Batman v. Superman: Dawn of Justice has been gathering steam and buzz since it was first announced a couple years ago at San Diego Comic-Con. The film is now just a little over 4 months away from release. The fact that we’re even talking about latest trailers and clips about this film was an accomplishment all on its own.
This was a project that had been talked about for so many years, but never got on track. While some DC fans might decry what I’m about to say I do think they should thank the success of the Marvel Studios-produced films for getting this film on the fast track to being made. It made DC and Warner Bros. realize they weren’t the big bully in the blockbuster block anymore and needed something monumental to catch up.
With Man of Steel dividing comic book fans this film had to be made whether it made sense narrative-wise or not. Another so-so Superman film would not do. So, what better way to juice up the Son of Krypton franchise than by pitting him against DC’s other juggernaut property: Batman.
So, without further ado, here is the latest trailer for Batman v. Superman: Dawn of Justice.
After 8 weeks of showing us how the film was made, HBO finally had to broadcast the latest Project Greenlight film. Over the course of the series, we’ve watched the seemingly humorless director Jason Mann struggle to maintain his “artistic vision” while directing his first feature film, The Leisure Class. We watched as he fought for and won the right to shoot on film. We wondered if Jason would be able to pull off the film’s big stunt. Even more importantly, we watched because we were hooked on the hostility between Jason and the film’s producer, Effie Brown. Jason resented having to answer to Effie. Effie resented having to work on something like The Leisure Class. For 8 weeks, viewers were either Team Jason or Team Effie.
And through it all, we wondered — was The Leisure Class any good?
From the minute that Jason was named as The Leisure Class‘s director, I had my doubts. A comedic sensibility is something that you either have or you don’t. At first glance, there was nothing about Jason that suggested he even had a sense of humor. Once filming started, nothing that we were shown looked all that promising. The film’s trailer felt more frantic than anything else and I slowly found myself dreading the prospect of sitting through The Leisure Class.
But sit through it I did and … well, it was bad. Unfortunately, it really wasn’t bad enough to be enjoyable. Instead, it was just a bland misfire. If the film was interesting, it was because I related each scene to what I had previously seen on Project Greenlight.Wow, I thought, Effie sure was mad when they were shooting this scene. A few minutes later: Is this the scene that Jason was worried would be underlit? And then later: This is the scene where Bruce Davison wasn’t sure whether he should say pricks or dicks! I’m glad they were able to make a final decision…
As for the film itself — well, how do you describe the plot of a film that really didn’t seem to have a storyline? Charles (Ed Weeks) is actually William, a British con artist. He is about to marry Fiona (Bridget Regan), the daughter of Sen. Langston (Bruce Davison). At first, Charles was just planning on stealing Langston’s money but now he’s fallen in love with Fiona. The day before the wedding, Charles’s alcoholic brother, Leonard (Tom Bell), shows up at the Langston estate. He pretends to be Charles’s best friend. And then, Leonard gets drunk and encourages a bunch of teenagers to skinny dip. And then there’s the car accident. (This is the big stunt that Jason was so concerned with.) And then Sen. Langston gets drunk and there’s this amazingly ugly scene where he says a lot of nasty things to his wife and his daughters. And then Langston nearly murders Charles and Leonard but Fiona ends up pulling a gun on him. And then the next morning, Leonard draws on Langston’s face. There’s also a prostitute, named Carla (Christina Lakin), who shows up for no reason but at least she gets a few funny lines. The film doesn’t add up too much, with none of the characters or their actions making much sense. The script feels like a first draft and, even at only 80 minutes, the movie seems to be way too long.
The overriding theme of Project Greenlight‘s fourth season has been that Jason has gotten nearly everything that he wanted while shooting his film. Personally, it wouldn’t surprise me to discover that this season was pretty much edited to cast Jason in as negative a light as possible. (Otherwise, the HBO execs would have to take responsibility of the train wreck that is The Leisure Class.) Still, it’s impossible to deny that Jason fought a lot of battles and that none of them seem to have made much difference as far as the end product is concerned.
Jason fought to shoot The Leisure Class on film, as opposed to going digital. He even turned down extra shooting days so that he could get film. But visually, The Leisure Class is flat and boring. It may have been shot on film but it still looks like a single camera sitcom. (In fact, it’s hard not to feel that the film could have been improved if it had taken an Office or Modern Family mockumentary approach. At least that way, the characters could have explained their often confusing motivation.)
