Monday, December 25, 2023

Eyes Wide Shut - Bathroom Handshake



I’ve been writing a yearly article about Eyes Wide Shut since 2018, and I don’t plan on stopping until I have nothing to say about this movie. No matter what, I will always plan on watching this movie around Christmas so I can watch it amid the glow of Christmas decorations. I truly think it enhances the experience. One day I might run out of things to share about this movie, but that didn’t happen this year. That said, I do believe my days of doing deep dives on this Kubrick film are over, and I’ll just write short articles about whatever jumps out at me with each subsequent viewing.


Part of the reason I’m stopping the deep dives is because of the fandom this movie has produced over the years. Just spend a few minutes on reddit or YouTube regarding this movie, and it’ll make your head spin. The conspiracy theories almost ruin the film for me at this point because nearly every one of them seem to claim that the “movie isn’t what it seems.” I like what “it seems” to be, though. Too many of these conspiracy theories seem born of people who initially hated Kubrick’s last film and had to find a way to enjoy it. I just enjoy it.


Beyond the crazy stuff, there are people much more knowledgeable and motivated than me that have written book-length articles just about the art on the walls of the Harford apartment or how each degree of Freemasonry is represented in the film, etc. Whenever I try reading those articles, I just get lost in the history or whatever that I don’t know, and it just makes my head spin. Much like the conspiracy theorists, this stuff seems obsessed with everything but what is actually happening on screen. 


For me these days, I only want to watch this movie and judge it by what I see on the screen and what I already know. I don’t want to have to do homework to watch this movie. I just watched it, and this is what spoke to me this time: the bathroom handshake.




Victor Ziegler: Big Dick Energy


My favorite scene in Eyes Wide Shut has always been the Victor Ziegler scene near the end around the pool table. The whole thing plays out very similarly to the orgy ritual, with Ziegler hitting the cue ball on the pool table like Red Cloak hitting his staff on the ground (some have theorized that this means Ziegler is Red Cloak, but that’s fucking stupid since he’s clearly the one in the pirate mask). It also leads to what makes me revisit this movie each year: Ziegler’s explanation of what happened. I change my mind on what I believe from him each time I see it. And Pollack is so good in the scene. He’s somehow convincing as both someone who wants to save and kill Bill.


But that scene isn’t what stuck out this time. It’s that first creepy moment near the beginning of the film. Bill is called up to Ziegler’s insanely fancy bathroom featuring erotic artwork, a couch, and a vanity (I used to think it was just a desk, but I noticed the mirror this time; it’s still a doozy of a vanity, but it’s more normal than just a desk being in there). Ziegler, a true rich degenerate, was sampling a hooker, Amanda, for the orgy the next night when she OD'd on him. 


That alone is fucking insane. How unhinged is this man to pull this shit during his own Christmas party with what appears to be hundreds of guests? This couldn’t wait? This is just evidence that Ziegler feels above basic humanity. He’s rich and powerful enough to do whatever he wants, which apparently includes banging hookers in his bathroom/small apartment during social events.


Despite this feeling of power, though, he still sticks with simple customs, like handshakes. As Dr. Bill arrives to check on Amanda, Ziegler shakes his hand. This always struck me as odd. First off, they’ve already seen each other that evening, so it wasn’t a “hello” handshake. It feels more like a business handshake, because that’s what this situation has become: a cold, non-emotional issue that needs to be resolved. And you shake fucking hands when dealing with things like this.


From this point on, Ziegler is all business. He just wants this woman out of the house as soon as possible because he’s done with her. You can see the annoyance on his face when Bill tells him Amanda needs to stay there for a few hours. Sure, he was worried that she might die, but not because the loss of human life would trouble him; it was because getting rid of a dead body in the middle of his Christmas party would be a nightmare.


During this, Ziegler makes an odd power stance behind Bill, seeming to point to his own crotch while Bill checks on Amanda. He does a similar thing in the later scene when he stands at the pool table with the pool cue situated at his crotch. As if the situations weren’t example enough of his power, Ziegler must be exuding big dick energy at all times.


