Smash Cuts: Hanna

Hanna (Wright, 2011)

Does it count as a revenge fantasy if everyone is terrible? Well, you know, except for the times where they aren't. But who cares about those times, we need the testosterone to flow! We need to see that you have balls! Balls! Action! Killing! Balls! You really have to admire the balls of what is likely the year's best action film - I mean really - simply because it takes the conceit of bringing this tiny fourteen year old female and turns her in to a force of unstoppable brutality. This is probably what The Hunger Games is like, except good. You have big shoes to fill. Figuratively anyway, Saorise Ronan probably doesn't have abnormally large feet. I know she doesn't cry! Except - of course - when she does. By moving at such a break neck pace it's hard to get bogged down in all the plot intricacies or the weak characters. We just need to cut.

Generals Gathered In Their Masses Just Like Witches At Black Masses

Micmacs (Jeunet, 2010)

The French are a people filled to the brim with whimsy. At least what I know of Jean-Pierre Jeunet's filmography gives me grounds with which I formed this notion. I have never seen Juenet's most famous film, Amelie, but if Micmacs is any indication of what I can expect from that film, I suppose I ought to spend some time watching the other film. What struck me so much about Micmacs was the way that the scenes simply flow into one another, capturing perfectly the a range of emotions that each scene demands. While the film is, by nature, an incredibly light hearted event, what surprised me was not how well the comedy on display is handled, but rather how suspenseful and dramatic the film became during the 'heist' sequences. These scenes blend comedy with delightfully dark moments to create such an engaging mood.

The film also never takes itself incredibly seriously, which adds to the mood created by the blending of reality with surreality. The film opens with a shockingly jarring few sequences involving a few bouts with death that, for me, came completely out of left field. These scenes were completely necessary though, as well as very enjoyable, as they provide set up for the rest of the film. Actually, this film narratively bears a remarkable amount of resemblance to one of my favorite films of last year, Fantastic Mr. Fox. Our protagonist attempts to take down two big businesses in a decidedly whimsical manner. But the difference is found in the much more overt social commentary that comes along with Jeunet's film. While Fox reaches greater understanding by serving as a critique of classicism, Jeunet is more concerned with the directly 'human' troubles that companies, specifically companies designed to create war, cause in the world. Early on in the film one of the company heads boasts that his weapons are designed to maximize on collateral damage to cost the enemy more money than dead soldiers would require.

One aspect that I particularly loved was the inclusion of billboards throughout the film that boasted the film's title and were direct mirrors of the scene that was currently playing out. Given the film's introduction this aspect added another layer of intrigue, causing me to wonder exactly how much of the world on display is 'real.' The entire film builds to a climax that is immensely rewarding, tying the film up wonderfully and solidifying the generally fantastic pacing on display. While Jeunet's work does occasionally feel a bit too topical in its approach, and despite a number of scenes occasionally carrying on to the point where the whimsy became slightly overwhelming, Micmacs is an enjoyable and self aware romp through a just barely surreal France.

Let Me Hear You Say, "Fight the Power!"

Welcome to Processed Grass, my blog for film, music, television, novels, and any other forms of culture that are not directly video game related, as those cultural venues are covered over at Multiplatform. I will give a proper first post later, but for now let's kick things off with a reflection on a brand new film!

Public Enemies (Mann, 2009)

My first experience with Michael Mann comes in the form of Public Enemies, the period piece dealing with John Dillinger, events that I have minimal knowledge about and mostly only know that Nick Twisp would like to adopt the surname in the Youth in Revolt series. Still, it bills Depp and Bale as the lead actors and the 'lesser' roles are really nothing to sneeze at either, so regardless of my knowledge of the events I should at least be able to fall back on a well known director and a good number of big name actors in what I assume, judging by the release date, is so big budget summer popcorn film that is going to follow up Transformers. I mean all the pieces are in place for a smash hit thrill ride that follows the gangster formula and plays to a market that really hasn't seen a similar film released since The Departed, correct?