Jason got the cast that he wanted but that cast is let down by a poorly conceived script. All of the characters are so one-dimensional that it’s doubtful that there’s much anyone in the cast could have done to make them interesting. I like both Ed Weeks and Tom Bell but the film let both of them down. Meanwhile, Bruce Davison is reduced to bellowing out his lines.
Jason fought to find the perfect location and spent a lot of time talking about how the Langston estate was almost as important as the characters. The house looks gorgeous but the film is directed in such a haphazard manner that you never really get to appreciate it. For a director who spent so much time obsessing over minutiae, Jason’s film is unique for its total lack of interesting detail.
Let’s not forget — when the season began, Jason was selected to direct a broad comedy called Not Another Pretty Woman. Jason is the one who suggested making The Leisure Class instead. That said, I have a hard time believing, as some have suggested on twitter, that Not Another Pretty Woman would have been much of an improvement.
Ultimately, Jason seems to be an okay technical director. He knows how to light a scene. He understands the importance of moving the camera. I imagine he could probably spend hours explaining why he chose to use a certain type of lens. Unfortunately, there’s not a single scene in The Leisure Class that feels spontaneous. There’s no humanity to the characters. It’s a cold movie that feels more like a student film than anything else.
From what I’ve read, it appears that there will be at least one more season of Project Greenlight. And I’m happy to hear that because the show makes for good drama. I just wish that it would occasionally make for a good movie.
Project Greenlight may be the most guiltiest pleasure to be found on television right now.
The show, which is currently airing its fourth season on HBO, was one of the earliest reality shows. The concept behind the show is deceptively simple. Every season, Ben Affleck and Matt Damon have held an online competition for aspiring filmmakers. The winner of the contest gets to direct a feature film, with the understanding that there will be TV cameras present to record every decision, argument, and screw up. At the end of the season, the film is released and hopefully, a major new filmmaker is discovered.
The pleasure part is obvious. If you’re like me and you love movies, there’s no way you can’t be fascinated by the chance to go behind-the-scenes of an actual production. It’s always fun to watch as the director struggles to maintain his (so far, all of the directors have been male) vision against the whims of studio execs who, often time, seem to be annoyed by the director’s very existence.
As for me, I’ve always been fascinated by the casting process. (Don’t believe me? Check out this post that I wrote about The Godfather. And then check out this one too!) My favorite part of Project Greenlight is always the episode that deals with the casting. I love seeing who auditions, who gets turned down, and who decides that they want nothing to do with the film. It’s a lot of fun!
As for the guilty part of this guilty pleasure, it comes from knowing that a show like this thrives on conflict. As much as Ben and Matt may say that they are only interested in selecting the most talented director, it’s also obvious that the director they pick has to make for good television. If production on the film goes smoothly, that’s good for the film but it’s not necessarily good for the show. That’s just the truth when it comes to reality television.
Hence, watching Project Greenlight always leads to conflicting emotions. On the one hand, you want the movie to turn out to be a good movie. You want the director to be up to the task. On the other hand, you’re specifically watching this show to watch the director screw up and make mistakes and piss people off and get into fights. Gossip lovers that we are, we love the behind the scenes drama but it’s rare that drama actually leads to a good film.
Check out Project Greenlight‘s track record.
Season 1 started way back in 2001! (Both this season and season 2 are available on DVD and I recommend checking out both of them.) The winner was Pete Jones, a friendly nonentity who went on to direct the extremely forgettable Stolen Summer. There was a lot of behind-the-scenes conflict, mostly due to a clash of personality between certain members of the crew. From the minute the season started, it was obvious that Pete was a nice guy but essentially in over his head. And, in many ways, Season 1 taught viewers an important lesson: when it comes to the film industry, nice guys get screwed.
However, as chaotic as season 1 may have been, it was nothing compared to what happened in 2003 when season 2 aired! Whenever anyone wants to make the argument that Ben and Matt purposefully pick directors who are totally wrong for whatever film is being made, they usually point to season 2. Season 2 featured the directing team of Kyle Rankin and Efram Potelle directing The Battle of Shaker Heights. The Battle of Shaker Heights was supposed to be a quirky coming-of-age dramedy and a character study, so, of course, Ben and Matt selected two directors who were apparently incapable of human emotion. And the end result was pure chaos!
