Sunday, October 24, 2010

Machete

The opening sequences of "Machete" start in the same style of Robert Rodriquez's "Planet Terror" portion of "Grindhouse," with scratchy film as a homage to the 1970s grindhouse films he enjoyed. There is head-slicing from the beginning as the title character, played by Danny Trejo, storms a rusty old house filled with bad guys and carries a woman to safety. The woman, while still unclothed, returns the favor by slicing Machete's leg and brings out the bad guy, who then has her shot.

The bad guy is a Mexican drug cartel played by Steven Seagal and despite his Mexican nationality, wields a potent samurai sword. There are other villains who pop up--Jeff Fahey reprises his role from the "Machete" trailer first seen in "Grindhouse" as a businessman who simultaneously is the backbone behind the political career of a state senator named John McLaughlin (Robert De Niro). McLaughlin utilizes the fierce anti-immigrant stance of Texas to create the appearance of an assassination attempt by Machete and thereby increase his poll numbers. Don Johnson is also here as a brutal militiaman happy to shoot away at illegal immigrants. He's as fierce as Bull Connor and doesn't "speak Mexican" but is still angry that immigrants are on his Daddy's land and worried that Texas will become part of Mexico (again). Jessica Alba plays a Latina immigration officer doing her job to protect the law. Perhaps her heart will change when she meets Machete. Michelle Rodriquez plays Luz, who runs a taco stand but also leads a network of immigration help services. Lindsay Lohan plays the daughter of Fahey's character who also aspires to be a model.

Most of the actors are enjoyable to watch, especially Trejo and De Niro. This is Trejo's fifth appearance as the character; the first two were in Rodriquez's "Spy Kids" films, so this might be the only character in cinematic history who has appeared both in PG-rated family fun and R-rated sex and violence action. Johnson and Seagal are surprisingly effective also, as is Seagal.

I usually like Robert Rodriquez. His "Sin City" is one of the greatest films in recent memory, and his "Planet Terror" was better than the other portion of "Grindhouse" (Quentin Tarantino's "Death Proof"). But with "Machete," there is a certain level of stupidity that cannot be tolerated, especially when human intestines is used as a grappling. I'm not as a good a Catholic as I used to be, but I still get disturbed by images of a priest shooting guys' heads off in a church. There are elements of silliness that are frankly too silly. To put it simply, there are many good parts but much more bad parts.

Thursday, October 14, 2010

Toy Story 3


The previous "Toy Story" films centered around a boy named Andy and his toys. "What are my toys doing when I leave my room?" must have been a universal question for young children when they saw the first film fifteen years ago and the impetus for such a film. "What should I do with my toys now that I've grown up?" is probably no less common of a question.

In "Toy Story 3," Andy (voiced in all three films by John Morris) is now getting ready for college and obviously finds no use for his toys which he previously loved. What does fate have in store for a toy whose owner is getting ready to leave for college? The gang is here again--Tom Hanks as Woody, Tim Allen as Buzz Lightyear, Don Rickles as Mr. Potato Head, Estelle Harris as Mrs. Potato Head, Wallace Shawn as Rex, John Ratzenberger as Hamm, R. Lee Ermey as Sarge, and Joan Cusack as Jessie. Jim Varney, who voiced Slinky the Dog and who passed away in 2000, is now voiced by Blake Clark.

There are also new characters. Michael Keaton is Ken, who despite his narcissism (and adamant denial about being a girl's toy), finds new love with (of course) Barbie (voiced by Jodi Benson). Whoopi Goldberg is also here as a purple octopus (I think), and Timothy Dalton is a toy hedgehog who is also a thespian. Ned Beatty is Lots-O-Huggin Bear, or simply Lots, the leader of the group of toys the original gang encounters at Sunnyside, the daycare center they are accidentally donated to. Realizing that the children at Sunnyside are too young for them and that Andy is looking for his toys, they decide to try and escape.

Something I liked about the previous two "Toy Story" films and this one as well is the way in which adult themes are presented to younger audiences. When "Shrek" was released in 2001, I remember adults talking about all the "adult" moments in the film, though in that case it was mainly with heavily suggested innuendos. In the case of the "Toy Story" films, the themes have been those of alienation, depression, jealousy, identity confusion, abandonment and a lack of fulfillment. Most of this, I suspect, goes over the heads of its target audience; I was about eight-years-old when I saw the first "Toy Story" film and I doubt I recognized any of those themes.

I was fortunate not to have seen this film in 3-D. If I could lend my voice to the debate (which will soon pass away) on the use of 3-D in films, it is this: 3-D is awful. What is particularly annoying about the use of it is how stupid filmmakers must feel the audience members are. 3-D imagery is not necessary to try and wash away the boundaries between audience and projected images. Plato's cave allegory that there is a separation between the real and the copy should be enough proof. Our brains are efficient enough to understand the copy that is the cinema--we don't need a pair of uncomfortable and expensive glasses to help us. And from what I've heard, 3-D did nothing to enhance the viewing experience of "Toy Story 3."

In some ways "Toy Story 3" is too much of a repeat of the second installment, with an angry, villainous toy bitter about what his owner did to him and intent on preventing the other toys from achieving their happiness. It's also a bit crowded with characters, and even scary at times. The monkey might be the scariest character since Pale Man in "Pan's Labyrinth," and there's a scene which exemplifies how petrifying preschoolers are.

But there is a magic in this film that goes beyond nostalgia and sentimentality. In 1995 "Toy Story" initiated the brilliance of Pixar. Since then we have been blessed with "Finding Nemo," "Wall-E," and "Up." "Toy Story 3" provides a necessary sense of cloture and catharsis for these characters, but let's hope it will not be the last wonderful film from Pixar.