This has ramifications for Ziegler’s later explanation of the events at the orgy. There are times when I’ve watched this and believed everything Ziegler tells Bill. Perhaps that’s naive of me, but as I’ve gotten older conspiracy theories have become less interesting to me because they require more energy. It’s easier to just believe this prick. But not this time.


While I still think Nick Nightingale is alive (mainly because he was taken back to his hotel, which doesn’t really make sense if the goal is to kill him), I don’t believe that Amanda died of an overdose. He was so ready to be rid of her in the earlier scene that it was clear he didn’t see her as human. She was a product for him to use and throw away, if need be. The bathroom handshake started me down this route, but one line from Ziegler sealed it for me during the pool table scene when he describes Amanda’s death: “The police are happy.” 


First off, how does he know they’re “happy”? And what a weird way to say that. Why not, “The police don’t suspect foul play” or something? Why bring up the police at all? It all just sounds like he’s trying too hard to make it seem normal when he’s already made it clear that he thought of her only as a disposable hooker. He draws the line at killing musicians with families (because that would lead to questions) and doctors (who can be of use to him), but a woman with an established drug problem? No loss there. All this from a handshake; so much for no more deep dives.




Random Thoughts 


You can tell Nick is bored playing at the party at the beginning. He's probably thinking, “The fuck party job is so much cooler than this shit.”


There are random stacks of books throughout the Harford residence. I imagine Kubrick’s house always had books lying around everywhere.


“Would you like to sit down?”

“Sure, but first I need to put my hand on your dead dad's forehead because that seems like a doctorly thing to do.”


Of all the Christmas movies, this benefits the most from being viewed next to the glow of a Christmas tree.


“You should have tits you're standing so close!” What?


I wonder how many takes of eating Snackwell’s and smoking Kubrick put Kidman through. “Stanley, I'm on my third box of cookies and second pack of cigarettes, what do you want!”


This is the first time my dumbass noticed the tribal masks on Domino's wall.


There's never a good time to tell your husband about your dream of fucking other men while you laugh in his shamed face, but the night that you also told about your naval officer fantasy and his disastrous attempt at infidelity leading to a sex cult of the wealthy elite possibly planning to kill him is probably the worst time.


Cruise is such a cocky prick when he hits on Domino's roommate. The way he says, “Hello, Sally,” makes me wish he contracted HIV from Domino.


Having Matt Pinfield stalk you through the streets of Pinewood NYC must be terrifying.


Always cracks me up seeing Bill drinking Budweiser.



Tuesday, December 19, 2023

Indiana Jones and the Dial of Destiny - Rare, Plain Gems

 


Something I never would have predicted happened to me this summer: a new Indiana Jones movie came out, and I didn’t make a point to watch it. To be clear, this isn’t because Kingdom of the Crystal Skull ruined the series for me (I actually like Skull, but I understand why others hate it). I didn’t watch Dial immediately because of Disney.


I’ve written before about how Disney has altered my fandom of Star Wars. Essentially, I still like the franchise, but there’s so much now (all the movies and TV shows) where there was once so little (six main movies and cartoons and EU stuff that could be ignored, if you like) that it became just another bloated franchise to me. I still like it, but it’s no longer a big deal. 


Indiana Jones is different. This is the first, and supposedly only, project they’ve created for the franchise. Because of this, and the announcement of James Mangold as director, I was initially excited. There weren’t five TV shows or a bunch of recap videos I had to watch to understand who was who and what was going on. This was going to be a simple return to the world of Indiana Jones


Then I saw the tepid response from Letterboxd entries and reviews. It was a resounding, “That was certainly an Indiana Jones movie,” or “Well, it was better than Crystal Skull.” Honestly, I would have been more excited if people had been calling it the worst in the franchise. I’ll take total dogshit over “meh” any day when it comes to movies. It appeared, based on the snippets of reviews and responses I read, that Disney had played it safe, so I figured I could wait until this came to Disney+ or was cheap on Vudu (I went with Vudu, but it is now on Disney+.)


When I finally got around to watching it in late November, I was pleasantly surprised by Dial. The lowered expectation certainly helped, but I enjoyed this final Indy movie. Like others, I didn’t think it reached the heights of the original films, but it was a lot more fun than people had been letting on. But after a rewatch and thinking about it a bit, I realized that Disney had changed my fandom again.


