The film is clearly more influential (I’ve probably seen it, but I’ve drank a lot since then). Clint Eastwood was inspired by it. That’s obvious in Pale Rider, but Unforgiven has some echoes of it. Logan was also heavily under its influence but I don’t watch that kind of shit.
I’m intrigued by the subject of reality meeting myth. Which is why it’s high time for the book or film be updated into a “neo-western”, or whatever buzzword the kids are using, albeit with a more pessimistic ending.
The story is told from the perspective of a kid. And when we think of our childhood, we recall the magical times we had. But when we think objectively about it, we miss all the fucked up shit around us.
Remember that cool neighbor that would let you shoot his Glock? He was a registered sex offender.
Of course none of that occurs to you because you assume everyone is nice and pure.
Now I’d never write an updated version of Shane, I’d instantly lose interest. But maybe someone with more discipline would be willing to put pen to paper.
I imagine a story set during the Great Depression or some shit, where banks are harassing farmers and threatening to take their land. Then a mysterious stranger with a dark past comes into town and befriends a family.
The boy is instantly taken by the stranger. The father is handicapped in some form or fashion, unable to tend to his land properly, so the stranger steps up. The boy eventually begins to look up to the stranger more so than his father.
Then, of course, the banks and henchmen come in, threaten the townsfolk, blah blah blah…we all know the story: Shane essentially sacrifices himself, his death is ambiguous, and he achieves mythical status in the town.
But I’d like to see a more pessimistic conclusion. And as I think about it, my ending sort of resembles that of Blood Meridian: decades later, like the 1960s, the boy runs into Shane, very much alive, but the truth about him is revealed. Shane was nothing more than a drunken murderous hitman who actually cuckholded the father.
Naturally all of this went unnoticed by the boy, now a man, but he chooses instead to remember that summer as a magical time when a stranger came into town.
I’m sure that story has been told a million times. But good stories are worth retelling.
Of course I ain’t retelling it. I’ve got fart and cum jokes to write.
I love schlocky action films. I will always respect a movie that knows what it is and embraces it.
The John Wick films do a pretty respectable job at that. The scripts are laughably formulaic, a computer could have written them. That’s the way schlock is supposed to be: everything is supposed to be up on screen. I love the juxtaposition between violence and every day life. Even the casting of Keanu Reeves is a stroke of genius: he is an extraordinarily limited actor. When you see him, you know you’re not getting anything deep. He’s just there to kick ass and kill. Respect.
Sure, I talked shit about Keanu before. I don’t think I’m being controversial when I say that I don’t find him compelling usually. Not that he has to be. He’s a pretty boy that’s limited to certain roles.
It’s rare to find a true gritty action star, one that’s not necessarily being tongue in cheek, one that’s not a pretty boy, or trying to overly impress you with their physique.
I suppose Daniel Craig is such an actor. Jason Statham could be another. Maybe Bruce Willis at times.
But the best one was Charles Bronson.
For whatever reasons, I’ve been binging the fuck out his movies. Bronson’s stretch through the 70s was the greatest run of any action star. It’s hard to imagine an actor like him succeeding in modern Hollywood.
Contrary to popular perception, Charles Bronson could act. In fact, I’d say he was much more capable of handling emotionally intense scenes than Clint Eastwood, a contemporary of Bronson and an actor of similar caliber. Just watch Breakout or Mr. Majestyk. This is especially true when he’s playing opposite a female costar, specifically the romantic interest. There’s something about his glare that can carry those scenes.
Was Charles Bronson a good looking man?
Seriously, was he?
I like that ambiguity about him: a sex symbol whose appeal is derived from raw power and everyman looks. Daniel Craig, at least as James Bond, has similar appeal.
But, for me, the biggest appeal was that he wasn’t an actor’s actor. He had a workman approach to his craft. He knew exactly what he was creating. And the days of those actors are long LONG gone.
Unpopular opinion, but Bronson’s collaborations with Michael Winner are some of my least favorite, specifically Chato’s Land and The Mechanic. Winner seems to have overestimated his abilities as a director. (Death Wish III is an undeniable classic though) J. Lee Thompson was better suited to Bronson, specifically 10 to Midnight.
