So it’s been long enough since I’ve seen a (new) movie that I went ahead and just saw three in a row to catch up. And as a result, I can’t help but kind of compare my experience with the three side-by-side. AND as a result, I have even less to say about each. It will be the A.D.D.-est yet.
The Adjustment Bureau
I’ve been saying all along that this could either be really cool or really lame. Instead it fell solidly in the middle. It did do everything I expected in terms of heavy-handed-holy-ness and bordering immature fantastical storytelling about fate. And after a while I had had enough of their bewildered shock as they point to a notebook of symbols that meant nothing to me. But, I was still relatively entertained, especially by how much New York played into the story.
For the most part I was disappointed.
My favorite thing about the movie is actually the promo campaign, which was WAY more menacing and badass than the Adjustment Bureau IN THE MOVIE was. Someone hire these people to promote my movie (when I make it) please!
Take Me Home Tonight
I’ve come to realize what made this kind of movie great IN the actual 80s can’t really be reproduced. It’s a certain kind of mentality and genuineness that movies don’t have anymore unless done cautiously and un-ironically. I love me some John Cusack movies, but just because Take Me Home Tonight is set in the 80s doesn’t mean its included in those classics. THAT being said, it was also fairly entertaining and it was a slightly more satisfying experience than The Adjustment Bureau which I had seen the night before. The discrepancies in the story are more swallowable when it’s not a high-concept Writer/Director movie anyhow.
This was by FAR the highlight of the weekend trifecta of movie-watching. Not only is Rango a really good animation, but it’s an excellent Western, AND a very good movie in terms of structure, acting, and all the technical aspects from which the other two have glaring problems. Rango has just a hint of reference sprinkled in from old classic westerns, while still being its OWN movie, not a cluttered collage of cliches. It doesn’t succumb to the typical “make it back home” plot that usually befalls onto the “lost pet” scenario. And has an excellent cast and crew including a Hans Zimmer score and Cinematography Consulting by Roger Deakins. The credits roll got more oohs, ahhs, and surprises than an M. Night Shya…wait, that’s not a very good example anymore. More oohs, ahhs, and surprises than the reveal of an Agatha Christie novel.
I always love when a movie surprises. I hope Rango is in the running for best animated feature this year because it was remarkably good. (And as a side note, it was also remarkably rough in appearance and character-killing than a typical “adults will like it too” animation. Which, among other things, means it wasn’t created to sell toys. Those plushies would make a child cry!)