Through the Reels: Project 365: Movies 223

223 / 365: Pawn Sacrifice (2015)

This film is aggressively anti-Fischer and pro-patriotism. It over-emphasizes Fischer's mental instability to the point of making fun of it. We're left with the feeling that this is all a big joke at Bobby's expense, and the archive footage at the end of the movie didn't help. As if to say, Look at this craaaazy wackadoo!, it caused the opposite reaction. You feel bad for him, something that—if you were at all familiar with Bobby Fischer before—you'd have thought would be impossible.

Recounting the story of chess genius, Bobby Fischer's (Tobey Maguire) introduction to chess as a child, the film shifts its focus quickly to his ambition to become the world's youngest Chess Master at a time when the greatest players in the world were the Soviets. At the height of the Cold War, Bobby's search for greatness is hindered by a growing paranoia—that may or may not have been real. When he accepts a challenge to face off against reigning world champion, Boris Spassky (Liev Schreiber), in a 15-round match in Iceland, the US/Soviet tension is increased, with both governments viewing this as the pinnacle battle of a quiet war. This, naturally, does not help calm Fischer's mental state as he begins to unravel.

On paper, this film has all the pieces. It's intense, interesting, and at its core, a sports movie with a victory that has quick literally made the history books. But in reality, Pawn Sacrifice was none of those things. The obviousness of the visual and auditory delirium that Fischer experiences took the film to a whole new level of trying too hard. Bobby becomes a puppet, yet he's also uncontrollable, despicable, an anti-Semite (he was in fact Jewish himself), and the story doesn't benefit from any of these details. The filmmakers are too preoccupied showing us how nutty not only Bobby is, but chess players are in general. It's also poorly paced and dimly conceived.

There was a line in the film where a reporter asked Bobby, "How did [Spassky] beat you?" to which Bobby replies arrogantly, "If I told you, would you understand?" How Bobby treats that reporter is how the movie treats the audience. We're too dumb to follow along, so it'll sweep past the complicated (i.e. interesting) stuff and go right for the soap opera of Bobby's psychosis. What could and should have been a compelling political, sports thriller became an eye-rolling indictment of the minds of chess players—and those who enable them.

The only saving grace in the film was Peter Saarsgard as Father Bill Lombardy, a Catholic priest and former chess rival who trains with Fischer leading up to his matches. He's the only person in Bobby's life that shows any remorse about enabling his behavior. Because even those who seem to care how off the rails he's gone refuse to do anything about it. There was so much potential in this story to create this delicate balance with being concerned for someone's well-being while also being unwilling to compromise their greatness. But there wasn't a single thing in this film that was delicate. Overall, the acting was wonderful, but being given so little to work with, the characters fall into cliche and no justice is paid to how compelling this story truly was.

Rating: ★★ / 5 stars
Watched: Theater
Seen Before: No

224 / 365: Summer with Monika (1953)

When I watched Wild Strawberries for the first time earlier this year, I was blown away. Swedish master director, Ingmar Bergman, was never on my radar, even when I was getting all philosophical in film school back in the day. But after this work of perfection, I wanted to gain some perspective and jump into a film that he's significantly less well known for. This frolicking romance turned sordid drama ticked a lot of boxes for me, specifically in the melodrama department. Sadly, the execution, script, and acting didn't hold quite the same magic.

A klutzy day-dreamer, Harry (Lars Ekborg), falls in love with a flirtatious grocer, Monika (Harriet Andersson), despite having nothing in common with her. It's clear from the beginning that she's frivolous, eager to rise above her meager means. Obsessed with material things and moved by the concept of living in a movie, she leaves home to escape her family and convinces Harry to 'borrow' his father's boat—for three months. All summer long, they bask in the sunshine and each others' company, desperate to pretend they could stay hidden forever. The harsh realities of not having food, clothing, or modern amenities takes awhile to set in, but when it does, it hits them hard. Particularly Monika, whose infatuation with Harry begins to wane with the dimming summer light.

The sequences of their summer together is very telling of the immaturity and awkwardness of young love, but is also feels rather useless. That's the point, I suppose, as the hours, days, weeks are wiled away without purpose, that can certainly be intoxicating when you're in it. It can also make a person combative and angry if there's a risk of losing it, which is what happens as Monika is pulled from her fantasy life and forced to deal with the world the left behind. Where the film struggles is in successfully establishing any chemistry between Ekborg and Andersson, which causes their characters to be just as useless as the situation they're in.

There's also some overt sexual harassment that the movie might take a bit too lightly, more or less playing for laughs. Not to mention the slut-shaming, but that's unfortunately fit for the times. As the shadow of reality falls back over our characters the film more or less abandons its tone. No where near as compelling or innovative as Wild Strawberries, but then again, it doesn't have to be. It's more or less a good time, with multi-dimensional characters that have plenty to say about the frivolity of youth.

Rating: ★★★½ / 5 stars
Watched: Hulu Plus
Seen Before: No

225 / 365: The Intern (2015)

New movie release, reviewed previously on Through the Reels. Read the full review here.

Rating: ★★★★ / 5 stars
Watched: Theater
Seen Before: No

226 / 365: Shane (1953)

This movie was the #45 film on my AFI Top 100 countdown challenge. Read my full review here.

