It Comes at Night is a highly misleading title for this film. Actually, everything about the marketing campaign is misleading. It’s not really a traditional horror film at all. Aside from a few disturbing images and jump scares, its primary focus is horror of the psychological and atmospheric sort, rather than any physical monsters.
Of course, this brand of horror is very much to my taste. The most frightening things, I’ve always believed, are not what we see, but rather what we imagine. Ultimately, the root of all horror is the unknown, because in it the human mind traces all the most terrible threats.
And from this, it should follow that It Comes at Night would be a truly terrifying film after all, because it certainly provides the audience with plenty of unknowns. But in spite of that, it’s not as scary as one might expect.
There’s a lot to unpack here, but I’ll begin by summarizing the plot–don’t read ahead if you don’t want to know the spoilers.
Another thing that intrigued me is that the movie is set in World War I. (The character of Wonder Woman was originally created in the 1940s, and therefore was naturally depicted fighting in World War II against the Nazis.)
This was interesting to me for a couple of reasons: first, Hollywood normally can’t resist inserting Nazis into things on the flimsiest of pretexts; so to have no Nazis when the source material actually includes them is a pretty bold artistic choice. Second, World War I is not nearly as well-known to modern audiences as World War II, so this setting seems like a bit of a risk from a marketing perspective. I like risk-taking.
I also like spoiling movies, so be warned–I’m now going to describe the plot, with spoilers!
The film begins in the present-day with Diana (Gal Gadot) receiving a photograph from the first World War, showing her in her full Wonder Woman garb, standing alongside a ragtag band of soldiers.
This segues into young Diana’s childhood on a hidden island of Amazon warriors. Diana wishes to train as a warrior under General Antiope (Robin Wright), but her mother forbids it, and tells her a cautionary tale about the horrors of war. She explains that Zeus created men to be peaceful, but they were corrupted by the God of War, Ares. Zeus then created the Amazons to protect mankind, and Ares was ultimately defeated. But Zeus also created “the God-Killer”–a weapon housed on the Amazons’ island, in case Ares should return.
Despite these warnings, Diana trains in secret anyway. Her mother eventually finds out and initially disapproves, but ultimately is persuaded to let her continue.
One day, after a sparring session, an airplane crashes just off the shore. Diana rescues the pilot, Captain Steve Trevor (Chris Pine), and the Amazons defeat the German forces pursuing him, but General Antiope is killed in the battle.
The Amazons question Capt. Trevor, who explains that he is fighting in the “War to end all Wars”. His plane was shot down as he was fleeing the Germans having stolen a notebook from a chemist nicknamed “Dr. Poison” and her commander, General Ludendorff, who are working to create a super-deadly poison gas.
Diana quickly realizes that the war Steve describes must be the work of Ares. She takes the God-Killer weapons and asks Steve to travel with her to the outside world and the center of the fighting, where she is sure they will find Ares.
Steve first takes her to London and delivers Dr. Poison’s notebook to his superiors. They can’t read what it says, but Diana can, and realizes it means the Germans are manufacturing and preparing to deploy the new, more lethal gas at the Front.
Sir Patrick Morgan, one of Steve’s superiors, is close to getting the Germans to agree to an armistice, but Diana believes Ludendorff is actually Ares, and will use the gas no matter what.
Diana, Steve, and a small group assembled with help from Sir Patrick go to the Front to destroy the supplies of poison gas. Thanks to Diana’s heroics, they successfully liberate a small town and learn that Ludendorff is in the area, planning to attend a gala for the German officers at a castle nearby.
Sir Patrick orders them not to attack the gala, as he is close to finalizing the armistice. However, they go anyway. (Notice a pattern here?) The Germans fire the gas into the recently-liberated village, killing the inhabitants, much to Diana’s horror.
Diana tracks Ludendorff to an airfield where the Germans are about to deploy a massive long-range bomber loaded with the poison gas. Steve and his men attempt to take the bomber, while Diana kills Ludendorff with the God-Killer sword.
Diana is shocked that the fighting doesn’t stop on Ludendorff’s death. She starts to wonder if all mortals truly are inherently evil and prone to violence. At that moment, Sir Patrick appears, and reveals that he is in fact the God Ares, but that he does not cause wars–he merely exposes the true, dark nature of Zeus’s creation.
Meanwhile, Steve and his men fight their way to the bomber, and Steve is able to get aboard, knowing the only way to stop it from delivering its payload is for him to personally destroy it.
Diana and Ares fight a massive battle, and when Diana sees the bomber explode with Steve aboard, she rallies and defeats Ares, having been persuaded that humanity has the capacity for good as well as evil.
