I didn’t let Katy see the box, and didn’t tell her it was fake, to see how long it took her to figure it out. But she didn’t ever, so I told her over the end credits. She is still mad.
Codirected with Costa Botes, who I think made the Lord of the Rings making-of docs. I’d forgotten all about “Stan the Man,” the unfunny comic who attacks people then runs away, with Colin filming on hidden cameras.
Refreshing to see a period (early 70’s) flick that relies only on props, fashion and speech with no TV news montages, shouts-out to topical issues or drenching the soundtrack in pop hits of the time. Unfortunately that’s the only thing refreshing about this movie, in which Peter Jackson seems to be Taking Himself Seriously and not having any fun anymore. He’s got himself a serious, dark dramatic novel and damned if he’s going to do anything to dilute it with his own manic energy and kooky camera angles. Unfortunately it doesn’t seem to be pleasing anyone, not the reviewers, not the fans of the book sitting near me who complained that the film turns the rapist/murderer into just a murderer (though Stanley Tucci gets a rapist-mustache so I thought it was implied) and not me, who wished I was tired enough to fall asleep through the interminable digital “heaven” scenes in which Saoirse Ronan from Atonement pulls faces (surprise! sadness! delight! ennui!) while the sky turns colors, tree leaves turn into a flock of birds, mountains part, gazebos crumble, fields turn into swamp and other murdered girls throw a picnic. Sometimes she tells us “it’s so beautiful,” which failed to convince me that it actually was. I dug the Super Mario Galaxy-looking planet effects, but Jackson’s swirly heavenly skies seemed significantly less beautiful than every single shot in the A Single Man trailer, which I’m gonna punch myself if I end up missing. The real sadness, sadder than the death scenes and the grieving parent scenes (The Sweet Hereafter or In The Bedroom this ain’t), was that nothing happened in the heaven scenes. They weren’t beautiful or terrible. Saoirse didn’t do anything, the eskimo girl she befriends didn’t do anything, nothing happened at all. Okay, so she touched the hand of creepy loner girl Amanda Michalka causing Ronan’s almost-boyfriend Reece Ritchie to kiss her, and she made dad Marky Mark (not half as convincing on his obsessed search for the truth as Jake G. in Zodiac) see flickering candle reflections and dead roses bloom.
For all its dragged-out length, certain parts seem too skimpy, like mom Rachel Weisz skipping town to pick fruit in California while working through her grief. Susan Sarandon has fun as hard-drinkin’ gramma in the movie’s only comic relief. It’s little sister Rose McIver who gets the best scene, pure tension as she breaks into the killer’s house searching for (and finding) evidence before making her narrow escape. Second-best would be Tucci’s random demise, year(s)? later trying to pick up a girl in a parking lot he’s hit by a supernatural icicle and tumbles horribly down a cliff, Jackson’s cartoonish gruesomeness making a late appearance in the PG-13 movie. PG-13 is how it felt overall, not through lack of swearing or smoking (Sarandon does) or blood or sex but lack of anything challenging. I got the early speech about obsession and hobbies, the parallels between Marky/Saoirse and Marky/Tucci, the snow-globe penguin in his perfect isolated world, and the goofy director cameo in a camera shop but didn’t get any sense of wonder or sadness from what’s supposed to be a splendorous film about mourning, just some pretty pictures.
Reverse Shot calls the movie “profoundly disingenuous,” accusing Jackson of being primarily interested in Tucci’s killer, not the victim and her family. Also: “Even Jackson’s celebrated CGI wizardry feels off; his color-saturated vision of the afterlife has all the visual dexterity and emotional weight of an iTunes screensaver.”
Watched again on video, and it only gets better. Five (five!) commentary tracks to go, and two discs full of extras, wooo!
Peter Jackson as Father Christmas:
Marsha from Spaced:
The trailer set it up right – supercop Simon Pegg is making the department look bad in comparison, so he’s shipped to the safest small town in England and paired up with lazy son-of-the-chief Nick Frost. All is well until the town elders turn out to be involved in a Wicker-Man-like conspiracy to beautify their town by any means possible (usually murder). Very suddenly it turns into an all-out war, with the police dept. (minus the evil chief) and Simon and Nick (or Shaun and Ed, as I still think of them) against the neighborhood watch.
Extremely funny and a great action flick. Nothing much or bad to say about it. The crowd gave big response to particularly gruesome killings, the jump kick to an old woman’s head, and Bill Nighy. Edgar says they were happy to be working with an ex James Bond (Timothy Dalton) and three oscar winners in this one (Cate Blanchett, Peter Jackson and Jim Broadbent, the former two uncredited). Such a very fun movie, this and Grindhouse have put me in the mood to watch less serious-minded movies, hence the appearance of Saw 3 on this page.
SUCH a fun movie, I watched it twice in one day. Seen it a bunch of times before, too. Perfect balance of comedy, horror, mystery, romance, effects, live action, serious drama and loony overacting.
Commentary has fun/useless trivia, looking forward to the very long doc on disc 2. For the first time, I was seeing the extended “director’s cut”. Extra shots and scenes didn’t improve the movie necessarily, but they didn’t hurt it either. Sometimes more of a good thing is just more of a good thing. No real need for plot description since I don’t think I’ll forget it anytime soon. So here are screen shots instead.
Katy came in during the same scene twice, and didn’t seem thrilled about the whole thing.
fun deleted scene:
still badass even in death:
Michael J. dies a lot in this movie:
danny elfman’s favorite scene:
saturn award nominated Jeffrey Combs:
no oscars, but won lots of emmys and golden globes:
oscar-winning director Peter Jackson: