There is nothing made, sold, or done that can’t be made, sold, or done cheaper. If price is your only concern, please do business with my competitor.Sign seen hanging in a Blacksmith Shop
Campy films aren’t necessarily bad and cult classics really can’t be deemed good. There have been more than a couple of posts on Facebook (maybe as many as ten) asking me to pick films that I liked but I thought were bad films. I picked two movies (Joe Vs. the Volcano and Buckaroo Banzai) because I love them and I really can’t defend them. They don’t hold together and/or loose their audience halfway through. They didn’t make enough money in the box office and they haven’t gotten beyond a core cult following as time progresses. As an additional condition of love/bad I should add that I’ve seen both of these movies more than 10 times each and I never tire of watching them. I never tire of watching them while people who watch movies with me regularly object if I propose watching them again. The Wife’s film is ID4. I’ll scream if I have to watch that one again. But then she has about ten films that she cycles through, as well as two or three series that she has on repeat in the room while she’s constructing some art project or other, just as background noise, and I run screaming from all of them. That is the hallmark of a bad movie (or bad TV) that you love. You end up watching it by yourself.
Plot. Theme. Characterizations & cinematography. All of those bases have to be covered if you are going to make a good movie. Carpenter is the king of camp, and I consider Prince of Darkness one of his best films of all time. Big Trouble is another one. I wouldn’t put a Carpenter film in a list of bad films. His films (even his bad ones) are campy enough to be watchable. I’ve sat down and watched any one of a dozen Carpenter films with family more times than I’ve sat down to watch the two I’ve listed, and I still get takers to watch them (especially The Thing) I could go on for several more paragraphs but I’ve been a lifelong movie buff and I’m married to a woman who has been involved in more productions than a good number of professionals in the business. I know whereof I speak, even if I don’t have degrees to back my critical opinions up with.
Visual and written media are different, this is an understood fact. The adaptation of a written work to film is an important subject of discussion, not just a pedestrian piece of entertainment. Why a film adaptation of a written work is perceived to be better or worse than its inspiration is a subject of high importance to the funders of film ventures. The buy-in of the author of the written work and their involvement in the making of the film does indeed seem to be key to a successful adaptation.
Let me offer a few examples.
The Harry Potter films all had the direct involvement of the author from the beginning of the film franchise. I find the study of J. K. Rowling’s evolving talent fascinating. I read the books myself, and read them out loud twice to my children. We then all went to see the movies. Now, while my daughter lamented at some of the parts left out of the story in question, I could see Rowling’s growing understanding of the film medium evolve from movie to movie, just as I watched her understanding of the written work evolve over the course of the several books she has authored. The films, just like the books, get tighter and more interesting as her understanding of the two different mediums grows. I would offer them as some of the best examples of book to film adaptation.
It can also be a good idea for the author to know his or her own limitations. I’ve read the Hunger Games series and watched all four movies. I find the movies far more interesting than the books were, and more believable. The characters are far more sympathetic on screen and the actors that were chosen have all performed admirably. I don’t know the level of the author’s involvement with those films, but I haven’t encountered her promoting them like Rowling did. Yet the films do seem to capture the essence of what was compelling about the Hunger Games novels. A worthy effort.
Fight Club is another instance where the film retains the essence of the book, and yet is actually better as a movie than the book was as a book. Very few adaptations not only don’t insult the original work, but mange to improve on it. It’s also one of the few internal stories that works on the screen, largely because the internal is external (as it is in the book) without the viewer knowing this. If you don’t understand the reference, then you haven’t seen the film. Stop reading and go watch it now.
On the other end of the scale we have every attempt to adapt Dune to the movie screen. I’m not convinced that any of the parties involved (much like the 007 movies and Ready Player One) ever read the books. Frank Herbert was still alive at the time of the filming, but never seemed to have taken an interest in the first movie produced. If Alejandro Jodorowsky is to be believed, then Frank Herbert was very much involved in the project when he was developing it. The final product of the effort taken over by Hollywood bore almost no resemblance to the book that I’ve read, and I’ve read it (and Dune Messiah and Children of Dune and God Emperor of Dune) more times that I’ve read the Lord of the Rings. The mini-series from SciFi comes close to capturing the essence of the novels, but still manages to fumble capturing the theme. The subtleties of the realpolitik have never been captured by any movie that I’ve seen. Most books that I’ve read also fail at giving it life (Hunger Games being the latest to attempt it that I’ve read) unless they are biographies of real historical figures. Even some of those fail at being interesting and real at the same time.
