Mini-Review: The Rite

Introduction

This is a post that is a repurposing of an old-school Mini-Review Round-Up post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically. Enjoy!

The Rite

The Rite is a rather surprising entry in the possession/exorcism subgenre of horror. There’s not a lot of new ground to tread so far as this kind of tale is concerned, however, the one thing this film, does right off the bat is acknowledge the existence of the subgenre with a reflexive joke about The Exorcist.

This film, of course, is a little like that one: there’s an old priest and young priest, here is the subject of doubt and it is in turn more about the exorcist than the exorcised, as a matter of fact, the exorcised are typically rather glossed over. However, what this film does do is deal with the mundane aspects of exorcism, it deals with many possessions and brings it down to earth a little from where its been.

rite1

The examples it uses as proof are simple and well-thought out. There are very good flashbacks in this film that allow more doubt to be created about where the tale is going then you’d ever expect.

Then there’s Anthony Hopkins. Just the fact that I am mentioning his name this late is an indication that this is a quality film worth seeing. Without saying too much there are shades of Hannibal Lecter in his performance which are great. Teh acting overall in fact really props this film up. It is definitely worth viewing.

8/10

BAM Best Picture Profile: Titus (2000)

Each year, I try and improve the site, and also try to find a new an hopefully creative and fun way to countdown to the unveiling of the year’s BAM Awards. Last year, I posted most of the BAM Nominee and winner lists (Any omissions will be fixed this year). However, when I picked Django Unchained as the Best Picture of 2012 I then realized I had recent winner with no write-ups. I soon corrected that by translating a post and writing a series of my own. The thought was all films honored as Best Picture should have at least one piece dedicated to them. So I will through the month of December be posting write-ups on past winners.

NOTE: I have skipped the 1999 Best Picture in this retrospective because I covered it earlier in this post.

In the history of the BAM Awards Titus has taken on a rather important place. Prior to the year 2000 I was even looser with release dates than I am now. With this film, my renting and viewing it after a very limited release in late-December 1999; I had to create some kind of eligibility rule, especially considering how much I liked it.

Here’s my post that explains the rule in detail:

Below you will find a paragraph which was prepared for the Best Films of the Decade list:

9. Titus
This is the over-looked film of Julie Taymor’s cinematic career thus far and it was here debut. It was an emphatic statement of style and vision but it also combined with substance to reinvent Shakespeare’s most violent tale with verve and surrealistic panache. The ensemble, headed by Anthony Hopkins and Jessica Lange, is brilliant and not overly-stagey even dealing with such cumbersome dialogue. The film is visually stunning and engulfing.

All this is true. What’s further true is that Taymor adds a bit of surrealism to the tale not only with the hallucinogenic interludes that appear on occasion, once to try and convince us Titus is mad but also through the opening of the film. An opening which introduces us not only to the character of Lucius, played very aptly by Osheen Jones, but also to the mix of modern technology, furniture and settings that will be mixed into this film. We see a child epitomizing with action figures and ketchup the kind of over-the-top violence that will be the reality of this tale, a reality he is put into. A reality he is a mute witness to for approximately an hour of the nearly three that the film runs.

All that is well and good but some of you may be asking why this film didn’t make the final cut. It was based on a technicality. The technicality is this. Titus was released by Fox in New York and Los Angeles on December 25th, 1999 in order to qualify for that year’s Academy Awards. It was resoundingly ignored. It’s wide release to general consumption and an equally absent public audience was in January of 2000. Upon double-checking the release date on the IMDb app on an iPhone I proceeded to re-screen the film to confirm inclusion on the best of the decade list. It fit. Then before publishing a trip to the IMDb proper showed all release dates.

Based on the wide release date it was the best of the year in 2000 but due to its actual release date not on the best of the decade list. Therein lies the problem. The good films get sat on until the end of the year and those not able to attend special advance screenings are left with many a film in a no man’s land.

Recently, there had been a reticence on my part to allow films from the prior year entry into award consideration, which punished The Reader. While it seems difficult to consider Titus a film of the aughts because that is a much bigger threshold to tread over I will no longer be disqualifying end of year releases from consideration in the next year. It’s only fair. While Titus can be denied a place in this decade passed it will always be a standout of year 2000 to me.

Going back to the film more than the business and politics of release dates, which I may come back to in a separate post at some point. Since I’ve completed my formal education I’ve not successfully picked up a Shakespeare text without first viewing an adaptation. While painstaking and pedantic, the formalized, syllabus-based approach slows it down and structures it such that I can better absorb the text off the page.

