Megalopolis ****

Not what I expected in a good way. Based on several of the reviews I read Megalopolis was "chaotic" and "incoherent." Not my experience whatsoever. 

After decades of false starts and delays, Coppola finally completed his Roman epic set in modern New York City. It's a return to form I would stand alongside his best work. There's a stately refinement running though the film that attempts to tackle big questions like: What is the role of the artist? What is money? What is power? What is the future? What are possibilities? What are the obstacles? What does it mean to be human?

These questions may induce eye rolling, if they do, Megalopolis will probably annoy you. If you're open to them, the movie will be a breath of fresh air compared to what's considered cinema in the 21st Century.

It's not perfect, far from it. Adam Driver a little uneven as the lead, but always watchable. His performance is somewhere between Jeff Goldblum and Cary Grant. Certain plot elements get underserved. The political side of the film also needed more insight.

The supporting characters are more symbols than individuals. The aesthetics are both Shakespearean and 1950s Hollywood. It's a about a society that's become self-indulgent and lost sight of the future.

Coppola excels at telling stories on a grand canvas and here we get one of his most hopeful films. It was more conventional than I expected, but had enough cinematic flourish to make it unique. The vibe of the film feels of a different time, even an alternate timeline, and I will definitely revisit.

Sneakers

Sneakers was a moderate success upon its release in 1992 and has since become a cult favorite, championed by late Gen X and early Millennials, the last generations to come of age in a time before the internet. The film works as a premonition of things to come, a world where information is weaponized and faith in institutions and centers of power are shifting.  

Despite the heady themes I just mentioned, Sneakers is a great hangout movie. Few genres are more entertaining than the techno-thriller and heist flick. Our cast of characters are a group of happy warriors who function harmoniously as a team despite their differences. Robert Redford (Martin) heads a security consultant company with former CIA operative Donald Crease played by Sidney Poitier. In addition are Dan Aykroyd as tech specialist and conspiracy theorist "Mother," River Phoenix as hacker Carl Arbogast, and David Strathairn as phone freak "Whistler." Mary McDonnell rounds out the cast as Liz, Redford's former girlfriend, who remains an ally to the group.

The plot of Sneakers revolves around a "Black Box" with incredible encryption potential, the power to infiltrate governments, corporations, and banks. In the film's prologue, we see Martin as a college student with his friend Cosmo (Ben Kingsley), who were both hackers. As the authorities were coming to arrest them for illegal activity, Martin managed to escape to Canada, but Cosmo was arrested. We later learn Cosmo got an early release and sold his hacking services to criminal organizations. He wants to use the Black Box built by the NSA to destroy the world's financial system, making rich and poor equal. Out of the chaos will arise a new order.

Martin and Cosmo symbolized two sides of the New Left. Martin managed to redefine himself as a security expert, working within the system while never abandoning his anti-establishment ethos. Cosmo took the opposite track; he became further radicalized and concluded chaos was the only answer to an unjust system. Although Cosmo is the antagonist his words have proved prophetic:

There's a war out there, old friend. A world war. And it's not about who's got the most bullets. It's about who controls the information. What we see and hear, how we work, what we think . . . it's all about the information!

Sneakers handles the minutiae of heist films with gentle humor. There are agents who appear to be NSA but are covertly working for another government. To get past a voice-based security system Liz is sent under protest on a date with a hopeless milquetoast played by Stephen Tobolowsky. There's an absurd chase scene in a parking lot. And a pleasing denouement scene featuring a James Earl Jones cameo. 

Written by Lawrence Lasker and Walter Parks, the team behind the iconic '80s techno-thriller War Games, the script has the precision of a European thriller. James Horner's ethereal music matches the finesse of the production design. Phil Alden Robinson's direction deftly handles a complex plot with a cast of heavyweights.

Ultimately, there's more to Sneakers than merely being an above average heist film with some sharp insight into the post-Cold War world. It's also a redemptive fable for the boomer generation. I'm a little out of date here, referring to the backlash towards boomers on social media during the early 2020s (they elected Reagan and Trump, got drunk on credit and doomed future generations, while also destroying the planet with fossil fuels) gets a redemptive counternarrative in Sneakers.

There's a utopic undercurrent to the story, evident with the casting. Poitier was a part of so many important movies and a living legend, his reserved presence evokes a dignity rare in modern movies. Redford will always be remembered as a great movie star, his role here as the seasoned liberal who still lives by a more mature '60s ethos approaches aspirational. Aykroyd's presence will always recall early SNL, the closest American pop culture ever came to something approaching the Beatles (I have a theory many are obsessed with early SNL but I may be projecting). Finally, River Phoenix represented Gen X, the youngest member of the group who gets on fine with everyone. If the characters share one common trait, is they're all motivated by something beyond money. 

The ideological and generational harmony among the ensemble is why I think many go back to Sneakers. One need not disavow all their youthful ideals and cynically go for the big money. Ideals and quietly making the world a better place still matter.

Spiderman (2002) ***1/2

A touchstone of the early 2000s, Sam Raimi's Spiderman kicked off a new era of superhero movies. If Richard Donner's Superman: The Movie marked the first modern superhero epic and Tim Burton's 1989 Batman struck a pop culture nerve through smart marketing and iconic imagery, Spiderman brought a retro charm, a superhero movie both reverential towards the comic book aesthetic and pleasantly cinematic.