I, Robot remains the epitome of failed adaptations. Rather than simply destroying one character, as Peter Jackson did with Faramir in the Lord of the Rings adaptations, the entirety of Asimov’s work on the robot series was completely thrown out the door. None of the characters share more than a name with their counterparts in the books (a series of short works and novels) the tone of the film is luddite in nature, with all technology representing a fearful threat. This is a framing for the film that Asimov would have rejected out of hand. The plot hinges on a point that contradicts all of Asimov’s writing on the subject (the ability for a robot to kill a human) only to be countered at the last minute with a physics defying descent to an inexplicably located central computer system that isn’t even in Asimov’s works. The continued existence of the film serves as firm proof that there is no afterlife, because I can’t imagine Isaac Asimov not returning from the dead to correct this blasphemy enacted in his name.
The people who complain about minor character details being missed, or sections of the work, like Tom Bombadil (again, in Lord of the Rings) that don’t lend themselves to plot progression, simply don’t understand the constraints of the visual storytelling medium. However, it is clearly important that the filmmaker not only be a fan of the written work, but has to understand how to pull the plot, theme, and narrative out of one medium and place it in another in such a way as to be recognized by the literary fan, so that the people who paid to read the written work will also pay to see the movie. If the producer, director, writer and actors all don’t agree on this and make their best efforts to pull this feat off, you end up with just another blockbuster that you hope makes it’s exorbitant production costs back in the first few weeks of it’s public release. Because you won’t have fans buying it and talking about it years later.
Understanding the limitations of the medium that the story is told in can be key to being more forgiving. For example: A keycard is familiar and its purpose is understood by the viewing audience. Using a keycard to bypass security serves to advance the plot more easily than how you might describe the problem and its solution in a book. You don’t have to spend time explaining how to transfer fingerprints or the knowledge needed to understand bypassing security through the software, if you just have the protagonist steal a keycard. This simplification of the storyline removes at least 10 minutes of film time and who knows how many dollars from the budget. Most of the changes that are made to a literary work being adapted to the screen are done for just these kinds of reasons.
Putting Tom Bombadil into the Fellowship of the Ring movie introduces relationships and characters into the story that really don’t advance the plot and don’t increase the viewers engagement in the story itself. In the book, the brief aside of Tom Bombadil between Buckland and Bree serves to draw the reader into the story, into the world of Middle Earth. Bilbo never encountered any of the problems that Frodo, Sam, Merry and Pippin did because he stayed on the Great Eastern Road when he traveled from the Shire to the Lonely Mountain in the Hobbit. Tom Bombadil, for the reader, serves to illustrate the problems of leaving the road unsheparded. This makes the Hobbit’s willingness to follow Aragorn more believable when they meet him at Bree. They’ve just survived death at the hands of ghosts and magic because Tom Bombadil was there to save them. The screenwriters rightly decided that shortening the narrative there was without any real cost to the overall storyline. The only people who object to going straight from Buckland (mentioned as the ferry in the movie) to Bree with a single scene cut are the people who are anchored in the literary narrative, incapable of appreciating the different demands a viewing audience brings to the theater with them.
I loved Fellowship of the Ring when it came out as a movie. It remains a testament to what Peter Jackson thought he could sell to a bunch of rabid fans ready to tear the heart out of his three-movie project before the first movie was even cold in the film canisters.
The Two Towers is a completely different matter. The Two Towers is a bad movie in pretty much the same way every second movie is, plus a few other insults thrown in. I’ve already mentioned Peter Jackson’s treatment of Faramir as one of my objections. Dragging the Hobbits to Osgiliath served the purpose of having a crisis moment for Faramir where he and the audience see the danger of the ring for themselves. In my estimation it is unnecessary.
As a film editor I would have sliced off all hints that they ever left Ithilien, had the Witch King show up, have Faramir renounce the ring (he does anyway) and send Frodo and Sam on their way. No need to draw out the crisis moment. No need to have Sam utter that heartfelt speech about not being here that always makes me laugh and agree with him. No. You shoudn’t be in Osgiliath. Now you have to come up with a device to get the Hobbits back onto the borders of Mordor. Oh, look! A tunnel! Just what we needed.