However, I’ve found that viewing a representation of it on film, no matter how modernized, breaks that barrier down. This film was the first that showed me that and it was while I was still in school. That fact has re-proven itself with Coriolanus and with yet another Romeo and Juliet adaptation recently. One task I may want to partake in next year is viewing more of these modernizations, including also reading A Winter’s Tale, which I’ve started many times.

If there’s a bit of youthfulness about this choice its my connecting to one of Shakespeare’s early works, as presented in this film. Titus, like my first Best Picture selection, influenced me, but for far longer than that title did.

Technicalities and rallying cries aside Titus remains a film I’m very fond of and a testament to the power of film to introduce the uninitiated to Shakespearean works.

Best of Spielberg

Here’s a second installment of a list idea I’m borrowing from Brian Saur. Here I will discuss the films of Steven Spielberg. Spielberg is probably my favorite director of all time. I did an Ingmar Bergman list first, in part to track what I still needed to see. With Spielberg my impetus was to finally be up to date on his narrative features, which sadly I wasn’t.

As with any list, rankings may make thing seem worse than they are. There are 30 films on this list. Make no mistake I like 28 of them and am a snarky fanboy on one, and three have at one point been my all-time favorite, including my current number one (if pressed to answer). Here goes…

30. The Lost World: Jurassic Park (1997)

Jurassic Park 2: The Lost World (1997, Universal)

This is the sequel Spielberg supposedly gave Universal so they’d leave E.T. alone. That’s almost enough to bump it past last place but I can’t. Even though I loved the score and effects it was still one of the worst, most confounding thing I saw that year. The third film and news of a fourth have softened that hurt, but seeing newly-introduced annoying character and the follow-up to my then favorite film of all-time relegated to a Godzilla/King Kong knock-off hurt.

29. 1941 (1979)

1941 (1979, Universal/Columbia)

I did try to like this. My professor tried to get me to like it. I just don’t. Spielberg doesn’t care much for it either and has moved on to bigger and better things.

28. Indiana Jones and the Kingdom of the Crystal Skull (2008)

Indiana Jones and the Kingdom of the Crystal Skull (2008, Paramount)

Nuking the fridge only happened in one scene people, Shia LaBeouf had many more scenes than that and Cate Blanchett seemed uncomfortable. Spielberg has since honestly confessed what his reservations were about this film. Hopefully that molds a better fifth film should it occur, though he certainly doesn’t need there to be one.

27. Amistad (1997)

Amistad (1997, Universal)

As oddly engaging as Spielberg’s restraint in Lincoln is, if memory serves, there was an attempt at such here too that doesn’t work quite as well. I remember Honsou and Hopkins impressed but not much else.

26. The Terminal (2004)

The Terminal (2004, DreamWorks)

Unlike Catch Me If You Can, which appears shortly, I wasn’t even compelled to go out and see this one theatrically. It’s an interesting and well-handled idea that I can indentify with on a few levels but it’s just not one of his best.

25. Twilight Zone: The Movie (segment 2) (1983)

The Twilight Zone: The Movie (1983, Paramount)

I saw this recently also and Spielberg’s segment fits him to a tee (residents of a retirement home become young again) and is the second best in the anthology in my estimation behind Joe Dante’s zany one.

24. Poltergeist (1982)

Poltergeist (1982, Paramount)

One can debate the nuances and politics of whether Spielberg really directed this. To be brief: I have it on good authority that he directed most of it and just didn’t take the credit because he couldn’t per DGA rules at the time. This is a title where I could rant and rave childishly about how “My opinion is different than yours!” but I won’t. Poltergeist is fine, it just never had a tremendous amount of impact on me.

23. Indiana Jones and the Temple of Doom (1984)

Indiana Jones and the Temple of Doom (1984, Paramount)

To address the white elephant in the room: I do not have any issue with the character of Shortround whatsoever. Temple of Doom lands here more for being the third best in the series and Kate Capshaw than anything else.

22. Catch Me if You Can (2002)

Catch Me If You Can (2002, DreamWorks)

This is one of those that falls into the category of “There’s nothing really wrong with it, I just can’t get into it.”

21. The Sugarland Express (1974)

The Sugarland Express (1974, Universe)

This is an unusual but involving one with a great turn by a young Goldie Hawn.

