REVIEW: The Great Gatsby

15 06 2013

Cannes Film Festival – Out of Competition (Opening Film)

I found F. Scott Fitzgerald’s great American novel “The Great Gatsby” completely captivating and relevant in 11th grade English.  However, I acknowledge that plenty of people may have had the Jazz Age classic spoiled by poor instruction or a general classroom environment.

For all those people who think classic literature has to be boring and stuffy, let me introduce you to Baz Luhrmann, the world’s coolest English teacher.  He takes antiquated texts like Shakespeare’s “Romeo & Juliet” and reinterprets them for a modern audience, breathing new life into them in the process.  Though some scoff at the idea of combining Fitzgerald and Fergie or jazz and Jay-Z,  it’s that kind of madness that makes Luhrmann’s adaptation of “The Great Gatsby” such a delightfully fresh take on an old favorite.

It’s Luhrmann on all cylinders firing, which is the source of the film’s vibrant strengths.  On the other hand, it’s also the root of the film’s biggest flaws.  Though “The Great Gatsby” is brilliantly refashioned in the image of “Moulin Rouge,” it’s sometimes a little too pumped up for its own good.  Putting Fitzgerald on steroids comes with some loss of subtlety, particularly in the form of his recurring motifs: the green light and Dr. T.J. Ecklenburg’s eyes.  Rather than letting them sneak up on you, Luhrmann hits you over the head with them like a sledgehammer as if to say, “PAY ATTENTION! THESE ARE REALLY IMPORTANT!”

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LISTFUL THINKING: Most Anticipated Movies of 2013

2 01 2013

I’ll still be stuck in 2012 at least until the Oscars are handed out and until then will be filling in with reviews of some of the movies I missed from the year.  But it’s time to move forward and look ahead to 2013, which could be a great year for cinema.  Several of my favorite filmmakers have projects due this year, which is what I will have to remind myself as I have to slog through a year that reportedly will give us 31 sequels and 17 reboots!

I had originally prepared a top 10 list for my most anticipated of 2013, but then I realized that since so many were TBD, there’s a chance we won’t see some of these movies until 2014.  So I added three movies at the beginning of the list that premiered on the 2012 fall festival circuit but will hit theaters for paying audiences in 2013.

Without further ado…

To The Wonder

#13
“To The Wonder” (April)
Written and directed by Terrence Malick
Starring Ben Affleck, Rachel McAdams, and Olga Kurylenko

A year ago, Terrence Malick was critical darling with his “The Tree of Life.”  Yet when “To the Wonder” arrived at Toronto and Venice, you’d have thought they were reviewing a Michael Bay movie.  How someone goes from hero to zero that meteorically is curious.  If nothing else, “To the Wonder” could be the most anticipated disaster of the year.

Frances Ha

#12
“Frances Ha” (May 17)
Directed by Noah Baumbach
Written by Noah Baumbach and Greta Gerwig
Starring Greta Gerwig, Mickey Sumner, and Adam Driver

Upon its many festival stops in 2012, it was called a mixture of French New Wave with early Woody Allen.  Combine that with the fact that it’s written and directed by Noah Baumbach, whose “The Squid and the Whale” knocked me off my feet, “Frances Ha” sounds like a movie custom-made for me.

The Place Beyond the Pines

#11
“The Place Beyond the Pines” (March 29)
Directed by Derek Cianfrance
Written by Derek Cianfrance, Ben Coccio, and Darius Marder
Starring Ryan Gosling, Bradley Cooper, and Eva Mendes

They called it a sprawling, multigenerational epic when it played Toronto.  And from the trailer for Derek Cianfrance’s follow-up to the harrowing “Blue Valentine,” it looks ambitious.  And honestly, I may be looking forward to this far more than several of the movies that made the ten.

Nebraska

#10
“Nebraska” (TBD)
Directed by Alexander Payne
Written by Bob Nelson
Starring Devin Ratray, Bruce Dern, and Bob Odenkirk

Alexander Payne’s “Election” alone makes anything from the director worth anticipating.  After a second writing Oscar back from a seven-year hiatus for “The Descendants,” he shortens his gap with a new movie within two years.  I’m a little skeptical, though, since the cast lacks some of the pop of Payne’s previous films, and he also didn’t write this one.

