London's burgeoning real estate market is turning millions and drawing a cross-section of the city's criminal underworld to scam the hell out of it. When a Russian mobster's scam sours, London's criminal element is all too eager to help pick-up the million dollar pieces. What unfolds is a caper of epic proportions as each element, the scrappy Wild Bunch led by One Two (Gerard Butler), Mumbles, and Handsome Bob tries to outwit London Godfather Lenny Cole (Tom Wilkinson) and his bunch who's trying to outwit the Russian, Uri (Karl Roden). Throw in a coked-out punk rocker, Johnny Quid, his producers (played by Ludacris and Jeremy Piven) and a sexy siren accountant (Thandie Newton) and you've got a head-turning, double-crossing who done what.
There is no easy way to describe this hodge-podge criminal escapade from director Guy Ritchie. This film marks my introduction to Ritchie and if it weren't for his upcoming release, Sherlock Holmes, it might be my last. The thing is, I kinda like RocknRolla despite the cockneyed nonsense.
Fast and furious editing doesn't keep the film from getting bogged down in numerous and noncommittal story lines. But turn on the subtitles and hang out. RocknRolla gets interesting thanks to cheeky, perverse dialogue and a cast that genuinely seems to be enjoying their romp.
The highly stylized, modern aesthetic keeps things interesting, but I'll be honest, I watched with remote in hand and utilized the FF quite often. If it weren't for the likes of Johnny Quid (Toby Kebbell), One Two (Butler), utterly random pop culture references, and the running subplot/jokes about One Two's sexual orientation and the lucky painting, I wouldn't have bothered.
Kudos to RocknRolla for maintaining a distinct swagger throughout. And according to the disc jacket, this is the first of a planned trilogy. I'm invested; but as I see it, RocknRolla is a take it-or-leave it.
Saturday, February 28, 2009
My Sassy Girl (2008)
Charlie Bellow (Jesse Bradford) is an average fellow from the Midwest who dreams of becoming a Tillerking manager. He heads to the big city, New York with big plans of graduating college with a business degree and heading back to his hometown of French Lick--not as romantic as you would imagine--to live the dream of managing the line of farm implements that his mechanic father has serviced for 27 years. All is going according to plan until she shows up. She is Jordan Roark (Elisha Cuthbert). Wild, obnoxious, self-centered and carefree, Jordan is a whirlwind beauty in Charlie's slow breeze world. A chance encounter turns into a crush. Jordan drags Charlie through the emotional ringer as a change encounter turns into a courtship. But a tragic secret looms and threatens to separate the two.
My Sassy Girl is an effective fable that is as romantic as it is random. Elisha Cuthbert is a beautiful surprise as Jordan. Cuthbert makes Jordan a fascinating train wreck. Jesse Bradford (Swimfan, Flag of our Fathers) creates a character that the viewer wants to win despite the heartache.
As romantic comedies go, My Sassy Girl is solid. It's the ultimate randomness of events that I enjoyed most. Head-shaking, eye-rolling nonsense and disbelief that Charlie is so hung-up on this self-absorbed, damaged girl. Nothing gets in the way of main storyline. Brewing underneath is a predictable subplot, but upon delivery, will have viewers going to pieces.
As I see it, My Sassy Girl is a fresh genuine addition to the muddled genre. Thanks to Cuthbert's {can't believe I'm saying this} fine performance, it's recommendable.
My Sassy Girl is an effective fable that is as romantic as it is random. Elisha Cuthbert is a beautiful surprise as Jordan. Cuthbert makes Jordan a fascinating train wreck. Jesse Bradford (Swimfan, Flag of our Fathers) creates a character that the viewer wants to win despite the heartache.
As romantic comedies go, My Sassy Girl is solid. It's the ultimate randomness of events that I enjoyed most. Head-shaking, eye-rolling nonsense and disbelief that Charlie is so hung-up on this self-absorbed, damaged girl. Nothing gets in the way of main storyline. Brewing underneath is a predictable subplot, but upon delivery, will have viewers going to pieces.
As I see it, My Sassy Girl is a fresh genuine addition to the muddled genre. Thanks to Cuthbert's {can't believe I'm saying this} fine performance, it's recommendable.
A Collection of 2005 Academy Award Nominated Short Films (2005)
This collection of shorts gathers both the animated and live action nominees of 2005 {seems so long ago} for your viewing pleasure. Short films are overlooked and don't always command the same respect it's longer cousins do. However, short films are special in that with concise writing and direction the often convey great emotion and depth beautifully.
