By Brett Blake
With the new STAR WARS film shattering box office records and taking over the cinematic world, Brenton Thom and I thought it would be fun to do a mini-episode of The Cinematic Confab in order to really let loose and break down the movie from all angles. Now, this talk is SPOILER HEAVY, so if you haven’t yet seen the movie, don’t listen until you have, but feel free to read my spoiler-free review of the movie right here. Those of you who have seen the movie, please enjoy our in-depth discussion of what we liked, issues we had, and some speculation for the future of the STAR WARS franchise!
Disclaimer: The Cinematic Confab is a non-profit entertainment and analysis podcast. All audio clips and music cues used are the property of their individual copyright holders. They are presented here under the banner of “Fair Use,” for the purpose of analysis, criticism, and/or humor. No infringement of copyright is intended.
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By Brett Blake Is very good good enough? For a movie as hyped as STAR WARS: THE FORCE AWAKENS - easily one of the most anticipated of all time - that’s a question viewers will have to answer for themselves. THE FORCE AWAKENS most assuredly is good, a breezy and often thrilling return to form for the franchise. But it’s not full-on a masterpiece, and it is undercut by storytelling choices which - though forgivable - test just how much one is willing to overlook when it comes to writing issues. Those who can overlook that stuff will find themselves rewarded with an incredibly propulsive ride, a host of winning new characters, the return of some old favorites, and engaging action sequences that both exhilarate and say something about the characters involved in them. Spoilerphobia is a very real phenomenon when it comes to this movie (and rightly so), so how does a person even begin to discuss the plot? The official synopsis - direct from the studio’s mouth - reads as follows: “30 years after the defeat of the Galactic Empire, a new threat rises. The First Order attempts to rule the galaxy and only a ragtag group of Heroes can stop them, along with the help of the Resistance.” Treading gently beyond that, it can be said that a disparate band of heroes - Rey (Daisy Ridley), Finn (John Boyega), Poe Dameron (Oscar Isaac), and the droid BB-8 - find themselves in conflict with the forces of evil, personified by the sinister Kylo Ren (Adam Driver), the opportunistic and passionate General Hux (Domhnall Gleeson), and their shadowy master, Supreme Leader Snoke (Andy Serkis). Aiding the heroes are faces from the past - Han Solo (Harrison Ford), Chewbacca (Peter Mayhew), General Leia Organa (Carrie Fisher), C-3PO (Anthony Daniels), R2-D2, and Luke Skywalker (Mark Hamill). It is no spoiler to report that all of these characters are most definitely in the movie, but the extent to which any of them factor into things is not something you will find described here. There are reveals in the film (some of which border on being called twists) that should best be discovered when watching for the first time, so nothing more will be said about the specifics of the plot. Director J.J. Abrams had a very important job with this movie: to wash out the taste of the Prequels from the mouths of the audience and remind them what true STAR WARS tastes like. By that measure, the movie is a spectacular success. To say that THE FORCE AWAKENS feels different from the Prequels would be simply a gigantic understatement. What is the difference? Unlike those three movies, this one actually feels like classic STAR WARS, both aesthetically and tonally. The combination of thrilling, exhilarating adventure, humor, earnest humanity, and spiritual/mythological lore (essentially all of which the Prequels lacked) that made the Original Trilogy so beloved is here in full force (excuse the pun). Above all else, the movie is fun, which - even in their better moments - the Prequels rarely were. Simply put, that intangible STAR WARS “magic” is back, and mildly flawed though it may be, THE FORCE AWAKENS is miles ahead of the Prequels in terms of story, character, and overall quality. Now, what of those flaws? The biggest criticism I can level at the movie is that it plays things incredibly safe, and takes no real risks in its plotting. For example, for all the celebrating seen at the end of RETURN OF THE JEDI, we pick up the story 30 years later with the status quo not really having changed much. Yes, we’ve now got the “Resistance” and the “First Order” instead of the “Rebellion” and the “Empire,” and there is an unseen benevolent government supposedly in control of parts of the galaxy, but the power dynamics between the two factions are more-or-less the same. In retrospect, one can’t help but feel this undermines JEDI’s hopeful conclusion in some way. It’s a lazy route to take, as it coasts on the familiarity the viewer has with the “Rebels vs. the Empire” conflict; it’s the same conflict here, just with different names. It seems that flipping the positions - having our heroes be slightly more on the dominant side of the continuing conflict, with the villains being the scrappy, fanatical insurgents with nothing to lose - would have been a far more interesting direction to go. Moreover, the plot of THE FORCE AWAKENS is heavily influenced by the Original Trilogy, to the extent that many of the story points from those films are included here, almost as if we’re seeing a condensed version of STAR WARS, THE EMPIRE STRIKES BACK, and RETURN OF THE JEDI retold in one movie (in