'2' for 2

Well there you have it- two solid films made for grown-ups over two consecutive weekends. I loved The X-Files: I Want to Believe, though I'm sure this enthusiasm won't be shared to any Dark Knight degree.

Most reviews of this film deemed it 'low-budget-looking' and 'underwhelming'; though Roger Ebert, who in his recent infirmity seems to have developed a level head, was wise enough to call it what it was. So many popular reviewers are contradicting themselves more and more, dissing 'Event Movie' culture, yet when a low-key, solid film with a franchise title such as this comes along, the flip-flops roll right in.

Having rewatched the first X-Files film within the last year, free of its juxtaposition with the ongoing television phenomenon, I was struck by its straightforwardness and purity of narrative- it, like this, like The Dark Knight, are akin to films released regularly in the 1970's- thrillers that thrill with their story and character, and not, as Ebert says in his review, with "villains the size of buildings".

Audiences may have forgotten, or never even seen, the early style of The X-Files. Shot in and around Vancouver, often using gritty, shitty locations, it looked- well, kind of awful. Most of the rinky-dink effects added to these episodes appeared to come out of a Video Toaster program. Yet the filmmakers involved used this to their absolute advantage- a simple, tightening shot of a silent telephone, accompanied by Mark Frost's scoring, was enough to titillate and inspire welcome goosebumps.

As the series progressed and gained popularity, rinky-dink was replaced with razzle-dazzle, and proved that epic shots of black helicopters firing missiles couldn't really work the same way as a single actor running down a rainy Vancouver alleyway. This film is epic in a reserved way- the money's there, Gillian Anderson still looks like a superstar instead of a neophyte, but Chris Carter shows enough directorial restraint that the whole affair harkens back to his simplest styles of storytelling.

The case has been made for a bigger, boomier, Event film; one where, say, a friggin' huge UFO appears to millions of people and Mulder has to be pulled, completely vindicated, from exile, but I for one feel liberated by this story's lack of X-mythology. I watched the series finale the night before the film- the one where Mulder is put on trial, clip-show style, with AD Skinner as his defense, and all of his former Deep Throats, etc. rattle off the Alien Conspiracy in plain language- and agreed after the first witness that Skinner should have been thrown out of court. When fully revealed and plainly told, the series arc- involving supersoldiers, bees, black oil, etc. seemed downright ridiculous. X-Files worked best when you didn't know a thing- unlike Lost, which is becoming richer the more its secrets are revealed, the exposed secrets of the shadow government ground things to a halt. I call it the 'Boba Fett Effect'- dude works best when he keeps his helmet on; we don't need to know his family history.

And that's why this film works- the mystery is pretty much secondary to themes of faith and belief that the series developed- evidenced by that mystery's simple conclusion even as the film goes on to follow Mulder and Scully's personal reflections on what they learned from it. Though if I do have a major criticism it actually involves this- these themes are presented so deeply 'In-Universe', to use a geek phrase, that they barely escape the character's minds and motivations enough to make an audience truly think about anything but The X-Files. The Dark Knight, on the other hand, used its characters' familiar traits to provide themes that leaped screaming out of the Batman myth. There is another problem, endemic to cult stories that get tied up in their own concerns, about uncharacteristically straightforward information from the final episode that reveals an alien takeover will take place in 2012- if this is so, why is Scully so concerned about saving the life of a child who will inevitably be extraterrestrial lunchmeat? But this is a minor quibble. Perhaps, if the budget was low enough on this for it to turn a profit, we'll see that 2012 story told.

This is just a movie. And that's pretty refreshing. Like Ebert said, don't expect a kung-fu, Big Boss ending like most every other franchise movie this summer. If you're feeling like everything in theatres, good or bad, this year is being thrown at you with the crazy fervor of an Olympic ceremony, relax and enjoy this little thing.