Tuesday, July 8, 2014

Retro Review: Independence Day

In 1996, that would've been a tragedy.


Whether it’s A Nightmare Before Christmas on Halloween, Saving Private Ryan on Memorial Day, or Die Hard at Christmas, we've all got our favorite holiday movie traditions. For the 4th of July, there’s no better movie to watch than the aptly titled Independence Day. Conveniently abbreviated “ID4” by an incredible marketing campaign that helped push it to the top of the 1996 box office, it’s a funny, exciting, patriotic disaster romp that I love to watch every time America’s birthday rolls around and one of my top 10 all time favorite movies.

Looking back at it, Independence Day is remarkably tame compared to the destruction porn of today, as well as writer/director Roland Emmerich's later efforts. Instead of two hours of loosely connected edifice obliteration like we see nowadays, ID4 wraps up most of the disaster stuff by the end of the first act. By changing it up like that, the action doesn't get overwhelming to the point of monotony and we get to see actors doing stuff other than running and shouting.

That first forty-five minutes or so doesn't overdo it either. It plays out exactly like a good disaster film should: quietly introducing a looming threat and then teasing it just long enough to make the reveal satisfying. The new Godzilla did that using smoke, debris, and other scenery, but ID4 does it by introducing us to its characters. Just as the full alien menace might be revealed, it cuts away to meet a new group of people, and each group features secondary and tertiary characters who actually stick around for more than five minutes. That not only fleshes out the movie world, but also obscures who’s disposable since there are so many from which to choose.

When we finally get around to the city-sized alien spaceships, they don’t come out guns blazing; they settle in to a sinister hover above national landmarks. No swarm of alien fighters for some foreplay demolition either, just an eerie green spotlight on the target below. In LA, the spotlight shines in the face of Will Smith’s girlfriend’s stripper pal standing on the roof and mumbling “it’s so pretty.” Since we met her earlier, the knowledge of how utterly screwed she is builds tension in a way some random extra can’t.

Tension also builds from what doesn't happen at this point. Nobody shouts about rising percentages or counts the seconds to total annihilation. Even the ticking clock in the movie only appears a couple of times, but characters rush, drop things in haste, honk horns in frustration, bail from stopped vehicles, and anxiously check their watches in mid stride. When Jeff Goldblum finally shows us the clock hitting zero and ominously announces “time’s up”, we all hold our collective breath.

At last the special effects begin, which still look convincing today because they’re real explosions destroying scale models. CGI had just come on the scene, so it was only good enough to enhance a movie but not good enough to fully take over. That had two advantages. One, the best CGI today still can’t mimic reality perfectly, and two, spending all that time building a model and setting up a multitude of cameras to get that one shot right means nobody is going to obscure the final result. Thus it’s with a steady, distant camera we watch a wall of fire brutally smash its way through major cities.

And then, silence.

No slow motion pan of characters mutedly screaming in terror and grief while the sad music plays in the background, just the “July 3rd” title card and a lingering shot of destroyed New York City. That way everything gets a moment to sink in, and the date card gives our subconscious a frame of reference that adds a sense of scale newer movies undermine by jumping right off to the next action scene without rhyme or reason.

In the second act, ID4 shifts from a disaster film to more of a science fiction thriller, wherein a disparate band of characters come together as they try to figure out how to deal with an unstoppable killing machine. Since it avoids stacking coincidences as much as possible, the cast assembles with enough plausibility that we can focus our suspension of disbelief on the big things, like telepathic aliens. A lesser movie would've had Vivica Fox emerge from the rubble right next to the missing First Lady, run into Will Smith and the convoy in the desert, and then miraculously drive them all to Area 51 by random chance.

Meanwhile, the film builds on the despair created by the destruction in the first act. Our heroic Will Smith fueled counterattack turns into a desperate attempt to escape, and probably the only time in movie history the white guy gets killed off instead of the black guy. The alien prisoner intones that peace between us is impossible; they just want us to die. Nuclear weapons do nothing, the rescued First Lady dies anyway, and the optimistic environmentalist goes on a bender.

Were it Transformers: Age of Extinction, the goofy subplot about Randy Quaid's kid being sick would have appeared at this point to ruin all the other drama with its blatant attempt to generate sympathy. Instead, it’s cut in favor of better material. Unfortunately, so too are the scenes that explain how a Mac can hack an alien mothership, but you can’t have everything.

Once everyone is sufficiently depressed, we launch into the action-comedy finale. It’s also the part that aggravated tons of non-Americans. How deliciously ironic it is for people to complain about patriotism/jingoism in a movie that features an epic speech about humanity putting aside petty differences and uniting in common interest. I guess that line from the British guy about it being about bloody time somebody (America) came up with a counter-offensive was a bridge too far. Not that Hollywood is known for realism, but considering America’s military and economic might dominated the globe in the 90s, who else exactly would they expect to organize a worldwide counter-strike against an alien threat?

Anyway, ID4 sidesteps another action overdose by splitting up the cast so that Smith and Goldblum's characters embark on the quieter mission to the mothership while Bill Pullman and co. conduct the big aerial battle below. That makes both sequences feel longer without having to show a bunch of repetitive shots of F-18s blowing up and such. Plus there’s more room to insert comedy that would otherwise feel out of place.

Fortunately the filmmakers had the presence of mind to swap out the ridiculous ending where Randy Quaid randomly shows up in his biplane to sacrifice himself. Such edits seem to be infrequent of late. If somebody thinks something looks cool, it ends up in the final product no matter how much it ruins the flow, tone, or general consistency of the movie, if for no other reason than it usually cost a fortune to produce with CGI.

