HULK REVIEW “SOMEWHERE” FOR YOU

January 5, 2011

SOFIA COPPOLA GET LOT OF FLACK. HULK NOT REALLY UNDERSTAND. SOFIA SIMPLY MAKE FEMININE MOVIES. THIS IMPORTANT IN WORLD WHERE FEMALE DIRECTOR HAVE TO BE KATHERINE BIGALOW TO BE SUCCESS (HULK MEAN ONE NEED MAKE TESTOSTERONE-FUELED MOVIES). SO WHY MAKING FEMININE MOVIES SO OBJECTIONABLE? MOVIES NOT MEANT BE FOR EVERYONE. YEAH HULK LIKE COMIC BOOK NERD MOVIE TOO, AND SOFIA OPPOSITE OF THAT, SO WHAT? SOFIA FILL NEED SORELY LACK IN MAINSTREAM.

IT NOT LIKE HER MOVIES SEX AND CITY OR SOMETHING EITHER (WHICH ALSO HULK ALSO FINE WITH… IN DIFFERENT WAY). BUT SOFIA MOVIES: LOW KEY. FEATURE EXCELLENT USE OF SOUND. THEY HAVE DISTINCT EUROPEAN SENSIBILITY AND SHE NOT AFRAID LET SCENES PLAY OUT. SHE KNOW HOW TREAT SUBJECT WITH DELICACY. SHE ALMOST ALWAYS RATHER FEATURE OBSERVATION OVER DRAMA.

THIS NO MAKE HER UNIQUE VOICE IN CINEMA?

OF COURSE IT DO. WHICH MEAN HULK ARGUE SOFIA CRITICAL IN MAINSTREAM CINEMATIC LANDSCAPE.

PICTURED: DAINTY-NESS... DEAL WITH IT NERDS

HULK MAYBE THINK SOME RESENT ENTITLED QUALITY TO HER WORK. HULK UNDERSTAND THIS. ESPECIALLY CONSIDERING THIS NEW ONE YET NOTHER FILM ABOUT BORED, DISAFFECTED RICH PEOPLE.  AFTER ALL, IT SOMETIME HARD RELATE PEOPLE WHO NEVER WORRY ABOUT MONEY, REALITY, OR REGULAR THINGS REST OF US HAVE WORRY BOUT ALL THE TIME. (THEN AGAIN, HULK SPEND HULK’S TIME WORRY BOUT IMPENDING DOOM IF LEADER ESCAPE). HULK ALSO UNDERSTAND THAT NEPOTISM INVOLVED IS WORRISOME THING. BUT STILL, A FILM EARNED ON SCREEN NO MATTER HOW IT COME TO BE. A FILM CAN’T BE DISHONEST WITHOUT FEELING DISHONEST. TO QUOTE RASHEED WALLACE: “BALL DON’T LIE.” SO NO MATTER WHO HER FATHER, SOFIA STILL NEED MAKE FILM FOR ALL TO SEE. FILM EQUALIZING IN END. SO WITH THESE TWO CONSIDERATION, SOFIA CHOOSE MAKE MOVIES VERY PERSONAL. IF THESE MOVIE TOOK PLACE IN WORLD SHE NOT KNOW… WOULDN’T THAT BE MORE DISHONEST?

SOFIA FILMOGRAPHY INTERESTING SO FAR. “VIRGIN SUICIDES” SORT OF A MESS, BUT INTERESTING FIRST FORAY. IT DO HAVE VERY NICE FEEL AT POINTS. “LOST IN TRANSLATION” OBVIOUSLY ROUSING SUCCESS BY ALL REGARD. AND HULK FEEL “MARIE ANTOINETTE” MISUNDERSTOOD AMBITIOUS FILM THAT WORK AS META COMMENTARY ON ROYALTY AND THEN TRANSLATE THAT FEELING TO MODERNITY. HULK APPRECIATE THESE FILM VERY MUCH.