Honestly, I barely remember the Matrix. It was forgettable and bland, much like Keanu Reeves.
I’ve never seen the sequels and I never will.
Unfortunately it has left an indelible mark on our social consciousness, so I can’t but be reminded of it every time I look at the internet.
The philosophy of the Matrix has always kind of annoyed me. I don’t know if that’s the fault of the film, or by the malcontents that roam the web.
I’m vaguely familiar with Jean Baudrillard. I guess much of the film’s philosophy is influenced by his work, specifically Simulacra and Simulation. Never read it. But a quick Google search would suggest that there’s some overlap with my own personal philosophy which I discussed in “the joker sucks” series.
Since I never read Baudrillard (and probably never will) I can’t provide a valuable critique, but I’d venture to say that I’d break from his central thesis: that reality is somehow made “less real” by excessive use of “symbols”,“consumerism”, or “late stage capitalism”. (Feel free to correct me if I’m wrong on that thesis)
Reality IS distorted by human perception, and human perception is, to a degree, culturally constructed. But reality is, by definition really, real…regardless of how our perceptions change.
So, in reality, “the Matrix” in the Matrix is actually Reality, and the “desert of the real” (with all the mythology and sinister forces at play) is actually the Fantasy.
None of this matters to the quality of the film AS A FILM, but when its philosophy is utilized as genuine cultural critique by internet malcontents, they completely miss the irony.
The truth of the matter is that I don’t know what the Internet is. Is it real? A pointless fantasy projected onto real physical materiality? The “Real” Matrix that we all must escape from?
I guess it’s just mental masturbation for me.
Anyways, shit’s boring. Lost my train of thought. Basically I’m saying the same shit in “the joker sucks” but I’m applying it to the Matrix because the two are overused memes from overrated films.
As we fall further down the technological abyss, bombarded by competing information and ideas, we struggle to make sense of anything.
With an endless stream of movies, television, videos, and literature, we perceive the world through a dramatic prism, unable to grasp that the universe is impartial to our reasoning.
When confronted with this cognitive dissonance, we double down. And the opportunists in the media are all too happy to entertain our delusions.
In a sense, we are living in the “matrix.”
But perhaps this has always been true, even prior to the Internet. Maybe to live in a cultivated society means to live in a “matrix”, and no one wants to admit this.
Because of this, there rises either futile sentiments of cultural superiority, or need to “break free” from the restraints of society. But they’re both fantasies…fantasies that fuel our collective imagination.
Philosophers and theorists have failed to understand this: “the dramatic progression” that underpins our understanding. This is how nationalists can assert dominance, or how Christians and Marxists share an almost identical eschatological worldview despite being seemingly opposed. We view the world through a dramatic lens, and there are bad actors out there that try to entertain it.
All of this lies in our subconscious, and we may not be able to escape it. Being a part of this human collective is what makes us…human. So maybe the real political objective is not more theory, but to take from Sigmund Freud: we need to “sublimate well”.
Some might argue that’s Machiavellian, or utopian, or Orwellian, or naive, or overly optimistic, over pessimistic, liberal, conservative, or whatever.
With the Kantian blockage…or the inability to perceive the universe in its total, final form…it becomes difficult to understand that multiple truths can simultaneously exist.
Or maybe none of it is true.
It doesn’t matter. Stay pissed off if you choose. The universe goes on.
“Well shits assholes,” I said to Dr. Sí. “We’ve been looking for you. I guess the search is over! Can I go now?”
“Not so fast,” he responded. “I need to know where your Kill Squad is going.”
“First I want to know what happened to Angelika,” I demanded.
“Fair enough,” he said. Then Dr. Sí turned to the corner of the laboratory. “Angelika, come join us.”
Angelika stepped out, all dolled up with her red hair flowing down to her shoulders. “Sorry James,” she said. “You’re not my type because Dr. Sí is my type.”
The two kissed passionately in front of me.
“I do want to thank you, Colonel James, for returning her to me,” Dr. Sí said.
