The Incredibles - Review and Expectations

I recently rewatched Brad Bird's The Incredibles, and was left with one impression: that this film was amazing when I first watched it ten years ago...and it's still amazing, if not more so. While in the midst of this revelation, lo and behold if a sequel wasn't announced, to my deep worry.

The thing is, the first film was so close to perfect. It remains one of my favorite Pixar films, a tightly-scripted, beautifully "shot" action movie that has so many truly human relationships that it puts the majority of live-action films to shame. True, it's not a very original premise - family with supernatural abilities attempt to negotiate ordinary life - but never has it been accomplished so convincingly.

It begins like any other superhero story, with excitement and one-liners and spectacular urban destruction. But fifteen years after this comic book world of heroes and villains, Mr. and Mrs. Incredible - alias Bob and Helen Parr - are living in a cramped suburb with three boisterous kids. Bob works for a sleazy insurance company; Helen changes diapers and wearily makes trips to the principal's office. The irony is thick, and extremely effective.

Broadchurch - Season 1 Finale - Review

I know I've harped on the wonders of ITV's Broadchurch, but, to come clean, I wasn't quite as enamored at first. I loved the entire series up until the finale. [Spoilers ahead.]

Best of January/February 2014

[As a bit of an aid to refresh my memory when "Best of" lists come around next January, here's my pick of the month.]

Movies:

January's decision is tough, but the only 5-star review I gave was to Life is Beautiful, a funny, earnest Italian film set during WWII. My review.

As for February, it's a toss-up. I think entertainment wins the day (because yes, I am that shallow), so I choose Princess Mononoke over Lawrence of Arabia. The film is practically my first experience of Hiyao Miyazaki, and, though flawed, it's pretty incredible. My review.

TV:

This is pretty much a no-brainer - to January I happily give the gold to Broadchurch, an exquisitely made murder drama about the death of a young boy in a seaside town. My review.

As for February, I'm able to name Sherlock, since the last episode aired on the 3rd. (But if I did put it in January, I'd have to give Broadchurch the edge, by a bit.) I didn't agree with all the decisions made in Sherlock's third season, but still, it's good to be back. My reviews: The Empty Hearse, The Sign of Three, His Last Vow.

Hannah Long

The Son of God - Movie Review

[Actually, this is an excerpt from the relevant portions of my review of the TV miniseries. Since I haven't seen the film, there may be a few inconsistencies, but I felt this commentary is still relevant.]

“There are the kind of thoughts which in combination create the impression that Christianity is something weak and diseased. First, for instance, that Jesus was a gentle creature, sheepish and unworldly, a mere ineffectual appeal to the world….[But in the New Testament] I found an account, not in the least of a person with his hair parted in the middle or his hands clasped in appeal, but of an extraordinary being with lips of thunder and acts of lurid decision, flinging down tables, casting out devils, passing from the wild secrecy of the wind from mountain isolation to a sort of dreadful demagogy; a being who often acted like an angry god—and always like a god.”

-G.K. Chesterton, Orthodoxy

I have high expectations for Jesus. Of course, it’s not fair to give The Bible’s producers a break because of the intense levels of scrutiny—they knew they had to get Jesus just right, if they got anything right. So most of my criticism is focused on Diogo Morgado’s portrayal of the Son of Man. To be fair, nobody will ever be able to play Jesus correctly (whether they should even try is another subject), but regardless, there are some things one should remember if you want to do things by the Book:

1. Jesus was fully man – this means that, even if there were times that he was otherworldly, there were other moments that he was just an ordinary guy. Ordinary does not mean “sinner”, ordinary means “has a sense of humor” or rather: “doesn’t treat himself—and everything—with deadly seriousness.”
2. Jesus was fully God – this means that, despite his ordinariness, he had a few raging-holy-God-of-wrath-and-judgment moments. Usually he used this rage against the self-righteous, and his deep, reckless love, for the poor.
3. Jesus was not, in fact, an enlightened hippie – he was from a Podunk country town (almost certainly with an accent.)
4. We have no reliable information that Jesus was drop-dead gorgeous or had cute hair or a perfect nose. It’s rather possible he looked, y’know, like someone from Fiddler on the Roof, an ordinary, albeit Jewish-looking everyday guy.

True Grit (2010) - Movie Review

In 2010, the Coen Brothers (infamous for such bizarre epics as O Brother Where Art Thou) released True Grit, a remake of a John Wayne movie. What happened next took everyone by surprise: It was a hit. In fact, it pretty much dethroned the original, with its extraordinary blend of moral clarity, black humor, and phenomenal acting.

I have two primary comments.

One, I never knew that Leaning on the Everlasting Arms was such an excellent Western theme song. It should have been obvious.

Two, it’s a crime that Hailee Steinfeld’s name was not on the front of the case. A crime. Only seldom (I think of Christian Bale and Q’orianka Kilcher) have I seen such impressive child acting.

On that note, it’s really Steinfeld (then fourteen), as Mattie Ross, who carries the movie, despite the presence of big names like Jeff Bridges, Matt Damon, and Josh Brolin. 

Pride and Prejudice (2005) - Movie Review

Just mentioning this movie in our household is akin to an act of blasphemy. Indeed, after smuggling it inside, my brother Sam and I watched it with the volume turned down low whilst everyone else was asleep.

The reason is that among period drama fans the 1995 Pride and Prejudice miniseries is Mecca. A masterpiece of casting, direction, and delivery, there’s really nothing I can say against it.

It’s a further testament to our familiarity with the story that my sixteen-year-old brother (brother, mind) was full of detailed, enthusiastic criticism. “That’s not Mr. Bennet,” he opined as a grouchy Donald Sutherland mumbled his lines. As a long, single shot captured the Netherfield Ball (Sam commented, appreciatively, on the camera-work): “Is that Mr. Bingley? No! Look at his hair!” The general lightness of the acting, and lack of restraint in comparison to the TV series, prompted: “They’re all too young!”

Lawrence of Arabia - Movie Review

Lawrence of Arabia is about power, posturing, politics, pride, and pettiness. And spectacle. Big-screen epic spectacle. 

If there’s one thing that provides that spectacle, it’s the sweeping panorama of the barren desert. I don’t think I’ve ever seen a film which so fully impressed on me the vastness of it, and the corresponding inconsequentiality of a man on a camel, with only a water-skin between him and death.

It’s quite ironic, isn’t it? And this film lives and breathes irony, placing characters in so many incongruous situations that it gets a little ridiculous.  

The first is a placard on a peaceful country road marked “DANGER.”

It’s not much of a spoiler that Lawrence dies an ignominious death—thrown from his motorcycle into a clump of bushes—in the first five minutes of the film. For a while, I was confused as to why the filmmakers chose to start us here. I recognized the heavy contrast of cutting from a motorcycle accident in verdant Dorset to conversation in the halls of a British colonial outpost to the barren, utterly foreign desert, but I felt it sucked the uncertainty from Lawrence’s story—we knew he lived, so what suspense was there?  (Spoilers below)