The closing scenes show Diana in London, somberly remembering Steve as cheering crowds celebrate the end of the war. The film ends with a return to the present-day Diana, looking at the old photograph of her and Steve, taken when they liberated the village.
As is typical of the genre, there are lots of drawn-out, special effects-heavy fighting scenes. These are not bad for the most part–though definitely not to my taste. Each of them seemed to go on longer than necessary–thanks in part to an overuse of slow-motion effects. This was especially true of the final showdown between Diana and Ares. Since Diana’s victory was a foregone conclusion, it really did not need to drag on that long.
Much more interesting are the “character” scenes–yes, that’s right; the parts where people actually talk to one another. Gadot and Pine have excellent chemistry together, and their scenes were my favorite parts of the film. Romantic sub-plots in action movies can very easily become pointless and tiresome, but the sparks between Diana and Steve seem genuine, and it gives the story some real heart.
One interesting aspect of their scenes is that they frequently talk simultaneously or interrupt one another. This happened quite often–almost to the point of being overused–but it also made their conversations feel spontaneous, rather than just like two actors reciting lines at each other.
I wish the film had dwelt a bit more upon Diana’s relationship with Steve, and her impressions of the “outside world” in general–there was a little too much time in the second half devoted instead to Steve’s merry band of sidekicks. They were mildly entertaining, but I think it would have been better to let them be nameless grunts rather than try to make them “colorful”. It’s Diana’s story, after all.
The script didn’t even try to use language that was appropriate for the time period–all the allied soldiers and officers spoke in modern lingo. Even more puzzling to me was that occasionally some characters would speak in a foreign language, with subtitles, but the Germans (and some of our heroes when posing as Germans) would speak in German-accented English.
I’d be interested to know the details of some of the weapons used in the film. Some are obviously fanciful, others seem to have been trying to stay faithful to the period. At one point, Steve still has a Colt 1911 despite being disguised as German colonel–that seemed weird to me. But after all, this is a comic-book superhero movie, so I tried to tune out the nit-picking historian voice in my head.
This brings me back around to the setting, which as I discussed at the outset was something that interested me in the film. I still think it was daring (by Hollywood franchise standards, that is) to change the setting to a less-familiar time period.
However, given what actually happens in the movie, it’s a bit puzzling. In fact, World War I actually did end with an armistice, and the real Ludendorff survived the war and went on to be influential in the early years of the Nazi Party. So, given what happens in the film, is it supposed to be the beginning of an alternate history tale in which World War II did not happen? That would be quite interesting, but it’s left very vague and unexplored. Fertile ground for a sequel, I suppose…
It’s not a bad film by any means, the plodding CGI boss fight at the end notwithstanding. The other fights are good enough, if you like that sort of thing, and Gal Gadot is a very likeable and charismatic lead.
As I said, I have seen few superhero films. The only recent ones I have watched are Marvel’s Thor and its sequel, The Dark World. The former is a delightful adventure that ranks among my favorite movies. The latter, sadly, is more what I gather the typical superhero movie is like: a CGI-laden affair, with little time for character development or nuanced emotion of any kind.
This is noteworthy because Patty Jenkins, who directed Wonder Woman, was originally hired by Marvel to direct The Dark World, before leaving over the dreaded “creative differences”. It’s a pity; having seen Wonder Woman, I would have liked to have seen what she could have done with it.
Wonder Woman isn’t a great movie, but it’s certainly an entertaining summer flick, and it’s nice to see a film with a female lead and a female director drawing crowds to the theaters. Hopefully, this will be the beginning of a trend in the entertainment industry.
WARNING! The following clip contains intense LEGO violence. Parents, this is what happens when you give your nine-year-old sons red clay and LEGO skeletons! (Credits blurred as before, to avoid embarrassing family and friends.)
This movie is a little clearer than my previous ones, I think. It was about an army of skeletons who invade a planet and massacre the inhabitants. I made the movie when I was nine, but the music came much later–when I was about 15, and I briefly got into composing scores for my old movies.
And now you know how far back my cosmic-horror fixation goes…
When I was a lad, I used the family video camera to make all sorts of crazy movies. I wanted to be the next George Lucas or Steven Spielberg.
Naturally, being a young boy, my preferred genre was action/adventure. My main stylistic influences were Star Wars, The Terminator, and the James Bond movies. (Yes, I know I had no business seeing those so young, but there it is.)
I had several long-running series that I added to whenever I could get the camera and a new tape. (For readers under the age of 25: tapes were something that we used back then to record data.)
