Because Not Every Movie Should Be Turned into Joyless Homework

film reel canisters, Underground Vaults and Storage, Hutchinson, Kansas

Movies are fun to look at, even when they’re boxed up and stacked on shelves. I enjoy writing down my thoughts about them — whether inspired or incredulous, amazed or aggravated — before too much time passes and the details vanish (if not the entire movie, in some cases). But I’ve grown to despise my self-imposed assignments of constructing an English-class essay every time I come home from the theater.

When something that’s supposed to be fun isn’t, then something needs to be done differently to rediscover the fun in it.

This way for an announcement/experiment…

21 Movie Headlines That Don’t Belong on a Front Page

Joe Don Baker. Mitchell

Fun trivia: Googling “Joe Don Baker Mitchell remake” yields negative-3,000 results.

I brake for far fewer movie-news articles than the average geek. I still like movies, but what passes for movie “news” nowadays generally doesn’t merit my time or clicking because the majority doesn’t meet my minimum specifications for “news”. I have no vested interest in following the full life cycle of every production from germination-of-idea to perennial-AMC-airings.

I can think of numerous examples off the top of my head for most steps of the filmmaking process and marketing campaign. To illustrate my apathy, let me walk you through the vantage point of internet news outlets — not official sources such as The Hollywood Reporter, Variety, or Nikki Finke, but the other guys. Pretty much all the other guys.

For the sake of argument, let’s pretend the following examples revolve around a remake of the 1975 police drama Mitchell, which starred Joe Don Baker as Oscar Madison from The Odd Couple, plus a gun, minus friends. Let’s pretend we’re in a near-future dystopia in which Hollywood used up its first 5,000 ideas and the only things standing between us and the bottom of the barrel are Mitchell and The Snorks. And James Cameron already has plans for the Snorks.

Let the disposable headlines begin!

The 86th Oscars Nominations: Initial Random Thoughts

Sandra Bullock, Gravity, Best Picture NomineeIf you’re online much, you’re already aware this year’s Academy Awards nominations were announced today. If you follow either The Hollywood Reporter or The Academy of Motion Pictures Arts and Sciences on Twitter, you had the opportunity to see the categories live-tweeted one at a time early this morning. If you shared my mistake of following both entities, you were treated to a double-barrel Oscar-nom redundancy blast that turned Twitter to sludge for fifteen minutes. Homework question: how many live-tweeters does any given event really need?

I’ll not waste your bandwidth copying-‘n’-pasting the full list of nominees that’s readily available on a million other news sites. Several thoughts popped into my head throughout the day while mulling over the results:

* As discussed in the past, since 1997 I’ve made a point every year of seeing every Best Picture nominee as soon as possible. This year I’m facing quite the obstacle course, as I’ve only seen one of the nine nominees so far (hint: the one with the spaceship). In my defense, six of the nine only opened here in Indianapolis within the last month, a few of which were packed exclusively into the single art-house theater on the other side of the city. Late December and early January are never the best time of year for leisure travel. Unless they’re each gifted with a wider re-release in the nearer gen-pop theaters, I’m seeing a lot of mileage in my immediate future.

Beyond the curtain for more…

My 2013 at the Movies, Part 2 of 2: the Year’s Least Worst

Matt Damon, Elysium

The Bourne Upgrade. District 18. Green Zone 3000. Good Will Exploding. And so on, and so on.


Previously on Midlife Crisis Crossover:

Once again January is National List Month, that magical time of year when everyone’s last twelve months of existence must be dehydrated, crammed into enumerated little packets, and lined up on the shelf in subjective order for re-inspection. The final tabulations reveal I saw twenty-five films in theaters in 2013 and one via On Demand while it was still in limited art-house release…

And now, the countdown concludes:

13. Elysium. Some say the 99%-vs.-1% feud will end in negotiations; some say in explosions. Neill Blomkamp’s sophomore extrapolation of the effect of humanity’s self-hatred on its own future stops asking questions halfway through and solves nearly everything with chases and showdowns between Matt Damon’s everyman underdog imperfect sinner Average Joe antihero and Sharlto Copley’s cyborg Snidely Whiplash. In some respects this deserved to be ranked a lot lower, but something about Blomkamp’s vivid underclass aesthetic and leftover District 9 effects cachet boosted it a tad unfairly over the other popcorn-film competition.