20. Always (1989)

Always (1989, Universal)

This one film I finally saw last year so as I could finally create this list. I had avoided it because in clips and trailers you could not get a sense of the totality of the film. It is Spielberg’s first remake, but it’s a fairly well modernized one that features Audrey Hepburn‘s final performance.

19. Close Encounters of the Third Kind (1977)

Close Encounters of the Third Kind (1977, Columbia)

Spielberg has said that the end of this film dates him as a filmmaker. I understand his point entirely but he does set it up very well. Also, in a bit of fanboy wish-fulfillment, I’d suggest the end of this film and the end of E.T. swap, but it is a very visual and evocative film with the added bonus of an acting-only participation by François Truffaut.

18. Hook (1991)

Hook (1991, Columbia)

The mark of a great director is making something that seems illogical, that shouldn’t be able to work, work. This is his best example ih that regard.

17. Minority Report (2002)

Minority Report (2002, DreamWorks)

If Robopocalypse, or something like it, ever comes to fruition it would complete a Dark Future Trilogy for Spielberg, which may seem antithetical to his ethos but something he said he’s not averse to when discussing A.I.

16. Munich (2005)

Munich (2005, DreamWorks)

I welcome departures from directors. Spielberg is perhaps more underrated in terms of his diversity than any other director. His hits and classics have commonalities to them such that it makes people think he repeats himself constantly. These two selections shake that notion massively. Munich is a dark film, where there can be no happy endings. It’s a chillingly rendered tale of an ugly incident in history that cannot be buried.

15. Lincoln (2012)

Lincoln (2012, DreamWorks)

Lincoln almost isn’t a Spielberg film, it plays with such classical restraint and removal that it’s almost anti-auteurish, but it’s still very engaging and convincing.

14. War of the Worlds (2005)

War of the Worlds (2005, Paramount)

I think this film might get overlooked in part because it stuck close to the source material, but also because it’s the kind of film Spielberg “should” take on. However, when you consider how often he’s made aliens benevolent a surviving an alien apocalypse tale is a little different for him. That and it’s another rather imperfect family.

13. Jaws (1975)

Jaws (1975, Universal)

Here’s where rankings can get you in trouble. Jaws is great. I have nothing I can say against it, except the intangible “I like other works in Spielberg’s canon a lot better.” I have and can see Jaws many times over. It’s just a matter of preference when you start slotting them.

12. Raiders of the Lost Ark (1981)

Raiders of the Lost Ark (1981, Paramount)

Yes, the Indiana Jones and the was later tacked on. Spielberg and Lucas have combined perfectly three times in this series. They take a serialized approach to a feature and update classic tropes very well and memorably.

11. The Adventures of Tintin (2011)

The Adventures of Tintin (2011, Columbia/Paramount)

When Spielberg is at his best he combines technological innovation with great stories. Although I fell under the spell of seeing motion capture for the first time in The Polar Express, it was imperfectly ahead of his time and didn’t make a jump toward verisimilitude until this film. It’s a very viable tool other animation properties should and could use. Not only that it’s a great take and a global re-introduction of a beloved character. Not many directors go from live action to animation or vice versa, this is a seamless jump.

10. Indiana Jones and the Last Crusade (1989)

Indiana Jones and the Last Crusade (1989, Paramount)

I am a fan of the Indiana Jones series, albeit a Johnny Comelately to it, and this is my favorite one. More explanation can be found in the link above.

9. Duel (1971)

Duel (1971, Universal TV)

If there was ever a made-for-TV movie that prove that it’s a meaningless distinction, it’s this one. I have to remind myself it is one. Only once in a hundred times when I think about this movie do I recall that. It’s taut, brilliantly suspenseful and relatably frightening.

8. War Horse (2011)

War Horse (2011, DreamWorks)

War Horse is one I need to revisit, but this one vaults up the list due to improbability. Spielberg is one of the directors I go out and see regardless, however, I didn’t expect much here. I was anxious for Tintin, but this one shook up my whole best of the year list. Very surprisingly emotional and engaging.

7. The Color Purple (1985)

The Color Purple (1985, Warner Bros.)

One of the most embarrassing moments in Oscar history is perhaps the fact that this film is the biggest oh-fer, garnering eleven nominations and no wins. Spielberg created some controversy by even taking this film on. I think the end result proved he could do it and paved the way for his more mature dramatic works later on.

6. Empire of the Sun (1987)

Empire of the Sun (Warner Bros.)