“Hey, not a problem,” I replied. “Can you return the favor by removing this explosive collar from around my neck? Once when they realize Angelika’s missing, this thing will blow my head off.”
“First, where is the Kill Squad going?”
“They’re probably coming here!”
“We are certainly not at where they are going.”
“Then what are you worried about?”
The doctor turned around and looked at a computerized map of the Hawaiian islands. “I am a man of science, colonel. In order for my experiments to work, I need EXACT measurements. I cannot afford unpredictability. So again…where is the Kill Squad going?”
I was running out of time. The collar was going to detonate at any moment. Then I remembered…
“$2 million,” I said.
“$2 million?”
“Yes, $2 million and I give up the coordinates of the Kill Squad plus any other state secrets you want in order to sweeten the deal,“ I replied.
I was bluffing about the state secrets part. I didn’t know shit.
“$1 million,” Dr. Sí responded.
“Deal. The coordinates are 113.998N 737.746W. Now get this collar off of me!”
Dr. Sí laughed and ordered the guards to remove the collar. “Thank you for your cooperation colonel,” he said. “But as an insurance policy, I’ll place this collar on one of your acquaintances.”
The guards rolled in Mr. Ree, strapped to an upright gurney.
“They kidnapped me too,” Mr. Ree said. “Can you believe that bullshit?”
“Ohh come on,” I said. “Don’t kill Mr. Ree! He’s cool! Besides, that thing will detonate before the squad reaches its destination!”
“That’s just a chance I’m willing to take,” Dr. Sí replied.
“Look, I don’t give a damn about Admiral Majors or the Kill Squad. But there’s a woman that’s traveling with them: Izzy. Please don’t kill her,” I pleaded.
“Colonel, relax,” he said. “I’m not looking to kill anyone, except for Mr. Ree over there. I just want to see that thing go off.”
“I don’t understand.”
Dr. Sí put his arm around my shoulders and started walking me around the laboratory. “I understand your confusion. You see, has anyone told you the truth about that missing nuclear scientist?”
“To be honest doctor, for this entire mission, I’ve kinda been asleep at the wheel. I don’t even know that scientists’ name.”
“Ah, let me show you.”
Dr. Sí opened a door and out walked an old man in a lab coat. I think I was supposed to be impressed by this.
“I don’t know who this is,” I said.
“That’s J. Robert Oppenheimer.”
“Who?”
“J. Robert Op…the father of the atomic bomb?! What are you? Some kind of fucking moron?”
“You cloned him?”
“No asshole! I brought him from the past into the future! Don’t you get it yet? I invented time travel!!”
I walked up to Oppenheimer and looked him up and down. “Welcome to the future,” I told him. “We killed Hitler.”
“I know that, dumbass,” he replied. “We should have dropped the bomb on him!”
I looked back over to Dr. Sí. “So what? You invented time travel. Big whoop. How can you use that against the Kill Squad?”
“That’s why I brought my friend Oppenheimer to the present. You see, we created a new kind of weapon: a time weapon.”
“That sounds pretty fucking stupid, Dr. Sí,” I said. “How can you weaponize time?”
“Well you see, if you can triangulate the space time continuum, the quantum field fluctuations will…”
“Okay, sorry I asked,” I interrupted. “That science shit is boring. Cut to the chase. What’s gonna happen to the Kill Squad?”
“I will fire a plasma energy weapon at their coordinates. When the weapon reaches them, it will generate a quantum field around them and they will be transported to a different time and place.”
“My god,” I said. “A non-destructive weapon. You’re a genius Dr. Sí.”
“So you’re not a complete fucking idiot after all,” he replied. “It is far more humane than the nuclear weapons of the last 80 years. Imagine: no more nuclear fallout, no more mass death…we simply transport our enemies to a different time, different place.”
I looked around the laboratory…at all the scientists running around, to Oppenheimer, to Angelika, and then over to Mr. Ree.
“I cannot deny your genius, Dr. Si,” I said. “But it appears that the only one in danger here is Mr. Ree. If you’re really are humane, you’d remove that collar.”
Dr. Sí nodded. “I suppose you’re right, Colonel.” He looked to the guards. “Remove the collar.”
