I_Ailurophile
Joined Oct 2002
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I_Ailurophile's rating
I'm a very cynical person by nature. You tell me that Steven Spielberg is making a movie about his life, the very name of which is self-referential, and I wonder how much earnest reflection and storytelling we'll get, and how much self-absorbed navel-gazing. I readily admit that cynicism also left me predisposed to sour first impressions, as seen even early on with what I felt to be overly cutesy playfulness, instances of atypical forced acting from respected actor Michelle Williams, and a seeming mind (and eye, and ear) for short bursts of reminiscence, with varying degrees of sincerity, more than true thoughtfulness. I had some doubts in the first place, and these were not fully allayed as the minutes started ticking by. Even some choices of lighting and cinematography portend a strange sense of heightened artificiality, let alone select choices of writing or direction, including pacing even within individual scenes.
Be that as it may, however, there is a reason this picture was so highly lauded upon release, and nominated for many awards, and I recognize this, too. For my part I don't necessarily believe 'The Fabelmans' is actually fully deserving of all that high regard - but where this operates at its best, it absolutely thrives. Once Spielberg's self-insert protagonist Sammy, reliving many of the filmmaker's own life experiences, enters his teen years and begins taking the art of cinema very seriously (around thirty minutes in, for those keeping track), the movie gradually finds more strength in uneven fragments, strength which gradually begins to eclipse the weaker facets of the whole. At its best, we see the ingenuity of Spielberg when he was growing into a burgeoning filmmaker (reflected in Sammy), and when he tells the story of a sometimes difficult family life, and when these two parts of him are at odds. At its best, 'The Fabelmans' is in fact brilliant, and through it one learns to appreciate Spielberg all the more.
Case in point, the man has accordingly remarked that part of his driving inspiration for the screenplay was the question "when does a young person in a family start to see his parents as human beings?" We discover Spielberg's answer beginning at the one-hour mark in a sequence that exemplifies all that this feature does so well, and from then on the tenor notably changes. Further accentuating the point, not long after this is a point where all the dishonesty is palpably dropped from Williams' performance, and the effect is so jarring that there's no question in my mind she earned those nominations for Best Actress. For all the unevenness one might subjectively scrutinize, the acting is roundly outstanding - further including stellar work from Paul Dano, Seth Rogen (yes, Seth Rogen), young Gabriel LaBelle and Julia Butters, Judd Hirsch, the late and dearly missed David Lynch (in a role that would fit right in with 'Twin Peaks'), and frankly all others on hand, no matter the size of their part. Moreover, as the length draws on, those elements that first made such a sour first impression all carry more real import on their own merit as the entirety crystallizes more and more. Long before all is said and done, the faults we may discern are handily outshone by the excellence.
Granted, this is not to say that there are no flaws here, and there are still times even through to the end when the sense of style about the film seems to supersede its substance. In other instances the substance Spielberg wants to drive at doesn't quite land, and I'm also not sure that this needed to be as long as it is. But the very personal and somewhat introspective nature of the material ultimately shines through, helping Spielberg as both director and co-writer with Tony Kushner, and all others involved, to latch onto, convey, and amplify the significance of what the flick has to say and do. Nitpick as we may, far more than not everything about 'The Fabelmans' is fantastic: the writing and direction, the acting, John Williams' score, the cinematography, those stunts and effects that are employed, the production design, the costume design, hair, and makeup, and the editing. For all the doubts I had any any time before or during my watch, I'm so very pleased with how good the result is. And if a movie can overcome my cynicism, that speaks very well to it.
I don't think this is necessarily something one needs to go out of their way to see, but whether one has a particular impetus to watch or is just looking for something worthwhile, at length it's well worth checking out.
