2000 in Film, Film, Writing

THE BEACH: Apocalypse Now 2 – Beach Vacation (2000 in Film #6)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

This week, I’m looking at Danny Boyle’s millennial curiosity, The Beach

You almost can’t reconcile twenty-something Leonardo DiCaprio with his forty-something incarnation. He moved across the 2000’s from the teen heartthrob who raced pulses for Baz Luhrmann in Romeo + Juliet and melted a generation of hearts for James Cameron in Titanic all the way into a skilled, chameleonic leading man and character actor all in one by the time of Quentin Tarantino’s Once Upon a Time in Hollywood.

When you look back at The Beach, it feels like the first stirrings of DiCaprio’s edgy, youthful brio shedding its skin. Danny Boyle’s picture is DiCaprio embracing his sex symbol icon while simultaneously rejecting it.

Some commented at the time that Titanic, released three years earlier in 1997, likely helped The Beach at the box office, yet I’m cheating this week as it wasn’t the biggest financial success in the US on its opening weekend. That honour goes to Disney’s The Tigger Movie, rather ignominiously for Boyle the auteur. Yet the film picked up traction for a decent take, no doubt pulling in Leo’s fans who would have been totally unprepared for the Heart of Darkness-tale the actor undertakes in The Beach, which perhaps deserved to be called Apocalypse Now 2: Beach Vacation.

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Ad Astra, Film, Reviews

AD ASTRA is a beautiful, meditative journey up river (Film Review)

Many critics have boiled down Ad Astra, James Gray’s ambitious space opera, to the phrase “Apocalypse Now… in space!”, and while this is hard to refute, Ad Astra feels as much Gray’s commentary on the difficult no man’s land between Gen X and Gen Y and the Baby Boomer generations.

Our protagonist, Brad Pitt’s quiet and contemplative astronaut Roy McBride, could have been played by a man in his 30’s. In some ways, he was; Pitt might be in his mid-50’s but his Peter Pan looks, while not ageless, are certainly allowing Pitt to play characters who ostensibly could be younger. This feels important to Ad Astra in how deep rooted the film is in how Roy exists in the shadow of his father, Tommy Lee Jones’ absent H. Clifford McBride, a NASA legend on the lines of Neil Armstrong who vanished on the Lima Project three decades ago – an ambitious attempt to reach the edge of the solar system and contact alien intelligence. Clifford has not just been mythologised by humanity but also by Roy, who is haunted by the terrifying question of whether, having followed in his father’s career footsteps, he will end up becoming a man who Roy steadily comes to realise was not the heroic bastion of humanity’s progress everyone believes.

“I do what I do because of my Dad” Roy states as he is placed on a literal quest to find not just his father but his father’s legacy. In this, you can see the Apocalypse Now parallels, moreover you can see Gray’s admitted inspiration—Joseph Conrad’s Heart of Darkness—in the journey Roy, much like Francis Ford Coppola’s Captain Willard, takes ‘up river’ on the search of a legend. Much like Willard, Roy externalises his thoughts via inner monologue, allowing his anxieties and concerns and existential turmoil to spill out as he travels his river, in this case the solar system. As in Apocalypse Now, or indeed Heart of Darkness, Ad Astra is less about the hardships of the difficult journey using near future spacecraft but Roy’s internal voyage of reflection, discovery and almost nihilistic destiny. Clifford becomes his darker id. Roy’s quest is one to destroy his own demon.

This is where Ad Astra crosses over from being simply a mythological quest into something else entirely. It becomes a generational battle.

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Alias, Episode Reviews, TV

ALIAS 1×08: ‘Time Will Tell’ (TV Review)

Time Will Tell is another important episode of Alias when it comes to establishing and contextualising the mythology of the show and how it directly relates to, particularly, our protagonist Sydney Bristow. With a title both figurative and literal, this episode brings into focus Alias’ growing preoccupation with time, and just how directly the past influences the present.

Jeff Pinkner’s first script for the series, continuing the steady roll out of Bad Robot creatives who will all go onto major recognisable projects in the future, operates very much as a sequel to the third episode Parity, and the pre-credits sequence of A Broken Heart. Time Will Tell very much illuminates just how Alias, while a highly serialised show, remains indebted to its principal influence, The X-Files, in the structural manner it approaches the mythology at the show’s heart – the search for the work of 15th century ‘prophet’ Milo Rambaldi.

While the previous four episodes all continued the ongoing narrative sub-plots and storylines for the characters and the complicated double-agent situation Sydney finds herself in, only two of them concern Rambaldi, and in both cases he is very much background.

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