THE ROAD is a good movie, better book. If you’re thinking about reading it but haven’t got to it yet I’d say read it, then see the movie. The movie (directed by John Hillcoat, who did THE PROPOSITION) is very faithful to the book (by Cormac McCarthy, who did No Country For Old Men) and illustrates it well, but it can’t really do the same thing.
In case you don’t watch Oprah, the story is about a man and his son after civilization has been destroyed by some unnamed disaster. They’re cold, hungry and worn out and trying to push their little cart of belongings across the United States to the coast. They don’t even really know what they expect when they get there, they just don’t know what else to do. (read the rest of this shit…)
A bunch of actual good movies came out this week, and I’ll review a couple of them soon. First I have to catch up with this crap I saw last week…
(this review has more spoilers than usual because there’s alot to analyze.)
To tell you the truth it was the Lee Marvin/Don Siegel version of this Ernest Hemingway story that I was interested in, but Criterion released the two versions together, so I watched this Robert Siodmak/Burt Lancaster one first. Way to go, Criterion – expanding my ignorant horizons.
Strange days we’re livin in, here in the futuristic year of 1999. Everywhere you go there’s people getting chased, cars on fire. I just saw 2 people beating up Santa Claus on the sidewalk. Can you believe gas has gotten up to three whole dollars a gallon? What a nightmare! And man, I almost miss junkies. They were so much better than these “wireheads” you got now, who plug into recordings of the brain responses to sex and bank robberies and stuff. Those guys make me sick.
(warning: spoilers reign)
THE KEEPER is Steven Seagal’s new movie, still no release date in the U.S. but already released in England, where Seagal is so popular they even published a groundbreaking book that chronologically analyzes all his works up to PISTOL WHIPPED. This one isn’t as strong as RENEGADE JUSTICE (URBAN JUSTICE to us Americans) or PISTOL WHIPPED, and not much better than the okay DRIVEN TO KILL, but don’t worry, it’s much better than the less-than-half-assed AGAINST THE DARK and the Guinness Book of World Records-worthy all time most disorienting editing of KILL SWITCH.
I guess I got a nuanced view on these Robert Zemeckis “mo-cap” movies. I think he’s kind of delusional if he really thinks this is the future of movies, and I was complaining about the creepiness of attempted realism in POLAR EXPRESS (and earlier in FINAL FANTASY) long before it was a common complaint with the name “uncanny valley.” When it comes to being creeped out by dead-eyed computer animation, I’m NWA and mainstream critics are Ja Rule or somebody.
THE ABYSS is probly James Cameron’s most original movie. It’s not primarily based around people getting killed by a monster or a bad guy. It’s more like man vs. scientific challenge, trying to fix things, to not run out of air, to survive the pressure (both literally and figuratively) of being deep underwater. Okay, so Michael Biehn snaps from a bad case of the Underwater Blues, and they gotta fight him, but most of it is more problem solving and scientific analysis like APOLLO 13 or QUATERMASS AND THE PIT. And then it turns into CLOSE ENCOUNTERS OF THE THIRD KIND. And a little 2001. But underwater, so it’s completely different. Water is different from space. You can’t drink space. 