Spiderman's origin story remains one of the most ingenious. Peter Parker, a socially awkward teen gets bitten by a radioactive spider and discovers new superpowers. At first he decides to use his powers for financial gain and popularity, but his own selfishness leads to his guardian Uncle Ben losing his life. The first half of the film follows these beats from the early issues of Spiderman written by Stan Lee and Steve Ditko. The immortal phrase "With Great Power, Comes Great Responsibility" becomes the mantra of the film.

Tobey Maguire was cast as Spiderman, and he leans into the awkward charm of the character. Neither a brooding crime fighter like Batman nor possessing the moral perfection of Superman, he faces struggles both socially and economically. His life as a crimefighter often interferes with school and work. Maguire gets to the pathos of the character while skillfully gliding himself out of difficult situations. 

Kirsten Dunst plays Peter's eternal love interest Mary Jane Watson, the central relationship through the Raimi trilogy. James Franco brought an edge as Harry Osborne, who will be both friend and antagonist to Spiderman. William Dafoe is memorable Harry's father Norman, who gets transformed into the Green Goblin, one of Spiderman's earliest foes. Rosemary Harris adds humanity as Aunt May and Cliff Robertson is memorable as Uncle Ben. J.K. Simmons provides comic relief as J. Jonah Jameson, Peter's boss at the Daily Bugle.

The film still looks good. The visual style channels the art of Ditko and the dialogue evokes the pop art style of Stan Lee. Raimi's direction brought a kinetic flare, he always has memorable faces in the frame even for the most minor roles, as an example I would point to the scene when Spiderman rescues a baby from a burning building. Such an approach risks the movie becoming cheesy and in many ways, it is, but its earnestness defied the cynics. 

Melancholia (2011) ***1/2

Directed by Lars Von Trier

Melancholia feels like two separate movies smashed together. At the center of both sections are two sisters Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg). Justine struggles with depression, while Claire acts as her emotional crutch. The first story takes place after Justine's wedding, a droll satire of the upper class. The second part depicts an apocalyptic scenario about a rogue planet on a collision course with Earth.

Depression, fatalism, and fate are all major themes. During the wedding section, Justine expresses uncertainty about the marriage and undergoes manic episodes, complaining of being unable to walk sneaking off for a tryst with a stranger. Her brother-in-law John (Kiefer Sutherland) complains about her odd behavior during the lavish wedding, while her estranged parent's bicker (John Hurt and Charlotte Rampling). The marriage never takes flight. 

Several months later Justine returns to stay with John, Claire, and their young son. Now deeper into depression, Justine barely has strength to move or express coherent thoughts. We also learn a planet called Melancholia is heading towards Earth. John warns Claire to not go online, assuring her the planet will safely pass the earth despite the alarming rumors. The sense of isolation in the film is palpable, we can imagine what's happening on the outside of the world.

As Melancholia draws nearer, Justine's mental health begins to improve. As Claire's fears deepen, she and Justine begin to switch roles. The final 25 minutes of the film are quite harrowing and grim. Von Trier sustains a sense of dread. There's an emotional intimacy often lacking in films of this sort. Existential questions are raised, specifically on how to face an imminent end not only to one's existence but the entire world. When Justine and Claire muse on the end of life on Earth, Justine believes people are evil and there's probably no life elsewhere - the end of everything is imminent. 

Von Trier was open about the story stemming from his own depression. To anyone whose ever been in the grip of depression and anxiety, the film may ring startlingly true. The idea of rogue planet arising is the stuff of pseudoscience, but for the purposes of the film, the sheer novelty of the concept works. A beautiful twin of earth arriving as destroyer is poetic. Like Bergman's Cries and Whispers or even Kurosawa's Ikiru, Melancholia gently eases in questions of mortality with a bluntness, but Justine's small acts of compassion at the end offer a shade of hope.

Dunst was awarded Best Actress at the Cannes Film, Festival and it was well deserved, a truly brave and emotionally raw performance. For all the film's reveling in hopelessness and despair, there's a humanist sensibility apparent throughout. The Wagnerian overture and symbolism add sonic and visual flourish, but it's mere appendage to its sharp meditations on the human condition. Not a film likely to go on anyone's constant rotation for its unrelenting morbidity, but worth watching.

The Cowboys (1972) ***1/2

Directed by Mark Rydell

Based on the Novel by William Dale Jennings

The Cowboys starred an aging John Wayne who recruits a group of young boys to move his cattle so he can pay his debts. Wayne gave one of his best performances, taking on a mentor role as Wil Anderson.

The movie is perhaps most known for as the one when Bruce Dern shoots John Wayne. Dern leads a wannabe gang of outlaws who are angry after Wil refuses to hire them. Apparently, shooting Wayne in the movie stigmatized Dern with audiences for a time. 

The supporting cast is rounded out by Roscoe Lee Brown as Jedediah Nightlinger who Wil hires to be the cook. Black characters were mostly absent from Westerns, and Brown brings a gravitas and humanity to the film. While few of the boys quite stand out in the ensemble, A Martinez and Robert Carradine went on to have long careers, the entire cast of kids are believable. 

The film was also noted for its violence, specifically involving children in the violence and linking it with masculinity. While the violence was foisted upon them, the film's ethos that retribution is sometimes justified cannot be explained away. Wil also dishes out some tough love at a boy who stutters, a scene that would not fly today. 

The Cowboys tells its story with confidence. Cinematographer Robert L. Surtees captured the wide landscapes of Colorado and New Mexico. Mark Rydell's direction emphasized character, never flashy or static. John Williams composed the excellent score; the cues will be instantly call to mind his work with Steven Spielberg. Finally, John Wayne plays the reluctant father figure well while carrying a tragic backstory. 

(Currently streaming on Tubi)