Tinker, Tailor, Soldier, Spy
Tomas Smiley Smile, 2011
In the story I’ve created in my mind Tomas Alfredson gets the job to direct this around the time he sees “Munich” and figures I don’t have as much neat stuff going on but I can try to make it look that good. This movie has a simple plot of trying to find the Mole at the top of British Intelligence. The story that comes from that is quite dense. I gave this thing as much attention as I could but keeping track of everybody and the information they were expounding, and that is how this story gets told its people sitting around exchanging information so you have to make that look good, its work. When the traitor is revealed I could easily pick the bits of information of how it could be that character not from the spy jargon info but from the little personal stuff…this is very subdued and kind of boring like a good 70s spy thing and it doesn’t hand you everything. But it has its morsels to chew on like flecks of beef that fall out of your mustache into your mouth…I respected this movie I respected the hell out of it.
The House of the Devil
Hope He Didn’t Forget to Pay The Fixx, Ti West, 2009
This movie is about waiting around, anticipating the scare that’s coming. For half an hour a pretty girl walks around town wondering if she is going to get a job at a house. Then for 40 minutes she explores the house. It is a lot of atmospheric looking into rooms. Around the edges of this is a creepy chain smoker, a lunar eclipse, and a slaughter. It all pays off and I’d like to say I enjoyed it more but it looked a little too cheap and not in the 70’s/80’s aesthetic way they were going for. The digital camera biffed the whole thing in a way that film wouldn’t have maybe.
Just make up somebody to love me Aaron Sorkin, 2011
This went down much smoother than “The Social Network” which was very at odds between what the director and the script was trying to convey. Like “The Social Network” the best part, more than his dialogue yes, is how Sorkin breaks down another language into something understandable and chewable. This time it’s Baseball Stats, last time it was Computer Code. It has the same weakness as other Sorkin scripts whenever its not two people at odds or explaining something…the structure is very transparent in a way that screams out “look, craft! artistic licence!” and I don’t want to deal with it and all the parts of this about Brad Pitt’s kid sucked anyway.
We’ll never see Margo Lane in nuthin again, 1994
This movie has some of the weirdest dialogue of the people have never talked this way ever variety. But I actually enjoyed it. They were these little yummy bits sprinkled into a pretty terrible movie.
-Daniel Von Egidy, 2012