Rating: ★★★½ / 5 stars
Watched: VUDU
Seen Before: Yes

227 / 365: The Martian (2015)

New movie release, reviewed previously on Through the Reels. Read the full review here.

Rating: ★★★★½ / 5 stars
Watched: Theater
Seen Before: No

228 / 365: Mission: Impossible II (2000)

I think this movie was written by Mac from "It's Always Sunny In Philadelphia." Different from the other films in the series in more ways than you can count, Mission: Impossible II doesn't even try to have substance. Directed by dove-flying-out-of-flames fanatic, John Woo, the first sequel in the M:I series is easily the worst one; but it's also has the most explosions, so that makes up for what could potentially have been a real snoozer.

Secret agent, Ethan Hunt (Tom Cruise), is pulled away from his vacation climbing rocks for an important mission: discover the location of a chemical virus called 'Chimera' before a group of terrorists intercept it first. Led by former Impossible Mission Force agent, Sean Ambrose (Dougray Scott being super Scottish), the team of baddies now possess the antidote serum 'Bellerophon'—and only need samples of the disease to execute their terror plot: infect the population, sell the cure, make billions. With the help of jewel thief and Ambrose's ex-lover, Nyah Nordoff-Hall (Thandie Newton), Hunt must rely on her expertise to learn of the virus' location before it's too late. But of course, there's always time for Ethan to fall in love and bump uglies with his sexy co-star.

The action really does keep this movie from being an epic flop. The music is exciting, the energy is turned up to 10, and even Tom Cruise's hair has personality—but the plot is contrived, and Scott as the villain is more silly than frightening. Certain plot devices are so over-used (i.e. the masked disguise) that they completely lose their relevance and our interest. Newton is distractingly beautiful, but she's also as emotive as paper plate, and it's a true wonder why Ambrose and Hunt appear so obsessed with her.

Ving Rhames' character, Luther, is the only other character besides Ethan Hunt to be in every MI film. He is also, possibly, the least interesting or memorable character ever written. It is evident in every one of the movies, because he has no defining qualities other than always being at Hunt's beckon call. I forget he exists at the start of every movie, and by the end, I've already forgotten that I just saw him. Why these filmmakers try so hard to shoe-horn him into storylines is beyond me. Eventually, he'll get his own, and we'll learn that he has a wife and kids and is actually a person worth knowing, but until then, I'm over him.

I genuinely believe this is the worst that M:I movies will get. And if this is the worst, then at least we know we can still be entertained by the bare minimum that qualifies as entertainment. And Woo gifted us doves flying out of fire that Tom Cruise is riding a motorcycle through while Limp Bizkit is playing. That's movie majesty if there ever was any.

Rating: ★★ / 5 stars
Watched: Netflix
Seen Before: Yes

229 / 365: Mission: Impossible III (2006)

By god, Philip Seymour Hoffman was incredible. He elevated every role he ever played to a whole new level. He is a comparable villain that, for more than a moment, you believe will get the better of Ethan. And he does, big time. In this third venture into the Mission: Impossible franchise, the script is better, the story is emotionally taut and the action is [almost] as good as it could possibly get. This is the film where we realized that Ethan Hunt may well be more interesting, and a better spy, than James Bond.

IMF spy, Ethan Hunt (Tom Cruise), is now retired from active duty and engaged to be married to a beautiful and intelligent doctor, Julia (Michelle Monaghan). During his engagement party, his IMF, John Musgrave (Billy Crudup), reaches out to ask for his help—Hunt's former star trainee, Lindsey Farris (Keri Russell), has been taken captive, and a rescue mission is imperative to bringing her back safely. Little does Hunt know that at the center of this hostage scenario is the calculating and conscience-less, Owen Davian (Hoffman), an international weapons dealer with information so dangerous, it might take more than just Hunt to stop him. Gathering together a brilliant team, Hunt goes back into the field to discover what Davian knows, leaving his new fiancee exposed to a dangerous and ruthless man who will stop at nothing to keep his secrets safe.

J.J. Abrams, as a director, is first and foremost a fan of the movies. Especially the movie franchises he chooses to be a part of. You can tell in the way that he wants to share things with the audience. A staple within the Mission: Impossible films, the face masks that change the agents' identity. Gleamed in the first, overused in the second, it's in this third film that J.J. wants to show us how that's actually done. It's a wonderful addition, even the voice masking piece. As a fan, he had questions, so as a director, he's going to answer them. That's what makes him such an impressive director, and why I can't wait for his take on Star Wars.

But I digress. This is what action movies are all about. There is no romantic nonsense, but a passionate character with an already well-established love for another. And Abrams incorporates some of the best action sequences of the series. We all know Tom Cruise loves to run in movies, and by god, does he run in this! Bullets fly, heists are executed with delectable beauty, and the script is actually good. Monaghan is the perfect counterpart for Hunt, one that is equal and capable; likewise, Davian is Hunt's antithesis. Watching all of these pieces come together is exhilarating—the best of the series.

Rating: ★★★★ / 5 stars
Watched: DVD
Seen Before: Yes

Tuesday, November 24, 2015

Project 365: Movies 223 - 229

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