Another week into summer, and things are heating up. Blockbusters vie for the “top Earner” title, the Emmy race is kicking into high gear, and Comic Con is on the horizon bearing all kinds of revelations and teasers (like an Ant-Man poster). But before the Galaxy gets guarded or we meet any Dames To Kill For, lets take a look at some smaller flicks, take another trip into TV’s finest, and review a classic cartoon in this week’s Buzz.
Movies: With some films, you expect something, and get something completely different. Sometimes a good different, other times a bad different. Other times, a film simply meets your expectations, however high or low they were. Yet, there’s that rare, special case wherein you expect absolutely nothing, and get very pleasantly surprised. For those unfamiliar with that feel in, I suggest closing your laptop right now and feeling the sensation for yourself by buying a ticket for The Purge: Anarchy.
The original Purge presented a premise so intriguing that the eventual letdown that was the actual Ethan Hawke anchored flick hurt. It was like of Dorothy landed in Oz, but we spent the whole time in the crashed cabin, only to spy a stray munchkin in the window. For those unaware, The Purge straddled the line between 80’s pulp and horror premise by setting its story in a future pseudo-utopian America, wherein the New Founding Fathers have reduced crime and poverty by the introduction of a “purge”; one day where all crime is legal. What could have been a thrilling adventure/survival story set in a city ripped apart by legalized chaos quickly became a low-budget home invasion horror flick. Disappointed and frustrated at a wasted premise, no one had high hopes for the surprisingly green lit sequel.
Then the trailer hit. And it hit hard. This wasn’t another one-setting spook-fest. This hardly seemed horror at all. The trailers played like an eerie action film, opening the world in a manner so thrilling it calls to mind when Rocksteady took Batman out of the Asylum and into the City. Some critics were already proclaiming the film was going to “make good on the promise of the first. Some even felt this film, with its brooding, gun-toting protagonist played by Frank Grillo (Captain America 2: The Winter Soldier), was going to be “the Punisher movie we deserved”. Yet, while not to suggest the film didn’t make good on those expectations, it did something far more impressive to make it worthy of even the most cynical cinephile.
It become clear early on, as an overhead shot gazes down on the ruined car of our then unnamed hero, who bangs on the hood in anger, that this is the film James DeMonaco really wanted to make even when he was filming the first Purge. Unlike its predecessor, this film is ambitious. It’s smart as a whip, and defies expectations at every turn, playing up cues and cliches only to pull the rug from beneath you. Yet, it also becomes clear that The Purge: Anarchy also isn’t a film James DeMonaco wanted to make at all, insofar as he’s clearly making the film he wished he’d had to watch as a kid, on a worn out VHS tape, with a faded box depicting an anophthalmic Kurt Russell under the banner “A John Carpenter Film”.
From the shot choices, to the lighting, to even the score, The Purge: Anarchy is the third Escape From New York film we never got. It’s pure 80’s pulp cinema, infused with a modern sensibility, knowing its roots without ever playing on style or nostalgia (something which cannot be said for the critically fellated, painfully overrated Drive). Frank Grillo’s hero has the silent swagger of Snake Plissken, and in his moments of fury or frustration, one can almost here the lines Russell would have barked out in place of Grillo’s stoicism.
The world is built to brilliant heights, unlocking all of the potential of the previous Purge while still leaving so much to do. Elements are introduced which ca form the foundation for a formidable franchise, and with such an adeptly handled re-introduction to the world, viewers are bound to want to come back for more. So go ahead. Buy your ticket. Take the ride. Set the bar high, even. You still won’t be disappointed.
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Looking for something a little less murder-y? The girlfriend getting fed up with blockbuster action and sadistic slashers? Well, its that magical time of year again, when the unceasing movie machine that is Woody Allen churns out his annual entry to his filmography. Little throwaway scripts, essentially excuses for Woody to keep busy and travel, that any other filmmaker couldn’t replicate on his best day. Allen is a natural writer/director, and the films seem to roll of his tongue and onto the screen as little blips of sheer perfection, and the delightful Magic in the Moonlight is no exception. Colin Firth and Emma Stone are brilliantly plucky, and Allen’s typical aura of old school Hollywood joy is on display again. Likely a lock for a screenplay nomination this year, we highly recommend calling up your best gal, putting on a nice tie, and soaking in a little Magic in the Moonlight.