Disney’s treatment of Star Wars has lowered my expectations to the point that average is now great. Yes, Dial is pretty forgettable as a final film in one of cinema’s most beloved action franchises, but it’s not a completely soulless cash grab that sets up a dozen other shows, movies, and games, so…thumbs up?


It saddens me a little that Disney has turned my once fiery fandom into a defeated acceptance of whatever they churn out, but it’s probably for the best. No one wants to read a forty-year-old dude rant and rave about Indiana Jones. (Based on my site numbers, no one wants to read what this forty-year-old dude has to say about anything, but that’s understandable, there’s a lot of us on the internet.)


Still, Disney had a chance to do something a little different here. They claim that the series is over, and no one is taking over the role. Assuming they plan to stick with that plan (and I think they will, at least until Ford and Lucas have been gone for a few years), Dial could have been the rare true ending for a franchise. But instead, it felt like the middle. 


*SPOILERS BEYOND*


They had a chance to either kill off Indy or let him live out his final days in the distant past. Instead, he’s brought back home to experience a Mutt-less version of the ending of Crystal Skull, even down to him grabbing the hat back at the end instead of letting it go. 


I understand why they didn’t want to kill him off; it’s an unnecessary and predictable bummer of an end. But why introduce time travel and not let him stay in the past? The character is arguing to be left there, and as an audience member I was supposed to be on Phoebe Waller-Bridge’s side saying, “No, you have to live!” But instead, I was thinking, “This makes sense for you as a character. Enjoy your final days goofing off with Archimedes.” 


But the Disney machine is incapable of doing something like that. Even with their bullshit about actually ending the series, they still made sure to include a younger version of Indy in the form of the never-before-mentioned goddaughter played by Waller-Bridge. And you know she’s there just in case her character somehow becomes beloved and the film is astronomically successful (neither of which happened), so that Disney has somewhere to go beyond Harrison Ford. 


Perhaps I’m being too cynical, and Waller-Bridge is simply here to inject some young energy into the series. Fine, but that’s also something Disney seems to always try and fail to do. It’s this obvious attempt to placate old fans (“Here’s Harrison Ford, we brought Sallah back! Do you love us yet?”) and new fans (“We know you kids don’t know who these old men are, but what about this lady and this Short-Round facsimile? Do you love us yet?”), and it almost always leaves both sides feeling indifferent. I would rather they just let someone make a true film without having to consider anything like that. But it seems like writers and directors are given a list of shit that must happen in these movies, and they have to try to sneak in a good movie somewhere in the middle of it all. 


But I claimed I liked this, right? I really do. Disney has changed my fandom, but I’m still capable of enjoying Indiana Jones on a surface level. And this film has all the things I want from the series: ridiculous punch sound effects, Nazis as the bad guys, chase scenes, John Williams(ish) music, slightly true historical stuff, some supernatural stuff, etc. And when I wasn’t being taken out of the film by some of the weaker elements (it’s too long, the de-aging stuff is a little distracting, etc.), I had a good time with it. And I’ve watched it three times now, and I still enjoy it each time.


Sure, when I stop and think about Dial of Destiny as the final Indiana Jones film, it doesn’t hold up. But that’s no way to watch a movie like this. When I watch it just to watch it; it’s fun, and that’s it. 


Disney or any other film company is not capable of recreating the magic of the films of my childhood. You can’t replicate the past, and they should stop trying, and we should stop expecting them to be able to do it in the first place. So I know I’m not getting anything special from Disney. But I have come to appreciate the rare, plain gems that they’ve produced over the years, and The Dial of Destiny is one of them.



Random Thoughts


This should have been the No Time to Die of the series (flawed, but at least the character [at least this version] is unequivocally done. Instead, it was more like the Moonraker, not as bad as you’d think, but certainly not special.


Took me a couple viewings, but I noticed that instead of the Paramount mountain transition that started the first four entries, we get the Lucasfilm logo transitioning into a lock on the back of a truck…lame.


Aside from the foreboding music at the very beginning (and the iconic flourishes here and there), the score is a bit of a letdown.