Five live action films compete for your attention, all with varied results.
Five live action films compete for your attention, all with varied results.
- The strongest selection here is easily the Irishman Brenden Gleeson in Six Shooter (also the year's winner). Gleeson plays a grieving widower who's grief, well, is interrupted in a most peculiar way--equally morose and comedic.
- My favorite is Our Time is Up starring Kevin Pollak as Dr. Stern. Upon discovering he has six weeks to live, he takes a new approach with his psychiatric patients, brutal honesty. What makes this one fun is the myriad of character actors that make their way onscreen. Jorge Garcia (Hurley on LOST) plays the gardener.
- The Last Farm comes from Iceland. Subtitles do not detract from the emotions running high. As the elderly farmer sets about his choices, this viewer's tears began to mount. As he pulls the rope that would bury his wife, my tears begin to stream.
The three animated shorts are equally varied.
- Badgered is simple pencil drawings imbued with sardonic humor.
- The Moon and the Son: An Imagined Conversation (the year's winner) was a bitter dialogue between the writer/animator and his deceased father. {Let's talk about issues.}
- The standout for me is an Australian piece, The Mysterious Geographic Explorations of Jasper Morello. The animation is riveting, macabre, and unusual. The story and dialogue as well. Check the link on the sidebar for more.
A bonus animated short from the US, The Fan and the Flower is narrated by Paul Giamatti with simple drawings from Bill Plymton. It's a cute little love story.
As I see it, the viewer may not invest as much time in these, but the rewards are altogether satisfying.
Thursday, February 26, 2009
Laugh at me. Again.
My favorite radio morning show has what they call 'show code'. In essence, should something profoundly embarrassing happen you are honor bound to share it with fellow listeners.
Constant Reader, laugh with me. Hades, laugh at me...
So, I'm driving down the road, on my way back to work, when I spill half a bottle of Sprite... in my lap!! Check it. I've been nursing bronchitis for a week now and the carbonation provides minor relief. Don't ask me how I spilled it, but I did. I can't exactly cause I an accident; {imagine that explanation}, so I have to suck it up and let that Sprite permeate the front and backside of my slacks.
How embarrassing. {Now imagine how the little kid with a full diaper walks--I'm fighting every fiber of my being to walk normally, so no one will notice.}
I have to return to my desk with, not damp, but wet pants. I slink back in, hoping that none of these God-forsaken people will notice. They don't. {Maybe there is a God.}
Then it hits me. How funny is this?! I just couldn't help myself. I burst out laughing and thanking the Maker the afternoon meeting was moved to tomorrow.
Constant Reader, laugh with me. Hades, laugh at me...
So, I'm driving down the road, on my way back to work, when I spill half a bottle of Sprite... in my lap!! Check it. I've been nursing bronchitis for a week now and the carbonation provides minor relief. Don't ask me how I spilled it, but I did. I can't exactly cause I an accident; {imagine that explanation}, so I have to suck it up and let that Sprite permeate the front and backside of my slacks.
How embarrassing. {Now imagine how the little kid with a full diaper walks--I'm fighting every fiber of my being to walk normally, so no one will notice.}
I have to return to my desk with, not damp, but wet pants. I slink back in, hoping that none of these God-forsaken people will notice. They don't. {Maybe there is a God.}
Then it hits me. How funny is this?! I just couldn't help myself. I burst out laughing and thanking the Maker the afternoon meeting was moved to tomorrow.
Tuesday, February 24, 2009
Unbreakable (2000)
Allow me to be so bold, but Unbreakable is one of the finest examples of storytelling to come along in this decade. Despite what you may think of director M. Night Shyamalan or the hype behind him, Unbreakable stands on it's own merit.
The strongest element of the film is its screenplay and while it may contain supernatural overtones, it is the humanity that ultimately shines through. Character-centered, the film relies on Bruce Willis and Samuel L. Jackson to deliver performances of a lifetime and they do. Willis is deceptively understated as David Dunn--an average man, we discover, with extraordinary abilities. Jackson gives a finely nuanced performance as Elijah Price, aka, Mr. Glass. The rapport between these two--the crux of our screenplay is phenomenal.