The guards walked over to the gurney and removed the collar. As they were about to dispose of it, it detonated, killing and maiming several of them.
Out of the confusion, Oppenheimer attacked one of the guards, grabbing his machine gun.
“Put down the gun Oppenheimer,” Dr. Sí said.
“No,” he replied. “You’ve been holding me hostage here. I’m not your puppet!”
“But Bob,” Dr. Sí pleaded. “We’ve been building something special here. Don’t you want to finish our work?”
“No! No more weapons!”
More guards rushed into the room, forcing Oppenheimer to drop his gun.
“Sorry Bob,” Dr. Sí said. “It appears your time is up.”
Mr. Ree was released from the gurney. The two of us were ordered to raise our hands and were rounded up with Oppenheimer.
Yo! Respect to Barbara Broccoli and Michael G. Wilson for killing off perhaps the most important character in film history (spoilers! 🤷♂️) Don’t believe that James Bond isn’t the most important? Well without this franchise, we probably wouldn’t have the modern action blockbuster. He was the model for the postmodern, morally questionable hero…before Han Solo, before Indiana Jones, before John McClain. James Bond was doing that shit before everyone.
And now he’s dead.
That takes balls.
I say fuck the fanboys. As Star Trek II director Nicholas Meyer said when he was told that he couldn’t kill Spock (paraphrase): “of course you can, as long as you do it well.”
Did they do it well? Don’t know. No Time To Die hasn’t been released in the States yet (they probably didn’t). But I will respect any filmmaker that takes chances.
Audiences be damned.
So where does the franchise go from here? The answer is obvious: HBO Max (or Apple TV, or Netflix, or Amazon Prime, etc). The James Bond Expanded Universe on television is the next logical step.
“But nobody cares about that universe without James Bond”
Perhaps. But the good thing about this universe is that the timeline does not matter. Seriously. Does Goldeneye happen before or after the events of Live and Let Die? Does it matter? Is Ralph Fiennes’ M the same as Bernard Lee’s? Does THAT matter?
You see, nothing in the James Bond timeline matters. With the exception of the Daniel Craig films, each film and each actor sort of takes place in its own timeline.
So in this James Bond extended universe, James Bond is still alive because why not?
So is James Bond the main character in this new series? If yes, then the series writes itself.
But if the producers made this dramatic move in No Time To Die just so they can free themselves to explore this universe, here’s my pitch (since Barbara and Michael aren’t taking my calls):
Series name: 00
Characters: Ralph Fiennes as M, Ben Whishaw as Q, Naomi Harris as Eve Moneypenney, Rory Kinnear as Tanner
New characters:
001: (Male, 50-60yrs) An old Irish bastard. Hard hitter, hard drinker. Has been a 00 longer than anyone. Was actually a family man at some point against the wishes of Her Majesty’s Service, but naturally fucked it up. Has been wanting to reconnect with his son for years, but his son wants nothing to do with him.
002: (Male, 40s) Borderline autistic, has no close personal relationships. But make no mistake: this mother fucker can kill. Not much is known about his background.
003: (Female, 20s) the newest member of the service. She was one of the first women to get into the SAS before joining MI6. Fresh off of her first mission, she appears to be experiencing a degree of PTSD. 001 takes her under his wing and treats her as a surrogate daughter to make up for his deficiencies as a father.
004: (Male, 20-early 30s) a total cad. Along with James Bond, he often stays in trouble with M. Not liked by many in M16. A snarky, fratish type.
005: (Female, 40-50s) a seasoned veteran of MI6. There’s no situation she can’t handle masterfully. Often a part of M’s “A-Team”, she gets dispatched on the more difficult missions. The perfect female counterpart of James Bond, an expert seductress.
Recurring characters:
006: Alec Trevelyan (Male, 30-50)-James Bond’s best friend in the service. However, he holds a secret grudge against the British government. Will later be “betrayed” by 007.
007: James Bond (Male, 30-50)- The GOAT.
The Story:
M is ripping one of his agents a new asshole. It’s 001. He’s too old, M says. He’s a drunk and they already have enough alcoholics on the force (James Bond). But there’s still one more mission for 001.