The less said about Treebeard and the ents as they appear in the movie, the better. I don’t think that Jackson had all those sequences worked out in advance. They have a hurried quality to them, which (bararum) Treebeard himself would not have appreciated. The second movie was always going to be the connector between the grand achievement of Fellowship of the Ring, and the closing moments of Return of the King. The book The Two Towers is a long slog, too. That the series of movies were completed at all is a tribute to Peter Jackson and his crew.
…and then he went on to destroy the Hobbit. Peter Jackson’s the Hobbit is J.R.R. Tolkien in name only, just like I, Robot having the name Asimov’s in front of it makes it his movie in name only. I haven’t watched the third Hobbit movie, but I will eventually. The elf/dwarf river dance in the second movie combined with the liquid gold surfing was more than I could take. You strip out Jackson’s love of overly-long action sequences and you might have a set of movies worth watching (see Jackson’s King Kong) his weaving of the various themes that predate Tolkien’s writing Lord of the Rings, themes that aren’t in the Hobbit, was clever if not at all like the book itself. The first movie announced Jackson’s intentions to not follow the book so I wasn’t too upset when he didn’t follow it in the second movie.
Since they weren’t really J.R.R. Tolkien and they were definitively Peter Jackson, warts and all, I saw no need to rush out and watch the last movie in the movie theater. Now that I am longing to see movies in a theater again it may be time to dust off some of the movies I’ve put off watching and try them out. See if I think differently about them now.
So what is a bad movie? It is up to the moviegoer at large to determine this, just as it is up to the reader to determine whether any given book represents good writing or not. Let me put it this way.
On my laserdisc copy of Star Wars Han Solo is the only one who fires a weapon in the Cantina scene. That is the way it was supposed to be before George Lucas screwed up all the original movies re-editing them. It is because of the re-edits that I have said for awhile now that neither Disney nor the Abramanator could screw up Star Wars. George Lucas already did that.
…But then the Abramanator said “hold my beer” and proved me wrong. That is also why I won’t buy Star Wars on any of the new formats that are available. Not unless I get an original version of the movie to view. A New Hope is a bad movie. Star Wars and The Empire Strikes Back were great movies. It’s just too bad you can’t buy them anymore.
Or you could just ignore the critics and go see the movie.Stonekettle Station
Some of my thoughts on this subject were inspired by comments on this Facebook thread. The featured image is a screencap from the infamous watermelon scene in Buckaroo Banzai.
I was inspired to go on a journey of epidemiological exploration by this segment of On The Media part of the show that aired on March 13, 2020.
This was the second or third podcast that featured an interview with Laurie Garrett, one of the scientific advisors on the film Contagion. She was in a segment of On The Media from a previous week, as well as being the subject of the Breaking News Consumer’s Handbook: Infectious Disease Edition episode of On the Media back in 2014.
Then there was this episode of Planet Money: The Disease Detectives or this segment from Morning Edition. It was beginning to look like everyone was talking about this movie. I remembered watching it, or at least starting to watch it. But I couldn’t remember more than the first few minutes of the film.
Contagion (2010) (Cinemax link)
Wesley Morris, writing for the New York Times, calls it an explanatory drama in his article. I think of it more as a detective story that understands why we might turn on a movie about a fictional pandemic while we are caught up in a very real pandemic all around us. We want answers, and by the end of the film we have those answers. The closing scenes alone are very rewarding, making the sometimes dry delivery of the film worth the wait, if any of you who watch it find that you feel like you are waiting.
I know why I didn’t remember watching the movie to the end the first time. When they start trepanning open the first victims skull and folding back her scalp, I’m pretty sure I bailed on the film. I almost did that again the second time, even knowing what it was I signed up to watch. We will be getting the most out of that frew week of Cinemax that got us access to the movie for free that first night.
After watching Contagion, I surfed over to check out the Netflix documentary that I had heard someone else talk about.
Pandemic (2020) Netflix
I wasn’t clear on whether this series was a documentary series or not until I tuned in to watch it. The first episode makes this very clear. It’s a documentary. All the episodes inter-relate, but there are different segments in each episode about the different facets of the problem of dealing with a pandemic in different countries. You come away with a pretty clear view of the problems we face dealing with any kind of healthcare crisis in the world, much less one as broad and crippling as the current coronavirus pandemic.
From doctors to anti-vaxxers and back again, the series gives you a broad but shallow look at healthcare in the world today. Since we all have a lot of time on our hands these days, and are probably curious about why we have a lot of time on our hands, this series should help you understand why that is.
Neither venture delivers the punch of an epic disaster movie, though.
