Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Join in the fun by picking three movies (or, on the last week of the month, TV shows) that fit the week's theme and writing a bit about them!
Sometimes, especially when dealing with a series of books, it makes more sense to adapt a book to TV than to a movie. The extra space gives the story the same room to breathe as it has in a book, and the episodic nature of TV mirrors that chapter structure of most books. And so, herewith, are two great adaptations and one terrible one, for contrast.
Game of Thrones (2011-present) OHMYGOD YOU GUYS THE FINAL EPISODES START IN JUST OVER A MONTH AND IT'S GOING TO BE OVER SOON AND WHAT WILL WE ALL DO WITH OURSELVES?!?!?!? In case you've been living under a rock for the past eight years, Game of Thrones is based on George R.R. Martin's fantasy series A Song of Ice and Fire, detailing the events of the fictional country of Westeros, where seasons can last for many years, in the wake of the death of the King's advisor. The novels still aren't finished, meaning that for the past... three seasons or so, I think... creators David Benioff and D.B. Weiss have been working off an outline of events Martin gave to them. Some say that the series has gone down in quality of writing since then, and while I generally agree, I don't think the drop-off is as bad as they have said. Basically, Game of Thrones on a bad day is better than most other shows on a good day. The epic sweep of its stories, and its reckoning with storytelling conventions we have come to expect from stories like this, is unlike anything we have ever seen on TV, and it's downright stunning.
Younger (2015-present) Liza Miller has just turned 40, and has recently gotten divorced. Since her lout of a gambling-addict husband lost their savings and their house, she has to find a way to support herself, and her daughter's college education. So she moves to Brooklyn with her artist friend Maggie and starts hunting for jobs in publishing, as that's what she did before having her daughter. But twenty years out of the job market has put her right on the bottom, and no one wants to hire a 40 year-old intern or assistant. But after a smoking hot 26 year-old tattoo artist mistakes her for a fellow 26 year-old, she gets a brilliant idea. She lies about her age, and lo and behold, she gets a job as an assistant to chunky jewelry enthusiast Diana Trout at Empirical Press. If you can get past the absurdity of its premise, Younger is a fun show to watch, even addicting. Sutton Foster is a ray of sunshine as Liza, and Hilary Duff, of all people, is great as Kelsea, her ambitious young co-worker and new friend. The entire cast is fantastic, and the show is a well-appointed Sex and the City-style fantasy of New York life. The whole series is on Hulu, and you can easily binge it all in almost no time.
The Magicians (2015-present) Quentin Coldwater and his best friend Julia Wicker are a bit adrift in the end of their college days. Until, that is, they both end up taking an entrance exam at the mysterious Brakebills University for Magical Pedagogy. Quentin, a lifelong fanboy of the fantasy series Fillory and Further, gets in. Julia does not. The show follows their respective journeys as an official and unofficial student of magic, respectively. I was a HUGE fan of Lev Grossman's trilogy of novels, a sort of American version of Harry Potter where Hogwarts was college instead of boarding school, thus making the stakes much higher. But the show made a large number of changes to the novels that were unnecessary and much to the story's detriment. Most damningly, while the books are a deconstruction of the "chosen one" narrative, the series fully embraces it. I hate-watched the first season before coming to the conclusion that there are just not enough hours in the day to spend time on something I hate. But really, this show is a mess, and the things that made the novels interesting and exciting are so dulled that it has almost no value.
Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Join in the fun by picking three movies that fit the week's theme and writing a bit about them!
"Friendship, friendship, just a perfect blendship
When other friendships are soon forgot, ours will still be hot!"
Yes, our theme on this week's episode of Thursday Movie Picks is Friendship. An apropos topic for me this week, as I just returned from a long weekend vacation with friends in Provincetown, MA. For those of you who don't know, P-Town is the very last city on the very tip of Cape Cod, and has long been a destination especially for gay men. It may have been the weekend before the "season" officially kicks off, but we all had a blast, and I had a lot of fun going on my first true friends-only vacation. So in honor of my friends, I have chosen the following movies about gay friend groups this week.
The Boys in the Band (William Friedkin, 1970) Gay culture pretty much started here, didn't it? The original gaggle of gay friends, Michael, Donald, Emory, Hank, Larry, Bernard, and Harold, are the quintessential catty group of gay BFFs. But in 1968, when the story takes place, one year before the Stonewall riots, LGBT people were still not "out". At least, not in the way we would think of as being "out". A lot of gay men I know find this to be VERY dated, but I still see it as an important piece of queer history: This is very much a time capsule of a specific group of people in a specific time and place, and it has a lot of value as such. But it still encapsulates how a LOT of gay men feel - full of joy and pride, but also confusion and pain.