The aesthetic of the film, allow me my studious glasses and pipe, is subtly artful. Those who has seen Unbreakable will agree that Shyamalan's direction here is calculated, each step with detailed purpose, but he does so ever so slyly, that the viewer doesn't shoulder the immensity of it until after the fact. Notice how Shyamalan frames each frame--literally, as if, we the viewers, are looking in. His reverence for the graphic novel is apparent in retrospect.
The film's colourings and James Howard's scoring compliment the director's vision exponentially. Not to be overlooked, is our supporting cast of Robin Wright Penn as Audrey Dunn, David's wife and Spencer Treat Clark as David's young son, Joseph. Clark plays a crucial role in David's evolution. Imagine a young boy latching on the notion 'my dad is a superhero'. Joseph's confrontation with his father is influential in the turning of the film's tide.
Unbreakable is a slow burn and for the general masses, I think, it's the film's downfall. But for me, the pacing is representative of Dunn's self denial and discovery. The origins of good and evil--the righteousness of both, is not something easily digested in any media, but in context here, Shyamalan makes a sound exploration of them both.
Unbreakable's climax is its crowing glory. The realization for Dunn and the viewer, I like to think, is equally breath-taking.
As I see it, Unbreakable is a riveting, moody piece that I can't help falling more in love with each time I view it. Seeing it again tonight, renewed by passion for this brilliant movie. Unbreakable is an unassuming masterpiece that is simply a must see.
The strongest element of the film is its screenplay and while it may contain supernatural overtones, it is the humanity that ultimately shines through. Character-centered, the film relies on Bruce Willis and Samuel L. Jackson to deliver performances of a lifetime and they do. Willis is deceptively understated as David Dunn--an average man, we discover, with extraordinary abilities. Jackson gives a finely nuanced performance as Elijah Price, aka, Mr. Glass. The rapport between these two--the crux of our screenplay is phenomenal.
The aesthetic of the film, allow me my studious glasses and pipe, is subtly artful. Those who has seen Unbreakable will agree that Shyamalan's direction here is calculated, each step with detailed purpose, but he does so ever so slyly, that the viewer doesn't shoulder the immensity of it until after the fact. Notice how Shyamalan frames each frame--literally, as if, we the viewers, are looking in. His reverence for the graphic novel is apparent in retrospect.
The film's colourings and James Howard's scoring compliment the director's vision exponentially. Not to be overlooked, is our supporting cast of Robin Wright Penn as Audrey Dunn, David's wife and Spencer Treat Clark as David's young son, Joseph. Clark plays a crucial role in David's evolution. Imagine a young boy latching on the notion 'my dad is a superhero'. Joseph's confrontation with his father is influential in the turning of the film's tide.
Unbreakable is a slow burn and for the general masses, I think, it's the film's downfall. But for me, the pacing is representative of Dunn's self denial and discovery. The origins of good and evil--the righteousness of both, is not something easily digested in any media, but in context here, Shyamalan makes a sound exploration of them both.
Unbreakable's climax is its crowing glory. The realization for Dunn and the viewer, I like to think, is equally breath-taking.
As I see it, Unbreakable is a riveting, moody piece that I can't help falling more in love with each time I view it. Seeing it again tonight, renewed by passion for this brilliant movie. Unbreakable is an unassuming masterpiece that is simply a must see.
Monday, February 23, 2009
Burn*E (2008)
Burn*E is the supplimental animated short to Pixar's 2008 film, Wall*E. This little robot gets his very own story to support his cameo (see Wall*E and Eve coming back from their star-filled romp) in the movie. As shorts go, Burn*E is reminiscent of Wile W. Coyote with his repeated attempts to fix a broken light. Circumstances beyond his control cause poor {disrespected} Burn*E to weld and repeat much to the robot's exasperated annoyance.
As I see it, Presto, the film's opening short is a much better use of your time. It's throwback to Looney Tunes is unmistakable {and dear to my heart}. Burn*E is pure Pixar self-indulgence and that is never a bad thing.
As I see it, Presto, the film's opening short is a much better use of your time. It's throwback to Looney Tunes is unmistakable {and dear to my heart}. Burn*E is pure Pixar self-indulgence and that is never a bad thing.
