Song of the Day: Taking A Stand (Henry Jackman)


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I’m a bit biased in that I do believe that at this very moment whatever film Marvel Studios releases I will probably like it. I’m very close to having drunk the MCU Kool-Aid. Which is a good thing that trashfilguru is here to keep me from drinking that delicious, overly sweetened drink by the liters.

I know that the MCU is not what one would call high-brow art, but I will admit that it’s a very entertaining piece of world-building that we really haven’t seen done in film history. Well, at least not in the scale that Kevin Feige and the creative minds over at Marvel Studios have been attempting (and succeeding) these past 7-8 years.

One film that I highly enjoyed and consider one of my favorites of 2014 (if not one of the best) was the sequel to Captain America: The First Avenger. This sequel was a game-changer in regards to the very cinematic universe that Marvel had been building since the first Iron Man. Captain America: The Winter Soldier looked to up-end the very foundation of this universe by making one of it’s bricks become something to not be trusted.

Lisa Marie did a great job in conveying my thoughts about what made Captain America: The Winter Soldier such a good film (I would say great, but again I have that glass of Kool-Aid). One aspect of the film that has been given little to know attention to has been Henry Jackman’s work as film composer for the sequel. In fact, the film’s score has been much-maligned just because the filmmakers made the decision to veer away from the Alan Silvestri musical cues and motifs that had become recognizable as Captain America.

Alan Silvestri did the film score for the first film, but Jackman was tasked with recoding the very musical DNA for the sequel. What we get is a film score that’s very minimalist and supplements well the very paranoia and conspiracy tone the film’s narrative took. This was quite the opposite of Silvestri’s score for the first film mirrored that film’s nostalgic and heroic themes.

The track “Taking A Stand” which scores the David Mack illustrated and Jim Steranko-influenced end credits sequence is a perfect example of why Jackman’s score for Captain America: The Winter Soldier should be put on more “best of 2014” lists.

Here Are The Art Directors Guild Nominees!


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The Art Directors Guild announced their nominees today!

And here they are:

Period Film
Inherent Vice
The Grand Budapest Hotel
The Imitation Game
The Theory of Everything
Unbroken

Fantasy Film
Interstellar
Into the Woods
Dawn of the Planet of the Apes
Guardians of the Galaxy
Captain America: The Winter Soldier

Contemporary Film
American Sniper
Birdman
Foxcatcher
Gone Girl
Nightcrawler

Jake Gyllenhaal in Nightcrawler

For Your Consideration #8: Captain America: The Winter Solider (dir by Joe and Anthony Russo)


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I would estimate that, when it comes to the movies, Ryan the Trash Film Guru and I agree with each other perhaps 95% of the time.  What’s interesting is that the 5% of the time that we have disagreed, it’s always been the result of an entry in the Marvel Cinematic Universe.  As Ryan has documented many times on this site, he’s not a fan of the MCU.  (The title of his review of the second Thor film is probably one of the best that’s ever appeared on this site.)  As for me, I’m the exact opposite.  In fact, I am such a fan of the MCU that I am about to suggest that Captain America: The Winter Soldier — along with being one of the best action films of the year — deserves serious Oscar consideration.

(Ryan’s opposite take on the film can be read here.)

Now, unlike some of the films that I’ve suggested deserve your consideration, Captain America: The Winter Soldier, along with receiving critical acclaim, was also a major commercial success.  What made The Winter Soldier unique was that it deserved both the acclaim and the money.  There was a lot that I liked about The Winter Soldier.  In the role of Captain America, Chris Evans was both likable and, most importantly, believable as a hero out of time.  And while I would have never guessed that her character was supposed to be Russian, Scarlett Johansson continued her streak of kicking serious ass in the role of the Black Widow.  Samuel L. Jackson brought his customary style to the role of Nick Fury and Sebastian Stan was properly intimidating as the Winter Soldier.  The action scenes were exciting, the dialogue was sharp and witty, and the film worked both as a stand alone film and as a part of the overall Marvel universe.