Now, I will say a few things in Kyle and Efram’s defense. When you watch season 2, the overriding theme is that these two directors totally ruined a great script. Just in case we missed that, the show even featured screenwriter Erica Beeney complaining that these two directors were totally ruining her great script. Well, sorry — the script for Battle of Shaker Heights was never that good to begin with. (“It’s about this kid — Kelly — who is really pissed off,” Erica would tell us at the beginning of every episode, as if she was the first person to ever write about a kid who was really pissed off.) I doubt anyone could have made a good movie out of that script. Picking two directors who were so totally wrong for the material only served to compound the inherent suckiness of the material.
Season 2 has got a true train wreck appeal to it. It’s one of those things that you watch with horrified fascination. (Incidentally, Shia LaBeouf is heavily featured in season 2 and I have to say that he fits right in.)
The third season of Project Greenlight aired in 2005. It was broadcast on Bravo and it’s unique in that it actually featured a good director (John Gulager) making a reasonably successful film (Feast). As such, it doesn’t quite work as a guilty pleasure because, from the minute Gulager starts directing, you don’t feel any guilt about watching him. Instead, the most interesting part of the third season comes early on when a bitchy casting director continually tries (and succeeds) at sabotaging Gulager’s attempts to get a cast with whom he feels comfortable.
(Season 3 has never been released on DVD but, the last time I checked, it was available on YouTube.)
After that third season, Project Greenlight went away for a while but now, 10 years later, it’s back! It has returned to HBO and, after three episodes, it’s starting to look like this season may be the guiltiest and most pleasurable of all! Ben and Matt were producing a comedy called Not Another Pretty Woman this time around. (Pete Jones even returned to write the script.) Not Another Pretty Woman has been described as being a broad comedy. So, of course, they selected Jason Mann, an extremely intense elitist film snob. One of the first things that Jason Mann did was try to fire Pete Jones and replace him with the screenwriter of that well-known comedy, Boys Don’t Cry. When that didn’t work, Mann abandoned Not Another Pretty Woman and instead requested to make a film called The Leisure Class instead. And, amazingly enough, he got HBO Films to agree, which means that either nobody had any faith in Pete Jones or everyone has total faith in Jason Mann!
Will that faith be rewarded or will The Leisure Class be another Battle of Shaker Heights? Will Jason Mann be another John Gulager or will he fade into the same obscurity in which Efram Potelle and Kyle Rankin currently reside?
“If anything goes wrong we blame them. We have built-in deniability.” — Amanda Waller
When will studios finally realize that showing any video reel, trailer or teaser at Comic-Con’s Hall H will inevitably be leaked if no official release has been made. It’s the nature of the internet and has become a sort of ritual each summer when Comic-Con rolls around. Some studios have been better with whetting the appetite of fans by giving those who can’t make Hall H with something to see. Others seem intent on trying to control what comes out of Hall H. It’s almost as if they’re saying “sucks to be you” if one couldn’t attend Comic-Con and get a seat in Hall H.
This year it seems Warner Brothers is that studio that’s trying to stamp out all the leaked footage shown at this year’s Hall H during their industry panel. It was a panel that was seen as the best thing about the Hall H gatherings. They did the right thing about releasing the latest trailer for Batman v. Superman: Dawn of Justice to the public and not just keeping it for the Hall H crowd. Yet, they whiffed big time by not doing the same for the Suicide Squad trailer (or first look as some call it).
Inevitably some in Hall H were kind enough to turn on their smartphones and video a rough and grainy look at the trailer which was then uploaded onto the internet. This was the first look a majority of comic-book and film fans got of Suicide Squad. Not a good look, but fans were playing this leaked footage nonstop. So, taking a page out of Marvel Studios PR playbook after the first Avengers: Age of Ultron trailer leaked in a very non-HD version, Warner Bros. has finally surrendered and released an HD-version of the Suicide Squad trailer.
Nurse Evelyn Johnson (Kate Beckinsale) in Pearl Harbor (2001)
The “this” that Evelyn Johnson is referring to is the Japanese attack on Pearl Harbor. You know, the date will live in infamy. The attack that caused the United States to enter World War II and, as a result, eventually led to collapse of the Axis Powers. The attack that left over 2,000 men died and 1,178 wounded. That attack.
