When I was in college I saw Blade Runner for the first time. I didn’t love it, but I pretended I did in an effort to impress my fellow freshmen with my supposed intellectual prowess. Thus began my Communications and Media major and my ardent exploration of films, which soon whisked me into the wondrous worlds of David Fincher, Ridley Scott, Paul Thomas Anderson, Alfonso Cuarón, David Cronenberg, and Stanley Kubrick. In those days my primary interest was in seeking out films with aesthetic merit in order to analyze them thematically, decipher their symbolism, and interpret universal meaning.
Effective Protagonists, Part III: Die Hard
After my last post on the dual power of Character wants and effective introductions in Pirates of the Caribbean: Curse of the Black Pearl, somebody made the astute observation that the only protagonists I’ve selected for analysis thus far have been white males.
Well anyway, today we’ll be conducting a breakdown of Detective John McClane in Die Hard.
Ingrid Goes West: #aRelevantTragicomedy
Today we’re going to deviate from my usual analyses of Plot and Character and delve into something I seldom have interest in discussing – theme. Thematic analysis has its place, of course – mostly in the hands of arthouse critics who relish the death of the author or sociology students who labour under the delusion that 2006’s Crash was somehow good – but for myself I’m generally less concerned with the question “What does it mean?” and more interested in the questions “Does it work?” and “Why or why not?”
Then I saw Ingrid Goes West. Obviously too late to include it in my 2017 Top Ten, which is a damn shame because if I had even known this film existed when assembling that list it would have bumped Thor: Ragnorok down into the dishonorable mentions and nestled itself somewhere around sixth place. Beyond merely being a great film and an effective Character tale, Ingrid Goes West deserves attention for having something important to say – something an entire generation of phone-slinging, social media-inundated hashtaggers desperately need to hear.
The Fighter: Nondescript Drama with a False Climax
Recently I took a reprieve from my usual lineup of Schwarzenegger films and Seinfeld reruns to view a movie that I’d slotted on my cinematic hit list years ago but had lacked all conviction to actually sit my ass down and view. That film was 2010’s The Fighter, which stars Mark Wahlberg as a man with a Boston accent and Christian Bale as a person with intense emotional problems and possibly bulimia. Oh, there’s also some boxing in it too, I guess.
I did not love this movie – which apparently puts me in a minority group with less representation than Asian stand-up comedians – but neither did I think it was necessarily bad. I’ll concede it was competently made (until the finale – we’ll get to that), well-acted, and presumably well-written (it can be hard to tell through all that wicked pissa Bostonspeak, yah suh). My immediate problem with The Fighter is that it represents a crossover between two genres that I take greater pains to avoid than personal interactions with the elderly – sports-related movies and dysfunctional family dramas.
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