But, for me, what truly elevated Captain America: The Winter Soldier was the film’s subtext.  (In that way, I would compare it to another surprisingly intelligent genre film, The Purge: Anarchy.)  For those who may have forgotten, the villains of the Winter Soldier are all members and pawns of Hydra, a secret organization that has so infiltrated the American establishment that it has literally become something of a shadow government.  Hydra has also infiltrated SHIELD and plans to use their intelligence capabilities to not only preemptively identify possible threats but to eliminate them as well.  In fact, by taking control of the SHIELD helicarriers, Hydra can anonymously deliver death and destruction from above.

Does that sound familiar to anyone?

What truly makes this subtext come alive is that fact that the main villain — Hydra’s double agent in SHIELD — is played by none other than Robert Redford.  Any student of American film knows what Robert Redford represents.  Early in his career, Redford was the idealistic, ambitious, and frequently laconic protagonist, the perfect symbol of American exceptionalism.  In the 1970s, Redford was the audience surrogate in classic paranoia films like Three Days of the Condor and All The President’s Men.  Lately, as the man behind the Sundance Film Festival and a frequent director, Robert Redford has been the epitome of bourgeois, establishment liberalism.

Hence, when we hear Redford say, “Hail Hydra,” it’s more than just a catch phrase.  It’s also the film’s way of saying that we’re all fucked.  If even Robert Redford can be a villain, the film seems to be saying, then how foolish do we have to be to fully trust anyone or anything?  If Robert Redford can order people killed and then justify it by claiming that he was acting for a greater good then why are we so shocked when governments do the exact same thing?

We live in paranoid times.  In the future, historians will recognize that few films captured that paranoia as perfectly as Captain America: The Winter Soldier.

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The Washington D.C. Film Critics Honor Boyhood!


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The Washington D.C. Film Critics announced their picks for the best of 2014 today and, much like almost every other critics group in America, they named Boyhood best picture!

You can revisit the Washington D.C. nominations here.  And you can find the winners below!

(h/t to Awards Circuit)

Best Film
“Boyhood”

Best Director
Richard Linklater, “Boyhood”

Best Actor
Michael Keaton, “Birdman or (The Unexpected Virtue of Ignorance)”

Best Actress
Julianne Moore,”Still Alice”

Best Supporting Actor
J.K. Simmons, “Whiplash”

Best Supporting Actress
Patricia Arquette, “Boyhood”

Best Acting Ensemble
“Birdman or (The Unexpected Virtue of Ignorance)”

Best Youth Performance
Ellar Coltrane, “Boyhood”

Best Adapted Screenplay
“Gone Girl”

Best Original Screenplay
“Birdman or (The Unexpected Virtue of Ignorance)”

Best Animated Feature
“The LEGO Movie”

Best Documentary
“Life Itself”

Best Foreign Language Film
“Force Majeure”

Best Art Direction
“The Grand Budapest Hotel”

Best Cinematography
“Birdman or (The Unexpected Virtue of Ignorance)”

Best Editing
“Birdman or (The Unexpected Virtue of Ignorance)”

Best Original Score
“Under the Skin”

The Joe Barber Award for Best Portrayal of Washington, DC
“Captain America: The Winter Soldier”

Here are the 10 Semi-finalists for The Best Visual Effects Oscar!


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Earlier today, the Academy announced the 10 semi-finalists for this year’s Oscar for Best Visual Effects.

Not on the list: Noah, Exodus, Edge of Tomorrow, or April Rain.

Here’s what made the cut:

Captain America: The Winter Soldier

Dawn of the Planet of the Apes

Godzilla

Guardians of the Galaxy

The Hobbit: Battle of the Five Armies

Interstellar

Maleficent

Night at the Museum: Secret of the Tomb

Transformers: Age of Extinction

X-Men: Days of Future Past

BW and CA

Arleigh’s Top 9 Films of 2014 (Front End)


We’re now past the halfway point for the film season of 2014. The year has seen it’s share of hits, bombs and surprises. Many look at the box-office numbers some that these films generate as a sign of their success. Others look at how the critics-at-large have graded these films as a way to determine whether they’ve been successful.

