Triple Bill Mini Musings: Powers, Writing, and Eastwood...

Chronicle:
What's it about?
Three teens tumble down a veritable rabbit hole and come out the other side with telekinetic superpowers. At first it's a bit of fun, but then things take a darker turn as their powers grow and the disaffected youth in their midst slowly caves in.
Who would I recognise in it?
Michael Kelly.
Great/Good/Alright/Shite?
Written by Max Landis (yes, he is), the film kicks off with some dreadfully blunt 'found footage' tropes and some gear-crunchingly clunky dialogue - indeed, I damn-near turned the film off - but I had heard so many good things about it that I figured it must get better, and get better it does. Once the teens (mopey loner with parental problems, his arrogant cousin, and the popular jock with political aspirations) gain their superpowers, things get fun - what would superpowered teenagers do? They'd play pranks, blow up girls' skirts, and learn how to fly (the latter proving to be a spellbinding sequence that makes you wish you could fly too) ... but with the pressures of high school particularly crushing for one of the trio, things move into dark territory in a satisfying way that culminates in a thrilling finale. The biggest problem with the film though is the 'found footage' approach - I'm sick to death of this style. Yes, it's worked well in some instances, but it's so over-done now, and the biggest problems with it remain in place.

Click "READ MORE" for more Chronicle, as well as Adaptation, and The Gauntlet...

It's ridiculous that people would be documenting their entire lives with a videocamera (there's a little-used female student who runs her own blog, and you always think "why would anyone bother recording all this, and who the hell would watch it?!") - a much better approach would be a mixture of traditional filmmaking and 'found footage'. The boys would videotape their telekinetic exploits, but they wouldn't be videotaping themselves in bed as they listen to their parental problems beyond their bedroom door ... nor would a target for bullies rock up in school with a camera, thus drawing much more attention to himself. So, once you get past a rather ropey opening portion, and the inherent problems and annoyances of 'found footage' filmmaking, you'll find an entertaining and fresh spin on superpowers. Good for the most part, with a few shite elements dotted throughout.


Adaptation:
What's it about?
Charlie Kaufman's semi-autobiographical sort-of-fiction/sort-of-reality story about how he struggles to adapt a book about flowers, as his twin brother suddenly decides to get into screenwriting as well, and - frustratingly - suffers no writer's block and uses cliches to his advantage. Directed by Spike Jonze.
Who would I recognise in it?
Nicolas Cage (in two roles), Chris Cooper, Meryl Streep, Tilda Swinton.
Great/Good/Alright/Shite?
Weirdly involving, the intertwining stories of Kaufman's fretful attempts to adapt a book about flowers - and the narrative of said book itself - suck you in with their off-centre idiosyncracies and slow-burn development. Screenwriters (be they budding or professionals) will find lots of added humour - seeking to break convention and facing endless roadblocks versus seemingly pre-packaged formulas inspiring page-after-page of text that, even if it's cliched pap, holds together - and so on. Self-aware, but far from cloying, Kaufman's script is brought to life by Jonze's skewed-yet-formal directorial style, and Cage's involving double performance. Good.


The Gauntlet:
What's it about?
A cop has to escort a prostitute (and witness of a crime) to court, but the odds are stacked heavily against them as everyone in their path wants them dead.
Who would I recognise in it?
Clint Eastwood, Sondra Locke.
Great/Good/Alright/Shite?
From back in the Eastwood/Locke heyday, it's got that great 70s texture that was at the heart of Eastwood's golden era as a screen icon. Mixing levity with bullet-riddled action, this odd couple road movie makes for an entertaining old school watch from a time when you could still afford to not give a damn about certain things. As an aside, I did have to wonder why nobody shot the tyres of the bus, or why the bus didn't drive faster, during the climax. Do you like other Eastwood/Locke screen partnerships? If yes, you'll dig this too. Good.