But even that silly ending could probably work with ID4’s superb soundtrack behind it. Whether it’s the terrifying alien attack, the quiet romantic moments, or the thrilling bombast of victory, David Arnold’s score sells every minute of screen time. Indeed, the hopeful little piccolo that kicks off President Whitmore's speech may be the only reason it comes across as fantastically rousing rather than pathetically cornball.

I could go on for pages more, but ultimately what we’re talking about here is fun. This movie is fun. It’s not bogged down with attempts to “ground it in reality.” It doesn't have all the color sucked out and replaced with muted grays and browns for the same. It has nods to similar past movies, but it’s not another rebooted retread of somebody else’s story. It doesn't rely on any one big star to carry the cast, though it did have the man they call Jayne in it, and the actors look like they’re genuinely into their roles. Despite the marketing campaign’s focus, the action doesn't overstay its welcome and therefore remains wonderfully exciting. It even makes you laugh from time to time to break up the tension. All in all, Independence Day is a textbook example of how to do the big summer blockbuster right.

So grab some popcorn and enjoy it again before they ruin it with a sequel.

Wednesday, July 2, 2014

Less is More than Meets the Eye

One city shall stand, one shall fall.
(Image by Sarjex - Check out her 
store)

Much has been said about Michael Bay and the Transformers franchise under his watch, and I’m certainly no stranger to opining about the writers that normally are in charge of these films. Fortunately Roberto Orci and Alex Kurtzman have gone on to ruin somebody else’s franchise, and Ehren Kruger who previously played third fiddle to them has taken the reigns. With them gone, we finally get to see how much the dreaded duo influenced the direction of these movies, and how much stemmed from Michael Bay just wanting to blow stuff up.

At the core of Transformers: Age of Extinction there’s a really great movie about an altruistic alien race of transforming robots whose spirit has been broken by the willingness of humans to screw them over, and the single dad who restores that spirit after a chance encounter with their leader. Or there’s a story about a cynical government bureaucrat stuck in an “us or them” mentality and exemplifying the axiom “the road to Hell is paved with good intentions.” Or it’s an action packed take on the “should” vs. “could” of technological development. Or…well you get the picture.

Maybe Bay & Co. just got tired of hearing how there’s no plot to these movies and decided to give us every plot they could possibly think up, because this one is stuffed to the gills. That is not to say these plot threads are raised and forgotten as they were in the Orci/Kurtzman scripts, but they are developed at the expense of one another. Subplots and scenes that would normally be chopped out in the interest of time/sequels simply stay in the movie as though the first cut got canned and shipped without ever going through the editing process. It becomes a veritable round robin of story arcs that eventually meet up with some robotic dinosaurs for Bay’s patented CGI Explosion Fiesta.

And as much as I love me some epic dinobot action, they’re really not relevant to any of the story arcs in this movie. They’re just an attempt to up the ante in a franchise that can’t really get any more filled with things going boom. It’s unfortunate because, well, giant transforming dinosaurs are perhaps the one thing we haven’t seen before in these movies, and it’s a shame to waste them.

At the same time, Bay leaves out the smaller, transitional scenes that could glue those cool sequences together rather than cut the redundant action bits. It would take a few scant moments to show us the relative positions of characters and their travel routes to alleviate the feeling that everyone conveniently teleports to where they need to be, but then we wouldn’t have time for Optimus Prime riding a mechanical firebreathing T-Rex. At least not without officially crossing the three hour mark this movie sneaks under.

The action sequences drag on forever as a result, even more so than what I previously complained about in Man of Steel. Funnily enough, a truck riding a dinosaur to fight a small army of walking cars while being harassed by a spaceship trying to vacuum them all up still caused less devastation than the new Superman.

There is one good thing about the movie being overlong, and that’s getting to hear Steve Jablonsky do his thing. He handles the score once again, and he’s pretty much the only guy who has done his job perfectly every time so far.

Despite the editing problems, Bay & Co. did learn some lessons from the prior movies. The transformers themselves are more starkly and solidly colored this time, and the use of shaky cam and hypercutting was lessened, although not eliminated. In any case, it’s much easier to tell which robots are fighting which, and they’re given considerably more personality this time around, not that it’s a high bar to clear.

The toilet humor departed with OrciKurtz and has been replaced by mostly witty banter, which is something right up Mark Wahlberg’s alley. He leads an entirely new cast that includes Kelsey Grammer and Stanley Tucci, both of whom never disappoint. All three of their characters were interesting in their own way, with Tucci’s even breaking a long overdone trope, but they’re unfortunately all handicapped by the spinning wheel of subplots I mentioned earlier. With something like five villains vying for the title of Big Bad and a dozen good guys running around, nobody can retain focus long enough to feel like a fleshed out character.

That’s really the bottom line with this one: the clutter turns what could’ve been a remarkably interesting summer popcorn flick into too much of a mess to shine. It’s not as ridiculous as Revenge of the Fallen, nor as irritating as Dark of the Moon, but even the original Transformers was more coherent. Too disappointing to recommend outright, I can only say that nobody does over-the-top action better than Michael Bay and there’s no better place for it than in a theater. So if that’s your thing, go ahead and add to Age of Extinction’s $300 million worldwide gross.

*this post cross-posted at http://www.theirfinesthour.net