I know some people would list nothing but independent arthouse films as their best. They look at genre and big-budget films as not being worthy of being the best of the year, so far. It’s that sort of thinking that limits one’s appreciation of film, in general.

Does having a 150 million dollar budget mean that a film cannot be one of the best of the year. Past history will suggest that’s not the case. Yet, there are cinephiles out there who will dismiss such films because they consider it as being too Hollywood. The same goes for people who look down upon genre films like horror, scifi, westerns and many others that do not fit their slice-of-life drama study. They’re not existential enough for some.

I’ve come to look at all the films I’ve been fortunate enough to see through the first six months of 2014 and picked 9 of the best (I picked a random odd number since Lisa Marie already does the even numbers thing) no matter their genre, type of film and budget. I’ve picked a couple of scifi films, a documentary, an action-packed blockbuster sequel, a wonderfully made 3-D animated film (itself a sequel), a neo-noir Western, a brutal crime-thriller, an indie horror-thriller and one of the best comedies of the last couple years.

In no special order….

noah-banner222Noah (dir. by Darren Aronofsky)

capawsmovarthc-cvr-a91f8Captain America: The Winter Soldier (dir. by Anthony and Joe Russo)

cold_in_july_ver2_xlgCold in July (dir. by Jim Mickle)

HTTYD2How To Train Your Dragon 2 (dir. by Dean DuBois)

JodorowskysDuneJodorowsky’s Dune (dir. by Frank Pavich)

the-raid-2-berandal01The Raid 2: Berandal (dir. by Gareth Evans)

Snowpiercer (dir. by Bong Joon-ho)

GrandPianoGrand Piano (dir. by Eugenio Mira)

22JumpStreet22 Jump Street (dir. Phil Lord and Christopher Miller)

My honorable mentions: All Cheerleaders Die, X-Men: Days of Future Past, Joe, Edge of Tomorrow, Lego: The Movie, Blue Ruin, Locke, Under the Skin, Only Lovers Left Alive, The Sacrament

Trash Film Guru Vs. The Summer (?) Blockbusters : “Captain America : The Winter Soldier”


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I’m firmly of the belief that nobody my age has any business whatsoever using the phrase “WTF,” but nevertheless — WTF? Captain America : The Winter Soldier has been playing for two weeks now, there are, what, either or ten people who write regularly (or semi-regularly) for this website, pretty much all of ’em are bigger fans of Marvel’s cinematic product than I am — and I’m the first person to review this flick here, even though more or less  the entire country saw the thing before I did yesterday? Well, okay, but somebody had better get busy on writing a rebuttal to this, because what I’ve got to say is going to piss a lot of people off.

It’s not that DisMar’s latest blockbuster is “bad,” per se — it’s just that it’s exactly what you expect it to be, that’s all these things ever are, and sorry, but it’s not “the greatest super-hero flick ever made.” And that statement, in and of itself, is going to be enough to upset the die-hards out there because, to them, every Marvel movie is “the greatest super-hero flick ever made” — until the next one. Which is probably just as well because these things are entirely disposable and don’t hold up particularly well to multiple viewings. Be honest — once the initial “high” wore off, was The Avengers really all that great? Or Iron Man 3? Or Thor : The Dark World?

Of course they weren’t. Which doesn’t mean they weren’t fun, or that they didn’t hit all the right bullet points on whatever unofficial geek check-list you keep. It’s just that they do their job, get it over with, and move on — as you do, dear reader. Think about it : after watching your average Marvel movie (and if there’s one thing all of these films are, it’s aggressively average), you’re not necessarily pumped to see it again so much as you are pumped for the next one. And that’s kinda the point, isn’t it? The Marvel cinematic “universe” is a self-perpetuating organism at this point, whose primary function is to whet your appetite for the supposed “greatness” to come rather than give you time to reflect on the mediocrity of what’s already been/is going on. The hype surrounding the product is woven into the fabric of the product itself — in fact, it’s the largest part of it.