Outbreak is just the kind of disaster movie you are probably looking for, if those two offerings aren’t to your taste. From devastating viral death rates to government cover-ups to an edge-of-your-seat ending, this film is everything the others are not. Including it being completely unbelievable to anyone with a shred of understand of how infections spread successfully or how government programs work. But it is a good popcorn movie with a rewarding ending. You can’t ask for much more in these times of stress and worry.
It could just be shortened to women in 2020, but I’ll take whichever.
I mean, if I went around sayin’ I was an empereror just because some moistened bink had lobbed a scimitar at me they’d put me away!Monty Python (the line itself)
Stop the presses! We have a new contender for Die Hard Christmas song this year.
…Well, it is new to me this year. We now return you to the regularly scheduled program.
Makes you wish I had stuck with this song now, doesn’t it?
But wait! There is an actual Die Hard Christmas album!
Not really. I just wanted an excuse to post this video advertisement for the 2018 Die Hard marathon hosted by Reginald VelJohnson. It’s almost enough to make me subscribe to cable again just to be able to watch that, if they staged it again this year.
Hat/tip to the Merbrat for the Marian Call link.
Continuing the theme for this Christmas season, here are some Die Hard Christmas tree ideas.
In case the Tweet isn’t visible, here is the image again.
The tree topper does not appear to be for sale anywhere. I will update this post if I find a store selling it. But you could make your own ornaments for the tree. Ornaments like this do-it-yourself job.
Not to mention buying other ornaments for the tree.
If you aren’t into new-fangled art pieces, there is always the more traditional ball ornaments.
I haven’t found any light strings that spell out yippee ki-yay motherfucker yet. But I bet if I look long enough, I’ll find some. I found all that other stuff just looking for the tree topper.
The Wife suggests that the perfect Die Hard Christmas tree would be a topiary sculpture in the shape of the Nakatomi building. It should have a garland that looks like a small firehose starting from the top that turns into the “Merry Christmas” wrapping tape seen in the movie, about halfway down the tree. The topper, in her opinion, should be a helicopter that circles the top of the tree/tower, occasionally exploding in colored lights along with the top of the tree. John McClane should be seen occasionally sliding down the garland and into the tree, as well as a couple of different figures falling from the tree every now and then, just to complete the entire spectacle. Sgt. Al Powell can drive backward around the bottom of the tree in his police car, with one of the fallen figures on his hood, while he eats a twinkie. I look forward to seeing some artist creating this display at some Christmas in the future.
A Hat/Tip is owed to the Merbrat, once again.
Stephen Follows ran the numbers through his three distinct perspectives for considering movies; Creative, Commercial, Cultural. He selected specific datasets for all three perspectives in order to determine if Die Hard is a Christmas movie or not. I, as a lowly movie watcher, defer to his expertise on this subject. Here is a link to his article.
For those of you who cannot be bothered to read a few pages of text with some interesting graphs mixed into them in order to liven up the number crunching, I’ll give you a tl;dr quote from the conclusion.
[I]t’s certainly fair to say that Die Hard is regarded as a Christmas movie in popular culture. Like it or not, the association between Die Hard and Christmas is fast increasing and in years to come its Christmassyness will be beyond question.Stephen Follows
Hat/tip to The Wife for the link to this article. When I mentioned I was doing a series of pieces on our Lord John McClane, she insisted I had to read Stephen’s article and include it in the series. I will be relying on his three perspectives consciously in the future when I review films, as I have been known to do. I was already taking the three of them into account when I wrote reviews or mused on the impact of various films, but I had never given the perspectives names before.
Hat/Tip to Merbrat.
I’ve mentioned before that The Wife has a particular fondness for this Christmas movie.
However, I never thought that calling it a Christmas movie would be controversial.
How about a soundtrack dominated by Christmas music? Does that make it a Christmas movie?
Making a Nakatomi gingerbread house? Does that make it a Christmas movie?
How about an advent calendar? Is that good enough?
I saved the best for last. Yes, there is a Die Hard christmas storybook.
Hat/Tip to Merbrat for all but the first image. I used to refer to her as a stoic (specifically an email stoic) when I mentioned her on the blog because I thought it was a funny joke to label someone as effusive and outgoing as she is with a philosophy marked by asceticism and reserve. I’m not sure why I thought it was a funny joke back then, but I did. What can I say? I have a weird sense of humor. The first image was added later after I stumbled across the nakatomistrong hashtag and followed it to his wall.