Tag Archives: action

Restrepo (2010)

Restrepo (Hetherington and Junger, 2010)

Cinema offers viewers the ability to visit different landscapes, different worlds, different universes; however, these journeys are usually kept within the confines of a constructed reality, a world that exists on the reels of film and perhaps in our minds, but not in our ‘world.’ Documentaries still create this barrier, but the realism of the genre is at worst an examination of a world that many of us are unaware of and are, at best, a portrayal of some truth that all great films can reach. I have not, and likely will not, travel to Afghanistan in my lifetime, nor do I plan on fighting in any literal wars, so Restrepo‘s portrait in to life during wartime in one of the world’s most dangerous conflict zones makes an attempt at capturing the spirit of men tied together by a desire for combat. Continue reading


The Green Hornet (2011)

The Green Hornet (Gondry, 2011)

I had a chance to catch an advanced 3-D screening of Michel Gondry’s latest film, The Green Hornet, last night, so I am taking a bit of a break from my 2010 coverage to venture in to the present. Never early enough to get a jump on the current year, especially when that jump involves the director of Eternal Sunshine of the Spotless Mind, Be Kind Rewind, and others. Not to mention a script from the men who penned Superbad, an Asian pop star taking up acting, and one of the more compelling comedians working today. So with all this talent involved this cannot possibly go wrong, right? Continue reading

Turn The Bunsen Burner On. My Creation Comes Alive.

TRON: Legacy (Kosinski, 2010)

Earlier in the year we had princes of Persia, men made of iron, ogres in quadruple, more vampires, and dream theft. All, in their own way, disappointments, at least of the ones I had the unfortunate chance to view (so all except Shrek, Twilight and Prince of Persia). Without the potential promise of a Nolan at the helm or the inclusion of a Robert Downey Junior in front of the camera I placed on my 3-D glasses with great hesitancy as this sequel to a film I have only tangentially experienced through Kingdom Hearts II displayed the oddest warning about 3-D versus 2-D presentation typed itself across the screen. So without any of these draws, without this background knowledge, with all these warnings could TRON turn in a strong showing or make me wish I had been derezed?

What stands out about the latest film with ties to the Mouse House is not, as one may suspect, the stellar art design, transcending the previous look of TRON in favor for a much more stylized, slickly contemporary video game look. No, what really stands out is the incredible sound design, perfectly mixed to bring life to a world that, for the majority of viewers, is likely unimaginable and alien. The metallic sounds, the movement of the vehicles, the clicking of circuits, it all remains understated while still being integral to the experience as a whole. The Daft Punk soundtrack was highly touted leading up to the film’s release, but the star is the sound mixing and editing, two categories that it should be acknowledged for in a few months when Oscars roll around. But beyond this what stands out, perhaps even more, is the composition of frames. The director makes incredible use of symmetry to establish the highly mechanized world in which these individuals inhabit. All of these aspects seem to fire in perfect unison, making for a startlingly superb technical thrill ride.

But a film can have all the technical prowess it desires, if those aspects do not feed in to a higher purpose then a film is likely to flounder. What TRON: Legacy gets correct is keeping the core story incredibly bare bones and then adding on to these common themes (father and son reunite, stopping evil from taking the world) by layering a bit more subtext. The thoughts that are spouted off by the older Flynn force the story to turn its attention away from the generic evil that is found in Clu and focus it on humanity’s quest for perfection. It is through this search that much of the narrative weight is present, and while the movie does not do a great job of establishing exactly what Clu could do if he escapes, at least not until the very last scene when we see transference from the grid back to the real world, the twisted pursuit of his goal and the havoc he has wreaked on the grid does establish the potential threat of what may be possible if he escapes.

The film is brilliant in the way that it balances tremendous action alongside these higher, albeit overly dramatized, concepts. The film simply continues going, which I find incredibly admirable. By constantly expanding the scope of the ideas it tackles, all very well integrated into the fiction and narrative, the film starts to become existential. What is perfection? How does humanity develop? Do we need help? How do we exist? What can imperfection mean in the pursuit of perfection? Granted these ideas are not always handled completely, but the presence of such concepts in a film of this magnitude are incredibly refreshing. By having creations taking on human forms and still exploring the meaning of existence, of problems and conflicts that have spurred some of the largest conflicts of mankind, the film reaches a level of near brilliance without sacrificing the fun of a large scale action flick or existing as too serious. The main conflict is also genius in the way it has man take on himself, while still externalizing the conflict on a large scale level. Truly tremendous construction that holds a startling amount of narrative weight.

I was not sure how I would respond to TRON going in to the film, but the solid acting across the board, with some highlights breaking that solid descriptor, keeps the film moving and constantly developing in a way that nearly mirrors the more successful parts of the Star Wars franchise. On top of all that I do not feel as if I was ever lost because I did not see the original film, yet this one never was weighed down by exposition. TRON is plenty full of flaws, but despite it all the film still manages to be much more than a simple thrill ride and, when it comes down to it, we need more mainstream films like TRON: Legacy.

Forever off the grid,


Comments are encouraged and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad or twitter.com/ProcessedGrass.

Top 97 Films (Part Two)

Exactly one year ago today, well actually one year and two days ago today, I published my list of Top 97 Films at the older version of Processed Grass with the intention of revisiting the list one year later to see how things had changed. As I compiled my list this year I found quite a few surprises, some films that did not settle as well as I had originally perceived, and one major shake up that was about three years in the making. As usual, I will revisit this list next year on August the 17th and post a third updated list. But so much for the talking, let’s get to the films! Continue reading

I’ve Liked You For A Thousand Years. I Can’t Wait Until I See You.

Scott Pilgrim vs. the World (Wright, 2010)

In the past few years the Hollywood interest in comic book films has continued to crescendo with huge critical and financial successes such as the Spiderman, Iron Man, and Batman franchises. Aside from being overly saturated by testosterone, such hits have lined summers with blockbuster after blockbuster by sticking to a generic story telling structure of origin stories and world threatening conflict to provide enough action to coerce the adrenaline to come out and frolic. But top tier names are only so plentiful, so the surge in comic book popularity led to various graphic novels getting translations to the silver screen in the form of Watchmen, Sin City, and most recently Kick-Ass. These films focus heavily on action, but the visual flourishes in these films are much more prominent and distinctly separate them form the larger hyped films. So when a director whose claim to fame is his astounding ability to deftly blend genres tackles a film that asks him to combine the entertainment of high action sequences with the charm of a niche graphic novel when I reach a killscreen am I going to want to press continue? Continue reading