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Don’t get me wrong — I had a reasonably fun time kicking back and watching Captain America : The Winter Soldier. Chris Evans does a reasonably good job portraying Cap/Steve Rogers as a guy who’s fundamentally decent, but not so holier than thou that you want to knock his teeth in. Robert Redford’s choice to play the treacherous Alexander Pierce as a believably nonchalant master manipulator is solid, and everything about him oozes “old movie vet” professionalism. Sebastian Stan cuts a strikingly mysterious pose as the (sub-) titular Winter Soldier. Anthony Mackie is likable in the extreme as sidekick Sam Wilson/The Falcon. And it’s cool to see Toby Jones “back” — after a fashion, at any rate — as Arnim Zola, this time in an iteration somewhat closer to how Jack Kirby originally envisioned him. The main thrust of the story is pretty engaging, too, revolving as it does around a massive web of Hydra “fifth columnists” within S.H.I.E.L.D. itself. It’s reasonably — though far from overwhelmingly — interesting, and keeps you guessing just enough.

But there are some pretty glaring flaws here, as well. Samuel L. Jackson seems tired and played-out as Nick Fury, and while it doesn’t help that his entire “character arc” in this film is lifted note-for-note from that of Jim Gordon in The Dark Knight, the fact of the matter is that Sam doesn’t seem to be putting any more effort into this gig than he does in his credit card commercials. Scarlett Johansson remains horribly miscast as Natasha Romanov/The Black Widow, and while that’s not such a huge problem in movies where she’s peripheral (at best) to the action, it stands out like a sore thumb here, where she’s called upon to be much more central to the proceedings. And for a supposed future love interest, Emily VanCamp is entirely forgettable in her brief time on screen.

Still, those are minor quibbles compared to the main problem here, which is how hopelessly generic, and indeed formulaic, this whole thing feels from start to finish. Joe Johnston’s Captain America : The First Avenger remains my personal favorite Marvel Studios film, but as with Kenneth Branagh and the Thor franchise, DisMar has opted here to show a veteran director with his own ideas and authorial stamp the door when it came time for a sequel and bring in “talent” from the world of television (in this case brothers Joe and Anthony Russo) to hammer things into the dry, predictable “house style” best exemplified by Joss Whedon’s Avengers and Jon Favreau’s first two Iron Man flicks. The end result is a multi-million-dollar, CGI-heavy, clinically-paced, personality-free zone.

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About a half hour into things here, you start to get the distinct feeling that you’ve seen all this before, and there’s good reason for that — you have. The action sequences are progressively bigger, louder, and more destructive, but not much else. They don’t become progressively more thrilling or suspenseful, and while the stakes are nominally raised every time, their execution remains largely the same. You could probably run ’em all in reverse order with no real difference to the story.  And while there does, in fact, seem to be a kind of major shake-up Marvel’s “universe” at the end of this film, the fact that the Agents Of S.H.I.E.L.D. TV series remains a going concern week in and week out is all you need to know to figure out that any “ramifications” from this story are apparently very short-lived indeed. In other words, Marvel’s doing on celluloid what they’ve always done in print — providing, in the words of Stan Lee (who it pains me to even quote, but in this case I must) “the illusion of change” — but no actual change at all.

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In the end, in the eyes of this armchair critic at any rate, that’s what Marvel’s movies are all about at this point  : the status quo. If you’re happy with that, then you’ll enjoy the heck out of Captain America : The Winter Soldier. But if you’d like to actually see something that takes a few risks, dares to break the mold a bit, and maybe even matters — well, you’ll have to look elsewhere. That’s not the point here. The point here is to get you all hot and bothered for Captain America 3, or The Avengers 2 — or whatever the hell else is in the pipeline — before this one’s even over. Viewed from that angle — the one that shows the goal of every Marvel movie is nothing more than ensuring that there will be a next Marvel movie — then yeah, this one’s gotta be viewed as an unqualified success. So what?

Song of the Day: Captain America March (by Alan Silvestri)


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I think it would be safe to assume that the last week or so has been all about Captain America.

