In Theaters: Battleship

Poster via IMPAwards.com

The sad irony of Battleship is that it would probably be doing just a little bit better- or at least receive a little more goodwill- if it weren't named after a board game in an attempt to create profitable corporate synergy. The same public that had no problems patronizing the Marvel Studios uber-franchise or a live-action Smurfs movie have drawn their line in the sand, and a film based on a boardgame is a step too far no matter how good or bad it is.

But hear me out on this. It's actually pretty good. However cynically calculated the initial boardroom meetings that produced this movie may have been, at some point director Peter Berg and writers Erich and Jon Hoeber (as well as any others who may have been involved) and the rest of the filmmakers decided to actually try and make a good, sincere sci-fi/war movie based on the simple premise of the Navy fighting aliens, and their efforts paid off. Battleship works on a simple but satisfying level, and it has the important lesson that you shouldn't judge a film by its premise.

Frasierquest 5.1: Frasier's Imaginary Friend

Frasier: I am dating a supermodel zoologist, whom I stole away from a football player, and she is off to the Galapagos Islands to artificially inseminate iguanas! Is that so hard to believe?

Season Five marks a lot of milestones. It has the show's one hundredth episode, some major character developments, earned the show a fifth consecutive Best Comedy Emmy, and it aired alongside the first syndicated reruns, which shows relied on to reach immortality before home video releases were commonplace. So a big year lies before us, but the premiere is focused on resolving a little bit of business from last season. When we last left Frasier, he was still going through a desperate romantic dry spell, which compelled him to board a plane to Acapulco. At long last, the dry spell ends, but in a way that so typifies what makes Frasier, well,  Frasier.

Random Movie Report #106: Scanners

Scanners isn't the best film David Cronenberg has made, or even the most commercially successful, but it's become a cult classic all the same. A lot of this is, let's be honest, down to the scene where a guy's head explodes. It was the sort of big gory shocker that could make a movie's reputation in the splatter era, and it helped to cement Cronenberg's reputation as One to Watch Out For in the new breed of horror filmmakers.

Explosive cranial displacement aside, Scanners is an intense flick. Drawing heavily from the work of writers like Philip K. Dick, A. E. Van Vogt, and Alfred Bester, Cronenberg puts together a slick and thoughtful sci-fi tale which presents the old chestnut of telepathy in a unique and visceral way, and becomes a story about a new culture rebelling against its elders. Though not quite as polished as the filmmaker's  later work, it's a really good example of how to make a technological thriller on a low budget, and ultimately a pretty compelling ride.

The Three Faces of Kong, Pt. 3: 2005

And we come to the movie that got me started on this. I wanted to talk about Peter Jackson's King Kong but it's hard to do so without reviewing what's gone before, even if you're a formalist like me who believes in taking a work of art in and of itself before going on about external connections. Sometimes those connections are key to understanding, though. The first time I saw the 2005 take on Kong, I thought it was very well made but somehow dissatisfying. The length of the action sequences, or indeed the film overall, didn't bother me much, but the intensity of it is a bit draining and the sadness of it is more pronounced than in the original. Like the seventies remake it can't quite dodge our modern sensibilities, which inevitably turn the story from a fun adventure to a plain tragedy. But on re-watching, what makes this movie great is that it goes beyond just moping about our mistreatment of nature. Instead it expands on the world and themes of the story, creating something that's suitably lush and fantastic for our time, and being almost as powerful. If the original Kong was about Beauty and the Beast, Jackson's film is about how the pursuit of beauty can make beasts of us.

The Three Faces of Kong, Pt. 2: 1976

The Dino De Laurentiis-produced remake of King Kong is an interesting case, in that it's not very good but still quite watchable because, in the end, it's still about a giant ape. Apes seem to make everything better, and the 1976 King Kong is the kind of movie I'm willing to watch even if it always disappoints just a little. My relationship with it is complicated. This is a movie that does a lot of things right, but there's something wrong with the core of it- it's a version of the original story with a lot of the magic and adventure missing, replaced as the times dictate with a grim cynicism and too many attempts to poke fun at itself. It's not without its moments, though.

On Dan Harmon's Removal from Community and Similar Bullshit

I should say something about Dan Harmon being fired from Community. God knows it's been bugging me enough. After the exhilaration of the show being renewed, followed by a gloriously fun three-episode finale, Sony Pictures Television decided to throw us all in the dumps by ousting its showrunner without even so much as a courtesy call, and so threatening to turn one of the most cutting edge shows on TV into something depressingly normal.

Obviously certain things must be gotten out of the way first. This is a low-rated show and it's a damn miracle it's been on as long as it has, and Harmon does not have the very best reputation as a showrunner- he recently had a major personality clash with star Chevy Chase (though in defense, Chase also has a difficult reputation), and there were rumblings of this for a time.

The Three Faces of Kong, Pt. 1: 1933

King Kong is an icon of cinema, and indeed a household name. A single film in 1933 was enough to endear him to the world, partly because it's a classic and partly because it was the first motion picture to realize the awesomeness of giant apes. This simian innovation is but one part of the legend, and here at the Club I've decided to look at the three major renditions of this classic story, from its original version all the way to the Kong of the digital age. I'm not touching any of the sequels or tie-ins yet, except of course for the monster's two Japanese outings, chronicled here and here.

Okay, this is partly because of the title. I'm proud of it dammit.

So we start in 1933, with one of the very best films ever made. King Kong is in some ways the ultimate demonstration of what people talk about when they talk about the magic of the movies. It shows us things that can only exist in the imagination and makes them vividly real, even more than real, for the time we watch it. It's a blend of romance, adventure, and tragedy that with time and changing attitudes has become more complex than its makers even intended, but hasn't lots its original emotional power in the process. Superlatives are hard to avoid in talking about this one.