Love! Valour! Compassion! (Joe Mantello, 1997) Very nearly an update of Boys in the Band to the mid-90s, this adaptation of Terrence McNally's play follows eight friends as they make visits to Fire Island during one summer. It's funny and affecting in equal measure, and a lot more good-natured than its '70s predecessor. But then, it takes place in a world where gay men were becoming more accepted, and where they had less reason to stay hidden. Of all three films I've picked today, this one is the least remembered, and I think that's not quite as it should be. It's a lovely film, with a great cast and a gorgeous script adapted by McNally himself.
The Broken Hearts Club (Greg Berlanti, 2000) A bit dated now thanks to its reliance on the trend-obsessed West Hollywood culture of the late '90s, Broken Hearts Club is fun, formulaic... and a little bit offensive to gay men, even though it's written and directed by a gay man and is about gay men! The characters' oft-stated ideal is to be as straight-acting as possible. Which... I mean, most of the main cast members are straight (including Dean Cain, Zach Braff, Timothy Olyphant, and Ben Weber), and are completely unafraid of playing up the more femme qualities some gay men have. But still, I have a huge soft spot for this movie, and for swoon-worthy Timothy Olyphant in it.
Written as part of the weekly blogathon hosted by Wandering Through the Shelves. You can take part too - all you have to do is pick three movies that fit the week's theme and write a bit about them!
Well. Here we are again, back in TV Land for this week's Thursday Movie Picks. And we're talking about one of my favorite things: Adaptations of books! Novels actually lend themselves better to TV mini-series than they do to movies, in my opinion. The extra time allows you to include the full scope of the novel and paint in all the little details of the world. Films can be good for getting to the heart of a novel, but for my money, I'd nearly always prefer a TV mini-series. This week, I've picked one great mini-series, one great short-lived full series, and one absolutely terrible clusterfuck of a full series.
Big Little Lies (2017) What is there to say about Big Little Lies that hasn't already been said? I devoured each episode at least twice by the time the thing was over, and it was worth every second for these richly drawn, beautifully performed characters. It barely even needed the murder mystery framework, even if that was the supposed hook of the series. I can't believe they're doing a second season, let alone that they now have Meryl Streep(!!) and Andrea Arnold(!!!!) involved. This was so perfect as it is, I really hope they don't tarnish it with the next installment. I could heap praise on this for days, but in the interest of time, I'll just say this: Nicole Kidman's character arc, ESPECIALLY the therapy scenes, is the most compelling thing I've seen on TV in a long time. She deserved every award for it - and actually got them!
The Leftovers (2015-2017) The show that introduced The Great Carrie Coon to the world, The Leftovers is based on the novel of the same name by Tom Perrotta - or at least the first season is. The second and third seasons were written by Perrotta and series co-creator Damon Lindeloff as expansions of the world that Perrotta created in the novel, and holy WOW is this show tremendous. I get why people didn't want to watch it or stopped after the pilot episode: The premise and execution are downers: 2% of the world's population just up and vanished some time ago, and the people who remained are having a hard time dealing with it. Some go about their business like everything is fine. Some have a newfound death wish. Some are just doing their best to get through each day. And some have rebelled by refusing to speak, wearing only white, chainsmoking cigarettes, and accosting people as living reminders of what happened. And yes, the show is pretty depressing. But it is also utterly fantastic, producing several all-time great episodes. View each episode of the show as a short story set in this world, and its brilliance becomes more clear. I can't recommend it enough. Get past the first two episodes and OH what riches of writing and acting await you!
The Magicians (2015-Present) OH what wasted potential! Lev Grossman's Magicians trilogy is stunning: Imagine if Harry Potter was an American high school student and Hogwarts was a college, and that gets you about halfway there. Grossman brilliantly deconstructs every single fantasy trope, making for a decidedly adult version of books like The Chronicles of Narnia. After the success of Game of Thrones, this could have been another great adaptation. But instead, it's listless, and most of the changes they've made to the novels make no sense and bear no fruit. I hate-watched three-quarters of the first season on Netflix before giving up because life is just too short to spend that much time watching something you don't like. Any fans in the house? Does it get any better? Or did I do the right thing?
Written as part of the weekly blogathon hosted by Wandering Through the Shelves. If these posts seem like fun to you, play along! All you have to do is pick three movies that fit the week's theme, and tell us a bit about them. Couldn't be simpler!
Oh, Wanderer.
You have no idea what you've wrought this week.
You see, I'm a bit obsessed with the adaptation of stage plays to film. And I'm more than a little obsessed with the Bard of Avon, William Shakespeare. Ever since I read a VERY abridged version of Romeo & Juliet when I was in fourth grade, I've loved him. I took several courses on him in college, and worked for an Off-Broadway theater company focused on Shakespeare and classic drama for five years. Shakespeare adaptations are kind of my thing. So I'm going to go a little bit crazy this week. Please, bear with me. There's LOTS to talk about.