I don’t mind the de-aging, but the voice is definitely still aged.


After Mikkelsen survived that hit to the head on the train, I expected there to be a supernatural twist, like he had already used the dial to go back and save himself or something (I know, I know, paradox blah blah blah, but that’s time travel for you). For him to have simply survived it is crazy, even for this series.


The chase scenes are okay, but way too long. Trim those down and maybe this thing gets closer to two hours, which would be a vast improvement.


What is up with the one CIA dude on crutches? Holbrook even asks how he broke his ankle. Did I miss something, or is this an even lamer version of C-3PO's red arm?


Like Star Wars, so much has happened between movies. Mutt joined the military to piss Indy off? First off, they seemed to be on pretty good terms at the end of Crystal Skull. Second, Mutt didn’t seem to be a big fan of authority. Sure, he was nineteen in that movie, but I don’t see how you go from rebellious (as in literally dressed like Marlon Brando’s character in The Wild One who is a rebel just for the sake of being one) to joining the military when you hit thirty. 


I’m typically not a fan of underwater diving sequences…and I’m still not.


“My friend was just murdered!” Thanks, Indy, I was thinking the same thing.


“They’re not going to hurt him.” You mean the Nazis who have literally killed everyone in their path so far? Yeah…


“Bring him.” But why? I get that the movie can’t just let Indy lie there and die in the cave, but at least have Mikkelsen explain why they need to bring him. Just have him say something like, “I may need help with the calculations” or something equally generic to justify it.


The Ear of Dionysus is no Petra, but it's still a cool real world location. 


They really fucked up not leaving Indy in the past. Why do basically a repeat of the Crystal Skull ending even down to the hat fake out? I just don't get it.


Monday, December 18, 2023

Poor Things - Kubrickian

Yorgos Lanthimos’s films have always been divisive, with films like Dogtooth, The Lobster, and The Killing of a Sacred Deer either completely working for people (like me) or falling completely flat on their deadpan faces for others. Then The Favourite came out and garnered a lot of awards attention (Olivia Colman won Best Actress and the film was nominated in nearly every major category). While The Favourite has its odd moments, it’s positively mainstream for a Lanthimos movie, which is why it disappointed me. I was afraid that Lanthimos had lost his weird edge. Then Poor Things kicked in the door holding a chicken dog, peed on the floor, tried to punch a baby, and let out a noxious burp bubble into the air.


In other words, Poor Things is wildly strange all around. It’s also the funniest, most well-acted, and inventive film of the year. (It’s also my personal favorite, and it won Best Picture from the Indiana Film Journalists Association.) 


Poor Things is hard to summarize, but here goes: Emma Stone plays Bella, a Frankenstein’s Monster-ish creation of scientist Baxter (Willem Dafoe). She begins the movie as an adult with the mind of a baby, but as she matures at a rapid rate, she decides to see the world with one of the best cinematic rapscallions of all time in Duncan Wedderburn (Mark Ruffalo, in a shockingly funny performance). Bella sees the best and worst of the world, and it’s all presented in fantastical, horrible, and hilarious ways. 


I typically do not like writing plot summaries (you can always just Google it or watch a trailer or something), but I liked the challenge of it for this one since I liked it so much. This movie simply works on every level for me in a way that I haven’t felt since Stanley Kubrick’s films (more on that later).


The writing (Tony McNamara, adapting the novel by Alasdair Gray) is the standout element, as the entire film is quotable. It’s funny, but the straightforward, child-like dialogue of Bella also points out many of the ridiculous elements of humanity. And while it’s all quirky and funny, I still cared about most of the characters, though they could be framed as villains in other films (especially Dafoe’s character). 


It takes skill to deliver the funniest lines of the script, especially in Lanthimos’s signature tone. And Emma Stone is perfect. She has to play an adult baby, a prostitute, and a scientist all in one role. Her performance as an adult baby alone is adwards-worthy, the rest is just a bonus. And Mark Ruffalo is an amazing foil to her. It’s funny when he just goes along with Bella’s oddness, but it’s the best when she finally breaks him, causing him wonder, “What the fuck are you talking about?” multiple times throughout. His transformation throughout the film is equally impressive and amusing. 


