The Successful Outsider: Michael Mann’s THIEF

“That is… my life. Nothing, nobody could stop me from making that happen.”

Buildings tower over Frank, never allowing us to see the rooftops. When we do, we see taller buildings from their surfaces. Mann describes the night sky as feeling more alive, an extension of Frank’s attitudes and worldview. The two perpetual ceilings over Frank’s aspirations. The night life is where he’s most comfortable, his true identity. During the day, in his tailored suits, expensive cars, walking around in broad daylight he’s only working up a facade to move on to his next real project. Surrounded by cold structures and institutions, steely blues and neon lights; all set to a hypnotic score by Tangerine Dream. The night is his home, infiltration is his livelihood. 

Michael Mann’s protagonists often share similar virtues; a coded DNA that guides them in the structural nature of the world’s they inhabit. Mann’s interested in hardened men in unforgiving worlds, bound by their own code of ethics. Frank is bound by one: he is Joe, the boss of his own body. He doesn’t mess with anyone who doesn’t mess with him. The definitive “stay in your lane” mentality. Frank knows what he wants. It’s all in a photo collage.

Pieces of a past reassembled into a hopeful future. This photo is a window into something he longs for, something he fights for. To realize this dream, Frank decides to give up his professional autonomy in hopes of a quicker end to his criminal endeavors. It’s a naive approach to his aspirations. For a man so used to getting away clean, he can’t even see the score being pulled right in front of him. By Leo the crime boss, by the police, all trying to manipulate him. The freedom he fought so hard for is just another piece on the board to these people. So Frank changes the game, burning down the status quo he worked so hard to cultivate.

Frank leaves the picture behind along with his own enterprises, both capitalist and humanist, though he secures the foundations of his life. Only, it is no longer a present or future, it’s become his past. Frank walks alone into the night, alone and without a future. But just maybe, he’s secured someone else’s.

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Top 25 Movies of 2017

Better late than never? 2017 was a seriously great year for movies (like I mentioned here) so in a lesser year, any of these could have made my top 10 list. So I’m going to be greedy and write about 25 of my favorites movies from last year. I am human so I didn’t see everything (I will witness you soon, Florida Project) and let’s just call it a subjectively objective list. Feel free to check out my 2017 in Film roundup which is still mostly accurate to the list I’ve culminated below.

Here are some quick honorable mentions: Wonder Woman, Okja, Gerald’s Game, The Big Sick, Jumanji: Welcome to the Jungle

  1. War for the Planet of the Apes
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A farewell to the Cesar trilogy of Apes legacy. Continuing the thematic and narrative threads of Monkey Moses might be far less subtle than its predecessor’s, though Reeves camera has never felt more appropriate. A throwback to classical blockbuster filmmaking with new gen technology, War takes elements of Apocalypse Now and The Great Escape to close out the Cesar trilogy with the most optimistic ending for the Apes at the expense of acknowledging the darkest exploration of humanities remnants.

 

  1. The Lego Batman

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Effectively satirizes the cinematic legacy of Batman while never failing to acknowledge why the character has endured for several generations and will continue for countless more. Batman’s dark, broody nature has reached peak ridiculousness and way the story maneuvers through the tragic heart of the character wisely brings forth his ultimate secret weapon: Batman is incomplete without a family.

Continue reading “Top 25 Movies of 2017”

My Not-Quite-Favorite Movies of 2017 (But Still Worth Mentioning)

2017 was a surprisingly refreshing year for movies, genre related stuff specifically. It broke box office records. Captain Underpants wasn’t just good, it was great. Big budget blockbusters actually looked like money was put to good use. It was a real treat to go to the theater rather than dreading it. Not everything was as great as Captain Underpants (no, really) but it was also a year where some hidden gems got lost among the big box office hits of the year. There’s another discussion we’ll have to have sometime about just how many blockbusters clog up the multiplex nowadays. For now, I thought I’d highlight some of the best genre fare theaters had to offer in 2017. Not all of these are specifically “Best of the Year” but I enjoyed these movies of varying sizes too much to let them be forgotten. If you’re curious about my favorites of 2017, here’s a video celebrating the best of 2017 and I’ll have another post up later this week. Without further adieu, here are a handful of my favorite hidden gems (in no particular order):Continue reading “My Not-Quite-Favorite Movies of 2017 (But Still Worth Mentioning)”