There was the “James Monkey” series–a collaboration between me and a friend which starred us as members of an elite secret agent team led by a toy monkey, whom we dubbed “James” for the parallel with James Bond.
Then there was the “Secret Agent Boy” series, which starred just me as an elite secret agent who operated alone, against enemies who were either invisible or strongly resembled plastic Halloween skeletons. (I was an only child.)
But my most elaborate series was a convoluted stop-motion epic I made using pretty much all of my action figures and other toys. It was a franchise crossover-laden multiverse, involving figures from Star Wars, The Terminator, Metal Gear Solid, Pokémon and many other random figures I had, led by the unlikely duo of Huckle Cat and Lowly Worm, from the Richard ScarryBusytown series.
(Some background: Huckle and Lowly were my favorite characters as a little kid. Naturally, I read all the books and then asked my Dad to make up new stories involving them. Dad’s stories were typically a darker take on the Richard Scarry canon–for example, one involved Huckle and Lowly running away to join the French Foreign Legion.)
The point here is, if you were wondering at what point in my life I first started creating weird fiction, the answer is “pretty early”. In fact, looking back, I realize nothing I’ve written as an adult is half as weird as some of the stuff I dreamed up when I was 10 years old.
Anyway, the reason I bring all of this up is that the other day I happened to find an old box with DVDs of my movies. Most of them are too long and too incoherent to post in full, but I found a few sections that I thought I’d share for your amusement.
The first is a car chase scene. If you can’t tell–and I’ll be very surprised if you can–what’s supposed to be going on is that a bad guy shoots out the tires on our heroes’ car, causing it to flip over and skid off a ramp–but not before it crashes into said bad guy.
I was so proud of those special effects when I was a kid. Hours of work for a few seconds of absurdly incomprehensible screen time.
The second clip is the opening title sequence to the same movie. (I’ve blurred the credits to avoid embarrassing any family members.) It’s called “Dr. Maybe”, because all my movie titles were parodies of Bond film titles. Also, to explain the first title card: the Buhwumbabumbas were another invention of my Dad’s–a warlike species of aliens who would frequently invade Earth to steal our supplies of their most prized commodity: baked beans.
Once again, this is probably totally mystifying to anyone who isn’t me. It’s supposed to depict the Buhwumbabumba ship landing on Earth. How I ever thought it actually conveyed that is beyond me.
One thing I am still proud of is that musical score. Composed by me–a person with no musical talent or training whatsoever–using my electronic keyboard. Maybe I’m crazy, but I think it holds up pretty well.
I’ve been following the fortunes of the Wonder Woman film for a while now, and I also noticed this lack of publicity. It registered with me because it fit into a pattern I’ve seen before.
My favorite movie of all time, Jane Got a Gun, was another film whose marketing campaign I watched closely. The Weinstein Co.’s promotional efforts for it were abysmal–I think I saw one trailer for it, and it made the movie look like an action/adventure flick when in fact it was a romantic drama. (Even the title is kind of misleading. They should have called it Jane Ballard.)
Jane Got a Gun had an infamously turmoil-filled production, and apparently the Weinstein Co. based its decision on the film’s history, rather than the finished product. (It’s usually a mistake to focus on process over results.) As such, they didn’t put much effort into promoting it, and didn’t hold advance screenings for critics. As a result, few people heard of it, and it fared poorly at the box office.
This isn’t the only recent example of a film getting hamstrung by bad marketing. Ghost in the Shell was a big-budget sci-fi picture with a strong story, and it flopped badly at the U.S. box office.
Unlike the case of Jane, the studio could never be accused of not spending resources promoting Ghost. Paramount even bought a Super Bowl ad for it. But it was hit with an intense negative buzz, in which people accused it of “whitewashing” because of the decision to cast Scarlett Johansson as the lead character, Major Killian.
And yet the accusation of whitewashing persisted, and undoubtedly contributed to negative press surrounding the film. Which is too bad, because while it was not a great film, it was certainly one of the better sci-fi movies I’ve seen in recent years. It was far better than the highly-successful blockbuster The Force Awakens, for example.
This is why what’s happening with Wonder Woman doesn’t surprise me too much. I have, as they say, seen this movie before. But like Ian Fleming wrote, “Once is happenstance, twice is coincidence, the third time it’s enemy action.” At this point, I have to think this is part of some pattern.
So what’s the common thread?
While they are all very different films, Jane Got a Gun, Ghost in the Shell and Wonder Woman do have a few shared characteristics. Most obviously, they all feature female protagonists. They also are all categorized as action films. (Although Jane probably shouldn’t have been).
