The MacGuffin

After directing one of the most entertaining horror films of the last decade (The Descent), Neil Marshall was added to the list of directors I wanted to keep my eyes on. It seemed inevitable that he would get plenty of opportunities in Hollywood after the success of that film. That opportunity came in the form of Doomsday, and while that film was a feast for the eyes, it was too unbalanced to really enjoy. Thankfully, it seems that Marshall has returned to his roots and stepped back from the world of polished Hollywood films, and once again made a gritty genre film that leaves you thinking.

There is much you can tell about a movie from its start, the music, the images, and the tone. In Steven Spielberg’s new film War Horse, everything you need to know is spelled out in the first three minutes of dialogue and scenes. We have an over the top image of the countryside with overly cheerful but semi-epic music, giving the sense of a journey but with no real danger. (To bring this point home, the music is repeated several times over the course of the film, doing nothing to make the movie more intense, and gets very repetitive.) This sequence goes on for a while and we get to see a boy, Albert (Jeremy Irving), watching a horse grow up, and him obviously dreaming of owning him. So when his foolish father buys the horse instead of a work horse, for reasons of vanity, Albert and his new horse Joey instantly bond, as Albert tries to train him to be a work horse.

I was probably not the best choice to review the new film Tinker Tailor Solider Spy for The MacGuffin. Double-crossing, secret-plotting, many-character-having spy movies make me anxious; I spend much of the time just fretting that I’ll miss something plot-wise. And if this is the case with a typical James Bond-style adventure, director Tomas Alfredson’s film takes it to new levels. The plot is purposefully, stubbornly obtuse, and often I had to just let go and try to enjoy the scene at hand while acknowledging that I didn’t understand the context—or, to put a finer point on it, what the hell was going on at all. It’s not so much that there are too many twists and turns to follow, but that we’re left to fend for ourselves as they come. I realize that too much exposition can be tiresome, but any summary at some point would have been appreciated. It can be argued that leaving so much gray area enhances the message of the film; I get that. I don’t mind working for comprehension, but I’d like to at least get the impression that if I work hard enough, an answer exists somewhere. But maybe that’s how a lot of spies feel.

It’s often much more difficult to evaluate a screenwriter’s career than that of a director or an actor. Sure, movies are always collaborative—the actor hopes the director and editor choose good takes, the director hopes the producer doesn’t insist on modifying their vision, etc, etc—but the screenwriter is often the one who has done the most to begin shaping the film, and has the least control over what their contribution ends up looking like. Most screenwriters end up less known to the public than their directing counterparts; it is also uniquely possible to make a living at screenwriting and never see any of your sold scripts actually hit the screen.

Another Top 5 segment from The MacGuffin. This time Allen and Brandi share their top 5 doomed romances.

This segment is also available on Stitcher and iTunes. The audio version can be downloaded directly from here. After you’ve watched the video please vote in our poll and share which one you think is the best.

What have I been watching lately? Well, let me tell you…

Now this is what I’m talking about. The beautiful thing about seeing Steven Spielberg’s The Adventures of Tintin (2011) is realizing all the shortcomings that made up his lackluster film Indiana Jones and the Kingdom of the Crystal Skull (2008). Sure, both films have similarities: both are over the top adventure films, both have absurd plots that stretch the limits of believability, and both see our heroes in the middle of thrilling action sequences. But the difference here is that Tintin has much more life, energy, and enthusiasm, while Crystal Skull felt like an uninspired attempt at recapturing the once-great magic of a franchise. While the characters of Herge’s comic book series have been around for quite some time, this feels as though it is something new, something to be discovered and perhaps inviting us to revisit those stories, told in a way that can only come from the partnership of Steven Spielberg and Peter Jackson.

In the new film Tinker Tailor Soldier Spy, opening in Seattle this Friday, Gary Oldman plays George Smiley, a retired spy called back to try to discover a mole within his old organization. When Oldman was in Seattle recently, he had a chance to talk to me, along with Allie Hanley of Culture Mob and Jason Roestel of The Examiner. As expected, he was a delight. Below is the transcript of that interview. Warning: some spoilers ahead (but not about who the mole is).

Considering the pedigree of The Girl With the Dragon Tattoo—a fiercely successful novel and well-regarded Swedish film already exist—director David Fincher would have had to try really hard to mess this movie up. Since he is not a moron, this movie is well made, interesting, and slick; beautiful people in a dark and brutal world ponder a complicated mystery and exciting things happen. I don’t really think this movie was necessary, what with there being a pretty good film made of this book already, but I can understand why it was made: Hollywood would have been leaving money on the table by not making an English language remake.

Tom Cruise is back once again as super agent Ethan Hunt in Mission: Impossible – Ghost Protocol (2011), the fourth installment in the highly popular series. This time around, the film is directed by Brad Bird, the man who brought us some of the best animated movies in the last fifteen years in The Iron Giant (1999), The Incredibles (2004), and Ratatouille (2007). I was a little surprised that a person who is so associated with the animated world would be helming the next film of a franchise that has seen the likes of Brian DePalma, John Woo, and J.J. Abrams. Would his storytelling abilities translate well to a live action setting? Well, let me tell it to you like this: with a film that has the title Mission: Impossible, I walked in expecting over the top action, death-defying set pieces, preposterous plot twists, and really cool gadgets. I’m happy to report that I was not disappointed.