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Emmy Catch-Up
Every week, we here at Man of the Hour will catch you up on one show in each of the major Emmy categories: Drama, Comedy, Miniseries, Movie, Variety and Animation (find our first part here). We’ll tell you what it’s about, what it’s up for, where to catch up and even pick a highlight from the season (which is of course fairly spoilerific, so perhaps avoid clicking play if you haven’t seen the show).
Drama: Mad Men
What is it: The long-running drama (now in its seventh and final season) has followed one ad man (and the people around him) from the election of JFK to the moon landing, careful to not once feed into the baby boomer’s idealized 60’s memories, instead crafting a character study unlike any other, which utilizes the history of America as a metaphor for one man’s life, and vice-versa, weaving an intricate web of angst and imagery that cuts to the core of the viewer and tackles the complexity of man himself. This season saw Don Draper at his worst, having (SPOILERS) been let go from the firm he started (technically on paid leave), slowly climbing his way back to the top. It was a season rife with memorable moments, cinematic homages, and powerful dialogue, proving once more why the show is widely considered the greatest of all time (and a winner of four previous trophies in the Best Drama category).
What Else is it up for: Mad Men is up for a total of 8 Emmys this year, including Best Actor (Jon Hamm), Best Supporting Actress (Christina Hendricks) and Best Guest Actor (Robert Morse).
Where to catch up: The first six seasons are available for streaming on Netflix and on DVD, the most recent can be purchase on Amazon or iTunes
Best Scene: While the season premiere had two brilliant musical moments (Don’s arrival in L.A. and his breakdown at the end), the most touching scene, perhaps in Mad Men’s history, was when a half-drunk Don hears the voice of his spiritual brother Frank Sinatra on the radio, declaring that he isn’t down for the count like his peers expected, and Don’s outstretched hand invites Peggy to dance. Sweet, sincere, and a reminder that a show doesn’t need some big mystery, just characters you grow to care for.
Comedy: Silicon Valley
What is it: The most surprising nominee in a very weak category, Silicon Valley comes from the mind of Mike Judge (Office Space, King of the Hill), and follows five young techies as they navigate the complex world of Silicon Valley in an attempt to monetize a program Richard Hendriks (the overwhelmingly uninteresting protagonist played by Thomas Middleditch), while living under the roof (or as its dubbed, “incubator”
of TJ Miller’s Erlich Bachman, who provides the comic relief in this supposed comedy.
of TJ Miller’s Erlich Bachman, who provides the comic relief in this supposed comedy.
What else is it up for: Silicon Valley is up for 5 Emmys in this, its first year, including Best Writing, Best Directing and of course Best Comedy Series.
Where to catch up: HBO GO has the entire first season available for streaming.
Best scene: This rocky first season yielded two highlights, one of which consisted entirely of TJ Miller shouting at a child (admittedly, it was hilarious). The other was an example of what The Big Bang Theorywould be if the boys were on the Home Box Office. Click play and see why (Warning: strong language)
Miniseries: Bonnie & Clyde
What is it: The infamous outlaws saw interest revived in them in the 60’s with Arthur Penn’s Warren Beatty and Faye Dunaway starring biopic, which took huge liberties with the legendary outlaws’ story. A&E endeavored to set things right with this two part miniseries depicting the famed duo from first meeting to their final bloody stop on the wild ride of their lives.
What else is it up for: Bonnie and Clyde is up for 4 Emmys, including Hairstyling, Makeup and Sound Editing.
Where to catch up: The two part miniseries has been combined into a three hour film available for streaming on Netflix
Best moment: The beautifully shot, and finally historically accurate, final moments of Bonnie and Clyde, exchanging a knowing look before being riddled with bullets.
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Movie: Muhammad Ali’s Greatest Fight
What is it: This HBO film dramatizes the Supreme Court hearing on Muhammad Ali, who famously refused to be drafted on the grounds that he was a Muslim, and his religion forbid fighting in any wars unless ordained by God. The film cuts between historical footage of Ali at the time and reenactments of the moments in the justice chambers, with the primary figures being played by Frank Langella and Christopher Plummer.
What else is it up for: Muhammad Ali’s Greatest Fight is up for two Emmys, one for Directing and one for Best Television Movie
Where to catch up: The film is available for streaming on HBO GO
Best Scene: The interplay between Christopher Plummer’s John Marshall Harlan and his protege light up the screen and demonstrate Plummer’s ability to own any scene he’s in.