Look, a boy's best friend is his mother, so when your movie is about a
young boy whose mother is dying of cancer, that's pretty much a
guaranteed tear-jerker from my perspective. But even still, J.A.
Bayona's A Monster Calls is a film of such uncommon beauty that it
deserves praise. I don't even really particularly care how well the film
holds together because it does an absolutely tremendous job of earning
the tears it so effectively rings in the last fifteen minutes or so.
A
large part of that is due to the great performances from Felicity Jones
(as said cancer-stricken mother) and Lewis MacDougall. MacDougall in
particular is just perfect, getting the frustrated, conflicted heart of
this kid who only fully comprehends what is going on (both within and
outside of himself) subconsciously. Jones is heartbreaking; her fragile
beauty has never been put to better use, and the strength she manages to
project from her increasingly weakened body makes it all the more
emotional when she finally has to tell her son that she isn't long for
this world. It is an absolutely heart-wrenching scene, and couldn't
possibly be better written or performed. I was an absolute puddle from
that point on.
The basic story is this: Young Conor's mother has cancer. Unable to cope with the constant pain and upheaval (Dad has moved to America, Grandma is cold in that traditional English way, and Mum is constantly sick), he brings to life a monster out of a yew tree situated on a nearby church graveyard. The monster (perfectly voiced by Liam Neeson) says he will tell the boy three stories, and that in exchange, Conor must tell him one - his own. The visual effects work and animated sequences for the monster's stories are
some of the most stunningly imagined scenes in recent memory - the raw
beauty of this film is just out of this world. Bayona is perfectly
attuned to Patrick Ness's story, choosing the best way at every level to
film it. Maybe I'm being a bit overly complimentary because of the
emotion the film wrung out of me (at the end of my screening, I cried out to no one in particular, tears streaming down my face, "Give it ALL THE AWARDS, dammit!"), but that it managed to do so so
effectively and honestly is something worth celebrating.
Written as part of the weekly blogathon hosted by Wandering Through the Shelves. You can play along by picking three movies that fit the week's theme and telling us a bit about them - it's so easy!
Oof, you guys.
As if things weren't bad enough in the world, this week we have to pick movies based on TV series. While not ALL of them are disasters (Guy Ritchie's recent take on The Man From U.N.C.L.E. was perfect late-summer fun), pretty much all of the ones I can think of are.
With one notable exception.
What follows are, in order, a truly terrible adaptation that might as well not even be one, a pretty good adaptation that might as well not even be one, and quite possibly the greatest film adaptation of a TV show ever made.
Lost In Space (Stephen Hopkins, 1998) As a child of 14, I remember thinking this was fun, but certainly inferior to such classics of cinema as Independence Day. Time has NOT been kind to it. It's a low point for pretty much everyone involved, but thankfully (nearly) all of their careers suffered barely a bit. The set-up is exactly the same as the 60s TV series, but updated with a lot more serious action and big VFX set-pieces. As they did in the 90s. But in its quest to be a blockbuster, the film abandons all of the charm of the TV series, becoming just another generic sci-fi film. Trivia alert: This (of all things) was the movie that ended Titanic's 15-week reign at the top of the box office.
Get Smart (Peter Segal, 2008) Look: the original Get Smart TV series is one of my favorite shows of all time, and if I'm being honest, this movie is almost as funny as that series. But it's ONLY because of Steve Carell as bumbling secret agent Maxwell Smart, perfectly riding the tone set by the legendary Don Adams from the TV series. The rest of the movie, though, is boilerplate spy stuff, with decent support from Anne Hathaway, Dwayne Johnson, Alan Arkin, and Terence Stamp. In other words: This didn't have to be an adaptation of Get Smart. It could have just been a spy spoof with that cast going by completely different character names. Nonetheless, I still enjoy this movie. It still makes me laugh, despite the fact that everything it did, Spy has since done better.
In The Loop (Armando Iannucci, 2009) An extrapolation from his successful UK comedy series The Thick of It, Armando Iannucci's In The Loop is the best political satire in AGES. It also has the filthiest language ("Why don't I pop a jaunty little bonnet on your purview and ram it up your ass with a lubricated horse cock?"), the best one-liners ("Okay, fuckity-bye," "Kiss my sweaty balls, you fat fuck!"), and the single greatest, most hard-won punchline in recent years. Inimitable performances from Anna Chlumsky, Mimi Kennedy, James Gandolfini, David Rasche, and of course Peter Capaldi as Malcolm Tucker, the foulest mouth in the United Kingdom, make the already great script even better. What makes it such a brilliant adaptation is that it takes existing characters from a TV series and puts them on a much larger playing field while staying true to the feel of the series without feeling like a bunch of TV episodes stitched together (Sex and the City), a Very Special Episode (Veronica Mars), or like any other generic movie (Charlie's Angels). All of this feels completely true to the series that spawned it while also feeling like its own thing, which is difficult to do. Plus, it's GREAT on every single level.