In the 2001 film Pearl Harbor, that attack is just one of the many complications in the romance between Danny (Ben Affleck), his best friend Rafe (Josh Hartnett), and Evelyn (Kate Beckinsale). The other complications include Danny briefly being listed as dead, Danny being dyslexic before anyone knew what dyslexia was (and yet, later, he’s still seen reading and writing letters with absolutely no trouble, almost as if the filmmakers forgot they had made such a big deal about him not being able to do so), and the fact that Rafe really, really likes Evelyn. Of course, the main complication to their romance is that this is a Michael Bay film and he won’t stop moving the camera long enough for anyone to have a genuine emotion.
I imagine that Pearl Harbor was an attempt to duplicate the success of Titanic, by setting an extremely predictable love story against the backdrop of a real-life historical tragedy. Say what you will about Titanic (and there are certain lines in that film that, when I rehear them today, make me cringe), Leonardo DiCaprio and Kate Winslet had genuine chemistry. None of that chemistry is present in Pearl Harbor. You don’t believe, for a second, that Ben Affleck and Josh Hartnett are lifelong friends. You don’t believe that Kate Beckinsale is torn between the two of them. Instead, you just feel like you’re watching three actors who are struggling to give a performance when they’re being directed by a director who is more interested in blowing people up than in getting to know them.
Continuing the Titanic comparison, Pearl Harbor‘s script absolutely sucks. Along with that line about “all this” happening, there’s also a scene where Franklin D. Roosevelt (Jon Voight) reacts to his cabinet’s skepticism by rising to his feet and announcing that if he, a man famously crippled by polio and confined to a wheelchair, can stand up, then America can win a war.
I’ve actually been to Pearl Harbor in Hawaii. I have gone to the USS Arizona Memorial. I have stood and stared down at the remains of the ship resting below the surface of the ocean. It’s an awe-inspiring and humbling site, one that leaves you very aware that over a thousand men lost their lives when the Arizona sank.
I have also seen the wall which lists the name of everyone who was killed during the attack on Pearl Harbor and until you’ve actually been there and you’ve seen it with your own eyes, you really can’t understand just how overwhelming it all is. The picture below was taken by my sister, Erin.
If you want to pay tribute to those who lost their lives at Pearl Harbor, going to the Arizona Memorial is a good start. But avoid Michael Bay’s Pearl Harbor at all costs.
A funny thing happened to the Batman v. Superman: Dawn of Justice trailer that was set for a release at a special IMAX screening event next week. No one bothered to tell someone with a cellphone not to secretly record the trailer. A lo-res cam version of the first teaser trailer for Batman v. Superman: Dawn of Justice was leaked just hours after Disney released the second teaser trailer for the upcoming Star Wars: The Force Awakens.
Warner Brothers scrambled to take down the lo-res trailer and made sure to use their power to threaten with legal stuff if people continued to disseminate the illegal recording. During the 24 hours since the leak someone with a much more cooler head over at WB decided to just go the Avengers: Age of Ultron route (that film’s first teaser was also leaked ahead of a planned event) and release the hi-res version of the teaser trailer instead of waiting days for the planned screening event.
So, here’s the very first teaser trailer as Warner Bros. and DC Entertainment finally make their case that whatever Disney and Marvel can do they can do as well.
Batman v. Superman: Dawn of Justice is set for a March 25, 2016 release date.
While I did watch the Super Bowl tonight, I have to admit that I only watched it for the commercials. Back in 2013, I did a post on my favorite super bowl commercials and I meant to do the same thing for 2014 but, for whatever reason, I never got around to doing so. So, I was definitely not going to miss out this year!
Unfortunately, the commercials really weren’t that great this year. Perhaps if I was looking for a new car, the constant barrage of car commercials would have been more interesting. I found a lot of the so-called “empowering” commercials to be condescending. (To be honest, I always resent the idea that I need a commercial to make me feel good about myself. I’m stronger than that.) The McDonald’s commercial where people got free food for telling their mom that they loved them upset me because my mom’s not here for me to tell her how much I love her. And then there were all the commercials about fathers bonding with their sons (never their daughters, interestingly enough) and those made me want to throw stuff as well.
In fact, when all is said and done, my favorite part of the Super Bowl was not watching that commercials. Instead, it was watching the dancing sharks.
Dance, Shark, dance!