Be that as it may, however, there is a reason this picture was so highly lauded upon release, and nominated for many awards, and I recognize this, too. For my part I don't necessarily believe 'The Fabelmans' is actually fully deserving of all that high regard - but where this operates at its best, it absolutely thrives. Once Spielberg's self-insert protagonist Sammy, reliving many of the filmmaker's own life experiences, enters his teen years and begins taking the art of cinema very seriously (around thirty minutes in, for those keeping track), the movie gradually finds more strength in uneven fragments, strength which gradually begins to eclipse the weaker facets of the whole. At its best, we see the ingenuity of Spielberg when he was growing into a burgeoning filmmaker (reflected in Sammy), and when he tells the story of a sometimes difficult family life, and when these two parts of him are at odds. At its best, 'The Fabelmans' is in fact brilliant, and through it one learns to appreciate Spielberg all the more.
Case in point, the man has accordingly remarked that part of his driving inspiration for the screenplay was the question "when does a young person in a family start to see his parents as human beings?" We discover Spielberg's answer beginning at the one-hour mark in a sequence that exemplifies all that this feature does so well, and from then on the tenor notably changes. Further accentuating the point, not long after this is a point where all the dishonesty is palpably dropped from Williams' performance, and the effect is so jarring that there's no question in my mind she earned those nominations for Best Actress. For all the unevenness one might subjectively scrutinize, the acting is roundly outstanding - further including stellar work from Paul Dano, Seth Rogen (yes, Seth Rogen), young Gabriel LaBelle and Julia Butters, Judd Hirsch, the late and dearly missed David Lynch (in a role that would fit right in with 'Twin Peaks'), and frankly all others on hand, no matter the size of their part. Moreover, as the length draws on, those elements that first made such a sour first impression all carry more real import on their own merit as the entirety crystallizes more and more. Long before all is said and done, the faults we may discern are handily outshone by the excellence.
Granted, this is not to say that there are no flaws here, and there are still times even through to the end when the sense of style about the film seems to supersede its substance. In other instances the substance Spielberg wants to drive at doesn't quite land, and I'm also not sure that this needed to be as long as it is. But the very personal and somewhat introspective nature of the material ultimately shines through, helping Spielberg as both director and co-writer with Tony Kushner, and all others involved, to latch onto, convey, and amplify the significance of what the flick has to say and do. Nitpick as we may, far more than not everything about 'The Fabelmans' is fantastic: the writing and direction, the acting, John Williams' score, the cinematography, those stunts and effects that are employed, the production design, the costume design, hair, and makeup, and the editing. For all the doubts I had any any time before or during my watch, I'm so very pleased with how good the result is. And if a movie can overcome my cynicism, that speaks very well to it.
I don't think this is necessarily something one needs to go out of their way to see, but whether one has a particular impetus to watch or is just looking for something worthwhile, at length it's well worth checking out.
Its reputation certainly precedes it, yet I don't think I was prepared for what 'Dog day afternoon' turned out to be. Between Victor J. Kemper's cinematography and even more so Sidney Lumet's direction, there is more raw energy in this crime drama than most action flicks can claim. This is reflected in how most any given moment is orchestrated or shot, and most of all in the performances of the cast, namely John Cazale and especially icon Al Pacino. Pacino's portrayal of ill-prepared bank robber Sonny Wortzik exists somewhere on a spectrum between the cold calm of Michael Corleone and the unhinged haggardness of select roles the man has played later in his career, and the result is a real pleasure as a viewer on top of everything else. This is to say nothing of how the film throws us directly into the course of events with no (unneeded) exposition, or the wry sense of humor that pervades much of the first half as these would-be crooks falter at every step - all while unexpectedly currying favor with the public, and learning for themselves how astonishingly reckless and untrustworthy cops are in every possible scenario.
In both its more raucous or violent moments and even where the proceedings are outwardly more quiet, as they subtly and fluidly turn in the latter half, this boasts a simmering intensity that's marvelously absorbing - made only more so by the smart declination of a score over top, allowing events to speak entirely for themselves. Lumet and his cast are more than dexterous enough to bring the drama to bear wherever the story takes them, a further great credit to supporting co-stars like Charles Durning, or Chris Sarandon, who in only a couple of key scenes threatens to steal the show. And this feature would be nothing without screenwriter Frank Pierson, who so ably weaves a very human story, with stark scene writing and underhandedly complex characters, and without getting bogged down in the bigger ideas that the saga could very easily have accentuated still more. Case in point, the tale of these real-life events is also one tied to the gay community, and the trans community. Despite the living history of how horribly LGBTQ people have been treated in this country and by cinema, however, this refuses to fall into the same trap, and likewise declines to speak to these demographic considerations any more than it needs to. Pierson, Lumet, and all others involved are zeroed in purely on the broader strength of the storytelling, and through that lens all the component parts are given all the power they need.
