a unsurprising, if still disappointing, negative review of A BIG BOLD BEAUTIFUL JOURNEY
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| Margot Robbie wears a hat to demonstrate how she's *so unique*, although I will say the costume design is actually one of the films greatest assets. |
Negative reviews may be fun to read, though I’m not so sure they’re fun to write. Perhaps when a film has inflicted ill will upon the world, or when it acts with genuine malice, it can bring satisfaction to weaponize the pen against rotten images and in so doing reclaim a wasted experience. The angry critical voice is certainly one which generates a great deal of interest and readership, almost certainly the primary reason that one notorious review aggregate site is not called “Super Fresh Juicy Tomatoes.” However, there is another kind of bad movie, and another kind of bad review, which salvages little joy from the experience offered by the movie, and which can only really explore a film’s missed potential and with it the disappointment of its audience. It is alas that kind of review I am writing now, one for, the once and future, acclaimed director Kogonada’s new film A Big Bold Beautiful Journey, and much like the film itself, it something that gives me little pleasure.
The previous films of Kogonada, even his video essays considering works of filmmakers as diverse as Yasujiro Ozu (from whose frequent writer collaborator he fashioned his pseudonym) to Richard Linklater, have always benefited from a distinct pace and authorial voice. The calm distress of Columbus is all expertly framed within the architecture of its titular city, and it is no understatement to say the primary reason it is a rich text at all is entirely thanks to the careful way Kogonada fashions the picture. The same can be said for the less viewed, though in my opinion even stronger, sophomore feature After Yang, a stirring science fiction parable about identity, grief and family, which once more quietly, yet distinctly, guides its audience from the moment the film starts to its conclusion. The fingerprints of the masters are clearly identifiable in both of these films, yet the identity and ultimate result for both of them is a distinct, and altogether new, authorial voice. Kogonada understands the basics of of a specific kind of filmmaking and in his first two features was beginning to show what it might look like in the twenty-first century.
Thus, when Kogonada’s new film was announced to be called A Big Bold Beautiful Journey, his first to be funded with real studio dollars, I had little concern that it wouldn’t be anything but a further evolution, in fact I was excited to see what he might do with more resources at his disposal. Sure, it seemed likely he would be departing from the Ozu inspired rhythms of his past work, but I was eager to see what he might be able to demonstrate on a larger canvas. At the time I failed to note that several of Kogonada’s past positions, crucially those of editor and writer, would now be filled by other people, a decision which rather than yield the bounties of collaboration, perhaps ultimately dooms the movie. I blissfully hoped the film would live up to its title and even though the initial trailers, and even initial reviews, were less than reassuring overall, I felt confident the abilities of his directing alone would be strong enough to make up for the film overall.
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| Yasujiro Ozu's Good Morning |
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| a Ozu like frame from Columbus |
Unfortunately, A Big Bold Beautiful Journey is a major disappointment, and except the ever immaculate Joe Hisaishi in his first American film collaboration, no one emerges innocent, even Kogonada. While there are quite a few things to point at that went wrong, there is indeed one main culprit right off the bat which can be found in the genuinely uninspired and frankly annoying screenplay. The images of this film are still beautiful, not unlike its lead actors, yet the dialogue of the movie is so beyond trite, so cumbersomely obvious, that even though the conversations were being performed by two actors I admire, I couldn't wait for them to stop. There is simply nothing new this script, and with it the film, has to say, and while that statement could be applied to many, if not all, great films, ABBBJ fails to offer its unoriginality theater kid platitudes with any poignancy or energy whatsoever, let alone with the new voice its director had heretofore been cultivating.
The film simply lumbers along, hoping you will not notice that it has not moved you thanks to its general quirkiness and occasional “self-aware” observation, a technique which desperately needs to be retired at this point (though it seems to show little sign of losing steam). These are all offenses that, with the proper amount of sincerity, or even sheer charisma, can be overcome, however, despite the ample amounts demonstrated by many of this team in the past, none prove to be up to the task. The film is limp on the screen.
Yet, the film is not offensive, nor is it intending anything of ill will. It clearly wants to inspire, hoping to meet an anxious generation where they are, presenting an approachable tinge on the romance, colored by works of the past, with a new, more intimate twist. This is then, in many ways, the same formula as Kogonada’s previous films, applying the more intimate styles of the masters to the modern day. Yet, where this formula worked in the past, in this more brash context, without his guidance in pre and post production, I think it is due to that exact conceit that the film foundered.
It is not difficult to imagine to me why Kogonada approached this material. I’m sure in it he saw some similar themes to his past films, or at least potential for them, as well as what could be a larger, “more mainstream,” film (which would hopefully pay a few more bills than either of his past works). He fashioned a grab bag of influences from Singin’ in the Rain to Umbrellas of Cherbourg, tried to mix in his own personal style, and then hoped the alchemy would yield something that works. Yet, not unlike Chloe Zhao’s Eternals (though that movie is even more egregious), the resulting smoothie is instead of delicious blending, a flavorless mess. The movie has no propulsion for its large moments and yet moves too quickly over its small quiet scenes. It hurries along and all the while drags. It tries to be profound and is instead obvious, looking for romance and comedy, unable to find a pulse. In many ways its general mediocrity is then indicative of the worst kind of cinematic experience, one that leaves you with nothing.
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| a strong, umbrella themed, image from the film |
It gives me very little pleasure to write this. Many directors have stumbled when faced with the larger budgeted second or third feature, though I'd still rather sing the praises of David Lynch's Dune than watch ABBBJ ever again, and I'm certain Kogonada will release far better and powerful films in the future, as I'm sure he'll still manage to find someone to fund them. A Big Bold Beautiful Journey has pretty much already faded from whatever minor pixel it stole temporarily from the cultural consciousness and perhaps releasing this review now feels like dog piling further onto a filmmaker I'm claiming to respect. Yet, the question perhaps ought to be asked, is there merit in writing a negative review? Despite my complaining, there can be a certain catharsis it provides for the person penning it, something I suppose has occurred for me, yet even then is it not just further negativity into the world? Is it not trashing someone else's art, insisting objectivity upon a supremely subjective experience?
While I won't say I completely disagree with these concepts, in general I try to approach every film, as much as possible, with open arms and minded expectations, I will argue that criticism, real honest critique, not the lobbing of vegetable-fruit hybrid numbers, is still important and of worth in our world. The critical voice today seems, and certainly with good reason, to be largely considered a relic of elitism, even patriarchy, yet the application of academic rigor to a given text, or even simply allowing for proper consideration, is at its core, empowering. Yes, we should "let people like things," and there is a space for "time to turn your brain off." The tools of the critic can be weaponized for those institutional systems of oppression, yet, I feel they might also still provide a means for dismantling them. With analysis, we understand and with understanding, we in fact express, as trite as it may seem, love (the same emotion A Big Bold Beautiful Journey failed to demonstrate).
Am I suggesting film criticism will save the world? Well perhaps I've gone too far, and even engaged somewhat in that self-aware showering I've grown so irked with, and so at risk of further dramatization, i'll end considering the film at hand once more. Yes, Kogonada's third feature is not indicative of what is wrong with the world, not really, nor does it overtly offend, yet that alone does not make it, to use an unimpeachable, critically classical, word selection: good. No, I'm not solving any problems to write about its ills, nor did it necessarily give me much pleasure, and yet, it is an exercise of critical consideration, one I enact with a genuine hope that maybe by so doing, we'll consider something better.
It's unlikely the film is still in theaters so it'll probably stream somewhere soon who knows, it probably would be a good airplane watch. Anyways my One Battle After Another review is coming soon.
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