This way for #12 through #1…

My 2013 at the Movies, Part 1 of 2: the Year’s Least Best

The Rock, Bruce Willis, GI Joe Retaliation

John McClane and the Scorpion King: sequel survivors perpetuating the vicious circle of lame.

Once again January is National List Month, that magical time of year when everyone’s last twelve months of existence must be dehydrated, crammed into enumerated little packets, and lined up on the shelf in subjective order for re-inspection. MCC’s first full calendar year consequently allowed me to submit entries for everything I saw in theaters in 2013. Even if this site didn’t exist, since 2000 I’ve saved lists of every trip I’ve made to the cinema, year by year. The best part of this compulsion is rereading previous years’ lists and seeing names I no longer remember. (Disney’s Teacher’s Pet? Past Me swears my son and I saw it, but we’ve mutually wiped it from memory.)

The final tabulations reveal I saw twenty-five films in theaters in 2013 and one via On Demand while it was still in limited art-house release. This count doesn’t include five 2012 films I attended in 2013 for Oscar-chasing purposes, or any old films I watched on home video. Because lists such as this one must have rules.

Links to past reviews and musings are provided for historical reference. On with the reverse countdown, then:

26. GI Joe: Retaliation. Once again Hollywood forgets the lessons learned from Halloween 3 and Fast and the Furious: Tokyo Drift — i.e., if you dump too much of the original cast, why even bother with a theatrical release? While Ray Park is good for a few minutes of aerial man’s-man ballet, Bruce Willis and the Rock are called in as scabs from other macho action series to shoulder the rest of this silly, overlong commercial for military weaponry and boys’ toys, in that order.

This way for #25 through #14…

“The Hobbit: the Desolation of Smaug” as an Afternoon of Binge-Watching

Bilbo Baggins, Martin Freeman, The Hobbit, The Desolation of Smaug

Bilbo struggles with temptation. So. Many. CUPS.

Two advance caveats:

1. It’s been years since I read The Hobbit. I remember most of it, but to me it’s not a sacred idol to be treated as holy writ every time it’s adapted into another medium. My impressions of The Hobbit: An Unexpected Journey were previously documented to this effect.

2. Some of the following will assume you’re familiar with the book and/or already saw The Desolation of Smaug for yourself. As a latecomer to the party once again, I doubt I’ll be treading unfamiliar ground for too many readers.

That being said: I may be one of the few viewers who found The Desolation of Smaug a more satisfying experience than its predecessor, burdened as that one was with cumbersome exposition and morose musical numbers. Faced with a 161-minute running time, I entered the theater this time with despondent expectations, but realized partway through that the movements are so neatly segmented, it was like binge-viewing a TV miniseries at home. Granted, Desolation was the equivalent of a series’ middle and therefore guaranteed to disappoint no matter how it ended, but taken as Disc 2 of 3, its 3½ episodes zoomed along nicely and moved the story forward with only minimal irrelevant detours.

Onward toward Erebor, then…

Yes, There’s a Scene After the “Frozen” End Credits

Queen Elsa, Idina Menzel, Frozen

Disney Princesses beware: here comes Elsa, Disney Queen.

Last week animation writer Paul Dini gave a candid podcast interview in which he divulged numerous depressing details about his recent experiences with Cartoon Network executives who expressed in no ambiguous terms their current disinterest in courting a female audience for their action-adventure cartoons because boys buy more action figures.

I wish I were kidding. Part of this illuminating interview has been helpfully transcribed for the podcast-reluctant. Nothing short of jaw-dropping.

Such a shame, then, to see Walt Disney Pictures fly in the face of Cartoon Network programming logic and gamble on a theatrical release like the action-heavy Frozen, in which the humor isn’t locker-room crude, the animation sets new standards, and the main characters are two sisters who pass the Bechdel Test cum laude. Sure, it’s quality entertainment, but if the girl power in a cartoon overwhelms the manpower, why even bother? This cartoon chick flick will be lucky to make more than twenty bucks at the box office. And you can forget about merchandising sales.

…oh, wait. As of its fourth weekend, the movie’s cleared $160 million domestic so far, and it’s still in the #2 box office spot and barely slowing down. How’d that happen? Conspiracy, maybe?

