Film, Writing

Film Retrospective: SAVE THE LAST DANCE (2001)

Anyone who grew up in the 1980s and 1990s understands the power MTV had on their lives in these formative years. Before the dawn of YouTube, hours could be spent immersed in the cable channels around MTV watching endless music videos from across the decades. This, for many of us, is where our knowledge and appreciation of the music we grew to embrace, in part, came from.

The success of MTV—which had forged the careers of numerous future cinematic auteurs including among others Michel Gondry and David Fincher—logically extended into the cinematic realm with the formation of MTV Productions in 1996 – their movie studio arm. While their reach has today declined, at the end of the ’90s, MTV Productions would develop pictures as diverse as Mike Judge’s juvenile Beavis & Butthead Do America, teen college drama Varsity Blues and Alexander Payne’s erudite, caustic Election, the latter both in the cinematic boom year of 1999. It is hard to square such a wildly different set of pictures from the same production house aside from one common denominator: they were all about, for or aimed at the teenage movie market.

Save the Last Dance is an example of how MTV Productions worked to bridge the gap between the independent movie which had emerged during the ‘90s as an antidote to the dominance of the tentpole blockbuster that came to bear from the late 1970s onwards, and the burgeoning concept of the cinematic franchise that by the end of the 2000s would bear fruit and burst into existence as the 2010s arrived.

It feels like a picture born of both worlds simultaneously.

Continue reading “Film Retrospective: SAVE THE LAST DANCE (2001)”

Film, James Bond, Writing

SPECTRE suggests James Bond’s ‘team-ethic’ future

Looking back at Spectre, 2015’s unfairly maligned James Bond film, it becomes apparent just how much of 007’s future may lie around a team ethic.
Historically, Bond was, of course, a lone wolf, certainly in Ian Fleming’s source novels and particularly in the film adaptations produced by Eon from 1962 onwards. Fleming describes Bond’s general routine, in Moonraker, as “evenings spent playing cards in the company of a few close friends, or at Crockford’s; or making love, with rather cold passion, to one of three similarly disposed married women; weekends playing golf for high stakes at one of the clubs near London.” Bond’s life is distant, remote and detached from the world around him, aside from gambling or disposable sex. His cinematic adventures bore this out. If ever we did see his personal life, which we seldom do across any of his incarnations, it almost always revolves around women as opposed to family or friends.

Spectre, building on character introductions and developments introduced in Skyfall, begins to change that. Bond only wins the day with the help of the MI6 team around him back home, and sometimes in the field. Q covers for him, later joining him in Austria to help him reach Madeleine. Moneypenny is no longer the sweet, desk bound, lovelorn secretary who he flirts with and leaves behind, she actively aids him in terms of intelligence, and aides him in the field in Skyfall. M, or Mallory, is the most narratively involved head of MI6 in the series’ history, working to expose Max Denbigh aka ‘C’s connection to villain Ernst Stavro Blofeld, and gets his own (admittedly rather anaemic) action tussle with the man toward the end. Blofeld’s plans are only foiled thanks to the entire MI6 squad backing up Bond’s determined action.
This marks a sea change in the Daniel Craig era that could well stick through the upcoming No Time to Die, and into the uncertain waters for 007 beyond, as the franchise adapts to a vastly changing cinematic landscape.
Continue reading “SPECTRE suggests James Bond’s ‘team-ethic’ future”

2000 in Film, Film, Reviews

DOWN TO YOU: A Millennial Romance (2000 in Film #3)

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.

To begin, released over the weekend of January 21st, Kris Isacsson’s romantic comedy Down to You

In many respects, Down to You must have seemed like a slam dunk of a proposition in 1999, with the hottest new production studio in Miramax front-lining two recognisable fresh faces from hit movies in a teen baiting romantic comedy. From our vantage point, produced as it is by the Weinstein brothers, it leaves a sourer taste in the mouth. 

It isn’t fair to blame writer/director Kris Isacsson, this being his only feature, or stars Freddie Prinze. Jr or Julia Stiles. Nor indeed is Down to You a horrendous movie through our modern, proportionally liberal-minded prism – indeed in many respects it’s quite a sweet natured picture with it’s heart in the right place. It is, however, cynical; attempting to both cash-in on the traditional romantic comedy genre and the revived interest in the teen movie, thanks heavily to 1999’s mega hit American Pie.

While Down to You is not a gross-out comedy from exactly the same ilk, by any means, it is impossible to divorce it from the trends of an era where Miramax were combining their indie sensibility with pop-culture hits and brewing them up with attractive, young stars of the day, principally for the purposes of profit.

Down to You was the biggest box office hit of the January weekend it was released but very quickly collapsed in on itself, not even making back its modest, if not entirely threadbare, budget. You can honestly see why.

Continue reading “DOWN TO YOU: A Millennial Romance (2000 in Film #3)”
Film, Reviews, X-Men

Franchise Retrospective: X2: X-MEN UNITED (2003)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Bryan Singer’s sequel, 2003’s X2…

Though far more of a muscular and accomplished film than its predecessor, X2: X-Men United would never have worked without it.

X2 is in danger of being overlooked in our era of dominant comic-book movie franchises and behemoth superhero pictures as one of the key, formative pieces of cinema in the genre, something we must work hard to avoid. Bryan Singer’s sequel is a skilled piece of work which does precisely what a follow up is designed to do – build on the foundations of the previous film, add complications and greater depth, and provide a heightened, meaningful experience. X2 does that very successfully. It is The Empire Strikes Back to X-Men’s A New Hope. It even has strong shades come the denouement of Star Trek II: The Wrath of Khan in how it punches you with an earned sacrifice on one hand, while promising a rebirth on the other. X2 feels like a picture that everyone involved had been constructing in their minds long before it was ever committed to celluloid.

On that basis, X2 feels on some level like the first truly meaningful X-Men movie but one that needed the prologue of the original 2000 film in order to function in the manner it does. When Singer came back to helm the sequel, he combined screenplays by David Hayter—who penned the previous movie—and Zak Penn, brewed up with rewrites from Michael Dougherty and Dan Harris, in order to fuse together a film which develops many of the established character arcs from X-Men, placed the film distinctly in a post-9/11 context, and digs deep into the ideological and existential conflict between Professor X and Magneto – namely whether mutants should believe in humanity or reject and destroy them. It does this while never forgetting the human cost of being different, exploring the difficulty of living with what genetics, evolution, gives you in a less than tolerant society.

X2 does this with a poise and panache that few comic-book movies have equalled since.

Continue reading “Franchise Retrospective: X2: X-MEN UNITED (2003)”