How to Lose Friends and Alienate People (2008)
No, it's not an autobiography. Simon Pegg (Shaun of the Dead, Hot Fuzz) stars in this odd rom-com. Sidney Young (Pegg), snarky journalist, is given the opportunity of a lifetime when hired on at the glossy mag known as Sharpe's. Editor Clayton Harding (Jeff Bridges) is Young's idol, but much to his disappointment, Harding is a sell-out. A series of missteps, in both his business and personal life soon has Young drawn into a real relationship with a co-worker, Allison (Kirsten Dunst) and a celebrity one with Sophie Maes (Megan Fox).
As a fan of Simon Pegg, seeing this one was inevitable. Watching him chart his rise from obscure comedy to legitimate actor has been fun, if strange. How to Lose Friends and Alienate People suffers from a myriad of challenges, but still manages to be weirdly entertaining.
At the heart of the film is Pegg's, Simon Young--an odd little man. Young suffers from uneven character development--they all do, but thanks to Pegg's eagerness, Young comes off harmlessly strange. Jeff Bridges, Dunst, Fox, and {surprise!} Gillian Anderson all provide good performances, but the writers just didn't give anyone enough to really work with.
In all fairness, I don't know how to describe this one. It's not particularly funny; it's simple charming. Pegg makes it tolerable despite jokes that fall flat and Bridges' crazy hair. As I see it, How to Lose Friends and Alienate People tries to be a Devil Wears Prada story arc and fails miserably. But if you fall into the Simon Pegg fan base, you'll get a laugh or two.
As a fan of Simon Pegg, seeing this one was inevitable. Watching him chart his rise from obscure comedy to legitimate actor has been fun, if strange. How to Lose Friends and Alienate People suffers from a myriad of challenges, but still manages to be weirdly entertaining.
At the heart of the film is Pegg's, Simon Young--an odd little man. Young suffers from uneven character development--they all do, but thanks to Pegg's eagerness, Young comes off harmlessly strange. Jeff Bridges, Dunst, Fox, and {surprise!} Gillian Anderson all provide good performances, but the writers just didn't give anyone enough to really work with.
In all fairness, I don't know how to describe this one. It's not particularly funny; it's simple charming. Pegg makes it tolerable despite jokes that fall flat and Bridges' crazy hair. As I see it, How to Lose Friends and Alienate People tries to be a Devil Wears Prada story arc and fails miserably. But if you fall into the Simon Pegg fan base, you'll get a laugh or two.
Sunday, February 22, 2009
Oktapodi (2008)
Life is bliss for two octopi in love. Their love is threatened when dinner looms. Snatched from the tentacles of her lover, lady octopi is shoved into the fishmonger bucket and is away. Sir octopi leaps into superhero action to save his lady. Hilarious feats ensue as sir octopi uses every tentacle in his body to save her. Winding through the streets of a seaside village, the fishmonger comes under attack. Aw... true love.
Oktapodi, a silent animated short from France, is oddly clever and downright cute. The CGI is top-notch with beautiful coloring and detail to match. Clocking in at just under three minutes, Oktapodi is hardly a waste--if you can find it, enjoy.
Oktapodi, a silent animated short from France, is oddly clever and downright cute. The CGI is top-notch with beautiful coloring and detail to match. Clocking in at just under three minutes, Oktapodi is hardly a waste--if you can find it, enjoy.
Saturday, February 21, 2009
High School Musical 3: Senior Year (2008)
As graduation looms for the East High seniors, Troy (Zac Efron) and Gabriella (Vanessa Hudgens) are having a hard time coming to grips with leaving friends and high behind. For one last hurrah, Troy and his Wildcat buddies join Gabriella and her perfectly coiffed girlfriends for one last musical culminating their hopes and dreams for the future.
The big jump from TV to theatre screen has treated Disney's High School Musical cast well. The spectacle that is HSM3 is bigger, but not necessarily better. Efron and Hudgens take center stage to work out the long distance kinks of a bland relationship. Best bud Chad (Corbin Blue), Gabriella nemesis Sharpay (Ashley Tisdale), Ryan (Lucas Grabeel) have all been relegated to bit parts. The dedicated viewer has vested interest in all our stars and to focus on the most mundane couple is a waste. Character and story development give way to show-stopping musical numbers like you wouldn't believe.
As the cast departs, seeking more mature roles, I look forward to seeing Efron, who's acting chops grew immensely between the junior and senior years, taking on more difficult material. I'd also like to see more of Grabeel.