Nope – it’s genuinely impressive…

“Die Hard 2”: That OTHER Technically Christmas Movie

John McClane, Bruce Willis, Die Hard 2

Bruce Willis. Guns. Fake snow. Yep, it was that time again.

It’s an old joke among internet guys that, when asked about the best Christmas movies ever, they’ll mention famous favorites with scenes set at Christmas, even if the entire movie isn’t actually about Christmas. Old reliables such as Lethal Weapon, Die Hard, and maybe Gremlins make strong showings on such lists, though Kiss Kiss Bang Bang is a solid dark-horse candidate and I expect a few tongue-in-cheek votes in the future for Iron Man 3.

Sadly, I never see anyone show any Christmas love for Die Hard 2: Die Harder, which may be one of the two best films of director Renny Harlin’s career and is set entirely on Christmas Eve. Sure, its older brother hogs all the glory as the Greatest Action Film of All Time according to me and occasionally polls, but if you watch too closely and never mind the unfair comparisons to the One That Started It All, you’ll notice it has all the necessary elements of a basic Christmas movie, not to mention a few reminders of Christmas with your own family.

Where’s the Christmas in Die Hard 2? Count the ways:

* Snow! Die Hard had no snow. None. Not a flake. It was set in L.A., which has no snow because it hates Christmas. Die Hard 2 is set in Washington D.C., where snow is everywhere, even though most of it is fake movie snow that would make decent pillow stuffing. Even fake snow has more of a right to be in a Christmas movie than palm trees do.

John McClane’s Christmas list goes on…

“Catching Fire”: And They All Lived Fearfully Ever After

Jennifer Lawrence, Josh Hutcherson, Hunger Games: Catching Fire

Katniss and Peeta practice their strained banter for their next gig hosting the PanEm Oscars.

In the more engrossing and less shaky-looking sequel, The Hunger Games: Catching Fire, we’re told “The Games mean nothing.” In fact they’re not even the central plot; they’re the extended climax appended to a more interesting, feature-length coda in which the quote-unquote “victors” of PanEm’s 74th Hunger Games receive their “rewards”, learn about their new responsibilities, and figure out for themselves that sometimes victory is only as meaningful as your handlers allow.

Continue here as The MAN tries to extinguish the Girl on Fire…

Wonder Woman Finally Coming to Theaters as Sidekick to More Popular Male Heroes

George Perez, Wonder Woman #1

For me, Wonder Woman’s golden age began in 1985. Artist/co-writer George Perez autographed my battered old copy of that year’s WW #1 at the 2012 Superman Celebration in Metropolis.

Welcome to another one of those times where my headline pretty well nails what I’m thinking and renders all my additional typing pointless.

Warner Brothers confirmed on the record today that the long-neglected Wonder Woman will be featured in a live-action theatrical release for the first time in her 72-year history, and her first live-action non-bootlegged role in 34 years. This potentially historical part has been awarded to Israeli actress Gal Gadot, who was a complete unknown to me before today, though I understand she’s a regular in the Fast and the Furious series. For longtime fans who’ve been wanting to see our legendary Princess Diana on the big screen, your wish is about to be granted.

One catch: she’s not yet earned a film to have all to herself. Instead she’ll be a supporting character in Zack Snyder’s Batman vs. Superman crossover.

Caution: grumbling ahead…

Spoilers for “It’s a Wonderful Life 2: the Final Bell Rings”

It's a Wonderful Life

Nope. They don’t believe it, either.

Because nothing good can remain untarnished and self-contained:

Variety reported Tuesday a small movie company that doesn’t own It’s a Wonderful Life is planning an official sequel — somehow, for some reason, possibly because greed minus self-awareness. Tentatively titled It’s a Wonderful Life: The Rest of the Story, the superfluous production will show George’s grandson being taught a lesson by his aunt Zuzu, now transformed into an angel. The company is hoping for a holiday 2015 release so it can compete against Star Wars Episode VII and look that much more foolish.

So what else could they possibly do?

My 2013 Staycation Movie Marathon Report

Casey Affleck, Gone Baby Gone

Before Casey Affleck’s upcoming turn in Out of the Furnace, there was Gone Baby Gone, among the best in this week’s movie marathon.

This week was that time of year again! Long story short, as explained last year with copious superfluous details: thanks to my generous employers, I have enough vacation days every year to take time off for our family road trip and to take another separate week later just for myself. My usual staycation activity of choice is a DVD marathon.