Is Hollywood deliberately sabotaging female-led action films? That seems crazy, since the easiest way for studios to prevent such films from succeeding would be to… not make them in the first place.
Let us, like Woodward and Bernstein before us, “follow the money”.
One thing to look at is the studios producing the movies: Warner Bros. is handling Wonder Woman, because they own DC Comics. As I mentioned earlier, DC has been in competition with Marvel on superhero movies, and they have been losing.
Marvel is owned by Disney, which acquired it in 2009.
It so happens Disney also originally had a deal with Dreamworks to release Ghost in the Shell, but it was terminated in 2016, and the movie was released through Paramount instead.
Jane Got a Gun is the clear outlier here–the Weinstein Co. isn’t on anything like the same scale as Disney, Warner Bros. et al. Also, Jane was rated “R” whereas the rest of these are “PG-13”. So, presumably it had a much smaller marketing budget at the outset.
The key point is that all three of these movies are released by companies that aren’t Disney.
This is most significant for Wonder Woman, because of the ongoing DC/Marvel battle, which is really a proxy war between Warner Bros. and Disney. And Disney has been winning it.
Part of the reason I brought up The Force Awakens to contrast with Ghost in the Shell was because it got way more positive press despite being an inferior film. But of course, Force Awakens was made by Lucasfilm, which since 2012 is owned by… Disney.
The upshot is that I think Disney is way better at promoting their movies than most of the other studios are. Even when Disney has something sub-par, they can generate enough positive buzz about it to get people to buy tickets.
It’s important to understand what promotion really entails. It’s more than just advertisements on television and the internet. It’s more even than tie-ins, and red carpet events, and sending the cast and crew on talk shows.
My impression is that Disney–or perhaps the PR firm they hired–does a vastly better job of promotion compared to the other studios. They have a much higher success at generating positive buzz for whatever they are releasing next.
Now, to some extent, there is bound to be a “crowding-out” effect. If Disney can internally do better PR, or if they can pay more to get it, it leaves less room for other non-Disney productions to get good PR.
And of course, none of this has anything to do with the actual quality of the movie in question. (Indeed, I often wonder just how many movie reviews are influenced more by the PR campaign surrounding the film than by the film itself.)
“[W]hy do so many people like The Force Awakens? I don’t know–maybe it’s the same reason so many people like Donald Trump: both are loud, in-your-face, and have so much money backing them that they won’t go away.”
The comparison actually runs a bit deeper than that. Trump, whatever else you want to say about him, is great at promotion. He is like a one-man PR firm in terms of his ability to draw an audience for whatever he is peddling.
Disney, or whoever is handling PR and marketing for their movies, has a similar level of promotional skill. And the other movie studios are unable to match it.
I think there is also something of an escalation going on, in that the more Disney hypes their releases, the more the other studios are then going to be expected to do to hype theirs. Expectations for marketing campaigns get higher and higher, and when studios fail to meet them, people don’t go to see their movies.
A big problem has been heavy criticism of the decision to cast Scarlett Johansson as the main character. The argument is that they should have gotten a Japanese actress to play the role, since the character is Japanese.
[Warning–I’m about to spoil a few plot points, so proceed with caution.]
But the thing is, the whole premise of the movie is that a sinister robotics corporation took the brain of a woman named Motoko Kusanagi and placed it inside an artificial body. (And re-named her “Mira Killian”.) We only see Kusanagi’s human body in a brief flashback, and her features are difficult to discern in the scene. Johansson just plays the artificial machine body in which Kusanagi’s brain is housed.
And this serves a dramatic purpose in the film: in the scene where Kusanagi in her mechanical body is reunited with her mother, the fact that they no longer have any resemblance makes the scene very poignant. Even though she has her memories back, it underscores that something has been permanently taken away from them by the operation.
In addition, Johansson’s performance throughout the film was fine. So the whole controversy is really misguided–I suspect a lot of the people talking about it didn’t see the movie or even know the plot.
Ghost in the Shell is set “in the near future” according to the opening title card, in a world in which people are cybernetically enhanced. It opens with a young woman named Mira Killian (Scarlett Johansson) waking up inside of a life-like mechanical body. The doctor who performed the operation tells her that she is the survivor of a terrorist attack, and that her body was destroyed but her brain was saved–the first such instance of an entirely mechanical body.
The Hanka Robotics company that funded this miraculous operation then puts Killian to use as anti-terrorist agent in a group called “Section 9”. The Hanka CEO makes it clear that Killian, as the first fully mechanical shell housing a human brain, is a powerful weapon.