Inside Llewyn Davis

#9
“Inside Llewyn Davis” (TBD)
Written and directed by Joel and Ethan Coen
Starring Oscar Isaac, Carey Mulligan, and Justin Timberlake

The Coens have gone from 1960s Jewish suburbia in “A Serious Man” to the 1880s Wild West in “True Grit.”  And now … back to the 1960s for the folk music scene of Greenwich Village?  They sure like to keep us on our feet.

The Wolf of Wall Street

#8
“The Wolf of Wall Street” (TBD)
Directed by Martin Scorsese
Written by Terence Winter
Starring Leonardo DiCaprio, Jonah Hill, and Matthew McConaughey

Scorsese.  Enough said.  I suspect this will be the role that wins DiCaprio his Oscar, provided he doesn’t take Best Supporting Actor for “Django Unchained” this year.  With “The Great Gatsby” (see below) moving back to 2013, it assures us yet another fantastic one-two punch within the same year from DiCaprio.  “Gangs of New York” and “Catch Me If You Can.”  “The Departed” and “Blood Diamond.”  “Shutter Island” and “Inception.”  Boom, Leo comin’ at ya!

Catching Fire

#7
“The Hunger Games: Catching Fire” (November 22)
Directed by Francis Lawrence
Written by Simon Beaufoy and Michael Arndt
Starring Jennifer Lawrence, Josh Hutcherson, and Liam Hemsworth

I enjoyed “The Hunger Games” this year, though I do see room for improvement in sequels.  Hopefully the writer of “Slumdog Millionaire” and “127 Hours” as well as the writer of “Toy Story 3” can elevate it because I’m certainly not expecting much from the director of the middling “Water for Elephants.”  And I just kind of need something to fill the void left from “Harry Potter.”

Elysium

#6
“Elysium” (August 9)
Written and directed by Neill Blomkamp
Starring Matt Damon, Jodie Foster, and Sharlto Copley

Anything shrouded in secrecy is enough to get me interested; that’s why “Prometheus” was at the top of this list for me in 2012 (that list was just mental).  And I think “District 9” could be merely scratching the surface of what Neill Blomkamp is capable of.  With Matt Damon and Jodie Foster headlining a sci-fi class warfare pic, this could be other-worldly levels of awesome.

Gravity

#5
“Gravity” (TBD)
Directed by Alfonso Cuaron
Written by Alfonso Cuaron, Jonas Cuaron, and Rodrigo Garcia
Starring George Clooney and Sandra Bullock

Speaking of other-worldly levels of awesome, let’s talk Alfonso Cuaron’s “Gravity.”  He hasn’t released a film for 7 years, but his last three films were the incredible stretch of “Y Tu Mama Tambien,” “Harry Potter and the Prisoner of Azkaban,” and “Children of Men.”  His “Gravity” has been described as “if ‘Avatar’ had been released in 1927 a week after ‘The Jazz Singer.'”  What.  Warner Bros. pushed it back from 2012 for what I imagine was fine-tuning, which just has me all the more on pins and needles.

Labor Day

#4
“Labor Day” (TBD)
Written and directed by Jason Reitman
Starring Kate Winslet, Josh Brolin, and Tobey Maguire

Jason Reitman, on a subjective and personal level, is probably my favorite director.  He’s had a flawless 4-for-4 stretch of films in his career, and though “Young Adult” might have been a step down from “Up in the Air,” that’s because the latter was basically perfect.  I’m fascinated to see what he can do with Kate Winslet and Josh Brolin.

Twelve Years a Slave

#3
“Twelve Years a Slave” (TBD)
Directed by Steve McQueen
Written by Steve McQueen and John Ridley
Starring Benedict Cumberbatch, Brad Pitt, and Michael Fassbender

Steve McQueen’s “Hunger” was pretty good, but his “Shame” was an absolutely ingenious triumph.  I can only imagine how he plans to top it in “Twelve Years a Slave,” the story of a New York man kidnapped and sold into slavery.  It’s got one heck of a cast, from Michael Fassbender to Brad Pitt to Quvenzhané Wallis and Dwight Henry’s first roles post-“Beasts of the Southern Wild.”  Is it too soon to cry Oscar?

Star Trek

#2
“Star Trek Into Darkness” (May 17)
Directed by J.J. Abrams
Written by Robert Orci, Alex Kurtzman, and Damon Lindelof
Starring Chris Pine, Zachary Quinto, and Benedict Cumberbatch

Abrams did one heck of a job turning around the “Star Trek” franchise in 2009.  And from the superb trailer, it looks like he plans to boldly go into Christopher Nolan territory with a beautifully lensed and incredibly emotional follow-up.  I can’t wait.

