Movies
I saw Freedomland last night. Words cannot begin to describe the mess that it was. Quite honestly, it was different than what I expected, but it was so poorly written and directed, that it lost all semblance of respectability. The subject matter was racial tension as was evident by the trailer, but there was a good twist about three quarters of the way in. Julianne Moore was absolutely godawful, but I am just going to assume that's because they gave her ridiculous lines to deliver. In my eyes, Julianne can do know wrong.
And today, I watched a far, far better movie than Freedomland -- Capote. So now, I have officially all five best picture nominees for the first time in my life. But the saddest part is that I only truly enjoyed one of the five (which was the one I saw today). Capote was absolutely fascinating. Unlike the rest of the people out there, I didn't like it because PSH was melted into his role, but because the screenplay was so complex. I love how it didn't force any opinions upon the viewer. It didn't try to deliver some nicely packaged message to take home (like Crash did). It laid out the facts in their stark, visual splendor and let the audience form its own conclusions. It didn't require anyone to take sides for or against the killer. Thus, almost effortlessly, Bennett Miller makes a delving character study into what makes Truman Capote tick. One can say that Munich was equally complex without picking sides. However, there was no subtlety in Munich. Actually, there is never much subtlety in Spielberg's work...And I still don't think I needed to see Eric Bana thrusting while cross-cutting to flashbacks of the Israeli murders. Capote and Munich both ended up being about guilt. Despite Munich's subject matter and it's relevance over the past 50 years, I feel that the question it asks has been repeated numerously and has not once produced a valid answer. We will never know whether it is justifiable to perpetuate the cycle of violence. Capote, on the other hand, meets success mainly because it tackles the issue of guilt on a much more managable level. Truman Capote represents only Truman Capote and is thus saved from Avner's burden of carrying an entire nation.
I bet that made no sense at all (if people bothered to read it). More on why I think Good Night, and Good Luck, Crash, and Brokeback are all overrated later. Well, maybe if I feel like it.
And today, I watched a far, far better movie than Freedomland -- Capote. So now, I have officially all five best picture nominees for the first time in my life. But the saddest part is that I only truly enjoyed one of the five (which was the one I saw today). Capote was absolutely fascinating. Unlike the rest of the people out there, I didn't like it because PSH was melted into his role, but because the screenplay was so complex. I love how it didn't force any opinions upon the viewer. It didn't try to deliver some nicely packaged message to take home (like Crash did). It laid out the facts in their stark, visual splendor and let the audience form its own conclusions. It didn't require anyone to take sides for or against the killer. Thus, almost effortlessly, Bennett Miller makes a delving character study into what makes Truman Capote tick. One can say that Munich was equally complex without picking sides. However, there was no subtlety in Munich. Actually, there is never much subtlety in Spielberg's work...And I still don't think I needed to see Eric Bana thrusting while cross-cutting to flashbacks of the Israeli murders. Capote and Munich both ended up being about guilt. Despite Munich's subject matter and it's relevance over the past 50 years, I feel that the question it asks has been repeated numerously and has not once produced a valid answer. We will never know whether it is justifiable to perpetuate the cycle of violence. Capote, on the other hand, meets success mainly because it tackles the issue of guilt on a much more managable level. Truman Capote represents only Truman Capote and is thus saved from Avner's burden of carrying an entire nation.
I bet that made no sense at all (if people bothered to read it). More on why I think Good Night, and Good Luck, Crash, and Brokeback are all overrated later. Well, maybe if I feel like it.