The film flashes forward a year to Killian, who is now a Major in Section 9, carrying out counter-terrorism operations. After a gun battle with some hacked robots, Major Killian examines and attempts to hack the remains of one of the robots, the Major gets clues as to the location of the hacker, but also exposes herself to counter-hacks.
Eventually, the Major and her team track down the hacker, but when she finally finds him, he captures her and explains she is not really the first purely mechanical body created by the Hanka corporation. He was a failed attempt they made prior to the Major. He explains that they wiped her memories and gave her false ones. (Throughout the opening act, the Major has experienced odd hallucinations or “glitches” as her brain remembers fragments of her real past, including a burning pagoda-like structure. The hacker has a similar image tattooed on his chest.)
The Major finds the doctor who performed the operation who admits that the hacker’s story is true, and that in truth, there were 98 other test subjects who failed before the successful operation on the Major.
Now that she knows the truth, the Hanka corporation decides the Major is a threat, and the CEO orders the doctor to destroy her. Instead, she gives her the address of her real home and helps her escape, before being killed by the CEO.
The Major goes to the address and finds a woman who she realizes is her mother, and who tells her how her daughter ran away a year before and was reported by the government to have committed suicide after being captured.
She contacts the other members of Section 9, which causes the Hanka CEO to attempt to assassinate all of them, but they manage to defeat his soldiers. The Major then meets the hacker at the ruins of the pagoda-like structure from their visions–it was their hideaway, where they both lived before being captured.
Hanka deploys a massive “Spider Tank” robot to destroy them. The hacker is killed, but the Major destroys the Spider Tank and the Section 9 leader shoots and kills the Hanka CEO after the Major tells him to do so.
In the closing scenes, she meets with her mother and then continues going on missions for Section 9.
That all probably sounds pretty confusing if you haven’t seen the film. In fact, even having seen it, it sounded a little confusing to me just writing it. But it all pretty much worked for me while I was watching the movie.
I went to see it because I like cyber-punk dystopian stories that deal with trans-humanism. This is due to my fondness for the Deus Ex series of video games, which are set in futuristic dystopias and deal with augmented humans and the theme of humanity merging with machines. I saw a few bits and pieces about Ghost in the Shell and thought it looked kind of like that.
And I actually underestimated its resemblance to Deus Ex. For me, it was practically like watching Deus Ex: The Movie. The city in which most of it takes place looked like the cities in Deus Ex, right down to the intermingling of super-futuristic technology with trash-filled alleys and nightclubs. The fighting factions of hackers, mega-corporations and governments was straight out of that series as well.
The Major’s friend Batou reminded me strongly of Gunther from the original game, and the opening credits sequence looked like the start of Human Revolution. Even the guns looked like something J.C. Denton or Adam Jensen might wield.
More than that, even the structure of the plot was similar:
Augmented human/cyborg protagonist works for counter-terrorism organization.
Augmented human/cyborg protagonist finds out s/he is being lied to by said organization.
Augmented human/cyborg protagonist starts to have sympathy for the people s/he was originally fighting.
And to be clear, this didn’t bother me a bit. I’m not saying they just stole all the ideas from Deus Ex. In fact, the Japanese graphic novel on which it is based (which I have not read) was written in the early ’90s, before Deus Ex. So I don’t know which is influencing which. And frankly, it doesn’t matter to me. The fact is, it’s a good concept, so it pretty much works. All these things are common tropes of the cyberpunk genre.
Now, that isn’t to say that there weren’t some rough spots. There definitely were, including a major (no pun intended) one that I’ll get to later. But I want to make clear that if you enjoy dystopian cyberpunk science fiction, you’re probably going to enjoy this.
At times, it felt like the greatest video game adaptation in history, even though it isn’t one. There was tactical, squad-based combat, there were exciting gun battle scenes, and there was even a boss battle–in fact, the “Spider Tank” almost seemed like a brilliant parody of a typical video game boss fight.
The action sequences were pretty well-done, and most importantly, didn’t drag on too long. In fact, except for one element (again, I’ll get to that later) they were surprisingly good. The only one I really disliked was a scene in a nightclub where the Major is handcuffed to a stripper pole by some thugs who then hit her with some sort of electric prod.
First of all, it seemed like a bit of salaciously sexualized violence needlessly tossed in to titillate immature people. Second, it made no sense whatsoever why the Major would be susceptible to torture–why would anybody build a counter-terrorism cyborg that could feel pain?
Of course, the Major escaped–it wasn’t really clear why she waited–and satisfyingly beat up the thugs, albeit in a rather silly pole-dance-fight sequence. (It’s not as bad as that sounds–but still, not the film’s high point.)