The writing and acting are so great in this film, it almost seems to be a waste that the music and production design are so unique, as well, because they are nearly an afterthought when they would be the standouts in other, weaker films. The discordant score captures the unsettling mood of each scene. And the creatures (what other film has a chicken dog walking around with no one talking about it?) and set decoration complete the picture by creating a world that is recognizable but also fantastical. 


All of this is enough to make this one of my favorite movies in recent years. But it’s the Kubrickian element that I think will cement this among my all-time favorite films. Lanthimos is no stranger to the Kubrick comparison. Anyone who uses deadpan humor, tracking shots, and slow zooms gets compared to Kubrick at some point. This is why I usually don’t like calling things Kubrickian these days. While Poor Things does have all those Kubrick-like elements, I label it as Kubrickian for what it represents in Lanthimos’s career arc. 


Poor Things isn’t actually similar, story-wise, to anything Kubrick would make. But it is the kind of movie he would make. Kubrick, while toiling around in similar thematic areas with his films, never tried to make the same film twice. And Lanthimos appears to be on that same track. The fact that I didn’t love The Favourite now seems like a good thing. If he kept making movies like The Lobster over and over, it would get tiring immediately. To go from Sacred Deer to The Favourite to Poor Things shows a willingness to go to new, interesting places, much like how Kubrick could go from Barry Lyndon to The Shining to Full Metal Jacket. The style may be similar, but the content shows a desire to keep things interesting. And for Lanthimos, that also means getting very weird sometimes, and that works for me. 


Random Thoughts


I only focused on Stone and Ruffalo, but truly every performance in this is great. Dafoe is amazing, of course, and Ramy Youssef has many great moments reacting to Dafoe’s craziness. 


This is a gloriously demented mashup of Benjamin Button, Jack, and Forrest Gump.


“Fate had brought me a dead body and a live infant. It was obvious.”

“It…was?”


“She grabbed my hairy business!”


“I was chloroforming goats all morning. I may have ingested too much.”


Lanthimos is truly like Kubrick. It’s not just that their films share some superficial similarities, it’s the tone in which they are made. This very much strikes me as the type of film Kubrick would make if he were still alive.


I worry myself in typing this, but Yorgos Lanthimos gets me.


I am so happy to live in a world in which a company is willing to give this lunatic a lot of money to make hilarious shit like this, which is a film that dares to ask, “What if Dr. Frankenstein was good at his job?” 


The segment of her just wanting to eat, drink, and fuck reminded me of when Bender became a human on Futurama.


I never knew I needed to hear Mark Ruffalo say, “What the fuck are you talking about?” in a British accent. 


“Hope is smashable. Realism is not.”


Usually, I think movies don’t justify their length, but I could watch Emma Stone break down situations in a deadpan manner for five hours, at least. My favorite was her working out how it made sense to start working in a Parisian brothel.


Her first customer kind of looks like Will Forte from the plane sketch in I Think You Should Leave.


“Hence, I seek employment at your musty-smelling establishment of good-time fornication.”


“She is no different to the chicken dog.”


“He has cancer, you fucking idiot.”


This is the most exciting character Ruffalo has played in years, maybe ever.

2023 IFJA Awards

 


The Indiana Film Journalists Association has named “Poor Things” the best film of 2023, a strong showing that also included Best Lead Performance for Emma Stone, Mark Ruffalo for Best Supporting Performance, Best Director for Yorgos Lanthimos, Best Adapted Screenplay (Tony McNamara), Original Vision and Best Ensemble Acting. 


Its seven wins is the most ever in the 15 years of the IFJA awards.


“Oppenheimer,” which was named runner-up for Best Film, also was runner-up in four other categories: directing, lead and supporting performance, and ensemble acting. It notched three wins: Cinematography, Editing and Musical Score. 


Eight other films were voted Finalists for Best Film. Along with the winner and runner-up, they represent the IFJA’s selection as the Top 10 movies of the year. 


“The Zone of Interest” was awarded Best Foreign Language Film and “Spider-Man: Across the Spider-Verse” won Best Animated Film. “Kokomo City” was named Best Documentary.