“Don’t cock it up,” says M.
It’s not a difficult mission, but he’s getting a partner: 003. 001 resents this but follows orders. He banters with Moneypenny and goes to Q to gather his equipment. But instead of the flirty charm of 007, he’s cantankerous and crusty. He understands none of the technology that Q gives him.
001 and 003 go through the usual formula: they go undercover, enjoy the finer things in life, go to bed with numerous individuals, and cause plenty of property damage. And they do it with their own spin and charm. However, the mustache-twirling villain has a much bigger plot under his sleeve, one which has international implications.
With the plot spread globally, the mission comes under the direction of Tanner. We are introduced to the other 00 agents and their individual missions in different parts of the world.
But when things start to get real, M has no other choice but to bring in the big guns: 006 and 007. This culminates in 007s supposed “betrayal“ of 006, and while Bond temporarily plays the hero, 001 and 003 overcome their differences to save the day.
The mission is interwoven with the personal drama of 001 and 003.
Bond once said that 00s often have short life expectancies. 001 is aware that he faces death at every turn; the next mission could be his last. And he has been on too many missions. His demise in the season finale will serve as a reminder to 003: death is never an option.
Orson Wells, John Huston, John Ford, Stanley Kubrick, Martin Scorsese, Francis Ford Coppola, Steven Spielberg, Quentin Tarantino, Christopher Nolan….
Michael Cimino.
Legend
GOAT
The director of the Deer Hunter (1978), who immediately after hoisting the Academy Award for Best Director began work on dismantling a major movie studio by staring production on the Heaven’s Gate (1980)…the greatest Hollywood flop of all time.
The Deer Hunter, Cimino’s magnum opus, is without question one of the great American films. That is if we can call it a “film”. It’s more like a fever dream. Characters drunk as shit drive from Pennsylvania to Washington state, shoot a deer, and drive back…all within 48 hours. Robert DeNiro torches a guy. And the three main characters are forced by a bunch of racist caricatures to play Russian Roulette. It’s an undeniably powerful film that accurately captures the American psyche post-Vietnam.
With the success of the Deer Hunter, Cimino had carte blanche in Hollywood to do whatever he wanted. He chose Heaven’s Gate, produced by United Artists, a story about an obscure dispute in Wyoming in the 1800s and staring a hot, Hot, HOT Kris Kristofferson, Christopher Walken, and Isabella Huppert (John Hurt’s hot too I guess). It was to be the greatest western of all time, solidifying Michael Cimino as one of the great auteurs.
When production started, problems instantly arose. Doing his best Kubrick impression, Cimino demanded take after take from his actors. He’d delay production to get the perfect shot of the Montana landscape where the film was shot, or demand that sets be torn down and rebuilt to exact specifications. He’d also charge the studio absurdly high rent to film on land that he allegedly owned (respect). The budget soared and United Artist was getting nervous.
Was it all worth it?
Lol, no.
Heaven’s Gate infamously flopped. Critics hated it. And it financially ruined United Artists (the James Bond franchise, arguably their most lucrative property at the time, would ultimately bail them out).
Despite attempts by internet and European critics to say it’s secretly a “masterpiece” 40 years after its release, Heaven’s Gate simply…doesn’t…work. The film looks like shit (sorry Vilmos Zsigmond fans), scenes go on longer than they should, and obviously Michael Cimino was feeling himself a little too much. If wasting money and being pretentious is an art form, then yes, Heaven’s Gate is a masterpiece.
Michael Cimino changed Hollywood. Gone were the days when auteurs ruled Hollywood. It wasn’t until John Landis killed three people (later acquitted) on the set of the Twilight Zone that Hollywood finally put the kibosh on artistic freedom.
Cimino would go on to direct some crap in 1980s, but his legacy was secure. That’s not worth nothin’, and I believe that’s worth honoring.
Michael Cimino passed away in 2016.
While I regard The Deer Hunter to be his finest work, one can’t forget the time Cimino, horribly disfigured by plastic surgery, roasted and mocked the entire crowd at Locarno Film Festival.
The Internet Ruined Everything 