Gatsby

#1
“The Great Gatsby” (May 10)
Directed by Baz Luhrmann
Starring Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire

I heard today that Jay-Z is going to be scoring Baz Luhrmann’s adaptation of “The Great Gatsby.”  My first reaction was to rethink my placement of the movie as my most anticipated of 2013.  Then, I thought about it and realized that it might be a stroke of inspired brilliance that makes the movie even better.  Luhrmann is unparalleled in his ability to take old texts and make them feel alive, modern, and relevant.  Just look at how he took Shakespeare’s “Romeo & Juliet” and made it relevant for a post-MTV audience.  And think about how he seamlessly integrated pop songs into “Moulin Rouge,” set in 1900!  Luhrmann’s flair for the theatrical and opulent borders on gaudy on several occasions  but I think he’s the perfect match for F. Scott Fitzgerald’s tale of the rich and the glamorous.  I have no doubt his use of 3D will serve the movie well too.  All in all, his “The Great Gatsby” will most definitely be for and by our times … and could wind up being the movie that defines 2013.





Oscar Moment: First 2012 Predictions

5 08 2012

It’s never too early to start guessing, right?  With Cannes yielding little to start Oscar conversation, the pressure is on for the fall to deliver in a big way.  Film festivals in Venice, Toronto, and Telluride will begin to churn out candidates and weed out pretenders in just a few weeks now.  Then a number of big-name films that forewent the festival circuit will have to face the gauntlet of critics and audiences. By the time the year-end lists start rolling off the presses, the game will be predictable and boring.  So let’s speculate now while it’s still fun and actually involves educated guessing!

UPDATE 8/6: I can’t let these picks become dated within hours of them being posted, so I’ve replaced my predictions that included “The Great Gatsby.”

Best Picture:

  1. The Master
  2. Les Miserables
  3. Lincoln
  4. Life of Pi
  5. Django Unchained
  6. Beasts of the Southern Wild
  7. Moonrise Kingdom
  8. Argo
  9. The Great Gatsby Zero Dark Thirty
  10. The Best Exotic Marigold Hotel

“The Master” just seems like the movie of the year to me from this distance.  Tom Cruise has seen the movie and HATES it, that’s enough for me.  If the movie is really going to take on Scientology, it could really be a pop culture centerpiece for the fall.

Starring Joaquin Phoenix returning from his bizarre performance art stunt in “I’m Still Here,” Philip Seymour Hoffman fresh off two major supporting roles in Oscar-nominated films in 2011, and three-time Best Supporting Actress bridesmaid Amy Adams, it could certainly be a force to reckon with in the acting categories.  It’s also a period piece that could register impressively in the technical categories.

Oh, and it’s written and directed by Paul Thomas Anderson.  In the ’90s, his films “Boogie Nights” and “Magnolia” each scored him a Best Original Screenplay nomination.  In 2007, “There Will Be Blood” scored him nominations for writing, directing, and producing since the film was up for Best Picture.  The argument will be made – convincingly by the Weinstein Company, no less – that Anderson’s time has come.

Indeed, it has.  The narrative is in place.  It can easily score over 10 nominations and march towards victory.  The film just needs to not suck.  And according to people at the first public showing on Friday (a surprise screening after a showing of “The Shining” in Los Angeles), it doesn’t suck.  It’s awesome.

Though of course, that path won’t be uncontested.  However, three out of the last five Best Picture winners – “No Country for Old Men,” “Slumdog Millionaire,” and “The Artist” – asserted their dominance from the beginning of the season and never looked back.  So who knows?! As the triumph of “The King’s Speech” showed us in 2010, Oscar bait isn’t dead.  In fact, it’s thriving … and there is still a big portion of the Academy that succumbs to it.

In 2011, “War Horse” and “Extremely Loud & Incredibly Close” both cracked the Best Picture field despite facing a number of harsh critics and tepid response from other industry groups.  Nonetheless, the Academy likes what it likes and refuses to apologize for it. So I doubt they will think twice about nominating “Les Miserables” for Best Picture.  The Tony Award-winning musical has everything that could possibly ever appeal to an Academy member: drama, emotion, catharsis, noble prostitutes, solid acting, historical setting, impressive craftwork … and it’s directed by Tom Hooper, the man who made them feel so good they gave him Best Director for a movie that required very little directing.

