I was looking through the list of movies I was thinking about discussing on this page, and I realized they were all big "event" movies. The type of movie that the studio will spend mind-blowing amounts of money on, in the hopes that they will bring in even more ludicrious amounts. What ever happened to the small movie? The quiet movies, like "Ulee's Gold", that can be very entertaining and not feature $100 million doller budgets.
Actually, those movies are alive and well. There are still intellegent, subtle movies being made, it's just that they're rarely pulling in the huge dollar amounts and don't make the headlines [films like Wag the Dog being the exception to the rule]. Personally, I love seeing these films and recommend everyone try and catch as many of them as you can. Go support you're local art-house film theatre, that's where the really thought-provoking, gorgeously made films are.
But the problem with these films is they're just not as much fun to poke at. Kate Winslet was terrific in Heavenly Creatures [the scene with Orson Welles is worth admission price alone] but the movie deals with some really big subjects. The disturbed girl Winslet plays in that movie is difficult to discuss in a snide way- but when she gets lessons in hawking phlegm in Titanic... how can I not say something? Big movies = big targets. Besides, how many people saw Heavenly Creatures? I missed it when it was in theatres, and only saw the film because a friend kept pestering me to rent it- after watching it I'm glad she did. I'd like to know that whomever is reading this might of also seen the movie I'm yammering about.
Plus, Heaven help me, but I like big movies. There's something fun about going to watch a big, big, movie unfold on the screen in front of you. I was thrilling to the sensory assult of Twister while simultaniously laughing at the moronic plot [evil meterologists?] and plot gaffes [how many times was the sun going to set in one day?].
So
I'm sorry if it seems I'm favoring big gaudy spectacles of movies. It's just
the way things turned out. Don't blame me, be like everyone else and blame Hollywood.
Either convince a studio executive to blow millions on signing
me to direct the epic life story of Orville Reddenbocker, or zap
on back to the main page or the
movie page.
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