Well, partially I suppose. Mann's direction ranges from brilliant to irritating, though he handles all of the action sequences spectacularly, unlike two other films featuring Bale released recently, and really the whole film is visually stunning. The costumes are great, the scenes are beautiful, and there are a number of shots that are simply top notch. All in all I'm pretty pleased with what Mann put together. Similarly, the acting is pretty damn great as well, though I don't really understand why Bale is billed as a lead. Sure he plays an important role in the plot, but he is not in the film an incredible amount of time and there are points where it is easy to forget that he is even around. When he is on screen though he's really good, playing his character believably and drifting in and out of accents that seem straight out of his 3:10 to Yuma character and the Jack Rollins character from I'm Not There. The real star though, as expected, is Depp. His performance is perfect, he brings so much to the Dillinger character that each moment he is on screen the audience is left guessing what he will do and how he will react to the situations around him. Depp plays things cool and collected when needed but he also captures the force of a truly dangerous man, it's damn impressive.

Aside from the leads though, all of the supporters do an excellent job whether their roles be small or large. Obviously the next biggest role is the love interest, played by Marion Cotillard, and she does make the most out of her screen time. I haven't seen her in anything else so I really do not have anything else to compare her performance to, but she does a really nice job here and there are a few scenes, one particular one later on, where she is pretty fantastic. Sometimes great actors and actresses come together, and I'm not saying that Bale is a great actor, and things do not always work as well as they should, but in this film all of the actors did a bang up job that became really refreshing in the midst of a lackluster summer movie season.

Actually, the entire film is a nice break from the summer blockbuster season and from the typical summer popcorn film. What could have easily been a generic over the top gangster film takes on quite a few layers by not cramming itself full of overblown gun fights or bank robberies, actually the number of each are kept surprisingly minimal, and really remaining focused on watching the characters exist in this brilliantly established world and documenting what was happening. I'd actually be really surprised if this film makes a ton of money or if it becomes associated with the stereotypical summer blockbuster because the film seems to go above and beyond that label by ignoring most conventions found in other releases this year like Star Trek or Transformers 2.

To be honest the most notable difference between those films, and I suppose a similarity as well, is how plot is handled during the film. Dillinger speaks about not living in the past or being overly concerned about the future, it's all about "where you're going," and the film seems to follow this idea in the way the film is set up. Minimal back story or motivation is given, perhaps because it's a 'true' story or perhaps not, and the film never clearly establishes a definitive goal that should be reached by the end; very little overarching plot exists in the film. Still, the film is incredibly captivating. This structure is mighty interesting and should make for a dull film that does not demand engagement, but Mann establishes the world so perfectly that it is simple to be swept away and simply go along as an observer in a manner that combines all the entertainment of a film with the interesting aspects of a History Channel special. It's pretty damn impressive and it is nice to see Mann not overly cram the film with cliche and convention in favor of entertainment and an easy to swallow film. He simply lets the film exist, adding to the 'real world' quality and enhancing the world that is presented, all blending together spectacularly.

So do I know if all the facts line up? Probably not. Is it the best film of the year or a transcendental experience? Nope. Hell, do I even think that it is one of the best gangster films ever made? Certainly not. But Mann provides an entertaining, interesting, and exciting film that is a breath of fresh air in an over crowded, explosion filled summer, and for that I can be pleased.

B+ or 4.189812423748214727895637198

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

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Photos from cinematical.com, scribeculture.com, and joblo.com in order of appearance

Time to Wake Up: The Darkness, Reflections on Comics and Games

So I'm a bit behind schedule, but also finished Lost and picked up Naruto today, and I have finally finished my reflection on the video game adaptation of the comic series The Darkness. For future reference, I will be using the comic series in Italics and the video game in Bold.

A long time ago, when I was just a sperm concerned with getting inside a vagina to bring forth new life, the comic book industry thrived along with the arcade industry. The two cultures began to mesh as the arcade industry died down and some of the steam of mainstream comics began catering to a more devoted crowd. Flashing forward a little more than 18 years, one will notice very few of the things previously mentioned have changed. The video game industry continues to grow each year, Comic-Con and other festivals expand audiences yearly, and I am still primarily concerned about spreading life. However, both cultures continue to share one trait in common: comics and video games are niche markets. On a mainstream level the fans are sterotypical nerds and geeks who dress up as imaginary characters and rarely leave the home, only for D&D night, to wait in line for the next Star Wars film, or to LARP all over someone's face. The problem is, as most gamers/comic readers will tell you, that these stereotypes are flawed and very wrong. The casual fan is just as important to each industry, and with the influence of comics in other mediums the pairing of these two previously intertwined cultures seems obvious.