I saw this in 2002 just after having taken my Spielberg course. I hadn’t really heard of it ’til then. It was referenced as Spielberg’s “most European film” by my professor and one that I began anticipating in A.I.-like fashion, which should’ve set me up for disappointment, but didn’t. It’s dense and takes some wading but when you get there it’s special. Not to mention there’s a brilliant performance by a young Christian Bale.

5. Schindler’s List (1993)

Schindler's List (1993, Universal)

The next two films are ones that I really admire, have great affection for, but am leery to revisit because they are taxing experiences. However, they’re important and I hope their legacy continues through oncoming generations. A while ago, I recall I saw a kid picking up Schindler’s List at a video store and it was heartwarming, as I saw a burgeoning cineaste.

4. Saving Private Ryan (1998)

Saving Private Ryan (1998, DreamWorks)

It took me a while to see this one. The tale of saving the last surviving brother is the MacGuffin, a very Spielbergian one. However, the reaction I had to this film, though very different than many of his works, was one of the strongest I had. It was a new aesthetic for him and in many ways a revolutionary work.

3. E.T.: The Extra-Terrestrial (1982)

E.T.: The Extra-Terrestrial (1982)

Nearly any child of the 80s grew up on Spielberg films. I will be doing a focus on Disney, which I surmise that unless you saw re-releases and VHS tapes you weren’t getting the golden age of that studio. However, if you grew up in the 80s, regardless of who you were, odds are every few years Spielberg changed your life. E.T. is an imaginary friend come true, it’s not necessarily always an alien, but many of us were Elliot, which is what makes it resonate.

2. Jurassic Park (1993)

Jurassic Park (1993, Universal)

Suffice it to say that upon its release, when I was still quite young, this was probably the most amazing theatrical experience I’d ever encountered. I’ve found myriad great films since then but this one has not lost its luster in the slightest. When I first saw it, this was the greatest film of my lifetime. It was the dream of every dinorsaur-loving child brought to life for better and for worse.

1. Artificial Intelligence: A.I. (2001)

Artificial Intelligence: A.I. (2001, DreamWorks)

I’ve already written a tome about this film, which I have posted on this site in installments. Making a new or different case for it would be nearly pointless.

The Titus Conundrum

Below you will find a paragraph which was prepared for the Best Films of the Decade

Anthony Hopkins in Titus (Fox Searchlight)

list:

9 Titus

This is the over-looked film of Julie Taymor’s cinematic career thus far and it was here debut. It was an emphatic statement of style and vision but it also combined with substance to reinvent Shakespeare’s most violent tale with verve and surrealistic panache. The ensemble, headed by Anthony Hopkins and Jessica Lange, is brilliant and not overly-stagey even dealing with such cumbersome dialogue. The film is visually stunning and engulfing.

All this is true. What’s further true is that Taymor adds a bit of surrealism to the tale not only with the hallucinogenic interludes that appear on occasion, once to try and convince us Titus is mad but also through the opening of the film. An opening which introduces us not only to the character of Lucius, played very aptly by Osheen Jones, but also to the mix of modern technology, furniture and settings that will be mixed into this film. We see a child epitomizing with action figures and ketchup the kind of over-the-top violence that will be the reality of this tale, a reality he is put into. A reality he is a mute witness to for approximately an hour of the nearly three that the film runs.

All that is well and good but some of you may be asking why this film didn’t make the final cut. It was based on a technicality. The technicality is this. Titus was released by Fox in New York and Los Angeles on December 25th, 1999 in order to qualify for that year’s Academy Awards. It was resoundingly ignored. It’s wide release to general consumption and an equally absent public audience was in January of 2000. Upon double-checking the release date on the IMDb app on an iPhone I proceeded to re-screen the film to confirm inclusion on the best of the decade list. It fit. Then before publishing a trip to the IMDb proper showed all release dates.

Based on the wide release date it was the best of the year in 2000 but due to its actual release date not on the best of the decade list. Therein lies the problem. The good films get sat on until the end of the year and those not able to attend special advance screenings are left with many a film in a no man’s land.

Recently, there had been a reticence on my part to allow films from the prior year entry into award consideration, which punished The Reader. While it seems difficult to consider Titus a film of the aughts because that is a much bigger threshold to tread over I will no longer be disqualifying end of year releases from consideration in the next year. It’s only fair. While Titus can be denied a place in this decade passed it will always be a standout of year 2000 to me.