I’m not sure what meaning there is in “remaking” The Magnificent Seven, given that the Seven Samurai template has been such a well-worn plot device in the past 60 years. In a time when The Force Awakens is essentially an uncommented-upon remake of a movie in the same film series, Antoine Fuqua could have delivered nearly the same final cut under a different name and he wouldn’t even need to acknowledge the comparison. It would have made it a little easier to view each component of his film on its own and not in comparison to its 1960 predecessor, but this year’s The Magnificent Seven doesn’t completely suffer for the comparison. Only mostly.
Month: September 2016
I only recently moved to Texas. Growing up I made a joke of saying it was one the few states that I never wanted to live in. I based this largely on the conservative culture and my preconceived notions of the inhabitants’ backwards view of the world. Now I ended up moving to the least Texan of the Texas cities, Austin, 2 and a half years ago but there’s no escaping the shadow of the largest state in the union (fuck you, Alaska). On a near daily basis, I’m reminded of the rich history of the state. From the Cowboy boots, fashion’s least purposeful footwear, to the hats, fashion’s coolest hat, to the horses, to the guns, it’s all there. I’m in it and I’m honestly learning to love and embrace it.
Written by Matt Hansen
Starring Alison Pill, Gael Garcia Bernal, Mariana Ximenes
I sometimes get hung up on a movie’s core concept and weigh the entire film based on how much it lives up to its premise. I was disappointed in both Reservoir Dogs and The Departed at first—despite being well-directed, well-acted movies that tell an engaging story well, I was left wanting more tense cat-and-mouse games of an undercover cop evading suspicion, like you get in Donnie Brasco. Zoom leaves me with the same sense of want, and I’m not sure if that’s another miss on my part or not.