FEMINISM

AND NOW, “SOMEWHERE” FEEL LIKE BOTH STEP FORWARD, AND IN SOME WAY A STEP BACK FOR SOFIA. HULK STILL TRYING SORT THAT PART OUT AND EXPLAIN IN MINUTE. BUT FIRST. WHY IT STEP FORWARD:

“SOMEWHERE” PUSH SOFIA EVEN FURTHER IN DIRECTION OF NATURALISM. THERE LONG SEQUENCES OF MERE CHARACTER OBSERVATION. IT ALSO MANAGE BE COMPLETELY DEVOID OF DRAMA, WHICH GIVE SLIGHT HINT OF AVANTE GARDE. OR CINEREALISM. OR OTHER THING THAT NOT DESCRIBE IT CORRECTLY.  “SOMEWHERE” MERELY AIM TO CAPTURE REAL MOMENTS IN LIFE OF AGING BAD BOY MOVIE STAR. THE VACUUM OF FAME. THE LACK OF CONNECTION. AND COUNTER THAT WITH ODD THRILLS OF MUNDANE LIFE.

SOFIA MANAGE PUSH THE SILENCES EVEN LONGER HERE . SHE FIND THE MONOTONY IN UNEXPECTED PLACES ( NOBODY BETTER THAN SOFIAAT CAPTURING SAD AWKWARDNESS OF A STRIPPER ROUTINE). BUT WHAT ELEVATE THESE CHOICES HOW SHE THEN ABLE TO JUXTAPOSE THOSE MOMENTS WITH MOMENTS OF SILENCE WHERE CHARACTERS AT PEACE. IT NICE DICHOTOMY.

STEPHEN DORFF PERFECTLY SERVICEABLE. THIS MAY SOUND LIKE SLIGHT BUT IT NOT. SILENCE MOSTLY REQUIRED OF HIM BUT HE NOT EXACTLY TRANSCEND IN WAY DAY-LEWIS ACT WITH SILENCE, BUT HE CONVEY ADEQUATE EMPTINESS. MUCH BETTER ARE SCENES WITH DAUGHTER. THEY FEEL HONEST AND TRUE. DORFF DO GOOD JOB BALANCING BETWEEN SEEMING RESPONSIBLE ENOUGH AND YET BEING INHERENTLY LIMITED AS ABSENTEE YOUNG PARENT.

THIS FILM WAS NOT ABOUT PARENTHOOD

HULK LIKE ELLE FANNING TOO. SHE AND SOFIA MAKE GREAT CHOICE HAVE HER ACT LIKE ACTUAL KID. SO OFTEN MOVIE TODAY HAVE KIDS ACT LIKE MINI-ADULTS. THIS ALMOST ALWAYS STRIKE HULK WRONG.* MEANWHILE, ELLE ACT LIKE REAL 11 YEAR OLD. NO, HULK NOT MEAN INSUFFERABLE. HULK MEAN ONE ONE WHO GUARDED, BUT WHIMSICAL. ONE WITH HER OWN INTERESTS, BEHAVIOR, AND EMOTIONS. IT COMPLETELY REFRESHING.

AND THEN JACKASS-ENSEMBLE-MEMBER CHRIS PONTIUS STRANGELY FANTASTIC. ONE GET SENSE HE JUST SORT OF TALKING ABOUT WHATEVER (HULK NOT SURE IF IMPROVISED?) BUT SORT OF CAPTURES EXACTLY WHAT HE NEED TO. HE BALANCE BETWEEN OLD FRIEND, HANGER-ON, DOPE, AND PRETTY DECENT GUY. HIS CHARACTER MAY SEEM TANGENTIAL AND DECORATIVE, BUT HULK ARGUE HIS PRESENCE CRITICAL. AND HE PERFECT FOR IT.