Granted, everyone thought “Chicago” was going to usher in a new Renaissance for American film adaptations of musical theater.  While the Golden Globes seem to be relishing in all the musicals, the Academy has ignored “The Phantom of the Opera,” “The Producers,” “Dreamgirls,” “Hairspray,” “Sweeney Todd,” “Mamma Mia,” and “Nine” (all of which were Best Picture nominees in the Musical/Comedy field for HFPA).

“Dreamgirls” was even being tipped to win in 2006 and was a surprise snub on nomination morning (“Nine” could also have cracked the field in 2009).  So musicals are still iffy, but “Les Miserables” is in a league of its own.  Those other musicals are nice, but none are based on a Victor Hugo novel.  The story is made to win awards.

Also falling in the bait category is Steven Spielberg’s “Lincoln,” starring Daniel Day-Lewis as one of America’s greatest presidents.  Spielberg’s films since “Schindler’s List” have practically all been presumptive frontrunners, yet “Saving Private Ryan” is his only film afterwards to win an Oscar.  “Munich” and “War Horse” have both slid in on residual respect, but how far does that go?  Do they still owe a man who has won Best Director twice?  Helmed eight Best Picture nominees?

The same questions can be asked of Day-Lewis, who clearly has a ton of respect as shown by his two Best Actor trophies.  However, the Academy felt no shame in shutting him out of the 2009 Best Actor race in favor of first-time nominee Jeremy Renner.  Granted, Renner’s “The Hurt Locker” was worlds better than Day-Lewis’ “Nine,” but it’s still fair to wonder if the Academy is done with him like they are done with Clint Eastwood.  Unless you are Meryl Streep or Jack Nicholson (or John Williams), two is basically the magic number.

People have been raving about Ang Lee’s “Life of Pi” since its presentation of footage at CinemaCon back in the spring, and I think the coupling of a respected, Oscar-winning director tackling 3D will be the “Hugo” of 2012.  It will also probably score no acting nominations and plenty of tech nods like Scorsese’s 5-time winner from last year.

Beyond those four heavy-hitters, it’s anyone’s guess. Perhaps I guessed the overdue writer/director incorrectly, and the Academy will choose to fete Quentin Tarantino for “Django Unchained.”  People counted out “Inglourious Basterds,” and it wound up with eight nominations.

Beasts of the Southern Wild” has certainly proven to be the art-house hit of the year, winning major prizes at Sundance and Cannes, stealing critics’ hearts, and racking up enough money to where it can’t be dismissed as totally esoteric.  There’s certainly precedent for a summer indie favorite to sneak into the Best Picture field – “Winter’s Bone” in 2010 and “The Tree of Life” in 2011.  It will need the critics groups to come out in favor for it in a big way or the pint-sized star Quvenzhané Wallis to be a unanimous and strong first-choice in the Best Actress race.

Some people think the inclusion of “Beasts” might leave out the other summer indie sleeper hit, “Moonrise Kingdom.”  To that I say, look to last year when “Midnight in Paris,” a funny crowd-pleaser, cracked the same field with “The Tree of Life.”  I think the Academy could decide the time is here to honor Wes Anderson’s peculiar gifts.  If they could accept “Little Miss Sunshine” and “Juno,” I see no reason why “Moonrise Kingdom” couldn’t be a Best Picture nominee.

“Argo” could also be a sleeper to watch in this race.  Ben Affleck’s directorial skills are definitely improving with each movie, and his last film, “The Town,” was definitely just on the outside looking in at the 2010 Best Picture field.  Could getting out of his native country of Boston put him in the race this time?  We’ll know after its Toronto premiere.

Baz Luhrmannn’s singular work “Moulin Rouge” tickled the Academy’s fancy in 2001.  His 2008 “Australia,” a more refined, baity piece, only netted a Best Costume Design nomination.  Which will his adaptation of “The Great Gatsby” be?  My gut says a hit like “Moulin Rouge” because I’m so in love with the source material, but that love could be blinding me.  This will either be a big hit or a big flop.

And who knows if the Academy field will extend to ten this year, but I’ll go ahead and predict ten.  Could lighting strike for the fourth time for Peter Jackson with “The Hobbit: An Unexpected Journey?”  Will “Hyde Park on Hudson” be more than just a feel-good biopic?  Can Christopher Nolan’s “The Dark Knight Rises” finally get the franchise the recognition it deserves?

