I’ve never quite been able to pin down Olivier Assayas’ style as a filmmaker. He isn’t a commercial filmmaker and he takes his craft very seriously like an auteur, and yet he seems to move on very quickly between different ideas and any one of his films is likely to seem quite different from the last. His last two movies were both fairly serious English language films starring Kristen Stewart so it had seemed like he had found a lane he was going to stick to, but instead he’s completely switched things up with his latest film which is a essentially a modern French take on a Woody Allen movie. The movie concerns an author who is currently having an affair with his publisher’s wife while he’s having an affair with the lady who’s helping convert his publishing house to digital. Very French. But the affairs are more of a plot structure to hang the movie on than the real focus, which is a series of witty discussions about the digital future and its effect on publishing, which is more than likely meant to be a stand in on its effect on the world of cinema. Lest you wonder where Assayas himself comes down on all of this, note that the film was shot on 16mm despite it being a very talky movie that isn’t going for much in the way of visual style. It’s very much a movie of the moment, one that might seem a bit odd a few decades from now, or it might seem interestingly prescient. As a comedy I don’t know that I found the movie overly funny but as a fun witty look at the discussions of the modern intellectual class it was fun to watch. Did I mention that it feels a whole lot like a Woody Allen movie?
*** out of Five
X-Men: Dark Phoenix(6/6/2019)
I think I was the only person holding out hope for X-Men: Dark Phoenix. That might partially be because I generally liked the last movie in the series, X-Men: Apocalypse, more than most. It wasn’t great but it had some good X-Men fun in it and introduced a promising roster of young actors to play young versions of the second generation of X-Men at Xavier’s mutant academy. I also feel like a lot of the critics went into the movie a bit too wrapped up in their inside baseball knowledge about Disney buying 20th Century Fox and planning to reboot the franchise. It may well have been true that this franchise was doomed by business concerns, but the filmmakers probably didn’t know that when this went into production and were presumably trying to make a quality film that would get the franchise back on track. On some level I was really hoping they would prove the doubters wrong by knocking this out of the park and forcing them to keep the X-Men series I grew up on going. That wasn’t such a crazy thing to hope for, the franchise has bounced back from the brink in the past. Unfortunately the movie they produced was decidedly not a home run that would prove anyone wrong, but I also don’t think it’s a movie that’s as much of a disaster as people are making it out to be.
If there’s anything to complain about with X-Men: Dark Phoenix it’s that it’s a movie which tries nothing new and does nothing unexpected. It’s set about ten years after X-Men: Apolcalypse in 1992 but does pretty much nothing with that setting and it’s also still done basically nothing to make its chracters look like they’ve aged a decade (supposed Holocaust survivor Magneto still appears to be forty and isn’t starting to resemble Ian McKellen even a little). Once again the franchise is taking on the Dark Phoenix Saga and this time has Jean Gray becoming “the phoenix” by coming in contact with a sort of force while on a rescue mission in space (despite the previous movie and the still-kinda-canon X2 both suggesting that it’s actually something latent in her powers). So clearly there’s some sloppiness on display here but the movie generally isn’t, like, aggressively stupid and its tone is largely in line with what we’ve been seeing from the other movies in the “First Class” timeline of X-Men movies. I did enjoy getting another look at what these characters are up to and there is something of an underdeveloped but interesting conflict between Xavier and various other mutants who sort of view him as a conformist “respectability politics” sellout to the cause.
Reports indicate that the film’s final sequence was re-shot because what they had done turned out to be too similar to the finale of Captain Marvel, which was probably money well spent because the closing action scenes are some of the best parts of the movie even if they don’t exactly blow what other superhero movies have been doing out of the water. What’s odd though is that the film’s villains are also a bit too similar to some of the bad guys from that film and its opening scene is pretty similar to the opening scene from Shazam, and in general it doesn’t introduce any characters or concepts that we didn’t see in other better X-Men movies. In general this movie is kind of a victim of the general over-saturation of superhero flicks these days. If this had been X-Men 3 back in 2006 instead of the offensively botched X-Men: The Last Stand it would have been able to hold its own pretty well, but in 2019 specifically the standards are a lot higher. Still, my experience watching this movie was not a terrible one. It mostly passed the time effectively and in general I think its 23% Rotten Tomatoes score and will probably provide some thrills to fans of the series. Walking out of the movie I was about ready to give it a pass but then I remembered the critically reviled film from the last week which I also defended: Godzilla: King of the Monsters. That movie was all kinds of stupid, but the lower lows came with higher highs and the kind of thrills it offered were in much shorter supply than what we get from this movie, and I ultimately think that was a movie I’d be more inclined to go to bat for. This one? It’s not the hill I’m willing to die on.
**1/2 out of Five
The Dead Don’t Die(6/13/2019)
I generally like Jim Jarmusch movies but I don’t think I’ve ever really loved any of them. The guy in many ways feels like a product of a very specific time in which independent movies were rather novel and simply embodying a certain bohemian coolness was enough to get by, but he did usually have at least some additional ideas behind what he was doing. His latest movie has a staggering number of famous people in it and plays in genre, so it’s getting a somewhat wide release, but god help anyone who stumbles into this movie not knowing its indie lineage because they will definitely find it to be a strange and off-putting experience. The film is meant as a highly post-modern take on the conventions of the zombie film via a zombie attack on a small town in Pennsylvania. There are a whole lot of characters, probably too many, but the most important are probably the sheriff and his deputy, played by Bill Murray and Adam Driver, which would seem like a smart comic pairing but Jarmusch has all his characters here speak in the most intentionally stilted of dialogue. The film takes the most broad of comic material but treats it with the dryest deadpan possible, which is maybe an interesting idea but I don’t think it really translates into compelling viewing. Beyond that a lot of other things the movie tries to do just sort of flame out. It teases at political relevance here and there, mainly through maga-hat wearing farmer played by Steve Buscemi, but that goes nowhere and there’s also a fourth wall breaking element that ultimately feels pretty empty. In many ways it feels like Jarmusch was just throwing a whole lot of ideas at the wall to see what sticks and I wish he had instead focused in on a couple of them and actually made them work because the movie he delivered is downright dull at times.
** out of Five