 5 from each decade.

1920s
Greed
Metropolis
Neighbors
Our Hospitality
Sunrise

1930s
City Lights
A Day at the Races
Les Miserables ['34]
Modern Times
The Rules of the Game

1940s
The Bicycle Thief
Children of Paradise
Citizen Kane
Notorious
The Third Man

1950s
Elevator to the Gallows
Sansho the Bailiff
Sunset Boulevard
Vertigo
Stagecoach

1960s
2001: A Space Odyssey
Blowup
Lawrence of Arabia
Psycho
The Wild Bunch

1970s
Aguirre: The Wrath of God
Barry Lyndon
Days of Heaven
Even Dwarfs Started Small
F for Fake

1980s
Blade Runner
Brazil
Full Metal Jacket
Reds
The Shining

1990s
Eyes Wide Shut
La Haine
Lessons of Darkness
Little Dieter Needs to Fly
Satantango [admittedly, I only saw a quarter of it]

2000s
The Assassination of Jesse James by the Coward Robert Ford
Elephant
Encounters at the End of the World
The Heart of the World
Werckmeister Harmonies

So if you find that you like similar movies to me, you might want to stick around. Consider it.



There, you made it. My first inane and rambling post. Wasn't that satisfying?