Dynamic Duo

I've been into the entertainment industry since I was old enough to watch things and remember them, so it's been about 24 years of observation, research and revelry. I had my first subscription to Entertainment Weekly at age eight, if that gives you an idea. My primary focus has always been movies, outside of love and fear, they are the great unifier. A visual medium of story telling that can reach anyone in their living room to provide safe escape when you most need it/want it is a beautiful thing. For that reason, I'm a walking catalog of actors, directors, and producers (composers and key-grips, even) keeping a vigilant eye on up and comers and those that break from the pack of (ENDLESS) remakes and dumbed-down rom-coms. It's my main hobby, if not an occupational investment in one of my great passions. If you are interested in something, learn everything you can, becoming an "expert" like those that are regarded as such on a grander pay scale. My fellow nerds know what I'm saying.

I've had hands on experience in making these 120 minute vacations, I know of what I type. I had a stint in development (re-writes to a would-be script), assisted in casting and story boarding. I was an extra for a year (and can be seen in the moving scenery of about 60 odd projects), had a featured few seconds of "B-ball kissing girl" glory in the indie horror movie Katie Bird, saw production in action and absorbed life on set for a good chunk of time. It was fascinating and infuriating. I'm a tough nut to crack when it comes to endorsement, most projects tend to rule themselves out in the first few minutes, simply by following footsteps to perpetuate money making instead of art expressing.


That said, I'll watch anything to the end and give it a fair shake. I can glean goodness from even the lackluster-est. I might want to choke my own self out based on the supposed acting, but the lighting design or costume design or soundtrack could rock, so enjoy that aspect. And when ALL of it fails to hit home, just bust out some Mystery Science Theatre 3000 commentary, and have my own personalized entertainment. I try to be an impartial observer, not just a film snob that references "classics" for comparison. Those folks tend to come off as the authority on your personal taste based on what was, something that's not only impossible, but offensive at times. I'll listen to a few critics in particular-we tend to agree, and I can call them when I hear of them usually-but for the most part, I'll give it a whirl and decide for myself. I encourage you all to do the same. At the risk of sounding like a hypocrite-ahem-I have good leads for you.

Critics, audiences (or anyone else that doesn't get it), be damned, the following writer/directors are the Yin and Yang of groundbreaking cinematic adventure currently, weather they realize themselves, or get recognized as such. If you long for style, smart and sleek over the usual fare, and haven't absorbed these fellas work, let this aid in your quest for the almighty mind-altering, interesting film.

Christopher Nolan, ain't new to critical acclaim, or audience acceptance, deservedly so. He swiftly, gracefully paints masterpieces of tone, texture and triumph, in vibrant shades of seedy human conflict, occasionally and subtly gesturing at humor and culture to accent the dramatic portraiture unfolding before you. I've seen everything from the most intimate (his engrossing student film Following), to his most blockbuster-y (the Batman franchise, that he's done more artistic justice to than any preceding director), and regardless of funding or hype sustained (he deserves both), he arcs hefty plot line, jerks tears and pulls the occasional, genuine laugh while he amazes you visually, in a grounded, realistic, intelligent way. Memento, Insomniac, The Prestige. They all reek with envelope-pushing vision, and man it smells good. He challenges the norm out of his passion for a good story, totally at ease on the leading edge. It's a tricky place to be. The Academy snubbed him in the Best Director category this year, but I doubt he minds. Awards never live up to the real prize, a legacy of excellent film.

If Nolan paints larger than life pictures, Edgar Wright then, raps bright, flashy, staccato jams of buffoonery, bad-assery, and camaraderie, with a gasp-for-airs-worth of naked emotion or common place story line-but those few seconds are so sudden and genuine, you're moved-and grooving with it all is inevitable. Even the most modern movie go-er can relate to his work, in all their ADD (or ADHD if you care) fickleness. Wright acknowledges that and does it one better, as it seems to be the stem of so many pandering studio tricks, ones he pokes playfully at. I fell in love with Shaun of the Dead and Hot Fuzz instantly. Then subsequently saw the brilliant episodic Spaced, and knew then that he really is a comedic genius, not a two-off gem that Hollywood borrowed from England. He fuses pop culture past and present so quickly and deftly into his own brand of hilarity, all you can do is keep up giddily. It's a word. Scott Pilgrim vs The World just graced my DVD player (yes, I'm tardy to the party again), and even though Simon Pegg was abscent in this chunk of fantastic, none of Edgars' signature edge was. He has yet to reach the household name status Nolan has touched on, but he is every bit as deserving. His comedy is inspired.

The two might be opposites in "genre" (so far), but they willfully bend any conventional categorizing, fusing them all together at times. Both know that you have to start with good writing and work your way out. Both are nerds themselves, they have specifics in mind and won't compromise their ideas. Whatever the feeling evoked, both oversee execution (in dialogue and visuals) so precise, you have to watch their films twice/rewind repeatedly to catch every bit of nuance. They both ask you to take their hand and sprint alongside them, as opposed to the throngs of so many others that grab your hand gruffly only to trot or stumble, because they're too lost in their own bull-honkey to cross the finish line to completion.

Our culture on the whole tends to love a good explosion, Black Eyed Peas song bumping in the background, the main character flashing charisma and one-liner flair, and that's all good too, as I said before. Ultimately though, that kind of redundant movie experience leaves you as quickly as it comes along, so what's the point, really? If we are to celebrate the industry as it encourages us to, let's do it in honor of those slinging integrity and innovation for your hard earned buck, I say.

Cheers to both respective super heroes of film rescuing us from certain boredom, defying the villainy of forgettable crap. I eagerly await the next epic battle, from both.