But there were a few commercials that stood out. For example, there was the Nationwide dead kid commercial, which made me feel like a terrible person because I started giggling as soon as I saw that the TV had fallen over. And then there was that GoDaddy commercial that was so offensive that it didn’t even make it to air. (The commercial featured a lost puppy who, upon finally making his way back home, discovers that he’s being sold online. Dear GoDaddy, I hate you and your asinine commercials. Stop trying to be edgy, ‘kay? Okay.)
Oh! And don’t forget the Nissan commercial about the NASCAR driver who is a crappy father but then makes up for it by showing up at his son’s school in a new car.
My boyfriend actually paid more attention to the game than the commercials, which is like totally the wrong way to do the Super Bowl if you ask me. But, for the record, his favorite ad was the Victoria’s Secret Super Bowl commercial. I’m just happy that he got something out of the game.
Anyway, here are my 6 top Super Bowl commercials.
6) Liam Neeson for Clash of Clans
I really don’t know much about Clash of Clans but this commercial made me laugh because this is how I’ve always imagined Liam Neeson passes the time between Taken movies.
This is actually one of the few car commercials that I actually enjoyed. Pierce is aging well and appears to have a pretty good sense of humor about how his career will always be defined by James Bond.
Everyone was so traumatized by the Nationwide Dead Kid commercial that the Invisible Mindy commercial kinda got lost in the shuffle. That’s a shame because it’s actually pretty clever. What really made the commercial, for me, was the Matt Damon cameo at the end. It was appropriate because Mindy first came to prominence when she and a friend wrote and performed a play called “Ben and Matt,” which told the story of Matt’s bromance with Ben Affleck.
I stumbled onto the novel for Gillian Flynn’s Gone Girl in a mall. It sat near the front of the store with the rest of her books, emblazoned with one of those “soon to be a major motion picture” stickers and a “#1 New York Times Bestseller” label on top. I figured I try it, unaware that David Fincher was involved on the project. During that read, I ran to the Barnes & Noble in Union Square to pick up Flynn’s other books, Sharp Objects and Dark Places. After a co-worker and I finished these (I haven’t read Sharp Objects yet), we agreed that we enjoyed them, overall.
Of Gone Girl the Motion Picture, Flynn herself handles the screenwriting duties and she presents an adaptation so close to her novel that I wouldn’t be shocked if the film receives the same response as the first Harry Potter film. I only spotted 2 distinct changes, and these don’t damage the film in any way. They just may make you say..”Oh, crap, she didn’t keep that.”, If anything.
“But Lenny..” You might say, after hearing me tell you this over pizza and soda. “You’re losing me again, you’re talking too much. I never read Gone Girl. I could care less about the book, I just want to know about the movie because tickets are expensive, dammit! Wrap it up. Is it worth seeing or not?”
In a word, yes. Flynn’s story and Fincher’s direction are like Wine and Cheese here. Flynn’s machine gun writing and Fincher’s pacing method could make them as hot a duo as True Detective’s Nic Pizzolatto and Cary Joji Fukunaga. If actress / producer Reese Witherspoon was involved in getting these two together, she may have another gem under her belt to put next to her film Penelope.
Gone Girl is the story of Nick and Amy Dunne, a happily married Missouri couple on the verge of their 5th Anniversary. When Nick suddenly discovers his wife is missing, the investigation into her disappearance seems to lead back to him, presenting the question of whether our hero may or may not be involved. Just as with the novel, the audience is given glimpses into Amy’s story through flashbacks of their life together. The movie dances from chapter to chapter (or scene to scene, I should say) in this fashion and does so pretty well. You’ve a love story wrapped in a mystery.
The casting is spot on. There’s not a single person in this film that seemed like they didn’t fit their part. Both Ben Affleck (Argo) and Rosamund Pike (Jack Reacher, The World’s End) are magnetic when theyre not dealing with each other and if the movie manages to stumble into Awards season, their names could get thrown into the hat.
The supporting cast in Gone Girl is somewhat strong. Carrie Coon does a fine job as Nick’s sister Margo, which was definitely a good choice. It’s Kim Dickens (Hollow Man, Treme), Neil Patrick Harris and Tyler Perry who have the best screen time of any one outside of the leads. Every one of them help to pick up the story when you think it might waver a bit.
