anachronism

Criterion Files

Part of me is in complete disbelief that the release date of Wes Anderson’s The Royal Tenenbaums will have been a decade ago next month. It doesn’t feel so long ago that I was sixteen years old, seeing it for the first time in a movie theater and spending my subsequent Christmas with The Ramones, Elliot Smith, and Nico playing on repeat in my car (two years later, after hearing of Smith’s death, my friends and I gathered together and watched Richie Tenenbaums’s (Luke Wilson) attempted suicide with new, disturbing poignancy). And ten years on, even after having seen it at least a dozen times, and armed with the annoying ability to know every beat and predict every line, something about Tenenbaums feels ageless and fresh at the same time. But when you look at the movie culture that came after Tenenbaums, the film’s age begins to take on its inevitable weight. Tenenbaums was Anderson’s first (and arguably only) real financial success. Previously, Anderson was perceived as an overlooked critical darling following Rushmore, a promising director that a great deal of Hollywood talent wanted to work with (which explains Tenenbaums’ excellent cast and, probably, its corresponding financial success). With this degree of mass exposure, other filmmakers followed suit, establishing what has since been known as the “Wes Anderson style,” which permeated critical and casual assessment of mainstream indies for the following decade and established a visual approach that’s been echoed in anything from Napoleon Dynamite to Garden State to less […]

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Culture Warrior

Movies have a strange relationship with history, that’s for certain. On the one hand, they have the ability to bring to life, in spectacular detail, the intricate recreation of historical events. On the other hand, films can have a misleading and even potentially dangerous relationship with history, and can change the past for the benefit of storytelling or for political ends. And there’s always the option of using films to challenge traditional notions of history. Finally, many movies play with history through the benefit of cinema’s artifice. Arguably, it’s this last function that you see history function most often in relationship to mainstream Hollywood cinema. In playing with history, Hollywood rarely possesses a calculated political motive or a desire to recreate period detail. In seeking solely to entertain, Hollywood portrays the historical, but rarely history itself. Tom Shone of Slate has written an insightful piece about a unique presence of that historical mode all over the movies seeking to be this summer’s blockbusters. Citing X-Men: First Class, Super 8, Captain America: The First Avenger, and Cowboys & Aliens as examples, Shone argues that this is an unusual movie summer in terms of the prominence of movies set in the past. However, while such a dense cropping of past-set films is unusual for this season, these movies don’t seem to be all that concerned with “the past” at all – at least, not in the way that we think.

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published: 11.21.2014
D
published: 11.21.2014
B+
published: 11.19.2014
C+
published: 11.19.2014
B-, C


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