One of my favorite scenes was the one in which the Major hacks into a broken mechanical geisha. I won’t try to describe it, but the visual metaphor they used for the hacking–and subsequent counter-hack–was very cleverly done. It was a good way of dramatizing the process.
Now, there are a lot of nitpicks one could make about the technology in the movie. How can they have these super-sophisticated robots but still be using cartridge-based firearms? Moreover, how come the robots and augmented humans can still be destroyed by bullets? There’s really no good answer, but this is where the concept of “suspension of disbelief” comes into play–if the story is good enough, the audience will accept it.
Except–and here’s that flaw I’ve been alluding to–there was one thing that totally ruined the immersion for me.
At the start of the first big action sequence, the Major is covertly monitoring a meeting that gets attacked by hacked robots. She is standing atop a skyscraper in a black coat, which looks pretty cool. When the attack starts, she leaps into action and… throws off her black coat to reveal the “outfit”–if you can call it that–pictured in the poster above.
Except the poster makes it look way better than it does in the movie. Here’s a still from the movie:
This looks absolutely ridiculous.
For some reason, when particularly intense fights happen, the Major takes off her clothes and fights in what I guess you could call her “underwear”. This allows her to periodically turn invisible, which is a useful tactic.
However, what is not a useful tactic is running around in what appears to be a bright-white naked human body. It’s hard to get any more conspicuous than that.
Images of Scarlett Johansson in this costume have been used heavily in the film’s promotional materials. I guess this is just the marketing people trying to follow the age-old adage that “sex sells”, and figuring that this will appeal to teenage boys. (Although I was once a teenage boy, and I don’t think I would have thought this was hot even then.)
The effect is absurd and stupid. The special effects are generally good, but on this, they really fall down. The impression you get is that the bad guys are being attacked by a naked mannequin with a realistic-looking head superimposed on top of it. It’s slightly creepy but mostly just laughable. It reminded me of the game Mass Effect 3, when the A.I. that pilots the ship takes over a robotic body that looks like–of all things!–a slender human female.
I would be inclined to complain that this is a rather cheap, crass and sexist ploy to get attention, except that it’s so silly-looking it’s kind of hard to imagine anybody thinks it’s sexy. (And if they do, I can’t imagine what their reaction to walking into a clothing store with mannequins must be.)
This is even worse because most of the time, the Major wears perfectly respectable, everyday cyberpunk-heroine outfits that look just fine.
(Side note: I have no idea what’s up with all the knives in this movie. People would have knives and never used them. The utility of a knife as a weapon in a world populated by cybernetically-augmented humans and pure machines seems limited.)
I don’t generally pay much attention to costumes in movies, and I feel slightly sexist myself for even discussing this. (The natural feminist counter-argument would be that a strong, independent anti-terrorism cyborg has every right to wear what she deems best.) I’m just saying it looked so bizarre that the scenes where it happened became unintentionally comical.
But what bothered me most about the suit is the fact that I could see people getting the wrong impression about this movie from how much it’s used in the marketing. I was afraid the movie might be nothing but a flimsy excuse to give callow teenagers something to gawk at between shoot-’em-up scenes, and for the most part, it’s not that. Apart from this relatively small (albeit really stupid) element, it’s actually a surprisingly thoughtful film, as these things go.
With that, enough about costumes. Back to plotting and character–things that really matter.
Juliette Binoche is really good as the doctor who saves the Major and gives her the new body. Hers was probably the most complex character–she is driven by a passion for science, and a genuine desire to help, but makes a Faustian bargain with the less-than-noble Hanka corporation to do so.
Her death scene, however, was poorly-handled. It was clear enough when she helps the Major escape that she would be killed unless the Major saved her. That she simply left her there made her seem a little cold. Also, there is a logic problem in that the doctor is shot through a window looking into the room where the Major was held in captivity–you would expect that to be bulletproof glass.
There are no great feats of acting in this movie, but it’s not really the sort of movie that allows for or needs it. All the actors delivered very solid, competent performances. And the characters, while mostly stock figures of the genre, are reasonably well-written and consistent. The script has only one memorable line and no masterful plot twists, but it is well-paced and workmanlike, with no serious flaws.
I would have ended the movie about two minutes earlier than it actually ends. The last two scenes–of the Major reuniting with her mother and then going on a mission for Section 9–raise more questions at the worst time. Who is the Major fighting now? Is she still working for the government that collaborated with Hanka to kidnap her in the first place? It seemed strange, and made the film a little less satisfying than it could have been.
All in all, I was very pleasantly surprised by Ghost in the Shell. It is not a great film, but after the modern science-fiction films I have seen–Prometheus, The Force Awakens–even basic storytelling competence was really a treat. If you like cyberpunk or science-fiction in general, I recommend it.