Variety: The Tonight Show with Jimmy Fallon
What is it: After a long while, The Tonight Show is back, and not just back in New York. During Jay Leno’s first and second reign, the show became an outdated shell of its former self, only watched by true loyalists and viewers still unaware anything existed beyond what was once Johnny Carson’s radiant throne. But the once-fidgety Fallon kicked off a New York-based debut season with an electrifying rooftop set from U2, a brilliantly funny dance-off with Will Smith, and a sincere introduction of he and his crew, instantly endearing himself to wary viewers. Since then, the Tonight Show reclaimed its title as the must see late night show, and one of the most exciting new programs on television (despite being one of TV’s oldest institutions). His sketches and jokes consistently land, and he’s become the most viral talk show in the game. He’s reclaimed a great legacy, and while he may not match the King, he’s certainly doing him proud.
What else is it up for: The Tonight Show is up for 4 Emmys (Writing, Directing, Lighting and Variety Program) and its Digital Experience is up for Best Interactive Program.
Where to catch up: Select episodes are available on Hulu, and the Tonight show airs Mondays through Fridays on NBC at 11:30pm e.t.
Best scene: The “Lip-Synch Battle” is a skit carried over from Fallon’s previous gig, Late Night, but Emma Stone’s brilliant performance made it an instant Tonight Show staple, and revived interest in the 90’s relic Blues Traveler (Warning: the song will get stuck in your head).
Animated: Archer
What is it: FX’s long running spy comedy from the creator of Sealab 2021 plays like The Man From U.N.C.L.E. meets The Office, where interpersonal disputes and obscene tirades take the place of any actual action. This season took a bold step in a different direction, stripping the crew of their spy organization, ISIS, and leaving them with nothing…except millions of dollars worth of cocaine. Thus the season was unofficially dubbed Archer Vice, and pulled an at-that-point unheard of 360, scrapping all its set pieces in favor of Nicaraguan landscapes and Hawaiian shirts. A guest appearance from Kenny Loggins (or as he asks to be called on the show, K-Logs) gave us one of the funniest episodes of television this year, and an extended tribute to American cult classic Smokey and the Bandit (complete with Cheryl’s country-singer alter-ego Cherlene performing “Eastbound and Down” endeared the show even further to fans of pop-culture worship and sefl-aware humor.
endeared the show even further to fans of pop-culture worship and sefl-aware humor.
What else is it up for: This is the only nomination for Archer this year (in the words of Sterling Archer: Whomp whomp)
Where to catch up: All but the current season are available for streaming on Netflix
Best scene: To pick one moment from the brilliant “Southbound and Down” is impossible, but this teaser gives a perfect taste to Archer’s brilliant and unique humor, with the titular hero in full Burt Reynolds garb, lamenting his lack of firearm.
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News: It’s been fairly quiet in terms of ol’ Tinsletown, with all the major news being kept under wraps until this weekend’s San Diego Comic Con comes to a close. The biggest story? The Simpsons making history by putting theirs on display. After FXX (FX’s new comedy-only channel) concludes its gargantuan marathon, wherein they will run every episode of The Simpsons, in chronological order, 24 hours a day until completion, the entire series will be made available for streaming online via a new app called FXNow (similar to HBO Go or Showtime Anytime, requiring only a cable subscription to stream content for free). The marathon’s runtime and the sheer amount of episodes which will soon be made available is record breaking, as the show is entering its 26th season, and it shows no sign of stopping. Well, except in the case of the upcoming series premiere, entitled “Clown in the Dumps”, which showrunner Al Jean teased contains the death of a significant character.
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Short Film: This week’s short is one of the most esteemed in the world of underground animation, from beloved auteur Richard Condie. The film received awards from 17 different festivals, including a Grand Prize from the Montreal World Film Festival. It was also a nominee for Best Animated Short at the Academy Awards, and its not hard to see why.
There’s so much one can extrapolate from Condie’s unique view of humanity. His distorted take on (what we assume is) marital life leaves so much to be pulled apart and examined once the laughter subsides. The absurdity of the shaking eyes or “Sawing for Teens” have real life parallelsin every relationship, but are unique to each viewer. In the broader sense, of course, The Big Snit examines how insignificant little spats are in the face of an apocalypse, or indeed demonstrates how the very opposite is true. It’s final line, “Gee, it’s days like this that you don’t feel like doing anything“, stands as Condie’s definitive statement on humanity, but he leaves it up to the viewer to decipher what that statement is, and with every viewing, the answer changes. The Big Snit grows on you, weeks and months after first viewing, and it also grows with you every time you go back to it.
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