“Great!” you may say, getting up to leave. “I’ll check it out. Thanks for letting me know.”, To which I’d ask..”Don’t you want to know about the direction? Cinematography?” You might sit back down, sigh and roll your eyes, as if to say…”Sure, not like you’d let me leave without telling me anyway, right?”
At this point, everything is technical.
Fincher’s direction is straightforward. Working with Jeff Chernoweth, his cinematographer from Fight Club & The Girl With the Dragon Tattoo, the lighting is what you come to expect from the two. Colors in the present are muted, muddied and almost clinical. By contrast, Amy’s flashbacks appear bright and colorful, but the audience may notice this changing as the story progresses. You could almost say it’s the Zodiac color scheme layered on a different story. Gone Girl doesn’t feel like a “Fincher” movie in the way The Shining was Kubrick’s. It’s more of a Flynn story that would look really good if Fincher put it on screen. I’m not sure if there’s a better way to describe it, actually.
Gone Girl falters in the dialog at times. I had a few moments where scenes that felt fine in the novel fell flat in the film, particularly in some of the flashbacks. Have you ever had a moment where you watch a film, see two people talk to one another and say to yourself (or the person next to you), “Who says that, really?” The relationship of Nick and Amy was a hard, abbreviated sell for me, probably because of the time constraints. You know they’re together, and love is implied (and sexually displayed, I might add), but I can’t say that I recognized a big chemistry between Pike and Affleck. When acting around everyone else they’re great, but between each other, they lost me a little in the beginning. If it were a Blu Ray, I’d be tempted to tap that Chapter Forward button. Mind you, this is coming from a book to movie comparison, so a viewer that hasn’t read the book may respond differently to what’s on screen.
I will say that separately, Rosamund Pike and Ben Affleck are wonderful in this as Nick & Amy. I hope that this gets Pike some more lead dramatic roles, as she was more than memorable here.
Both Trent Reznor and Atticus Ross handled the scoring duties for Gone Girl. In their 3rd go around with Fincher, the sounds are similar to The Social Network, though a bit more subdued. They have a few standout tracks, and their music blends well in Gone Girl, though.
Overall, Gone Girl makes for a interesting night at the cinema, but it’s best viewed if you can manage to avoid the hype and catch it just to sate a curious mind.
“When you’re 17, every day is war.” — Tagline of The Battle of Shaker Heights (2003)
Anyone here remember Project Greenlight? It’s a show that used to be on HBO and Bravo, in which Matt Damon and Ben Affleck would arrange for a director and screenwriter to get a chance to make their low budget feature film debuts. The catch, of course, is that a camera crew would then follow the director as he (and all of the Greenlight “winners” were male) struggled to get the film made. Mistakes would be made. Money would be wasted. Producer Chris Moore would randomly show up on set and start yelling. In short, it was typical reality show drama with the catch being that the film itself would then be released in a theater or two.
Well, after being consigned to footnote status for the past nine years. Project Greenlight is coming back for a fourth season and a lot of people are pretty excited about it. And why not? I own the first two seasons of Project Greenlight on DVD and I’ve watched the third season on YouTube. It’s a lot of fun, mostly because all of the directors, with the exception of season 3 winner John Gulager, turned out to be so incredibly inept. (Gulager is one of the few Project Greenlight success stories — not only did his movie, Feast, come across as being made by a professional but he’s actually had a career post-Greenlight.) It all makes for good televised drama.
However, it doesn’t necessarily make for a good movie.
Case in point: 2003’s The Battle of Shaker Heights.
The Battle of Shaker Heights is about a creepy 17 year-old named Kelly (played by the reliably creepy Shia LaBeouf). His mother (Kathleen Quinlan) is an artist. His father (William Sadler) is a former drug addict who, despite having been clean for 6 years, still has to deal with his son’s constant resentment. Kelly is a high school outcast who spends all of his spare time thinking and talking about war. Every weekend, he takes part in war reenactments. At night, he works in a 24-hour grocery store where he doesn’t realize that he’s the object of Sarah’s (Shiri Appleby) affection.
(Why Sarah has so much affection for Kelly is a good question. Maybe it’s the scene where he throws cans of cat food at her…)
At a reenactment of the Battle of the Bulge, Kelly meets and befriends Bart (Elden Hansen), which leads to him meeting Bart’s older sister, Tabby (Amy Smart). Tabby is an artist, because the film isn’t imaginative enough to make her anything else. (We’re also told that she’s a talented artist and it’s a good thing that we’re told this because otherwise, we might notice that her paintings are the type of uninspired stuff that you can buy at any county art fair.) Kelly decides that he’s in love with Tabby but — uh oh! — Tabby’s getting married. Naturally, she’s marrying a guy named Minor (Anson Mount). Imagine how the film would have been different if his name had been Major.
