Falling Down - Arrow 4K

In what has to be intentional timing, Arrow is putting out a new 4K of Falling Down later this July, making it likely that you’ll be watching this sweltering movie while it’s actually sweltering outside. At least that was the case during my watch, and it does add a little something to this ‘90s classic, especially with this fantastic transfer in which you can see each strand of hair in Michael Douglas’s dickhead flat-top. But the heat is just the instigating element of Falling Down. Watching it today, I wondered how well Douglas’s anti-hero has aged over the years.

I generally hate “they couldn’t make that today” bullshit (especially when Uwe Boll is out here making vigilante movies with Armie Hammer), but I’m not against re-evaluating a movie in today’s context. With Falling Down, I wondered how heroic Douglas’s D-FENS (his personalized license plate is how he’s credited in the film) would come across today because in my memory he was presented as fairly justified in the film. But that simply isn’t the case today or when the film first came out. 

I blame this on the most memorable scene in the film. Douglas, already snapped, enters a Whammy Burger (no doubt no real fast food chain wanted to be represented in this way). They refuse to serve him breakfast because he’s a couple minutes past the cutoff time. So he takes the whole restaurant hostage. He decides he’ll get lunch instead, and he’s further enraged by how shitty the burger looks; it’s pathetic compared to the pictures in the ad. It’s an overall amusing scene despite the seriousness of Douglas accidentally shooting the place up (I think it’s even funnier than Adam Sandler’s version of the exact situation in Big Daddy). Most importantly, it’s relatable. Fuck that cutoff time! And why do the burgers look so much better in commercials?!

While that is humorous and acknowledges some everyday bullshit we all deal with, Douglas is not presented as a hero in the scene. People are rightfully terrified by this flat-topped psycho. The film does a great job of putting Douglas in relatable situations in which we’ve all had violent fantasies of overreaction (punching a guy yelling in traffic, blowing up a road construction site, trashing an overpriced convenience store, etc.), but it’s clear that Douglas is not mentally stable. And a lot of people get hurt along the way. 

The film muddies the moral waters when Douglas interacts with more sinister characters like gang members and a neo-Nazi. He even gets a bit of “hero” music after he shoots the gang-member in the leg after the failed drive-by. His interaction with the neo-Nazi is arguably the most important scene, morality-wise. D-FENS is shocked when he realizes that the Nazi thinks they are kindred spirits. It starts to click with him that he might be the bad guy. But after killing the Nazi (another moment in which it’s hard not to root for him), he goes deeper into his insanity rather than waking up from it. This is clear because at the end of the movie he’s surprised that he’s the “bad guy.” This should have been obvious to him hours earlier.

The whole journey of D-FENS is someone who is “no longer economically viable” (to use the language of the film) and cannot adapt and/or accept it. It’s not a tragedy in which the world has turned to shit, and we need lunatics like D-FENS to shoot up places and wake people up. Robert Duvall is the perfect foil to Douglas in this regard, and he sums it up quite well when Douglas complains about being lied to: “They lie to everyone. Doesn’t give you a right to do what you did today.” Yeah, the world is fucked up, but you just keep going; you don’t start shooting up Whammy Burgers. The writer, Ebbe Roe Smith, in a new interview included on the disc, explains that D-FENS is not a vigilante because he’s not raging against some true injustice; he’s just fighting against personal gripes. 

Falling Down ended up being more relatable than ever. I wish more people could realize that shit that bothers them personally does not equal universal injustice. Anyway, none of the morality stuff bogs this movie down. It’s a sweaty ‘90s thriller, and it’s a lot of fun despite the serious subject matter. And it’s never looked better. 

Random Thoughts / Favorite Quotes

“Do you realize how much money my country has given your country?”

“How much?”

“I don't know, but it has to be a lot.”

The above quote might be my favorite interaction in the movie. I love when people ask for facts when someone spouts off some shit that doesn’t matter in the first place. Seriously, even if America has given Korea all the money in the world, what the fuck does that have to do with these two guys in a store in L.A. arguing about the price of a soft drink?

Dude's been going to a fake job every morning and still gets stuck in traffic?

The film has a kind of video-game structure. Douglas keeps leveling up his weapons and armor throughout, going from dorky office dude with no weapons to full on fatigued psycho with a rocket launcher by the end.

Duvall's macho captain is such a douche, yelling “She's open!” while hitting the heavy bag inexplicably in his office. Then he spends the majority of the retirement conversation with his pants undone. It’s great that Duvall gets a nice dig in at his expense on live TV.

“I’m with you. We’re the same, you and me.”

Frederic Forrest is so good at playing an insufferable neo-Nazi fuckhead.

“Now you're going to die wearing that stupid little hat.”

“I’m the bad guy?”

Special Features and Transfer

Arrow knows what they are doing, and this looks great in 4K. You truly get the sense of how hot it is in the film.

The highlight of the special features is a new interview with the writer, Ebbe Roe Smith.

Smith talks a lot about them toning down his script. 