terms of plot beats), albeit with enough spins to not feel like a shameless rehash. That’s not to say it all isn’t fun to watch, because it absolutely is, nor is it to say that the entirety of the plot is a retread - in fact, the central mystery at the heart of the film (introduced in the very first sentence of the opening text crawl) is very much the sort of thing we haven’t yet seen from a STAR WARS movie - but one does get the feeling that this new trilogy is most likely saving its truly compelling and gutsy ideas for the next installment, EPISODE VIII (due in May, 2017). Where the movie does fully chart its own course is in its introduction of the major new characters, nearly all of whom are vibrant, distinct, and engaging “types” to appear in the STAR WARS saga. Rey and Finn offer fresh eyes through which to view this universe, and Daisy Ridley and John Boyega light up the screen whenever they’re on it (which is most of the running time); they are instantly appealing, and their characters’ journeys do take them to some interesting places. Boyega proves himself to be incredibly capable with action and humor, while Ridley - something of an unknown quantity - is a revelation, giving a deeply emotional performance that will surely make her a star. Rounding out the core trio of new heroes is Oscar Isaac’s Poe, who exudes the sense of being a truly “good guy” without veering into over-earnestness or schmaltz, and Isaac gives the character a real charisma that infects the other actors around him, particularly Boyega. Domhnall Gleeson and Andy Serkis have kind of thankless parts on the page (the script is pretty much content just to set them up for the future), but they still bring personality to the roles; Gleeson, particularly, has a wonderful moment riling up an assembly of stormtroopers that is striking in its ferocity. However, the true standout among the new characters is Adam Driver’s Kylo Ren, easily the most complex and interesting villain we’ve seen so far in the entire STAR WARS saga. His visual presence alone is instantly iconic, and Driver’s performance (mostly under a mask) is charged with dark, raw emotion. The most intensely dramatic moments in the film feature Ren (including a climactic lightsaber fight which is easily more powerful than the acrobatics found in the Prequel fights), and Driver gives the character a brooding petulance - which is masking his inner conflicts - and an understated fanaticism that is often chilling. He is every inch a worthy heir to the likes of Darth Vader and the Emperor, and is more psychologically compelling than either of them. Of the characters returning from the Original Trilogy, the only one I feel even remotely comfortable discussing - because he’s been heavily featured in the movie’s ads - is Han Solo. Though I have not bought into the argument that Harrison Ford has been grouchily sleepwalking through his roles in the last 10 years (which, unfortunately, is a fairly common perception among movie buffs), it is absolutely true that his return to Solo finds him totally reinvigorated. This is the Han Solo you remember, the charming rogue, and Ford is clearly having the time of his life, which makes his scenes a blast to watch. His interplay with Chewbacca, particularly, provides many of the movie’s best laughs. Beyond the characters, there are so many elements that are just plain delightful. BB-8, the major new droid character, all but steals the entire film, bringing a level of playfulness to the movie that nicely compliments our old favorites, R2-D2 and C-3PO. BB-8 is an instant home-run addition to the STAR WARS galaxy of characters, and kids (and a fair share of adults, I’m sure) will no doubt totally love him. The pacing of the movie is incredible, moving like a freight train from entertaining action setpieces to character beats back to thrilling setpieces without undercutting either; it’s some of the best editing of the year. Also some of the best of the year? The visual effects. Yes, there is a lot of CGI in the movie, but it feels textured and lived-in, and some of the primary digital characters are nearly photo-real. Finally, we have John Williams, who - seemingly effortlessly - has given us the greatest score of 2015, one which doffs it cap to the recognizable themes of the past while giving us at least two (and probably more; an extensive listen of the album will tell the tale) major new themes that take their places comfortably within the Williams/STAR WARS “sound.” That Williams - at age 83! - can still create musical magic at this level is remarkable. Again, the question is asked: is very good good enough? Will you be disappointed if THE FORCE AWAKENS isn’t the GREATEST MOVIE EVER? Because it isn’t. Personally, I’m of the opinion that nobody should ever take a good movie for granted, particularly if it’s a STAR WARS movie, so I'm more than satisfied with the final result here. STAR WARS: THE FORCE AWAKENS is entertaining on a grand scale, and it’s the best blockbuster of the year. Bring on the next one. By Brett Blake Horror is my favorite genre, and Christmas is second only to Halloween as my favorite holiday. It’s probably not surprising, then, that a horror movie set at Christmas is something I would embrace. I say this to provide a bit of context, because I absolutely loved KRAMPUS. It might not be one of the best movies of the year, but it is definitely one of my favorites of the year, with its gleefully sinister holiday trappings, joyously malevolent creatures, and playful sense of humor that somehow never undermines the