With top-notch production design, sound design, and stunts and effects rounding things out - and before all is said and done, splendidly sharp editing - this picture becomes altogether entrancing at no time at all. Even the dialogue is notably keen. For all the difficulty I commonly have in maintaining brevity when speaking of movies, sometimes it's the mark of an indelible classic that it draws me in so much that I find myself at a relative loss for words. Despite some reservations, I couldn't be happier that 'Dog day afternoon' more than proves itself to be one of those classics. It holds up stupendously, and all told I'm somewhat aghast that it didn't benefit from still more praise and recognition upon release. So far as I'm concerned this is a gem that all but demands viewership, and I'm glad to give it my high and hearty recommendation!
In both its more raucous or violent moments and even where the proceedings are outwardly more quiet, as they subtly and fluidly turn in the latter half, this boasts a simmering intensity that's marvelously absorbing - made only more so by the smart declination of a score over top, allowing events to speak entirely for themselves. Lumet and his cast are more than dexterous enough to bring the drama to bear wherever the story takes them, a further great credit to supporting co-stars like Charles Durning, or Chris Sarandon, who in only a couple of key scenes threatens to steal the show. And this feature would be nothing without screenwriter Frank Pierson, who so ably weaves a very human story, with stark scene writing and underhandedly complex characters, and without getting bogged down in the bigger ideas that the saga could very easily have accentuated still more. Case in point, the tale of these real-life events is also one tied to the gay community, and the trans community. Despite the living history of how horribly LGBTQ people have been treated in this country and by cinema, however, this refuses to fall into the same trap, and likewise declines to speak to these demographic considerations any more than it needs to. Pierson, Lumet, and all others involved are zeroed in purely on the broader strength of the storytelling, and through that lens all the component parts are given all the power they need.
With top-notch production design, sound design, and stunts and effects rounding things out - and before all is said and done, splendidly sharp editing - this picture becomes altogether entrancing at no time at all. Even the dialogue is notably keen. For all the difficulty I commonly have in maintaining brevity when speaking of movies, sometimes it's the mark of an indelible classic that it draws me in so much that I find myself at a relative loss for words. Despite some reservations, I couldn't be happier that 'Dog day afternoon' more than proves itself to be one of those classics. It holds up stupendously, and all told I'm somewhat aghast that it didn't benefit from still more praise and recognition upon release. So far as I'm concerned this is a gem that all but demands viewership, and I'm glad to give it my high and hearty recommendation!
It just so happens that I first watched this long before I really knew who David Cronenberg was, or about the other films he has made or is best known for, or even the other folks he has collaborated with. Even then, fairly fresh as I was to cinema, I adored 'eXistenZ' and recognized how imaginative, bold, forward-thinking, and original it was. Having since watched everything else the man has made and loved his oeuvre far more than not, I've been long overdue to revisit what I think may have been the first of his pictures I saw - and twenty-some years after that first experience, Cronenberg's reality-bending vision is still a wild, wondrous dream. With the warping of biology and science fiction technology that is the linchpin of the story and its visuals it's easy to see how this fits in among everything ranging from 1975's 'Shivers' to 2022's 'Crimes of the future,' and anyone who appreciates the weird or experimental side of the medium owes it to themselves to watch this modern classic.