Now if only Section 9 would issue the Major a less-ridiculous stealth uniform…
I’ve referenced this movie many times on this blog–I’ve quoted lines from it, hailed its timeless themes, and in general sung its praises at every turn. And yet, I’ve never done a proper post about it. Well, I intend to rectify that now.
Of course, you might think it hardly seems necessary. The movie is practically legendary at this point. It’s been referenced in scores of other movies, its influence can be seen in the work of directors like Kubrick and Coppola, and of course, its subject matter remains relevant to the politics of the Middle East to this day.
And yet, for all that, critics don’t really get Lawrence of Arabia. They still can’t understand what makes it great. Fortunately, I’m here now, and can tell them.
The movie Jackie is only partially about the title character, First Lady Jacqueline Kennedy. (Natalie Portman) Ironically, it is categorized as a historical biopic when in fact it is an exploration of public relations, image vs. reality in politics, and, in some ways, the nature of Truth itself.
That does not mean Mrs. Kennedy is not featured prominently–she is in nearly every scene, and often in extreme close-ups. Especially in the film’s opening half, we see her raw emotion in response to the assassination of her husband.
But as the film makes clear from the framing device–a reporter, (Billy Crudup) interviewing Mrs. Kennedy in the days after the assassination–it is focused on the role of media and appearance in politics, and ultimately in history. During the occasionally combative interview, she explains not only her emotional state, but also the ways in which she sought to shape the perception of her husband’s legacy.
This segues to flashbacks, first to a televised White House tour given by Mrs. Kennedy in which she discusses various historical Presidential artifacts which she has restored to the White House. This tour really did take place, and the filmmakers clearly went to some trouble to recreate it.
From here, the film next shows us the fateful trip to Dallas, and Mrs. Kennedy’s grief and horror in the aftermath. But even in these circumstances, political intrigue continues, as we see glimpses of the tension between Robert Kennedy and the newly sworn-in President Lyndon Johnson.
As Robert and Jackie ride with JFK’s coffin in Washington, she asks staff members if they know anything about Garfield or McKinley. They don’t. She then asks what they know about Lincoln, and they respond that he won the Civil War and freed the slaves. She then decides that she will model her husband’s funeral on Lincoln’s, to ensure his memory lives on as Lincoln’s did.
In one memorable sequence, we see her wandering the empty halls of the White House, listening to John Kennedy’s favorite record, the recording of Camelot, while drinking and taking pills as she is overwhelmed with grief.
Planning for the funeral continues, and Jackie makes clear her desire to have a long procession–a grand spectacle, that will capture the attention of the entire nation watching on television, and preserve Kennedy’s legacy. However, the Johnson administration is hesitant to do so, because of the security risk.
When Oswald is shot by Ruby, it confirms the risk to Mrs. Kennedy, and she decides not to have the procession on foot and go by motorcade instead. She shouts at Robert Kennedy in frustration, berating him (and by extension all politicians), for being unable to know what’s going on or keep anyone safe, despite all their power.
But later, as they are sitting in the empty White House, it is Robert’s turn to rage in frustration at the apparent wasted opportunity of his brother’s tragically ended administration. As she listens, Jackie makes up her mind that his death will not be in vain, and goes to Jack Valenti to tell him the procession will be on foot after all.
Valenti tells her that the problem is that foreign dignitaries–specifically, Charles de Gaulle–are afraid of the risk. Jackie replies that she wishes to let it be known that she will go on foot, but if de Gaulle wishes to ride “in an armored car, or a tank for that matter” she will understand, and pointedly adds that she is sure the national television audience will as well.
Bowing to this implied threat of public humiliation, they accede to Mrs. Kennedy’s wishes and proceed on foot.
Interspersed with all of this, in addition to her exchange with the reporter, are scenes of Jackie conversing with her Priest. (The late, great John Hurt). She is understandably having a crisis of faith, and pours her feelings out to him. He tries to console her, but in the end even he can give no satisfying answer to why God inflicts such suffering as has befallen Mrs. Kennedy and her family.
As their interview concludes, the reporter assures her that she has preserved Kennedy’s legacy as a great President. She tells him there’s one more thing, “more important than all the rest”, and relates the late President’s love of the musical Camelot, quoting the lines: “Don’t let it be forgot/That once there was a spot,/ For one brief, shining moment/That was known as Camelot.”
The film ends with this song playing over flashbacks of the White House tour and the Kennedys dancing together.