As a film, the Battle of Shaker Heights is a bit of a mess. It never establishes a consistent tone, the dialogue and the direction are all way too heavy-handed and on the nose, and Shia LaBeouf … well, he remains Shia LaBeouf. In some ways, Shia is actually pretty well cast in this film. He’s an off-putting actor playing an off-putting characters but the end of result is an off-putting film.
Of course, if you’ve seen the second season of Project Greenlight, then you know that The Battle of Shaker Heights had an incredibly troubled production. Neither one of the film’s two directors were particularly comfortable with dealing with the more low-key human aspects of the story. Screenwriter Erica Beeney was not happy with who was selected to direct her script and basically spent the entire production whining about it to anyone who would listen. (Sorry, Erica — your script was one of the film’s biggest problems. When you actually give a character a name like Minor Webber, it means you’re not trying hard enough.) Finally, Miramax took the completed film away from the directors and re-edited it, removing all of the dramatic scenes and basically leaving a 79-minute comedic cartoon.
So, in the end, Battle of Shaker Heights is not a very good film. But season two of Project Greenlight is a lot of fun!
First released in 1993, Dazed and Confused is a classic Texas film. Taking place in 1976 and following a large and varied group of characters over the course of the last day of school, Dazed and Confused is like American Graffiti with a lot more weed. In many ways, it’s a plotless film, though things do happen. The students of Lee High School survive one final day of school before the start of summer. (Interestingly enough, most of the characters here are incoming seniors and freshman, as opposed to the confused graduates who usually show up in films like this. This may lower the stakes — none of the students are worrying about whether or not to go to college or anything like that — but it also gives the film a fun and laid back vibe.) The incoming freshman are all hazed by the incoming seniors. For the girls, this means being covered in ketchup and mustard and being forced to ask the seniors to marry them. For the boys, the hazing is a lot more violent and disturbing as they are chased through the streets by paddle-wielding jocks. A party is planned and then abruptly canceled when the kegs of beer are delivered before the parents leave town. Another party is held out in the woods. A high school quarterback tries to decide whether or not to sign an anti-drug pledge.
No, not much happens but then again, plot is overrated. Dazed and Confused is not about plot. It’s about capturing a specific time and place and showing how different individuals define themselves within their environment. It’s one of the best high school films ever made, perhaps the best.
Why do I so love Dazed and Confused? Let me count the ways.
First off, it’s a true Texas film. This isn’t just because it was directed by Texas’s greatest filmmaker, Richard Linklater. It was also filmed in Texas, it’s full of Texas actors, and, as a native Texan, I can tell you that it’s one of the few films that gets my homestate right. Even though the film takes place long before I was even born, there were still so many details that I recognized as being unique to Texas today. I guess the more things change, the more they remain the same.
Perhaps the most Texas scene in the entire film was when quarterback Randy Floyd (Jason London) was talking to the old couple at the minor league baseball game. Both the old man’s obsessive interest in the high school football team (“We’re countin’ on you boys next year…”) and Randy’s patiently polite answers, were, to me, the epitome of Texas. And, of course, we can’t forget the store clerk advising the pregnant woman to eat a lot of “green things” while selling her a pack of cigarettes and the guy who reacts to the destruction of his mailbox by running around with a gun. I suspect I might live a few blocks away from both of those guys.
But, beyond that, just the entire film’s laid back atmosphere epitomized everything that I love about my state.
Secondly, Dazed and Confused is an amateur historian’s dream! Richard Linklater went to high school in the 70s and he recreates the decade with a lot of obvious care and love. (It’s also somewhat obvious that both the characters of Randy and incoming freshman Mitch (Wiley Wiggins) are meant to be autobiographical.) Now, me, I’ve always been obsessive about history and I’ve always somewhat regretted that I was born long after the 70s ended. Dazed and Confused is probably about as close as someone like me will ever get to having a time machine.