ACTOR

LASTLY, THE FOURTH MAJOR CHARACTER CHATEAU MARMONT ITSELF. OFTEN WE SAY FILM USE SCENERY AS CHARACTER AND SOMETIMES IT TRUE. HERE IT DEFINITELY TRUE. IT CAPTURE NOT JUST SETTING, BUT A MOOD AND LIFESTYLE. IT PERFECT.

THESPIAN

SO WHY “SOMEWHERE” ALSO A STEP BACK? THERE WAY IN WHICH “SOMEWHERE” JUST FEEL TOO EASY. ALL THE OBSERVATION NOT OBVIOUS EXACTLY, BUT IT MOVIE COMPLETELY WITHIN SOFIA’S WHEELHOUSE. HULK FEEL LIKE SOFIA TRANSCEND THE PERIOD PIECE WITH “MARIE ANTOINETTE” AND NOW SHE JUST GO BACK TO SOMETHING THAT YOU FEEL LIKE WAS NOT STRUGGLE TO EXECUTE WHATSOEVER.

BUT AS MUCH AS HULK WANT SOMETHING MORE, “SOMEWHERE” CAN NO BE DENIED. IT CAN’T HELP BUT FEEL HONEST.

HOW HULK DENY THAT?

ENDNOTE:

*HULK’S FAVORITE EXAMPLE OF CHILDREN ACTING LIKE ADULTS: THE OLD VERSION VS. REMAKE OF “THE OMEN.” IN ORIGINAL, THE MYSTERY OF WHETHER KID ACTUALLY DEVIL SUSTAINED CAUSE KID JUST ACT LIKE YOUNG KID. IN REMAKE, TO BE “SCARIER” THEY CAST CREEPY WIDE-EYED KID WHO OBVIOUSLY EVIL FROM START. BY REMOVE UNKNOWN ELEMENT, THEY UNWITTINGLY FUCK THEMSELVES AND MOVIE.

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15 Responses to “HULK REVIEW “SOMEWHERE” FOR YOU”

  1. 2509 said

    That whole outside-of-the-wheelhouse comment is interesting, Hulk. ‘Cause is it possible to say the same thing about True Grit? Kinda feels like a movie the Coen’s could make in their sleep, which is in no way a slight against a truly great movie. They’re just kinda good at it. On the other hand, not moving enough outside the wheelhouse is why I disliked Black Swan, but Aronofsky has always been a filmmaker whose work I watched in order to be wowed by the newness of it all. Either way I’m excited to see this, Hulk. I didn’t especially like Marie Antoinette but I appreciate what it is, and I’m obviously a big Lost in Translation fan. I think Ms. Sofia is a real talent. So thanks for writing this review and getting me even more excited.

    I like to say your name at the ends of sentences.

  2. 2509 said

    “Coens.” Without an apostrophe. I hate myself.

    • mgss said

      GREAT COMMENT. IT INTERESTING DYNAMIC. THERE PART OF HULK THAT TOTALLY AGREE, BUT THERE PART OF HULK THAT CAN NEVER DISCOUNT WELL MADE MOVIE NO MATTER HOW MUCH IT IN WHEELHOUSE. MORE SO, HULK NOT SURE IF IT FAIR TO WANT DIRECTOR BE SOMEONE THEY NOT? THE WRESTLER AMAZE HULK CAUSE HULK NO EXPECT SUCH ORGANIC DOCU-FEEL FROM ARONOFKSY. BUT WHO HULK TO SAY HE CAN NO DO BLACK SWAN IF BLACK SWAN WHAT DRIVE HIM? AND HULK CAN APPRECIATE THAT MOVIE AS BEING DIFFERENT ENOUGH PURELY DUE TO RESPECT IT GIVE TO BALLET AND THE WAY IN WHICH HE CAPTURE THE “FEEL” AND NOT JUST LOOK OF DANCE. BUT HULK TOTALLY KNOW WHAT YOU MEAN.