THE TEXAS CHAINSAW MASSACRE in 35mm: So long, Tobe Hooper

We lost Tobe Hooper this year. A legendary filmmaker who created among the most powerful and exuberant genre films the world has ever seen. How appropriate then that a 35 mm screening of The Texas Chainsaw Massacre would be projected at BeyondFest, a film festival showcasing film culture’s fun house genre appeal. Don Coscarelli, Mick Garris, Tom Holland and Adam Rifkin introduced the film with each one commemorating an experience with their comrade in genre. It became clear quickly that Tobe Hooper was being honored as a person first and foremost. By all accounts, he was a passionate artist, wanting to entertain and striving to create new methods of expression on film. To paraphrase Mick Garris, the best way to honor him is to watch one of his films. And so we did.Continue reading “THE TEXAS CHAINSAW MASSACRE in 35mm: So long, Tobe Hooper”

My Favorite Movies: THE FORCE AWAKENS

Star Wars: The Force Awakens is a damn good movie. On a technical level, it’s astounding. But that comes with the territory of J.J. Abrams. What was most striking to me after one or two (or a few more) viewings in theaters was the attention to scale and character. Star Wars is a series that is inherently expansive in scope and detail. The worlds are vast, ever-growing and are the definition of unlimited potential (UnlimitedPower.Gif)Continue reading “My Favorite Movies: THE FORCE AWAKENS”

My Favorite Movies: MANHUNTER

“Have you ever seen blood in the moonlight, Will? It appears quite black.”

One of the best directed thrillers around. Manhunter isn’t so much interested in extraneous details of how characters came to be, filling information gaps with the nuance of a Criminal Minds episode but rather interested in the psychological weights of pure empathy.Continue reading “My Favorite Movies: MANHUNTER”

Darkness Before the Dawn in “The Dark Knight”

Batman Begins is a Batman story through and through, but The Dark Knight is a Joker story about testing the ideals presented in Nolan’s first entry.

The Joker might be an over saturated movie villain due to Hot Topic and aggressive fetishization of his villainy, but guys, he’s really fucking evil. I mean, he’s constantly tossed into Best Villain lists but this one is well deserved. The Joker isn’t a man. He’s an uncontrollable vortex of chaos and destruction. A living embodiment of pure anarchy bringing down the established order Batman and Gotham PD are barely scrounging together in their fight against the mob.

None of that matters to the Joker. He only cares about Batman. He only exists because of Batman. He wins by Batman beating him. Every punch thrown, every second Bruce puts on the cape and cowl, The Joker inches him further into his labyrinth of insanity. He exists because Batman needs his other half. A living nightmare created by Bruce’s crusade against crime.

It’s a whirling ballet of a performance and characterization. Nolan and the late Heath Ledger bring to life a monster unlike anything cinema had ever seen, and likely will never see again.

And even in the face of the unhinged clown prince of terror, Nolan has crafted an optimistic story.

Every move the Joker makes against Batman, and by proxy the people of Gotham, the city enters a downward spiral. Gordon pulls a gun on Batman (why doesn’t anybody ever mention this moment, like, holy shit??). Bruce loses what he perceives as his avenue to personal happiness. Gotham’s white knight falls further than anyone. But the citizens of Gotham endure.

Symbols can be torn down, Monsters may live among us, but unified humanity can triumph even in the face of seemingly unstoppable horrors.

Yeah, THE DARK KNIGHT is still a masterpiece.

More thoughts at AE.