I’m also something a political history junkie so how excited was I to see that, during one scene, all of the candidates for the 1976 Democratic presidential nomination were listed on a bulletin board. How many other movies have featured a reference to the Fred Harris presidential campaign? Admittedly, I know nothing about that campaign. I just think it’s neat that somebody with as common a name as Fred Harris once ran for President.
Finally, if you look really carefully, you’ll notice that Lee High School is located right next to a movie theater that, according to its marquee, is showing Family Plot, Alfred Hitchcock’s final film. Just imagine the fun that I could have had going to Lee High. I could have skipped school and gone to a movie!
Third, this film has a great soundtrack! The low rider gets a little higher … hey, I think there’s a double meaning there…
But, really, the main reason I love this film is because I love great ensemble work and Dazed and Confused has a wonderful cast. Some members of the cast went on to become famous and some did not, but all of them give great performances. In fact, the entire cast is so great that it’s difficult to know who to single out so I’m just going to name a few of my favorites.
First off, there’s the jocks. Some of them, like Jason London’s Randy “Pink” Floyd are surprisingly sensitive. Some of them, like Don Dawson (Sasha Jenson), remind me of the type of guys that I, despite my better judgment, would have totally been crushing on back in high school. And then the others are just scary, running around with their cars full of beer and obsessively paddling freshman. Benny (Cole Hauser), for instance, really does seem like he has some issues. (Perhaps it’s because he lives in Texas but still has such a strong Boston accent…)
However, the scariest of the jocks is, without a doubt, Fred O’Bannion (Ben Affleck). A complete and total moron who has actually managed to fail his senior year, (“He’s a joke,” says Randy, “but he’s not a bad guy to have blocking for you…”) O’Bannion is such a total idiot that, not only is it fun to see him eventually get humiliated, but it’s even more fun to watch him and think, “That’s Ben Affleck!” And, it must be said, Affleck is totally convincing playing a complete and total dumbass. That’s not meant to be an insult, by the way. Future multiple-Oscar winner Affleck does a really good job.
And then there’s the three self-styled intellectuals, Tony (Anthony Rapp), Mike (Adam Goldberg), and red-headed Cynthia (Marissa Ribisi), who spend the whole day driving around and discussing what it all means. These are actually three of my favorite characters in the entire film, just because I’ve known (and, I must admit, loved) the type. Plus, Cynthia has red hair and we redheads have to stay united!
There’s the two incoming freshman who get to spend a night hanging out with the older kids — Mitch (Wiley Wiggins) and Sabrina (Christin Hinojosa). Mitch is adorable while Sabrina gets to ask Tony to marry her. Of course, Sabrina is covered in ketchup, mustard, and flour at the time. (“She probably looks really good once you get all the shit off her,” Mike offers.)
And, of course, you can’t forget Wooderson (Matthew McConaughey). In many ways, Wooderson is a truly creepy character. He’s the older guy who still hangs out with the high school kids. When he asks Mitch what the incoming freshman girls look like, you get the disturbing feeling that he’s not joking. (“I get older but they stay the same age,” Wooderson says about his underage girlfriends, “yes, they do.”) And yet McConaughey gives such a charismatic performance that Wooderson becomes the heart and soul of the entire film. In the end, you’re happy that Randy has a friend like Wooderson.
And there’s so many other characters that I love. There’s the hilarious stoner Slater (Rory Cochrane). There’s Mitch’s older sister, Jodi (Michelle Burke), who is the type of cool older sister that I would have liked to have been if I actually had a brother and wasn’t the youngest of four. There’s Randy’s girlfriend, Simone (Joey Lauren Adams) and Don’s occasional girlfriend, Shavonne (Deena Martin) who, at one point, refers to Don as being “Mr. Premature Ejaculation.” Even the characters that you’re supposed to hate are so well-played and so well-written that it’s a pleasure to see them. Parker Posey is hilarious as head mean girl Darla. In the role of car-obsessed Clint, Nicky Katt is dangerously hot — even if he does eventually end up kicking Mike’s ass. (“You wouldn’t say I got my ass kicked, would you?” Mike says. Sorry, sweetie, you did. But everyone watching the movie totally loved you!)
(And let’s not forget that future Oscar winner Renee Zellweger shows up for a split-second, walking past Wooderson during his “that’s why I love high school girls” monologue.)
Dazed and Confused is a great film. If you haven’t seen it, see it. And if you have seen it, see it again.
Through the Shattered Lens 