Captain America: The Winter Soldier has been tearing up the box-office both here in the US and overseas. I have seen it twice already and most likely would be thrice if the issue of bills wasn’t coming up so soon. I’m still working on writing up a quick review about my thoughts on this latest Marvel Studios offering. Until then just enjoy one of the best pieces of film score ever created for the Marvel Cinematic Universe.

Alan Silvestri’s “Captain America March” from Captain America: The First Avenger definitely makes one feel the decency and righteousness of the good man that is Steve Rogers. It’s so earnestly patriotic (not jingoistic at all as some were afraid this score would be) that it echoes past classic John Williams scores for the Indiana Jones film franchise. It’s also one of the few film tracks where it makes great use of the brass and percussion section of the orchestra. This song wouldn’t feel out of place in a big band orchestra playing to help celebrate the soldiers coming home after VE-Day.

 

Song of the Day: Trouble Man (by Marvin Gaye)


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I just got back from watching an early screening of Captain America: The Winter Soldier.

Now, what does this have to do with the latest “Song of the Day” featuring musical legend Marvin Gaye. Well, I’m glad you asked. The song gets mentioned by a major character in the film and gets some airplay towards the end. The lyrics of the song itself could almost be synonymous with the storyline for this follow-up to Captain America: The First Avenger.

The song is also the theme song to the 1972 Soul Cinema Classic film production Trouble Man.

While the song remains a classic R&B song that does consistent radioplay I’m sure it won;’t hurt for new listeners coming to listen to it even more after experiencing it for the very first time watching Captain America: The Winter Soldier.

Trouble Man

I come up hard, baby, and that ain’t cool!
I didn’t make it sugah, playin’ by the rules!
I come up hard, babe, but now I’m fine.
I’m shakin’ trouble sugah, & movin’ down the line.
I come up hard, but that’s OK.
‘Cause

Trouble Man don’t get in my way!!

I come up hard, baby!

I mean fo’ real, baby, cuz I’m a Troubled Man!
Gonna keep movin’, gonna go to town.
I come up hard, and now I’m gettin’ down!
There’s only 3 things that’s fa sho*:
Taxes, death and trouble

This I know, baby. this I know.
Yeah, you never let it sweat you baby,

Whooooo

Got me singin’, yeah, yeah, hooo

I come up hard, baby, I had to fight!
To keep my dignity with all my might!
I come up hard, I had to win!
Then start all over. And WIN AGAIN!!
I come up hard, but that’s OK!
‘Cause Trouble Man don’t get in my way

Hey,Hey!

Now I been some places and I seen some faces
I got my connections they take my directions
Don’t care what they say. that’s OK, they don’t bother me
I’m ready to make it, don’t care ’bout the weather
Don’t care ’bout no trouble, got myself together
No laughin’, no cryin’, my protection’s all around me

I come up hard, baby
I mean for real, baby
With the Trouble Man
Movin’, goin’ tight
I come up hard, come on, get down
There’s only 3 things for sure:
Taxes, death and trouble

This I know, baby, baby
This I know, baby, baby
Hey now, let it sweat, baby

I’ve come up hard, but now I’m cool
I didn’t make it, baby, playin’ by the rules
I’ve come up hard, baby, but now I’m fine
I’m shakin’ trouble, sure movin’ down the line

Captain America: The Winter Soldier (4 Minute Extended Clip & Trailer)


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It’s just less than a month away from one of 2014’s most-anticipated films. It’s the sequel to Captain America: The First Avenger and Marvel Studios has been kind enough to treat it’s fans to a 4-minute clip/trailer of the film.

This clip from Captain America: The Winter Soldier comes early in the film and helps in setting the tone of the film. This is not the gung-ho and patriotic first film. This follow-up shows the after-effects of the events from The Avengers and how it’s created a sense of paranoia and conspiracy surrounding the very group Captain America has now become a part of.

Where the first film had the nostalgic feel similar to Joe Johnston’s The Rocketeer, this sequel looks to tap the 70’s conspiracy and 80’s technothriller genres. It’s anyone’s guess whether the Russo Brothers succeeded, but just going by this extended scene and the previous teasers and trailers they may have just done that.

Captain America: The Winter Soldier arrives in North America on April 4, 2014.