A less chaotic state: 1959’s Ben-Hur

Photos courtesy Metro-Goldwyn-Meyer.

Ben-Hur holds a unique place in cinematic history for a wide variety of reasons. It’s a movie you’ve definitely heard of, but it’s only on the fringe of what I’d call an enduring classic. It’s highly emblematic of the time it was made, so much so that it’s often the go-to example of what movies were all about in the later stages of the Classical Hollywood era, but the fact is it’s three and a half hours long and most of it doesn’t hold up. Movies have evolved rapidly in the 57 years since its release, and one key scene aside, it represents something audiences just aren’t looking for anymore.

But at the same time, it’s cinematic holy ground. The film brought in 11 Academy Awards, a feat matched only by the fantastic success of Titanic and the honorary nostalgia around the third Lord of the Rings movie. It was a technical marvel in its time, and it remains just as fantastic because the techniques that made it so would begin to fall out of favor just a few years later. Remaking something with that level of success is sacrilege, even if the movie could use an update.

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Todd Phillips wanted to make a true crime movie, but all he could manage was Hangover 4

God bless Dick Cheney’s America. Photos courtesy Warner Bros. Pictures.

Steven James
@StevenLeeJames

War Dogs, the latest from writer/director Todd Phillips, tries to be a black comedy that makes the audience emotional, a crime movie, an entertaining comedy that puts exaggerated characters into grounded situations, a political satire and an odd-couple film, but fails at all of those.

During the Iraq War, 22-year-old college dropout David Packouz (Miles Teller) is a massage therapist working in Miami Beach. Desperate to support himself and his now-pregnant girlfriend, Iz (Ana de Armas), he agrees to work at AEY Inc., an international arms dealing company run by childhood friend, Efraim Diveroli (Jonah Hill). At first, the two bid on smaller U.S. military contracts, but later get a $300 million Pentagon deal to provide the Afghan military with ammunition, putting them in danger with suspicious and underhanded people.

War Dogs contains a lot of elements that don’t mix, which leads to most of its problems. It tries too hard to be sexy, features a great classic rock soundtrack that pops up every five minutes and does not fit into the scenes in which the songs are being played, has an inconsistent tone and lacks a cohesive story. Phillips tries something a little different by trying his hand at a crime film, but his attempt falls flat with all of the problems that are in most of his movies.

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Pete’s Dragon a great fantasy for children and adults

Photos courtesy Walt Disney Studios Motion Pictures.

Steven James
@StevenLeeJames

This decade, Mickey Mouse has taken some of his most beloved properties, starting with 2010’s Alice in Wonderland, and forced them onto the streets so he can get his money. The Mouse has done this with both original characters and ones he borrowed from previous source material. Including Pete’s Dragon, five of the seven Disney films released this year are either sequels or remakes, with The BFG the only one of those not originally owned by Disney. Say what you will about the quality of these movies, characters from The Jungle Book, Alice Through the Looking Glass and Finding Dory had to go stand at shady street corners throughout 2016 in the aftermath of the Mouse taking an evil turn.

Despite the wave of unnecessary remakes and sequels, Pete’s Dragon is a movie that refuses to talk down to children and presents them with complex situations and enough entertainment that most will love the movie. Adults too can watch Pete’s Dragon and also enjoy the story and the performances, as well as the difficult situations, whether or not they are fans of the original.

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Sausage Party is the ultimate stoner comedy

In spite of Sony being Sony and this movie being full of brand-able foodstuff, there isn’t any product placement in this. It’s nice to not see the movie’s artistic chops undermined by commercialism, and that’s one more badge of honor the movie can point to to say that even though it’s about anti-semetic lavashes and hot dogs and buns having sex, it’s still primarily art. Photos courtesy Paramount Pictures.

Seth Rogen, like weed itself, has always been an acquired taste. In Sausage Party, the flavor is stronger than it’s ever been.

The film zeroes in on Frank (Rogen, who also writes and produces), an anthropomorphic hot dog in an eight-pack for sale at Shopwell’s. Every morning, all the store’s items wake up and sing to their gods, the shoppers, whom they hope will carry them to eternal life in the Great Beyond before they expire and are thrown away. Early in the film, a jar of honey mustard (Danny McBride) is returned by a customer who wanted actual mustard, screaming of the horrors he witnessed after being taken home. After inadvertently being removed from his package, Frank goes to the non-perishable items for wisdom, and then on a quest beyond the frozen foods section to seek proof of Honey Mustard’s claims. Fellow sausages Carl (Jonah Hill, who also contributed to the story) and Barry (Michael Cera) end up in the Great Beyond, and discover the truth — that the gods are evil and consume them for power.

It’s not much of a financial risk, but they shoved all their artistic chips in the pot with this. Sausage Party is total, no-holds-barred comedy. Nothing is off-limits, nothing is sacred and absolutely every idea that would work was crammed in. In a comedy landscape where everything tries to be raunchy but is afraid of the NC-17 rating, Sausage Party uses animation to duck the rating without making any real sacrifices to its pulpy credentials.

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The Innocents is a reminder that movies are, first and foremost, art

Photos courtesy Music Box Films.

Steven James
@StevenLeeJames

I almost didn’t watch The Innocents. That would have been very stupid of me.

In December 1945, French Red Cross doctor Mathilde Beaulieu (Lou de Laâge) is taking care of Polish concentration camp survivors while she and her comrades await to get transferred back to Paris or Berlin. A nun of a nearby convent runs to the Red Cross station while the other Sisters are singing their morning hymn looking for a doctor to come help her with a situation back at the convent that she is unwilling to disclose. At first, Beaulieu refuses to help, but after seeing the Sister praying outside and declining to leave, she reluctantly agrees. One of the sisters is pregnant and about to give birth. Beaulieu helps successfully birth the child through C-section. She soon learns several other nuns in the convent are in their third trimesters of pregnancy, all raped by Soviet soldiers, who visited the convent three times. The convent’s Mother Superior (Agata Kulesza), herself raped and suffering from months of untreated syphilis, is desperate. Poland’s new communist regime has little intention of supporting the Catholic Church, and even though the sisters were raped, the vow of chastity nuns take is so important that if word got out the nuns at the convent are pregnant, they may also suffer persecution from the church.

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