      LIKE ONE OF MANY REASON HULK ADORE ALFONSO CUARON IS HE REALLY DELIVER SOMETHING NEW EVERY TIME HE MAKE MOVIE. ONLY HE DO SO WHILE COMPLETELY STAY TRUE TO HIMSELF AND OWN AESTHETIC. MEANWHILE, THE CONSTANT GENRE-CHANGE PROBABLY BEST THING ABOUT MICHAEL WINTERBOTTOM (TRISTRAM SHANDY EXCELLENT THOUGH). AND LASTLY THERE MARC FORSTER WHO GENRE JUMP BUT ONLY TO POINT WHERE IT SEEM LIKE HOLLOW EXERCISE IN HACKDOM.

      THERE DEGREES HULK GUESS.

      • 2509 said

        Definitely degrees, Hulk. Paul Greengrass is another director that seems to use each film to hone his particular aesthetic without much obvious change, and the interesting thing about his career as a whole (not aesthetically, but in regards to him as an auteur), is how he applies that docudrama style to varying genres, each with a different kind of perceived realism. Is he a filmmaker moving in waves, from the docudrama to applying that style to these big(ish) action flick? Mike Leigh seems to move in these kinda cycles as his work changes from film to film.
        Marc Forester tends to change genre in an obvious way, but if faux-Oscar bait was a widely recognized genre, he’d REALLY never leave his comfort zone. Though I absolutely love Stranger than Fiction, but I thought that the script and performances were the kinda thing you just do your best to get outta the way of, as a director, and you’ll get something that’s pretty good.
        I’m aware that I’m being in no way fair to Aronofsky in my “INNOVATE AND WOW ME EVERY TIME YOU FOOL” attitude, and I have a bad tendency to review the film I wish had been made, which is generally the most basic flaw in attempting to review something. I gotta go back and catch Black Swan again, devoid of that expectation, so I can appreciate it on its own, both as a great film and as a seeming compilation of Aronofsky’s greatest hits (in this instance I mean that as a positive).
        Here’s a question: Are “compilation films,” meaning these films it seems like directors are building their skillset to achieve, like Black Swan, or Inception, or say, Once Upon a Time in the West – are they an inevitability for any filmmaker that could be considered consistently innovative? Can a director make more than one (John Ford? Is Vertigo Hitchcock’s “comp” film? Can you bring in works they’ve done in other media – as in, is The Matrix the Watchowskis’ “comp” film?)? If so, what are some other ones? That might be a cool little film fest/themed screening night, Hulk.

  3. Phil said

    Honesty is everything in art, Hulk (2509’s right, it is fun to say). Well, honesty and engagement. Striking a balance between saying what you want to say, and presenting it in a way that’ll make people care. So, I guess honesty’s not everything, but it’s key. Sofia’s films have that honesty, sure, but it’s not something to which I find myself responding. To borrow a phrase of yours, Hulk, I vastly prefer drama to observation. I think I dislike her films for the same reasons I dislike Malick’s, but that certainly doesn’t mean they’re bad directors. Our preoccupations, tastes and styles simply don’t line up. Not everyone liked the new Wolfman movie (heck, very few did), but I adored its ruthless adherence to moving the story forward. That doesn’t work all the time, though. Like you say, there degrees.

    I don’t really know what my overriding point is here, Hulk, but you gave me an opportunity to opine about Sofia, and here’s where we ended up. Thanks for that, and thanks for adding entries in the blog. Please, do continue.

    • 2509 said

      “Not everyone liked the new Wolfman movie (heck, very few did), but I adored its ruthless adherence to moving the story forward.”

      You know what movie does that really well in a way that I loved? The EdNorton Hulk flick.