One example is the family having the BBQ was originally the owners of the house and not the caretaker. The guy is a plastic surgeon, and one of the kids says that the dad did mommy's boobs. D-Fens makes the mother take her top off and has the children applaud the work. Can't believe they cut that!

And he claims Schumacher said he would only make Batman Forever if they let him make Falling Down first.

There is also an interview with the composer, a featurette on the locations in the film, an archival interview with Douglas, and an archival commentary.

Even Without Edgar Wright, "Ant-Man" Turned Out Pretty Good

Ant-Man

Ant-Man, along with last year’s wildly successful Guardians of the Galaxy, definitely shows that Marvel is digging deep for new heroes to introduce. Audiences don’t seem to mind the B- and C-listers getting their own films because the movies wisely take a more comedic route. (By the way, I know Ant-Man is not consider

ed a B- or C-lister in the comic book world, but he definitely is in the movie world.) Guardians was easily the goofiest film Marvel has ever made, and Ant-Man often plays more like a comedy than a superhero action film, which is precisely the tone this movie needed to have to succeed.

This film has been a huge question mark for Marvel not only because of the lesser known main character, but also for some behind the scenes trouble. Edgar Wright (Shaun of the Dead) was well into the process of making this film when he dropped out. He realized he wasn’t going to be able to make the movie he wanted to make because Marvel has such a strict plan for the next few years. So Peyton Reed (Yes Man) was brought in. Nothing against Reed (especially since the movie turned out all right), but it doesn’t instill a lot of confidence to go from the director of Shaun of the Dead to the director of Yes Man. It would definitely be interesting to see what Wright would have ultimately done with the film, but it appears he left his stamp on enough of it so that what we see on the screen is a Wright-like film.

Most likely, the visual style of the film was sacrificed when Wright left (more on that in a bit), but the comedic tone of the film remained. Much like Shaun of the Dead, Ant-Man is about a very unlikely hero in Scott Lang (Paul Rudd), a convict who can’t seem to catch a break. Returning to a life of crime leads him to Dr. Hank Pym (Michael Douglas) and the shrinking suit Pym has made. Then more comic book stuff happens, and Scott has to try to save the world, and you’ll probably see him again in other Marvel movies, and you get the idea.

Ant-Man sets itself apart from other Marvel movies by having a stronger emotional core than other comic book films. The emotional theme focuses on parents, specifically fathers, and how complicated it can be to protect their children, or in this case, daughters. Scott’s main goal is to get his life back on track so he can see his daughter, who sees him as a hero already. For Scott, it’s all about living up to an image his daughter has for him. Hank Pym, on the other hand, has kept his daughter Hope (Evangeline Lilly) so far away that she now resents him. Each man needs to prove himself to his daughter to have peace. These subplots were a welcome distraction from the save the world plotline, which is getting a bit tiresome in the Marvel world.

The emotional scenes never get too heavy, though, and the film in general is quite funny. Paul Rudd has a lot to do with that. He’s a natural for the reluctant hero part. But the comedy comes more from the gang of idiots he pals around with. The standout is Michael Peña, whose rambling stories are the comedic highlight of the film. They are also the scenes that felt the most like an Edgar Wright film.

Comedy aside, this is still a Marvel superhero movie, so the action and visuals have a lot to live up to. In this case, the visuals actually lead to comedy at times. When we’re zoomed in on the action, for instance, a child’s trainset turns into a real train bearing down on someone. Pull back and it becomes a pretty goofy sequence. When the action is taken seriously, it’s par for the course for Marvel. There’s nothing that stands out, aside from the goofiness of pulling back during action scenes. Edgar Wright could have possibly created some action scenes that would have stood out from the rest of the Marvel pack, but we’ll never know. The miniature stuff looks great, though. Overall, Ant-Man boasts some great visuals with decent action.

 Ant-Man could have been Marvel’s first big misstep since it started this takeover of Hollywood. But like Guardians, the risk paid off. Sure, the save the world plotline is flat out boring at this point, but that comes with the territory in a comic book movie. Ant-Man simply had to distinguish itself from the rest of the pack with comedy, and it completely succeeded. 

Ant-Man receives a:

"Wall Street: Money Never Sleeps"

Wall Street: Money Never Sleeps - Directed by Oliver Stone, written by Allan Loeb and Stephen Schiff, starring Michael Douglas, Shia LeBeouf, Carey Mulligan, Josh Brolin, and Frank Langella - Rated PG-13

"Stop telling lies about me and I'll stop telling the truth about you." Unfortunately, this is the only decent line I can remember from the film.

The original Wall Street was a look at an era of excess. If you look back at that film about the deceitful Gordon Gekko (Michael Douglas) and upstart Bud Fox (Charlie Sheen) you get a real sense of the world of Wall Street in the 1980s. It wasn’t just about how the stock market operated; it was also about the 80s in general. Just watch the sequence when Bud buys an apartment; a Talking Heads song plays as we see so much excess it’s almost funny.

