I recently watched the four-part HBO series The Defiant Ones, the doc that tracks the careers of Dr. Dre and Jimmy Iovine. It's pretty darn fascinating.
Director Allen Hughes does a commendable job at structuring the tale which covers Dre's and Jimmy's careers from the beginning, to their intersection, and beyond. Told via interviews of a lot of very famous people who witnessed the duo's rise (Springsteen, Cube, Snoop Dog, Tom Petty, Stevie Nicks, David Geffen, Bono, to name just a few), mixed with fascinating archival footage (Dre spinning records in his youth, Jimmy working on his first big gig with Bruce, etc.), the tale that is told is pretty epic.
We find out that these men went through a lot of pain, a lot of growth, and had to reinvent themselves at several points in their career to stay relevant. Their common denominator: a relentless drive to succeed.
Great fiction usually involves intriguing characters defeating obstacles in order to achieve a goal. The Defiant Ones does exactly that; only it's a tale that really happened. It's a fascinating part of history that can't help but be inspiring.
If you have HBO, check it out.
I skipped Alien: Covenant at the theatres because of the mediocre reviews. I finally caught it last week while on a plane ride from MI to CA. I'm glad I watched it for free on a very small screen because I would not have been happy if I had sacrificed time and money to see it on a big screen.
The film has a very promising premise which I won't give away. But almost every scene felt like it needed further work. I'm guessing it was grossly under-written, and at $97M, under-budgeted. They should have added another couple million for rewrites alone.
One of the biggest problems with the film is that it was hard to care about any of the characters because they were so one-dimensional and underdeveloped. A lot of the writing seemed downright sloppy. For instance, Danny McBride plays a guy named Tennessee. What an annoying, cliched name. There's one scene where the other character calls him by his name about a dozen times. The cliche was hard to handle the first one or two times. By the end of the scene, it was so annoying, I almost stopped watching.
Another big issue was that there wasn't an A-list star to carry the film. Michael Fassbender is a terrific actor. He lacks A-list shine, however. And there was nobody even close to a Sigourney Weaver. In fact, after watching Covenant, you realize how much she carried the first three films.
I'm even going to complain about the effects. At times the Aliens looked awful. Other times they looked alright. Maybe another few million would have fixed that issue as well.
The premise was clever, however. I can see why the pitch was bought. But, this is yet another classic case where the film went into production long before the script was ready. My guess is that if Fox had ponied up another $50M for bigger stars, better effects, and most of all, better writing, Ridley Scott would have had a lot more to work with.
I've been a big fan of the Daniel Craig Bond movies, especially of Skyfall, which I thought to be the best film in the entire series. When Spectre came out, I passed on seeing it in the theatre, primarily because of the mediocre reviews and word-of-mouth. I finally watched the 24th installment in the series, on my tablet, while on vacation, and I now regret not seeing it on the big screen.
The opening scene takes place during the Day of the Dead in Mexico, and it's an extraordinary series of long, epic, tracking shots that effectively pull the viewer back into the Bond universe. The main aspect of the plot is set up rather quickly, as is the ovearching mystery. Another tremendous, tense, action scene unfolds in Italy, complete with the requisite eye-popping car chase.
Sam Mendes excels at making these huge, action films. The cinematography is top notch, with one stunning composition after another. Though most of the complex action sequences are cut well, there are issues, which get to the core of the film's main problem.
Spectre has all the elements of a grade-A Bond film: intriguing plot, terrifying antagonist, excellent acting, grand action-filled scenes, a beautiful femme fatale. But the second half of the film has something that is the Achilles' heel of these type of movies: believability issues.
There are a handful, maybe more, of instances that are ridiculously unbelievable. These almost all happen in the second half of the film, and the closer you get to the end, the more frequent they are. And it's a shame. You spend millions of dollars setting up an elaborate action sequence, but blow it on the writing, because the escape is far beyond the scope of believability. It's a few instances of lousy writing that end up preventing Spectre from being a fantastic chapter in the Bond series.
That being said, I enjoyed it much more than I had anticipated. It's better than the critics gave it credit for. And I still have enormous hope for the next installment now that Daniel Craig has finally signed on. And I do wish I had seen those action sequences on the big screen, even with the let-downs.
Spectre is one of those rare cases where a movie costs $250M, and you look at it and say, I can see where all that money went. Perhaps another $500k on another draft would have been money well spent, however.