High School Musical 3: Senior Year contains all the fluff and positivity of it's predecessors. It's a romping celebration of rainbows and sunshine--that's not a bad thing for the target demographic. Disney has created yet another family-friendly, safe {and imaginary} retreat. It is a fine finish for the series. Let's hope it ends here.
The big jump from TV to theatre screen has treated Disney's High School Musical cast well. The spectacle that is HSM3 is bigger, but not necessarily better. Efron and Hudgens take center stage to work out the long distance kinks of a bland relationship. Best bud Chad (Corbin Blue), Gabriella nemesis Sharpay (Ashley Tisdale), Ryan (Lucas Grabeel) have all been relegated to bit parts. The dedicated viewer has vested interest in all our stars and to focus on the most mundane couple is a waste. Character and story development give way to show-stopping musical numbers like you wouldn't believe.
As the cast departs, seeking more mature roles, I look forward to seeing Efron, who's acting chops grew immensely between the junior and senior years, taking on more difficult material. I'd also like to see more of Grabeel.
High School Musical 3: Senior Year contains all the fluff and positivity of it's predecessors. It's a romping celebration of rainbows and sunshine--that's not a bad thing for the target demographic. Disney has created yet another family-friendly, safe {and imaginary} retreat. It is a fine finish for the series. Let's hope it ends here.
Monday, February 16, 2009
Escape from Alcatraz (1979)
It seems nothing can hold Frank Morris (Clint Eastwood). The convict has successfully escaped from every cell known to criminals. This impressive resume of escapes has earned Morris a ticket to Alcatraz Penitentiary. In a last fit of desperation, prison officials deem Morris as having 'superior intelligence' and believe Alcatraz just the place. Built to crush the souls of hardened men, Alcatraz looms large. Many men have tried to escape; none have succeeded, but that won't stop Morris from trying.
Based on a true story, Escape from Alcatraz contains one of Eastwood's finely nuanced performances. Teaming with director Don Siegel, Eastwood brings an intelligent and powerful character to the screen. The opening moments are powerful. You see Morris being shipped in, reviewed by a doctor, and thrown into a cell--all in silence. Siegel allows the bleakness to take hold. The viewer immediately senses Morris pulling his will, shoring it, as not to allowing this harsh reality to break him.
Patrick McGoohan stars as the Warden. Standing in stark contrast is Morris is Warden {we never know him by any other name}, ruthless and sadistic. He is the breaker of souls. It is at his command that prisoners here are destroyed. The chemistry between McGoohan (who died earlier this year) and Eastwood is riveting.
Escape from Alcatraz is claustrophobic, bleak, and every bit an overlooked classic. After viewing this, you will see how it has influenced some of the best prison films of modern cinema, i.e. The Shawshank Redemption and The Green Mile. Discover the original, Escape from Alcatraz and you'll be surprised at the blatant imitation.
The film is tautly paced. The methodical Morris calmly plotting his escape and maintaining his humanity as Warden is driven to desperate measures in his attempt to break Morris. Siegel uses the boredom of rote prison existence to build a tension-filled showdown between the two powerhouses.
Throughout the film, Siegel uses a yellow flower to symbolize the human spirit {in my humble opinion}. The contrast of this pale flower against a sea of drab blues, browns, and blacks speaks volumes.
Escape from Alcatraz is a finely crafted masterpiece with riveting performances, gritty authenticity and remarkable cinematography. Dirty Harry might be the 'one' Clint Eastwood and Don Siegel will be most remembered for, but Escape from Alcatraz showcases the masters at work. Gripping to the end, Escape from Alcatraz is a definitive must-see.
Based on a true story, Escape from Alcatraz contains one of Eastwood's finely nuanced performances. Teaming with director Don Siegel, Eastwood brings an intelligent and powerful character to the screen. The opening moments are powerful. You see Morris being shipped in, reviewed by a doctor, and thrown into a cell--all in silence. Siegel allows the bleakness to take hold. The viewer immediately senses Morris pulling his will, shoring it, as not to allowing this harsh reality to break him.
Patrick McGoohan stars as the Warden. Standing in stark contrast is Morris is Warden {we never know him by any other name}, ruthless and sadistic. He is the breaker of souls. It is at his command that prisoners here are destroyed. The chemistry between McGoohan (who died earlier this year) and Eastwood is riveting.