      (LOLZ)

      • mgss said

        HULK ENJOYED CERTAIN SEQUENCES FROM WOLFMAN TOO. (THE ATTACK ON GYPSYS NEAR PERFECT!) BUT HULK THOUGHT STORY JUST FEEL GUTTED. SAME WITH INCREDIBLE HULK (WHICH HULK ENJOY WORKING ON. CGI? PLEEEEEESE). ONE NEVER WANT GET BOGGED DOWN IN MEDITATION, OR THROW IT IN RANDOM, BUT HULK NEED BALANCE IN MOVIE.

        THAT BE SAID, HULK LOVE PROPULSIVE MOVIES TOO, BUT HAVE BE DONE RIGHT. LIKE FIRST HALF OF SOCIAL NETWORK HAVE INCREDIBLE FORWARD MOVING ENERGY. ALSO: CRANK!

  4. mgss said

    2509 – EXCELLENT, EXCELLENT COMMENT. “COMPILATION” FILMS VERY INTERESTING IDEA. ONE THAT HULK THINK OF RIGHT AWAY POLANSKI’S “THE PIANIST.” NOT CAUSE HE FINALLY MAKE MOVIE ON “THAT” SUBJECT. BUT CAUSE SO MUCH OF IMAGERY IN IT HARKEN BACK TO MOMENTS FROM HIS PREVIOUS MOVIES. SERIOUSLY. GO BACK WATCH “THE TENANT” IT LIKE POLANSKI SECRETLY MAKING HOLOCAUST-THEMED FILMS HIS ENTIRE CAREER. HULK WILL THINK OF OTHERS. ALSO, HULK LIKE YOUR BLOG.

    PHIL – HULK UNDERSTAND. BUT SOMETIMES IT ODD. HULK HAVE CERTAIN HANGUPS, BUT HULK TRYING TO THINK OF DIRECTOR WITH THOSE DISTINCT QUALITIES, BUT HULK CAN’T THINK ONE. HULK MEAN, THERE OBVIOUSLY TERRIBLE DIRECTORS (BOLL, BAY, ETC), BUT WITH MOST LAUDED DIRECTORS THERE SOMETHING THAT HULK AT LEAST APPRECIATE… HMMMM… HULK TRY THINK… HULK ABSOLUTELY HATE CERTAIN MOVIES LIKE “REVOLUTIONARY ROAD” BUT STILL OKAY WITH MENDES ON WHOLE… HULK THINK MORE. ALSO, HULK FREQUENTLY ENJOY YOUR TWITTER.

  5. Phil said

    Usually, these “compilations” are good movies, right? What do we say about them if they’re bad? Like… “Miami Vice” (though, I still contend that trailer is like the ultimate Michael Mann movie), or “Ghosts of Mars” (all of Carpenter’s worst instincts, and his worst Hawksian instincts – which is kind of why I love it), or take-you-pick-of-Romero’s-latest-films (unlike everyone else in the world, I really liked how he reframed things with “Diary” – I thought it did “Cloverfield” better than “Cloverfield” – but “Survival” just called to mind all of his weaknesses as a filmmaker, like he was shouting, in his subdued way, that he’s an old man and you should just let him make his movie his way, goddammit)…

    • Phil said

      That’s supposed to be “take-your-pick.” Curses.

    • mgss said

      HULK LAUGH! GHOST OF MARS PERFECT COMPILATION OF CARPENTER WORST INSTINCTS. POLANSKI HAVE SIMILAR MOMENTS IN HIS FILMOGRAPHY.

      SADLY, TIM BURTON SEEM BE ENTER “BAD COMPILATION” STAGE OF CAREER. ALSO TERRY GILLIAM AND OLIVER STONE.

      HULK ALSO WORRY FOR GUS VAN SANT (THOUGH HE ALWAYS REBOUND WITH WONDERFUL FILMS LIKE “MILK)

      HULK STILL LIKE MIAMI VICE THO. HULK JUST WISH MICHAEL MANN STOP USING HD. HIS MOVIES NO LOOK RIGHT THAT WAY. AT ALL.

