Mubi Monday: Adaptation. (2002)

I remember when I first saw Adaptation. Like many people, I loved it. Another collaboration between Charlie Kaufman and Spike Jonze, a great dual role for Nicolas Cage (playing an onscreen version of Kaufman and a fictional twin brother, Donald), and a cast that also includes Meryl Streep, Chris Cooper, and Tilda Swinton, as well as one or two other very familiar faces. What’s not to love?

As almost everyone knows by now, Adaptation. is a film that stemmed from severe writer’s block. Charlie Kaufman was struggling to adapt The Orchid Thief from page to screen, and eventually creates something, with the help of Jonze, that explored his painful creative journey, full of personal insecurity, frustration, and a checklist of things he wanted to avoid.

Here’s the thing I need to say now, ripping the band-aid off (as it were). Adaptation. isn’t actually as great as I remembered it. I am not saying that everyone will agree with me, but there may be a reason why it tends to be forgotten/overlooked in conversations about the respective filmographies of Jonze and Kaufman. It’s not a terrible film, but it’s arguably the least interesting feature to come from either of the main creative forces behind the camera here.

There’s a fine line between making use of something to explore and have fun with various ideas, turning the negatives into major positives, and simply giving yourself an easy option by commenting on everything that you are doing, or are about to do. The former is smart and insightful. The latter is often called “lampshading”, I believe. Revisiting Adaptation. two decades after I first saw it, it simply feels like Lampshade: The Movie. Others may strongly disagree with that, but knowing where the film goes makes all of the dialogue and commentary feel much less enjoyable on a repeat viewing.

At least the cast are well worth your time though. Cage is great, giving a couple of performances that serve as a reminder of why so many people stuck by him through some difficult years. This plays to his preference for nervous energy, but one of his characters is also offset by the circumstances grinding him down. Streep and Cooper both have a lot of fun, playing various versions of their characters that show us written fictions compared to complete “reality”. Alongside the ever-reliable Swinton are the equally excellent Maggie Gyllenhaal, Brian Cox, Judy Greer, and Cara Seymour, to name but a few welcome additions.

There is still a lot to enjoy here, not least of which is the brutal and hilarious honesty in the moments that have Kaufman showing his worries and struggles while facing a typewriter. I still like this, and would watch it again. I just don’t love it, and I don’t think it’s a truly great work any more.

7/10

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Filmstruck Friday: Three Kings (1999)

Three Kings remains one of the best films from director David O. Russell, helped by a great cast and a fun script that generally updates Kelly's Heroes and adds more relevant politics and modern views on warfare. It's a film infused, at least initially, with cinematic cool that manages to walk a tightrope by sprinkling cool moments here and there without ever making the environment or war itself seem cool in the slightest.

George Clooney is Archie Gates, a soldier in Iraq as the Gulf War starts to wind down. He ends up leading three men (MarkWahlberg, Ice Cube, and Spike Jonze) on a hunt for gold stolen from Kuwait. They want to steal the gold for themselves, allowing them a very comfortable life when they get back home to America. But as they set out to execute their plan they encounter a number of people who need their help. Trying to ignore them becomes more difficult after they witness what can only be desribed as a ruthless execution.

Based on a story written by John Ridley, Three Kings is almost a perfect look at machismo and how easy it can be to undercut that machismo. The biggest and strongest soldier can be caught and tortured, can be turned into a weak invalid by one bullet, and can be killed at any moment, by a landmine or a gun-wielding enemy, or even an ally making a mistake. The dialogue succinctly captures the essence of the central characters and how the war has sharpened their senses in some ways and yet also dulled them in others. There's no room for complacency, but that's not to say that complacency is something they are never guilty of.

Clooney gives one of his many winning performances, a perfect fit as the guy who comes in and takes over leadership of the three men (who only know where the gold is because they happened to find a map stuck in the posterior of a prisoner). Ice Cube is also very good, and Wahlberg and Jonze both do well, the former playing someone who can posture with the best of them and the latter playing someone wishing he could posture like his buddy. The supporting cast also features Cliff Curtis, Nora Dunn, Jamie Kennedy, Said Taghmaoui, Mykelti Williamson, Holt McCallany, and Judy Greer, and not one of them puts a foot wrong. Not even Jamie Kennedy.

Not quite all things to all people, Three Kings at least gives it a damn good try. It has enough standard soldiering to please those looking for a war movie, it has a nice line in wry humour to please those after a particular style of comedic entertainment, and it has enought thought-provoking moments regarding the politics of war, in general, and the situation in Iraq to please those who want a bit of depth to their slick entertainment.

20 years old next year, this holds up as a fantastic modern war movie, one you could nicely line up alongside Buffalo Soldiers and Jarhead for a smart and amusing triple-bill that reflects on the madness of modern life in wartime without taking anything away from the individuals affected by it.

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Jackass Presents: Bad Grandpa (2013)

If you've seen any of the Jackass movies then you've seen Johnny Knoxville made up to look like an old man. He's very convincing, thanks to the great make-up and his attitude. There were a number of sketches filmed in which Knoxville played, funnily enough, a bad grandpa. He would sit down somewhere with a young kid and allow them to drink alcohol. When taken to task, he would always make the situation worse by being downright unrepentant and clearly spoiling for a fight.