David Hemingson took the Best Original Screenplay award for “The Holdovers.” Writer/director Celine Song earned the Breakout of the Year Award for her debut film, “Past Lives.”


The Edward Johnson-Ott Hoosier Award, which goes to a film or filmmaker with Indiana ties, went to Sam Mirpoorian, director of the documentary “Greener Pastures.”


IFJA members issued this statement for the Edward Johnson-Ott Hoosier Award:

 

“Sam Mirpoorian has shown that an Indiana-based filmmaker can make major waves across the cinematic landscape. His documentary ‘Greener Pastures’ is a powerful look at the lives of independent farmers shot over several years, traveling alongside them before and during Covid, observing their struggles with depression and substance abuse but always demanding we see their intrinsic dignity as those who nourish us. Mirpoorian has rendered those who were largely invisible indelible in our eyes and hearts.”

 

In addition to the winner, IFJA recognizes a runner-up in each category (with one exception, noted below). Here is the complete list:


Best Picture

Winner: Poor Things

Runner-up: Oppenheimer

 

Other Best Film Finalists: (listed alphabetically)

Are You There God? It’s Me, Margaret.

Barbie

The Holdovers

John Wick: Chapter 4

Killers of the Flower Moon

May December

Past Lives

Robot Dreams

 

Best Animated Film

Winner: Spider-Man: Across the Spider-Verse

Runner-up: Robot Dreams

 

Best Foreign Language Film

Winner: The Zone of Interest

Runner-up: Godzilla Minus One

 

Best Documentary Film

Winner: Kokomo City

Runner-up: 20 Days in Mariupol

 

Best Original Screenplay

Winner: David Hemingson, The Holdovers

Runner-up: Samy Burch (screenplay/story) and Alex Mechanik (story), May December

 

Best Adapted Screenplay

Winner: Tony McNamara, Poor Things

Runner-up: Greta Gerwig and Noah Baumbach, Barbie

 

Best Director

Winner: Yorgos Lanthimos, Poor Things

Runner-up: Christopher Nolan, Oppenheimer

 

Best Lead Performance

Winner: Emma Stone, Poor Things

Runner-up: Cillian Murphy, Oppenheimer

 

Best Supporting Performance

Winner: Mark Ruffalo, Poor Things

Runner-up: Robert Downey, Jr., Oppenheimer

 

Best Vocal/Motion Capture Performance

Winner: Hailee Steinfeld, Spider-Man: Across the Spider-Verse

Runner-up: Shameik Moore, Spider-Man: Across the Spider-Verse

 

Best Ensemble Acting

Winner: Poor Things

Runner-up: Oppenheimer

 

Best Musical Score

Winner: Ludwig Göransson, Oppenheimer

Runner-up: Robbie Robertson, Killers of the Flower Moon

 

Breakout of the Year

Winner: Celine Song, Past Lives

Runner-up: Charles Melton, May December

 

Best Cinematography

Winner: Hoyte van Hoytema, Oppenheimer

Runner-up: Dan Laustsen, John Wick: Chapter 4

 

Best Editing

Winner: Jennifer Lame, Oppenheimer

Runner-up: Thelma Schoonmaker, Killers of the Flower Moon

 

Best Stunt/Movement Choreography

Winner: Jeremy Marinas (fight coordinator), Scott Rogers (stunt coordinator) and Stephen Levy (stunt choreographer), John Wick: Chapter 4

Runner-up: Jennifer White (choreographer) and Lisa Welham (associate choreographer), Barbie

 

Original Vision Award

Winner: Poor Things

Runner-up: Barbie

 

The Edward Johnson-Ott Hoosier Award*

Winner: Director Sam Mirpoorian, Greener Pastures


*As a special honor, no runner-up is named for the Hoosier Award. It is named after founding IFJA member and longtime NUVO Newsweekly critic Edward Johnson-Ott.


About IFJA: The Indiana Film Journalists Association was established in 2009 to celebrate cinema and promote quality film criticism in the Hoosier State. To be eligible for our awards, a film must have had a general release on any platform during the current calendar year, screened to IFJA critics in advance of a following year release date, or play in a major Indiana film festival.

 

http://indianafilmjournalists.com