I mention all of this because the sense of a world is missing from Wall Street: Money Never Sleeps. I never got the sense that the new young upstart, Jacob Moore (Shia LeBeouf), was entering a new world. Another aspect missing from this new Wall Street was good dialogue. The original is an insanely quotable film that is filled with amusing insults and witty remarks concerning the financial world. There’s a line here and there that sticks out in this film, but no one will be quoting this in the future.

Wall Street: MNS was a bit of a letdown for me because it lacked focus and just didn’t know what it wanted to be. It gets off to a good start, though. In fact, the beginning is almost like its own little short film featuring a very effective performance by Frank Langella. As I said, there are not many good lines of dialogue in the film, but Langella transcends that problem with his booming voice. Unfortunately, Langella isn’t in the film very long.

After Langella’s exit, the film’s real story begins. Jacob Moore decides to deliver some payback to the man who forced Langella out of his investment firm, Bretton James (Josh Brolin). To do that, he enlists the help of Gordon Gekko, who has reemerged in the financial world after a jail stint and a new book. Gekko is willing to help Jacob as long as Jacob attempts to reconcile him with his estranged daughter, Winnie (Carey Mulligan), who is engaged to Jacob. That’s all interesting but only because it’s unexpected. Seeing Gekko as an actual human being rather than a greedy scumbag was new, but the new Gekko is just kind of pathetic.

The revenge subplot was interesting and in keeping with the original’s tone, but there wasn’t enough actual Wall Street action. I know some people might be put off by financial babble, but that belongs in a film about Wall Street. Money Never Sleeps played more like a family drama that happens to involve players in Wall Street.

That said, the few scenes that involve finance are all great. Brolin has some nice moments (in many ways, he is the Gordon Gekko of this film) and his interactions with Douglas and Langella are entertaining.

Brolin and Langella impressed me the most, but there’s not really a weak performance in the film. Shia LeBeouf actually stands up against all of the heavy hitters; I only found him weak in a few of the sappier scenes with Mulligan. Mulligan does a decent job, but all she really gets to do is act sad throughout. Susan Sarandon is okay as Jacob’s hectic mother, but I was mainly just wondering what she was doing in the film. And Michael Douglas gets right back into Gekko mode quite easily. Of course, he’s played a lot of characters similar to Gekko over the years, but he’s still charismatic and fun to watch.

The acting was all there, but the story wasn’t. I have to blame the majority of this film on Oliver Stone. True, he didn’t write the screenplay for this one, but that’s the point. How can Stone direct a sequel to one of his own screenplays and not write it himself? That’s why the great dialogue was missing and I’m assuming that’s why this was more of a Lifetime Original movie than a Wall Street movie. If you disagree with me on the Lifetime jab, just watch the last fifteen minutes of this film and tell me that that isn’t a weak and sappy ending.

Stone’s biggest influence was his decision to not write the film, but he still tries to add a little something in the form of strange and out of place split screen sequences, dissolves and wipes, and visual aids for sequences about how communication travels and how fusion energy works. I could’ve done without all of it; however it wasn’t distracting or detrimental to the film, just kind of pointless.

Wall Street does offer quite a few references for fans of the original. I won’t say who shows up, but there are some amusing cameos. There are a lot of David Byrne songs (“This Is the Place” by Talking Heads even plays over the credits), but none of the new music sticks out like the original’s soundtrack.

The biggest fan service, though, is the fact that Gordon Gekko is in it. Sure, he’s a tame and sad Gekko, but he’s still very watchable. It’s unfortunate that the film lacked focus and Stone didn’t write it. It doesn’t ruin the original (though some will believe it did). All it really did was make me realize how much I loved the original, and that’s not all that bad.

Random Thoughts (SPOILERS)

Okay, that ending was ridiculous. Suddenly Gordon Gekko has a heart? Screw that. If there's a film character that I never want to see change in, it's Gekko. Also, what exactly did he really do that makes Winnie change her mind? It all seemed forced and way too sentimental.

Langella's death scene was easily the most moving scene in the film.

The bailout scene was pretty great. Even before Eli Wallach mentioned the end of the world, I was thinking that the scene could easily have been put into an "end of the world" movie and you would barely have to change the dialogue.

By the way, what was with Wallach in this film? It's cool to see such an old timer still acting, but I didn't understand the whistling thing he kept doing...just seemed a bit weird.

Charlie Sheen's appearance as Bud Fox was kind of amusing, but the more I thought about it the more I hated it. He basically showed up to show that he turned into successful scumbag and learned nothing. Actually, it was Sheen playing himself. Weak.

I enjoyed Michael Douglas as Gekko in the last act of the film...you know, when he gets to be old school Gekko. The previews set up Gekko to be like that the entire film...if only it was true. It was a good ten minutes or so, though.

Finally, for the record, I hate that "Money Never Sleeps" subtitle. Couldn't that have gone with "The Bailout" or "The Collapse" or "Too Big to Fail" or something? Hell, how about just putting a "2" at the end of the title and being done with it?