Bad Grandpa is, as you might already suspect, more of the same. It's a road movie that crafts a loosely-plotted storyline around some semi-improvisational skits, taking in a good number of innocent bystanders in the process. Knoxville is Irving Zisman, the man suddenly landed with a grandson named Billy (Jackson Nicoll). He aims to deliver Billy to his father (Greg Harris), despite the fact that the man sees his son as nothing more than a way to get his hands on an extra $600 a month. And that's all the plot that you need to create a film full of amusing stunts that range from a disastrous funeral to an altercation with some male strippers, and more besides.

If you're after something subtle and sophisticated then you're looking in the wrong place. To be fair, this was marketed as "Jackass Presents: Bad Grandpa" as opposed to just "Bad Grandpa". I know this was mainly done for marketing purposes, but it also serves as a warning to those who dislike Knoxville and co.

The two stars do a surprisingly great job of making their characters feel very real. This could have easily been a simple selection of broad skits with no need to work on any of the linking material, but that's not the case. Knoxville and Nicoll work brilliantly alongside one another, and the biggest surprise is how genuine the fragile bond between them feels. Harris is pretty funny as the deadbeat dad who doesn't want his son with him until he's made aware of the money he could receive, and his bravery is to be commended for his behaviour in the third act (you'll have to watch it to know what I mean).

It seems redundant to mention the direction from Jeff Tremaine. Yes, the movie is put together competently. Even the footage filmed via hidden cameras is decent, with a variety of tricks used to keep the whole thing feeling more like a movie than just a set of sketches. Yet, at the end of the day, it IS little more than just a set of sketches. They're good, and one or two may make you laugh aloud, but the joke isn't enough to sustain a feature.

Watch and enjoy. You may well laugh a lot more than I did. I just doubt that this is one to revisit again and again, unlike some of the previous Jackass presentations.

6/10

http://www.amazon.com/Jackass-Presents-Grandpa-Unrated-Blu-ray/dp/B00G2PA0ES/ref=sr_1_3_twi_2_twi_2?ie=UTF8&qid=1419858159&sr=8-3&keywords=bad+grandpa

Where The Wild Things Are (2009)

Where The Wild Things Are is, as most of you probably already know, a film based on the beloved book by Maurice Sendak. I never read the book, neither in childhood nor at a later stage, so I can't comment on the adaptation of the source material but I have seen some of the artwork and must say that the film certainly seems to brilliantly realise the creations of Sendak. Directed by the enjoyably offbeat Spike Jonze, who co-wrote the screenplay with Dave Eggers, there's a lot to enjoy here but also a few choices and moments that I just can't help thinking spoiled what could have been a really great film.

Young Max (Max Records) is an energetic and moody young man. He also seems to be quite a lonely boy, as seen in the opening sequence of the film in which he tries to get his sister to play with him, attacks her friends with snowballs and then gets upset when the whole thing backfires and his freshly-made igloo is brought crashing down around him. His mother (Catherine Keener) eventually comes along to make things better but she's a very, very busy woman. The time with his mother is clearly Max's favourite time but he doesn't have a very good way of showing this. In fact, he simply ruins an entire evening when he's jealous of the fact that she has male company round and then runs off . . . . . . . . and this is when the film finally hits its stride. After jumping into a boat and sailing as far as he can, Max ends up on an island populated by strange, wild creatures. At first they are tempted to eat him but he convinces them that he is a king and will lead them to a happier future. Of course, that's easier said than done and as things don't go according to plan Max starts to realise just how his behaviour impacts on others. Maybe.

With some absolutely wonderful creature creations - voiced by a great selection of people including James Gandolfini, Catherine O'Hara, Lauren Ambrose, Paul Dano, Forest Whittaker, Chris Cooper and Michael Berry Jr - and a magical way of replicating that childhood sense of freedom, imagination, rulebreaking and entitlement, Where The Wild Things Are is a superb film for reminding you of just what it is/was to be a child. It's not a children's film though, not really. Some moments are a bit too dark, not enough is spelled out in more obvious terms for kids to learn lessons from and the emotions and various relationships shown are slightly too open and honest in a way that befits the behaviour of children looked at studiously by adults. It's a hard thing to describe, and I don't really want to pigeonhole the movie, but I'd say that the whole thing certainly aims to prompt feelings and memories of childhood rather than appeal directly to children.

The acting is great from everyone involved, whether they're visibly onscreen or just being heard or even being one of the hardy physical performers wearing the wonderful creature suits.

What spoils the movie, for me, are the bookends. The time spent with Max on the island dealing with the creatures is fantastic stuff, it's funny and thrilling and uplifting and saddening and all over the place like the typical rollercoaster of emotions a child can go through on any given day. Sadly, there's nothing to like at the start or end of the movie. I don't require it in every movie I see but there's no real resolution here and it's a film that cries out for one, whether it occurred in the original story or not.

Spike Jonze has yet to create anything that I have seen and disliked (from his music video work to his wonderfully unique movies) but this is the one that proves to be the least satisfying so far. The fact that I still rate it so highly is just testament to how truly great the main middle section is.

6/10

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