This week’s marathon was hobbled a bit by a sick day, wasted on long bouts of napping and angst. We’re currently taking steps to correct the condition responsible in ways that won’t require immediate medical bills. Hopefully nothing further occurs on this front that becomes interesting enough to inspire follow-up entries. Let’s all assume I get better and live happily ever after. THE END.

Otherwise the week was relaxing and fruitful in a stress-relief sort of way, and a sizable chunk was carved out of the viewing pile. This week’s staycation feature presentations were, in order of viewing:

And the nominees are:

Yes, There Are Scenes During AND After the “Thor: the Dark World” End Credits

Loki, Tom Hiddleston

Thor? Thor who? Oh, you mean my sidekick?

As in the comics, so in the movies has Thor struggled to stand out as a sympathetic character, a hero for us to cheer on through the quiet scenes as well as the action sequences. Whereas Thor: the Mighty Avenger aimed to give him humanity by trapping him in a podunk, no-FX town and making him literally human, the boisterous sequel Thor: the Dark World tries a different approach: it gives up on making him work as a solo hero in his own right, and treats him as a senior but equal member of an ensemble instead. Call them Avengers: Asgard Coast.

More about America’s favorite Asgardian and his brother Thor…

Star Wars Episode VII and the Joy of Arbitrary Deadlines

C-3PO, Star Wars, exhibit

One of the many lessons we learned from the Prequels Trilogy: C-3PO wasn’t built in a day. (Photo taken at the “Star Wars: Where Science Meets the Imagination” traveling exhibit, which my wife and I saw during its stop in Indianapolis last spring. That exhibit wasn’t built in a day, either.)

Thus the head honchos at The Walt Disney Company have decreed, and thus it is written: Star Wars Episode VII shall be released to theaters on December 18, 2015. Despite pleas from director J.J. Abrams and hopefully any level-headed supporter in earshot, Disney has set this date in stone and insists that, come what may, there will be Star Wars product on the big screen no matter what.

(As a side experiment along this vein, I’m experimenting here with a timed entry. I have sixty minutes to crank out this entry from start to finish, and whatever state it’s in when minute #60 strikes, I hit “Publish” and there will be an entry about this subject no matter what. Fortunately my special effects needs are minimal and rarely outsourced.)

How many thoughts did I complete? Let’s find out!

“Ender’s Game”: Kids Kill the Darndest Things

Asa Butterfield, Ender Wiggin, Ender's GameIf the stakes were catastrophic enough, the training techniques were sufficiently intensive, and the world were just that unforgiving, who’s to say preteens couldn’t be accelerated to maturity and transmogrified into hardened soldiers like today’s eighteen-year-old American military volunteers?

Thus is the foundation laid for Ender’s Game: in a future where millions have perished at the hands of insectoid aliens (the predominant taxonomic class of Hollywood aliens), Earth’s last hope — and who knows how many hopes were wasted before the story begins — lie in an interstellar military system built on targeting the most gifted junior high students for recruitment, instead of the older kids least likely to go to college.

So, about that big-budget sci-fi thingie…

“Gravity”: Connect or Perish

Sandra Bullock, Gravity

Zero-g leaves zero margin for error.

If movie theaters were allowed to set individual rules before watching certain films, the first rule of a Gravity showing would be no snacking during the first ten minutes. After the title and text intro (“Life in space is impossible”), the movie doesn’t begin so much as it emerges from the darkness and silence of space. As a distant pinpoint expands and metamorphoses into a Space Shuttle bearing Academy Award Winners Sandra Bullock and George Clooney, the noiseless vacuum slowly parts for a trickle of radio chatter that steadily builds from volume 0 as its source nears our position.

While we eavesdropped on the cast’s interplay during their distant grand entrance, the ambiance of their stage-setting was slightly disrupted by the sounds of the peckish viewers seated around me, rustling plastic wrappers and scarfing whatever snacks they couldn’t be bothered to finish during the preceding 25-minute trailer marathon. This sort of aural dissonance isn’t an issue when you’re watching the average summer action blockbuster that kicks off with a twenty-minute 200-decibel set piece that eradicates all sound and vibration in its path.