II. Review; Praise and Criticism
The film is very powerful, but also strangely disjointed. It can be hard to keep track of where action takes place even in the narrow time frame the film covers, so quick are the cuts to different moments.
Early on, there are many tight close ups on the face of the grieving widow, and long scenes of her cleaning the blood from her face and hair. These scenes are shocking, but seemed unrelated to the film’s larger theme.
The best scenes are those of the journalist interviewing Mrs. Kennedy. There is a tension between the two, who seem to strongly dislike one another, and Mrs. Kennedy’s harsh editing and commentary on what the reporter is and is not allowed to print starkly make the point about using the media to create a narrative–a point that seems especially relevant in light of recent political events.
In general, the acting is quite good. Peter Sarsgaard as Robert Kennedy is terrific, Hurt is very good, as he always was, and Billy Crudup is excellent as the journalist. The only actor who did not really seem right was John Carroll Lynch playing Lyndon Johnson, and this was not really an issue of his acting–which was quite fine–but simply his extreme non-resemblance to Johnson. There were times when I did not know who he was for parts of scenes.
This brings me to the star of the piece. Faithful readers know that Portman is my favorite actress, and it is because she is in this movie that I have followed it so closely.
Her performance is very good, and her Academy Award nomination is well-deserved. That said, all the talk that this is the greatest performance of her career is overblown–indeed, I would argue it is not even her greatest performance in a movie released in 2016. Her roles in Jane Got a Gun and A Tale of Love and Darkness (which Portman also directed) allow her far more range and depth.
There is however one very notable feature of her performance which, despite all the press about it, I have not seen mentioned in any reviews. That is the difference between how she plays Kennedy in the flashbacks and in the “present day” interview with the journalist.
In contrast to the panicked, grief-stricken widow of the immediate aftermath, in the interview scenes she seems about 20 years older, even though only a little time has elapsed. Her tongue is sharper and her attitude more bitter. The contrast is very noticeable, and quite effective at conveying the pain Jackie endured.
The single biggest problem with the film is its script. It is not uniformly bad–it is not even mostly bad–but when it is bad, it is absolutely dire. This might be worse than if it had been bad throughout, because it makes the really terrible lines stick out all the more.
At one point, someone advises Jackie to take her children, leave the White House quietly, and “build a fortress in Boston and disappear”.
Who the hell talks like that?
At another point, Robert Kennedy says that walking by the Lincoln bedroom reminds him that “one ordinary man signed an order that freed millions of people.” This is a rebuttal to Jackie saying it feels “peaceful”.
One scene was so bizarre I almost wonder if it really does have some basis in fact: aboard Air Force One, after the assassination, Jackie is asking about the bullet that killed her husband. “It didn’t sound like a .38” she says. “It sounded like a bigger–what do you call it?–caliber, like soldiers use.”
First of all, I find it hard to believe she would talk about the bullet. Second of all, I find it even harder to believe she would be able to tell if it was a .38 or not. And thirdly, if all that did happen, I think she wouldn’t then say “what do you call it” and be unsure of the word “caliber”.
Another example: when Jackie and Robert are walking through Arlington cemetery to select the grave site, Jackie is obviously having difficulty walking through the mud in her high heels. Robert asks her what’s wrong, and she says her shoes are getting stuck in the mud.
There’s no reason for her to say this. It was clear enough to the viewer; so why include the line?
The Priest says lots of things that I highly doubt any Priest would ever say, least of all to the President’s widow. Even the scenes with the interviewer, strong as they are, have some ham-handed lines, such as when he awkwardly raises the subject of the White House tour film that introduces the flashback.
The musical score is just flat-out weird. It is primarily a growling, synthesized noise that is sometimes appropriately foreboding, but at other times is just annoying. Sometimes it overpowered scenes of the grieving Jackie in instances where silence would have been far more effective. (As if to drive this home, later in the movie many scenes have no soundtrack, and these are much better.)
The cinematography, on the other hand, is very good throughout. There are some beautiful shots of Washington D.C. and the White House interior, and the scenes at Arlington are appropriately grim. And best of all is a scene of Jackie and Robert talking about the funeral in the gloomy November twilight. The scenery, make-up, costumes and acting all make it feel very real and immediate.
This all adds up to a wildly uneven picture. Just when it gets good, some jarring line throws it off, and just as it seems about to run off the rails completely, the cinematography or acting grabs your attention again.
I would be tempted to say it’s a mess with great acting and cinematography. If that were all there was to it, I could end the review now and just say, “See it if you are a Kennedy history buff or a Portman fan; otherwise, skip it.”
But that would ignore something. Which brings me to the third and most complicated aspect of this thing…