Yes, No, Maybe So: "Moneyball" and "Footloose"

Striiiiike. I forgot to sound off on the trailer for Moneyball. And then there's Footloose what shuffled by us, too. It's been a long week. TGIF and all that... only it's already Saturday. What? Okay, here we go. You know how we do here. We manage expectations with the patented Yes, No, Maybe So breakdown. How excited are we/should we be for each new movie?

First up... Brad Pitt in the baseball stats dramedy Moneyball.

YES Brad Pitt. And there's something mellow but casually exciting about the presentation overall... which is rather like the sport of baseball come to think of it, wherein nothing much happens until it does.

NO All behind-the-sport dramas made after 2006 are always going to come up short on account of Friday Night Lights (2006-2011). That's just the way it is. It's like trying to envision what the future will look like after Blade Runner or trying to do a porn drama after Boogie Nights or somesuch. Several of the shots of Brad Pitt here instantly recall Coach Taylor for example even though they're probably not trying to. Plus the topic just seems so dry, right? True stories also have the disadvantage of inevitable and therefore (sometimes) anti-climactic finales.

MAYBE SO The trailer doesn't get all obsessed about Philip Seymour Hoffman being in it which is a considerable relief. If the trailer is true it looks like Jonah Hill is the one to watch IF (and I still think it's a big IF) the film gets any sort of Oscar traction. I liked Hill in Cyrus and though he seems a bit limited in the range department, choosing the right projects can really help to shift perceptions about that or at least maximize what can happen within the confines of any actor's range. The script is by Aaron Sorkin and Steven Zaillian, both strong writers, and though that's not an automatic yes (must we invoke the name of Charlie Wilson's War? for example), it's a good sign that it'll be lively and smart.

Me, I'm a maybe so and I'll lean whichever way the Oscar buzz does.  But then it does star Brad Pitt so chances are very good that I'll see it.

The other night while I was out at a party and my friend Kenneth totally got in my face about how Brad Pitt is a terrible actor and I'm like no-no-no. Brad Pitt is... well he's Brad Pitt! ♥. He's been continually underrated his whole career despite being a huge star with the exception of that highly unnecessary Oscar nomination for his Benjamin Button turn, the equivalent of Depp's Neverland nomination surely ("Yes, you're totally boring in this but WE JUST LOVE YOU ANYWAY!"). So maybe whether or not you're a yes, no or maybe will come down to Brad?

And the remake of FOOTLOOSE (2011) [see trailer here]

UGH. FOLLOWING IN KEVIN BACON'S FOOTSTEPS IS HAAARD.

YES Miles Teller in the Chris Penn role? That could be fun. And though it pains me to say it... when an original isn't sacred -- and Footloose is only sacred in the nostalgic sense not in the "movie" sense -- it's sometimes fun to watch how they reinterpret key moments. Like, when Kenny Wormald crazydances in that empty warehouse, they won't have to go all silhouette body double right?

NO The most annoying bit in the trailer is surely the "It's OUR time" town hall righteous speechifying since the movie looks as generic as can be and anything but generation-defying... unless today's generation prides themselves on being super lame Frankenstein's monsters stitched together by their parent's nostalgic parts. Also in its insistence on looking like both a hip-hop movie AND a remake of "Dirty Dancing" AND the original "pop" film AND a country and western joint, it's clearly trying to be all things for all people and will subsequently have no identity of its own.

Plus (by which I mean minus): exploding trucks.

And a lead female star so bratty you want Dennis Quaid to give her a good spanking and ground her. Where is Lori Singer's weirdly comatose sensuality... the believable byproduct of a stifling home environment (with or without the cello)

MAYBE SO
Craig Brewer wrote and directed it and though I can't for even one frame spot the brave provocateur behind Hustle & Flow or Black Snake Moan, maybe you can? Or maybe the trailer is just a bad lie and the film will be interesting?

"No" unless reviews by nearly every trustworthy critic surprise.

Where are you with these two pictures?

Overheard at "The Tree of Life"

This weekend I was collecting tweets about things people have overheard at their screenings of Terrence Malick's mysterious artful epic The Tree of Life.

I kicked things off with two stories from my screening. The first was two very old ladies teetering out of the theater arm-in-arm.

Some of that was very moving... but most of it was very boring.

Next came a bored middle aged husband and his angry loud wife...

Wife: I couldn't wait for that to be over.
Husband: It was...long.
Wife: It was a DAY long. I couldn't take one more symbol, metaphor or paradox.

Mikhael joined my "overheard" enthusiasm, submitting the following from his screening:

Woody Allen look-a-like to his wife: So tell me what that was all about?

Will Holston heard this:

Old Lady Yelling: CAN ANYONE TELL ME WHAT THAT WAS ABOUT?

Jake Cole saw a hipster in a fedora with a Che t-shirt who was above it all.

It's not as smart as it thinks it is.

And finally Erin had a very boisterous crowd so I think she wins. She heard the following random snippets, all of them utterly hilarious if you've seen the movie.

There's no acting!

Are we in the right film?

Are those sunflowers?

[during last ten minutes] Is that SEAN PENN?!

None of these comments surprise me and all of them delight me because The Tree of Life is so meditative and personal and open to interpretation that anyone can probably feel anything while they're watching it. I imagine that people who don't like their mind to wander, to fill in, to have associative adventures both scary and peaceful and god-knows-what-else during a screening probably become utterly unhinged. I like that feeling in a movie theater but I was unnerved a couple of times by the barrage of things I was feeling and the distinct impression that the film wasn't trying to make me feel them exactly and maybe the film wasn't even responsible for me feeling them... which was both exciting and annoying.

I haven't talked about the movie at all here because i missed the first wave or critical discussion (I have yet to read even one review) and was totally shy thereafter. I mostly enjoyed it but for its repetitive preciousness about prayers to God and the Sean Penn sequences. But I think in some key ways it's the most inaccessible thing I've seen in theaters since Matthew Barney's 10 hour Cremaster cycle (which I was gaga for) so I'm perversely enjoying that some unsuspecting moviegoers are tricked into seeing it by Malick's reputation and the twin towers of stardom that are PITT and PENN.

To be frank I adamantly believe that Sean Penn was a financial compromise the movie shouldn't have made. This part, which should only be a vessel to provide the visual passing of time, needed a complete unknown. His star presence kept taking me out of the movie --  'Why is this big star Brad Pitt's angry son all grown up?' -- because Penn didn't have enough of a character to play to justify an "actor" playing it.  Every other cast member seemed to have been utterly absorbed into the film like they were just appendages or organs powered by its brain, blood and nervous system. Brad Pitt in particular was fantastically convincing and period specific as the frustrated father. Unlike Penn I never felt like I was seeing "Brad Pitt". I'll assume you've read a hundred times by now that the child performances were sensational examples of the kind of "naturalism" that most movies don't ever attempt. One scene in particular with the two eldest boys in tall grass, one of them crying, totally unnerved and upset me and it's my strongest memory of the movie. Well, aside from the bravura creation sequence. Those briefly glimpsed dinosaurs had more soul than any screen dinosaurs ever, yes?

YOUR TURN. Sorry it took me so long to say anything. How unruly was your audience and how conflicted was your own response to the year's most challenging movie to see regular release thus far?