Escape from Alcatraz is claustrophobic, bleak, and every bit an overlooked classic. After viewing this, you will see how it has influenced some of the best prison films of modern cinema, i.e. The Shawshank Redemption and The Green Mile. Discover the original, Escape from Alcatraz and you'll be surprised at the blatant imitation.
The film is tautly paced. The methodical Morris calmly plotting his escape and maintaining his humanity as Warden is driven to desperate measures in his attempt to break Morris. Siegel uses the boredom of rote prison existence to build a tension-filled showdown between the two powerhouses.
Throughout the film, Siegel uses a yellow flower to symbolize the human spirit {in my humble opinion}. The contrast of this pale flower against a sea of drab blues, browns, and blacks speaks volumes.
Escape from Alcatraz is a finely crafted masterpiece with riveting performances, gritty authenticity and remarkable cinematography. Dirty Harry might be the 'one' Clint Eastwood and Don Siegel will be most remembered for, but Escape from Alcatraz showcases the masters at work. Gripping to the end, Escape from Alcatraz is a definitive must-see.
Sunday, February 15, 2009
a police state
It seems that I can no longer drive unencumbered. For the past two weekends, I have been accosted by Captain Chatty Cathy and Officer Fife. Guess I should be pleased, they are so concerned about my safety, but I'm annoyed. Don't you have a terrorist to catch?!
Last week's incident occurred after I left The Malcontents concert in Fairview. I pull out onto the major highway, get about a quarter-mile and then SAV {suburban assault vehicle} turns on stadium lighting to pull me over. Capt. Chatty Cathy proceeded to play 20 questions. He stated the reason for my stop was 'swerving' and proceeded to ask about my personal alcohol and drug habits. WTF?! Look at me?! Do I look like a drugged-out skank?! HELL-o!! I have a FULL set of teeth, you moron!! To make matters worse, he started questioning the Army duffel in my back seat. Try explaining that you spend Saturday night, playing Rock Band 2 with your peeps.
Between the hours of 10:30p and 1:00a, I am a sitting duck. This morning's incident was another jaw-dropper. Coming back from the theatre after seeing Friday the 13th, I get less than a quarter-mile from my very own house and the sheriff's car flashes everything. WTF?! He comes up on the driver's side and upon seeing me goes, 'Oh, excuse me. Do you live on this road?' WTF?! No, I am just randomly driving on some country-ass road for my health?! HELL-o! Chi-chi-chi-ah-ah-ah... Jason?! He goes on to say that my dark tint prevented him from seeing me, that they are looking for someone who drives a car fitting this description and that I should 'have a safe night'. FFS!
You can't help but laugh, but d*mn. Just because I drive an amazingly shiny, dark-tinted {factory tint, mind you} black sedan does not give you carte blanche to annoy the Hades out of me. Go beat your wife and leave me alone.
Last week's incident occurred after I left The Malcontents concert in Fairview. I pull out onto the major highway, get about a quarter-mile and then SAV {suburban assault vehicle} turns on stadium lighting to pull me over. Capt. Chatty Cathy proceeded to play 20 questions. He stated the reason for my stop was 'swerving' and proceeded to ask about my personal alcohol and drug habits. WTF?! Look at me?! Do I look like a drugged-out skank?! HELL-o!! I have a FULL set of teeth, you moron!! To make matters worse, he started questioning the Army duffel in my back seat. Try explaining that you spend Saturday night, playing Rock Band 2 with your peeps.
Between the hours of 10:30p and 1:00a, I am a sitting duck. This morning's incident was another jaw-dropper. Coming back from the theatre after seeing Friday the 13th, I get less than a quarter-mile from my very own house and the sheriff's car flashes everything. WTF?! He comes up on the driver's side and upon seeing me goes, 'Oh, excuse me. Do you live on this road?' WTF?! No, I am just randomly driving on some country-ass road for my health?! HELL-o! Chi-chi-chi-ah-ah-ah... Jason?! He goes on to say that my dark tint prevented him from seeing me, that they are looking for someone who drives a car fitting this description and that I should 'have a safe night'. FFS!
You can't help but laugh, but d*mn. Just because I drive an amazingly shiny, dark-tinted {factory tint, mind you} black sedan does not give you carte blanche to annoy the Hades out of me. Go beat your wife and leave me alone.
The House Bunny (2008)
For the love of Martin Scorsese, what the HADES was I thinking?! Stupid, stupid, stupid. Formulatic doesn't even begin to describe this Anna Faris-led overly-cliched mess.