Futuristic biotech, true virtual reality immersion, corporate intrigue, grave personal danger, and losing touch with oneself and with reality make for an incredible, difficult journey of a thriller as the minutes tick by. While the flick tends to maintain a fairly low-key tenor, bursts of violence, a cornucopia of strangeness, and a pervasive unnerving atmosphere keep us raptly absorbed to see just where Cronenberg will take us next as the story develops. This is to say nothing of the eye-opening cast of familiar names and faces who unfailingly embrace the oddness with all the range, nuance, and emotional depth that is called for (above all Jennifer Jason Leigh and Jude Law), nor the gnarly sights that greet us around almost every corner. The stunts, practical effects, and physical props that dominate the proceedings - not to mention fantastic, roundly enticing production design and art direction, costume design, and hair and makeup - are an absolute blast at all turns, including an amount of blood and gore that should be no particular surprise to those familiar with Cronenberg. As post-production digital wizardry is employed sparingly and judiciously to fill necessary corners, the usage is just as terrific, making the whole all the richer.
Twists and layers bound in the captivating narrative, with scene writing so intense and engrossing that we can hardly tear our eyes away. I can hardly speak any more highly of how marvelously Cronenberg's dialogue and even characters enhance the viewing experience - and watching now, I have to wonder if this isn't some of the most tight and fully-fledged direction the man has turned in his career. To this excellence add the sharp editing of Ronald Sanders, robust and thoughtful sound design and slick sound effects, the keen cinematography of celebrated Peter Suschitzky, and not least the stupendous original score of regular Cronenberg collaborator and composer extraordinaire Howard Shore, music which does so very much to add to the uneasy ambience of the feature. To whatever extent one might arguably draw points of comparison with what 'eXistenZ' does, far and away the movie is so spectacular that it frankly just seems pointless to level any measure of critical scrutiny.
I loved it when I first watched years ago, and I love it now. There's a reason Cronenberg is one of my favorite directors, and while not all his works are equal, at his best he commands a mastery of film-making that demands our utmost respect and admiration. To my immense pleasure, this holds as such a great and enjoyable treasure that it surely counts among the man's best. One must certainly be open to the left-field spaces it plays in, but provided that or the violence are no obstacles, I can only give 'eXistenZ' my very high, hearty, and enthusiastic recommendation!
Futuristic biotech, true virtual reality immersion, corporate intrigue, grave personal danger, and losing touch with oneself and with reality make for an incredible, difficult journey of a thriller as the minutes tick by. While the flick tends to maintain a fairly low-key tenor, bursts of violence, a cornucopia of strangeness, and a pervasive unnerving atmosphere keep us raptly absorbed to see just where Cronenberg will take us next as the story develops. This is to say nothing of the eye-opening cast of familiar names and faces who unfailingly embrace the oddness with all the range, nuance, and emotional depth that is called for (above all Jennifer Jason Leigh and Jude Law), nor the gnarly sights that greet us around almost every corner. The stunts, practical effects, and physical props that dominate the proceedings - not to mention fantastic, roundly enticing production design and art direction, costume design, and hair and makeup - are an absolute blast at all turns, including an amount of blood and gore that should be no particular surprise to those familiar with Cronenberg. As post-production digital wizardry is employed sparingly and judiciously to fill necessary corners, the usage is just as terrific, making the whole all the richer.
Twists and layers bound in the captivating narrative, with scene writing so intense and engrossing that we can hardly tear our eyes away. I can hardly speak any more highly of how marvelously Cronenberg's dialogue and even characters enhance the viewing experience - and watching now, I have to wonder if this isn't some of the most tight and fully-fledged direction the man has turned in his career. To this excellence add the sharp editing of Ronald Sanders, robust and thoughtful sound design and slick sound effects, the keen cinematography of celebrated Peter Suschitzky, and not least the stupendous original score of regular Cronenberg collaborator and composer extraordinaire Howard Shore, music which does so very much to add to the uneasy ambience of the feature. To whatever extent one might arguably draw points of comparison with what 'eXistenZ' does, far and away the movie is so spectacular that it frankly just seems pointless to level any measure of critical scrutiny.
I loved it when I first watched years ago, and I love it now. There's a reason Cronenberg is one of my favorite directors, and while not all his works are equal, at his best he commands a mastery of film-making that demands our utmost respect and admiration. To my immense pleasure, this holds as such a great and enjoyable treasure that it surely counts among the man's best. One must certainly be open to the left-field spaces it plays in, but provided that or the violence are no obstacles, I can only give 'eXistenZ' my very high, hearty, and enthusiastic recommendation!