More about this weekend’s #1 film, which presently sits at 98% on the Tomatometer…

Siskel & Ricky Jay and Movie Magic

Gene Siskel Film Center, Chicago, Illinois

The Siskel Film Center: sincere, comfy, willing to showcase material beyond the major studios’ low-budget farm teams. Two thumbs up.

Indianapolis has exactly (1) one art-film theater, which leavens its offerings with a mixture of big studio fare presumably for the sake of ticket sales, thus minimizing the number of small films they can truly show during any given week. It doesn’t help that this theater and our house are on opposite ends of town. It’s my understanding other, larger cities have more options for moviegoers who yearn for something besides sequels, explosions, and big budgets. The advent of Video on Demand has charitably broadened our access to new limited-release fare, but there’s something I like about seeing films in their natural habitat.

This weekend my wife and I journeyed once again to Chicago via reasonably priced group tour. While our fellow passengers availed themselves of the Magnificent Mile’s upscale merchandise or gallivanted around Lake Michigan on water taxis, she and I paid our first visit to the Gene Siskel Film Center to view the kind of real, live documentary that rarely plays within fifty miles of our house.

Click here for more about the theater and the documentary “Deceptive Practice”…

The Last Stand of the Drive-In Theater: Upgrade or Perish

Tibbs Drive-In, Indianapolis

The drive-in nearest our house is the Tibbs, still standing after 46 years. For now. (Photo from our 2008 personal archives. To date I’ve seen only two of these timeless non-classics…)

In my early childhood years, I had only two options for seeing movies: squinting at them on my family’s thirteen-inch black-‘n’-white TV (and I was rarely allowed to choose what channels we watched); or seeing them writ large on the giant-sized, outdoor screen down at the drive-in theater. In a world where limited technology narrowed our choices, this competition was a no-brainer to me.

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My Super Awesome Blockbuster Reboot of “E.T.”

E.T. the Extra-Terrestrial

Those eyes are pretty in the right light, but the rest of this will have to go.

February 2014 will see The Killing‘s Joel Kinnaman taking over for Peter Weller as the new Robocop. This fall Ironside returns to TV with Blair Underwood somehow replacing Raymond Burr. Batman, Superman, Spider-Man, the Lone Ranger, and the Green Hornet are but a few of the myriad characters to return from pop-culture limbo in overhauled guises. And this is the sentence I had set aside for DC Comics if I could narrow the possible examples down to less than four hundred.

At the rate our entertainment recyclers are plowing through their back catalogs, every intellectual property from the last fifty years will have been remade and/or rebooted before I’m fifty. Even if 90% of them flop, every producer, editor, or writer will convince themselves their attempt will be different from all the rest because they truly believe in themselves, if not their work. Maybe 10% of them will hit the jackpot, reap the rewards, and retire at forty.

Sounds like a sweet deal to me, even though I’m running dozens of laps behind the competition. If I’m to win, I need to move now. That’s why I’m calling dibs on E.T.: the Extra-Terrestrial. It’s not taken, right? Excellent.

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How Far Would You Go to Meet Willie from “V”?

My wife has always been a big fan of the 1983 TV miniseries V and its 1984 sequel, V: the Final Battle. She could take or leave the short-lived series that followed, and she had no interest in sampling the recent failed reboot.

Veterans of V are an extreme rarity at local geek conventions. Until tonight she’d only met its star, Marc Singer, several years ago at a Trek con that was generous enough to incorporate other sci-fi universes. While it was interesting for us to see the original Beastmaster up close, he was never her favorite V character. Whenever she waxes nostalgic about the show, her narrative sooner or later turns to the subplot of Willie, the humble alien Visitor who would betray his race, join the human resistance, provide comic relief, and lend the show some much-appreciated heart. He may not have been a he-man like Singer, but I’ll admit he stood out in every episode I saw when she introduced me to their world.

This weekend that particular actor is in town, headlining a convention that’s been around for a few years. We’ve never attended it before because its primary focus really isn’t our thing. After weeks of hemming and hawing over whether or not this was a suitable idea for us, ultimately we had to ask ourselves: how many other chances will she have to meet him?

It’s in that spirit, after no small amount of deliberation, that we endured wretched construction traffic and the world’s ickiest dealer booths to grant her not-dying wish of meeting the man who brought Willie to life.

Many of you know him better for his movie work, including one specific character ten thousand times more well-known than Willie.

Robert Englund, HorrorHound Indy 2013

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