      LASTLY, HULK SAY AT THAT POINT THAT ORIGINAL “TRANSFORMERS” BOTH BEST AND WORST MICHAEL BAY MOVIE EVER MADE… UNTIL TRANSFORMERS 2 CAME AND MAKE THAT WORST DISTINCTION CLEAR.

  6. 2509 said

    Other comp film possibility: Zodiac.
    I feel like Burton’s compilation was Edward Scissorhands. The rest of his career, other than Ed Wood, is like his own personal “crime films of the mid 90’s,” where everyone was homaging Tarantino, who kinda a homager himself (understatement).
    Burton’s homaging his own homages.
    Homage. Homage.
    Terry Gilliam’s new compilation period wouldn’t bother me if he wouldn’t use CG. The kinda homespun quality of his fantasy is one of the main things that draws me to him. Baron Munchauser: Craft. Parnassus: People looking around in awe while standing in a big green room.
    I feel like Gus Van Sant is his own Italian cinema cycle. He makes a movie and then makes more just like it until he burns it out and then he moves on, makes something new, and sticks with it until it’s burnt out. (Good Will Hunting, Finding Forrester; Elephant, Gerry, Last Days, Paranoid Park)
    Someone else interesting in the genre-hopping mix: Soderbergh. Can he ever make a compilation film? He’s like four different filmmakers shoved into one.
    Is Inglorious Basterds Tarantino’s compilation film? Kill Bill is his *literal* compilation film, but Inglorious Basterds is where he uses all his skills at their fullest thusfar.
    I love Mann’s HD but Collateral is still the best use of digital I’ve seen, (Zodiac is the runnerup) easily.

    • Phil said

      I’m with 2509 on Mann & digital. I loved “Public Enemies,” and 80% of what that movie did couldn’t have been accomplished with anything but an HD camera (the scene in the hotel hallway, for instance). Admittedly, Mann’s made far more better films shooting on good old 35mm than he has with HD, but I respect that he’s playing with the form he uses to deliver his content.
      But that has very little to do with compilations. I’d almost argue that “Che” is Soderbergh’s most-Soderberghian film, because it’s the perfect synthesis of his most accessible and most anti-commercial tendencies, all rolled up into one exhausting movie. I guess “The Limey” is also kind of like that, only shorter, and starring Terrence Stamp.
      Burton’s been riffing on his body of work since the 90s (I think making “Mars Attacks” was the worst decision he’s ever made. No “Mars Attacks” means no “Charlie and the Chocolate Factory”). I still think “Ed Wood” is the ultimate Burton film, because it’s more meta & self-referential (literally, that is – the filmmaker’s looking at someone he considers a kindred spirit and saying, “There but for the grace of G/god…” – not in a bullshit way). Though, that’s not really in line with the way we defined our terms. Scratch that. “Edward Scissorhands” it is.
      Scorcese’s in the same mode that Gilliam/Van Sant/Burton are in, but at least he’s still making good movies. Even though I hated how “Shudder Island” ended (well, liked, because it pushed through the “Fight Club” twist and made the world of the film deal with its own reality, but hated, because it invalidated the two hours I’d watched so far), it was still a well-made, clearly Scorceseian film.
      I guess if you can argue that different films are a director’s compilation film, then they probably made more than one. It’ll be interesting to see what Nolan does with the new Batman, but waaaay more interesting to see what he does after that.
      Another example of a director’s worst instincts I thought of: “Smokin’ Aces.”
      And finally… HOW DID OLIVER STONE FUCK UP WALL STREET 2 SO BADLY!?!? That idea was timely on the level of The West Wing.
      (Okay, not finally. I’m starting to think about what the acting equivalent of these films’d be. Nic Cage in “The Rock?”)

  7. [...] DETAIL THOUGHTS HERE. THIS FILM REALLY GROW ON HULK. "THE BEST THING ABOUT THIS MOVIE IS PEOPLE WILL STOP MISTAKING [...]

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