These are big “if”s, so I’m just going to choose safe (because my wild-card predictions in years past have spawned picks of “It’s Complicated” and “Never Let Me Go”) and predict Kathryn Bigelow’s “Zero Dark Thirty.”  It could be bold, daring, and thrilling if it succeeds.  The expectations will be high since the production has been so guarded.  But if it works, it could be a major player.

And for the hell of it, why not say that the decidedly middling “The Best Exotic Marigold Hotel” becomes the low-brow film that makes the cut and makes me curse the Academy once more. Read the rest of this entry »





Random Factoid #535

14 01 2011

At the end of 2010, we heard plenty of prominent members of the filmmaking industry weighing in on the future of 3D.  I think James Cameron put it best when he said something along the lines of “it’s going to be a tool in the arsenal of filmmakers, much like color and sound.”  In my opinion, the sooner it becomes a serious filmmaking tool, the sooner it becomes eradicated as a marketing gimmick. And I think we are all ready for the 3D-conversion phase of Hollywood money-grubbing to end.

So, to quote Steven Zeitchick of The Los Angeles Times‘ title, “Why is everyone so on Baz Luhrmann for a 3D ‘Great Gatsby?’”  Here’s some of what he said:

“As the Aussie provocateur said at the Consumer Electronics Show in Las Vegas — at a panel moderated by our colleague Geoff Boucher; you can watch a video clip here — the director is debating shooting his F. Scott Fitzgerald adaptation using that Z-axis. The logic, as recalled by Boucher (who spoke to Luhrmann at length about the issue), is that when we see a drama on the stage, we’re able to observe various levels of detail through the use of foreground and background. The 3-D format simply allows for the same experience on the screen.

Luhrmann is always shaking up the status quo, so it shouldn’t surprise us that he might try to marry a classic 20th century story with a 21st century format. He also seems to thrive on the negative reaction (which makes the irate, can-he-be-stopped reactions more than a little funny.)

And he clearly loves the grandiose; when we interviewed him about this project a few years ago he said (with appropriate grandiosity) that his ambition was nothing less than a movie that spoke for our gilded age. (‘People will need an explanation of where we are and where we’ve been, and “The Great Gatsby” can provide that explanation,’ he said.) What better way to make that kind of grand statement than to have Nick Carraway and Daisy Buchanan in three dimensions?”

Luhrmann is the perfect director to give the 3D tool on a movie that doesn’t particularly need the tweaking a trial run.  Audiences can see it done in his zany style and decide through their money whether or not it should continue to be done.  It’s pretty hypocritical for people to go crazy when Luhrmann suggested shooting “The Great Gatsby” in 3D because a similar risk was taken by James Cameron with “Avatar.”  3D was for animation and corny movies to throw things at an audience; it was not for serious filmmaking.  Now, thanks to his lead, directors like Martin Scorsese are shooting movies in 3D.

Filmmaking is about advancing the craft, and if we remain stagnant, it will die out and wind up like pottery.  I don’t want our great form of art and entertainment to become irrelevant, so YES, I am behind Baz Luhrmann.  (If he fails, we still have Fitzgerald’s book and the 1970s movie.)





Random Factoid #288

12 05 2010

“Funny People” ruined “The Great Gatsby” for me.

We’ve been reading F. Scott Fitzgerald’s timeless novel that criticizes all things wealthy and eastern in my English class these past few weeks.  When we started reading, I happened to recall a friend’s conversation I overheard a few weeks after the movie’s release talking about a few very striking parallels.  The only part of the discussion I specifically remembered was that they thought it was clever that Judd Apatow named a character in the movie Daisy after the love interest in Fitzgerald’s book.

So, while reading “The Great Gatsby,” I kept thinking in my mind that this book would be like “Funny People” just set eight decades earlier.  While there are a great deal of similarities between the two, they exist mainly in the first part of the novel.  The second half takes its own course.

But since this conversation was in my mind, I had a sort of preconceived notion that it would end like “Funny People” ended.  A part of my mind had trouble wrapping around the ending of “Gatsby” because of that.

I guess thanks to Fitzgerald for writing a novel so great that Judd Apatow would want to incorporate it into one of his movies.  But I can’t really blame Apatow for taking his own creative license with the movie.