seriously dark stakes of the tale. The narrative revolves around an extended family (the various branches of which are headed by Adam Scott & Toni Collette and David Koechner & Allison Tolman) gathering at Christmas. Young Max (Emjay Anthony), already on the verge of no longer believing in Santa and the magic of the holiday, finds himself pushed to the limit by his family’s inability to get along with each other, and in a fit of anger and sorrow, he decries the very holiday itself, an act which summons the legendary Krampus - the so-called “Shadow of Saint Nicholas” - and his small army of dark helpers to the family, who find themselves trapped by an unearthly snow storm. All manner of spooky holiday mayhem then ensues. There’s no shortage of Christmas-themed horror movies out there, though - surprisingly - there aren’t many that are actually any good. 1974’s BLACK CHRISTMAS and the aforementioned GREMLINS are kind of the towering achievements of the subgenre (though it could be argued that some of the darker interpretations of Dickens’ A CHRISTMAS CAROL offer a few legitimately creepy moments), and while KRAMPUS doesn’t quite match them (that would be an unrealistic expectation, anyway), it is a more than worthy entry. Director Michael Dougherty, of the cult classic TRICK ‘R TREAT, has given Christmas the same treatment he gave Halloween in that earlier film. This is a movie drunk on the iconography of the holiday, and while there’s a slightly subversive streak to it (as it pokes fun at consumerism and lack of familial harmony), it’s ultimately an ode to what the holiday should be about. His cast is absolutely on the same page as he is, bringing an ever-so-slight tongue-in-cheek sensibility to the proceedings but also playing the emotional states of the characters completely for real. Given their backgrounds, Scott and Koechner carry the humorous moments with ease, while Collette keeps the emotional stakes up front and believable at all times. This balance is what keeps KRAMPUS from being just a silly lark and elevates it to the status of legitimate cinema. There is a strong morality play unfolding here, even as the movie isn’t afraid to cut loose and have some fun. For all its humor (and there are many funny moments), this is still a proper horror movie; the intensity level is right where fans of scary movies would want it to be, and it pushes the boundaries of its PG-13 rating in ways that are surprisingly edgy. The filmmakers treat the horror elements straight, and never come anywhere close to embracing camp, which would have been an easy impulse to indulge, given that the subject matter is just this side of goofy. It’s a movie steeped in its influences, but instead of this resulting in a cliched pastiche, what we have here feels like a unique fusion, a fresh blend of humor and horror. There are nods of the head, certainly, to movies as far-ranging as POLTERGEIST, HOME ALONE, THE EVIL DEAD, GREMLINS, NIGHT OF THE LIVING DEAD, and NATIONAL LAMPOON’S CHRISTMAS VACATION, but no overt “references” to take a viewer out of the story. Wrapping this holiday horror melange in a darkly festive bow of ancient Alpine folklore (some of which is detailed in a wonderful and creative animated sequence in the middle of the movie) is a near-masterstroke, as it allows the movie to play upon our familiarity with the Christmas holiday and its traditions while also showing us something that - at least in my estimation - has remained a fairly obscure footnote in Yuletide mythology. When one considers that the vast majority of the movie was created on sound stages in New Zealand, the production design and art direction are absolutely top notch, enhancing the snowbound, chilling mood perfectly. This mood is equally aided by sound design that is borderline Oscar-worthy; from howling winds to unsettling noises in the house, the sound work pulls out all the stops to emphasize both the wintry setting and the monstrous activity that descends upon the characters. Composer Douglas Pipes contributes a score which manages to feel both Christmasy and horrific; he utilizes the melodies and rhythms of several classic carols and puts his own macabre spin on them, and for the sequences of terror, he conjures up a gigantic orchestral sound that is nearly operatic. In an age of CGI, where filmmakers routinely go to animation for complex or outlandish characters, KRAMPUS is a refreshing throwback to the days of puppets, animatronics, and makeup. Sure, there are CG elements in the movie, but the bulk of the extraordinary and inventive creature design work is achieved through practical means. This lends the movie a tactile and weighty quality which helps the violence and mayhem to really hit harder than your typical computer-generated antics tend to do. The deranged elves and gleefully ghoulish killer toys are outrageously creepy (guaranteed nightmares-waiting-to-happen for younger audience members), but they’re merely a prelude to the title creature himself; Krampus is a fantastically evocative and eerie creation, often hidden in shadow or silhouette, and he's an instantly iconic addition to cinematic depictions of Christmas. KRAMPUS is a clever, twisted, and - yes - even heartfelt horror yarn that can take its place beside GREMLINS as one of the best examples of Christmas terror. So this weekend, if you find yourself confronted with sold out showings of STAR WARS: THE FORCE AWAKENS, you could do a lot worse than seeing KRAMPUS as your fallback option. It's all kinds of fun. |
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