This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: Waiting for the Barbarians & The Book of Vision and the Abbas Kiarostami Feature Films: Certified Copy, Close Up, and The Wind Will Carry Us.
Just after experiencing a devastating loss, Anna (Juliette Binoche) hosts Jeanne (Lou de Laâge) for several days at a Sicilian villa as they await the arrival of Giuseppe, Anna’s son and Jeanne’s lover. They spend their time meandering the grounds and dining well together as Jeanne grows increasingly suspicious of Giuseppe’s absence and Anna waits to share with Jeanne the true reason for her grief.
“L’attessa” (aka “The Wait”) is the feature directorial debut from Piero Messina, who clearly prefers dialogue to be sparse and for imagery to tell much of the story. He leans heavily on Binoche’s ability to communicate emotion with facial expression and body language and tries to amplify dramatic moments with musical crescendos. Suspense is built on multiple fronts: the audience is probed to wonder about the true whereabouts of Giuseppe, his and Jeanne’s history, and when, if ever, Anna will bring Jeanne out of the dark about what so intensely upsets her.
Binoche and de Laâge do more than enough to lend credibility to their interactions, but the film is dripping too profusely with contrivances to maintain a comfortable level of drama. At one point, we see Anna attempt to squeeze every last drop of air from an inflatable pool toy, as if the effort from doing so will allow her to shed the burden of her grief. It’s reminiscent of Messina’s effort to inject feeling into every frame, so much so that the experience is nearly stifling.
I don’t think Roland Emmerich fully understood the gravity of his situation. When he made his own Godzilla movie back in 1998, he not only took advantage of the name for his own gain but left a sore legacy. The box office bombing, critical panning, and fan backlash of that film gave little hope that we’d see another American production touch the property. But as time went on and others tried to get something going, Legendary Pictures finally got a reboot rolling. Although avant garde in many ways, it still delivers immense satisfaction.
Godzilla doesn’t immediately go for the throat compared to other blockbusters. The script loves to twist certain conventions on their head, tease the monsters and build up for massive payoff. Combined with Gareth Edwards’ direction, the film builds suspense and realism the likes of which we haven’t seen much of in monster movies. I would even say it’s got the Steven Spielberg touch of wonder and intrigue(including some fun homages). At the same time, you feel an earnest respect for the character and what he stands for. Some aren’t going to get on board with this rendition of Godzilla wherein he is not constantly in sight or the sparse destruction presented, and that’s fine. But if you’re patient and willing to let it play out, you’ll be well rewarded.
This execution of the familiar Godzilla story finds itself a lot more character focused. I quickly grew to like the characters , they may seem like a typical ensemble but their parts are well defined and performed superbly by the cast. Bryan Cranston is the stand out, throwing it all on the table he’s our solid emotional center. Sadly he isn’t around for too long but the impression is made and lasting. Aaron Taylor-Johnson also makes for a capable protagonist, Elizabeth Olson nails believable reactions, David Strathairn is a refreshingly likable military leader and the always excellent Ken Watanabe fits like a glove. The most important test to the cast’s durability is that they can each say Godzilla’s name straight-faced and not have it be silly.
Which brings us to the king himself. Godzilla! His look retains the classic design while going for something more nature inspired. The special effects team realizes a grounded (and sometimes personable) Godzilla for modern audiences. His two opponents in the M.U.T.Os aren’t too shabby either. Their looks, abilities and overall characterization as a pair give them their time to shine in the wide range of Toho’s monster stable.
Whether alone or all together, these creatures seem to be able to bring the house down. The focus on build-up makes the set pieces feel gratifying and weight. They manage to find ways to have our human characters get suddenly caught up near or in the middle of the monster attacks, further giving the situation a realistic viewpoint. The ace in the hole is the cinematography, making liberal use of street view and the feeling of being someone in the middle of it all. These monsters feel massive and the damage they cause is more impressive because of it.
Sound design shouldn’t go unnoticed either. Godzilla’s new roar, the various combat engagements, buildings crumbling, explosions. Everything has an audible power. Alexandre Desplat delivers a brilliant score. There may be a lack of the classic Toho theme cues, but his music still captures the monster’s enormity and the human character’s marvel. It’s equal parts emotional and hair-raising.
Legendary Pictures’ Godzilla is where I look to when I think of reboot films done right. For all the conventions it does different, it never forgets to deliver on what you want. Again, some will be put off by a character-focused monster movie where the monsters aren’t always turning cities into pebble piles. Trust me when I say it’s all worth it by the end. There are spectacular fights, a great cast, and direction that’s as confident as it is respectful. The King of the Monsters finally got his shining moment in America and it’s only led to further excitement and anticipation.