Saturday, February 14, 2009
Friday the 13th (2009)
Jason Voorhees strikes fear in the soul of every movie goer. The villain of the 1980's hack 'n' slash phenom has had quite an evolution {or so I've been told.} I have avoided all of the sequels to the original because nothing can beat the way that movie made me feel. Then along comes Marcus Nispel's 're-telling'...
Most successful horror films contains three elements: nubile flesh, high body count, and an ending wide open for sequels. I expected one thing from Nispel's Friday the 13th: to be entertained. You, Constant Reader, have no idea.
Nispel begins our body count right out of the gate. You're not settled in before the film 'reboots' as 'Mother' is beheaded back in '80. Fast forward, present day, and cue young attractive group of campers ripe for killing. Fast forward, six weeks later, Clay (Jared Padalecki) begins searching for his sister, Whitney (Amanda Righetti) who has disappeared. In turn, he meets another ill-fated group of attractive young people lodging near Crystal Lake.
The story is nothing profound--suffice to say, you know it. Let me tell you why this re-imaging works. Nispel takes the best elements and with a few tweaks, slams them into the audience. The original back story is allowed to set the tone, but he quickly turns Jason into a smart and capable hunter.
Friday the 13th has one gear--high. Moving at a nice clip, the pacing is edgy and terse. Jason doesn't lumber; he moves with sadistic purpose. Thrilling and suspenseful, the movie is unrelenting even during the mandatory comedic banter and copious sexual escapades.
Go look somewhere else for spoilers. While each horrendous {predictable} death has a unique flair, there is no particular WTF moments that stands out. There is freakishly methodical undertone in each situation as Jason dispatches his conquests from this world. A few continuity problems aside and you've got a solid horror film on your hands.
Friday the 13th is an enjoyable, if predictable remake. With a young cast to die for, a demented protagonist, and the unrelenting inevitability of death, Friday the 13th is worth the investment.
<><><>
Post Script {01.15.09} ~ Two viewings and here is my ultimate arguement... As I see it, your enjoyment of Friday the 13th depends on which camp you're in. As modern day horror feature, there is nothing new here. Quite frankly, it's not particularly inspiring and while the kills and thrills are great, walk out of the theatre and it's forgettable. For fans of the genre, Friday the 13th will play more as an homage than a remake--for that reason you shouldn't miss it.
Most successful horror films contains three elements: nubile flesh, high body count, and an ending wide open for sequels. I expected one thing from Nispel's Friday the 13th: to be entertained. You, Constant Reader, have no idea.
Nispel begins our body count right out of the gate. You're not settled in before the film 'reboots' as 'Mother' is beheaded back in '80. Fast forward, present day, and cue young attractive group of campers ripe for killing. Fast forward, six weeks later, Clay (Jared Padalecki) begins searching for his sister, Whitney (Amanda Righetti) who has disappeared. In turn, he meets another ill-fated group of attractive young people lodging near Crystal Lake.
The story is nothing profound--suffice to say, you know it. Let me tell you why this re-imaging works. Nispel takes the best elements and with a few tweaks, slams them into the audience. The original back story is allowed to set the tone, but he quickly turns Jason into a smart and capable hunter.
Friday the 13th has one gear--high. Moving at a nice clip, the pacing is edgy and terse. Jason doesn't lumber; he moves with sadistic purpose. Thrilling and suspenseful, the movie is unrelenting even during the mandatory comedic banter and copious sexual escapades.
Go look somewhere else for spoilers. While each horrendous {predictable} death has a unique flair, there is no particular WTF moments that stands out. There is freakishly methodical undertone in each situation as Jason dispatches his conquests from this world. A few continuity problems aside and you've got a solid horror film on your hands.
Friday the 13th is an enjoyable, if predictable remake. With a young cast to die for, a demented protagonist, and the unrelenting inevitability of death, Friday the 13th is worth the investment.
<><><>
Post Script {01.15.09} ~ Two viewings and here is my ultimate arguement... As I see it, your enjoyment of Friday the 13th depends on which camp you're in. As modern day horror feature, there is nothing new here. Quite frankly, it's not particularly inspiring and while the kills and thrills are great, walk out of the theatre and it's forgettable. For fans of the genre, Friday the 13th will play more as an homage than a remake--for that reason you shouldn't miss it.
Thursday, February 12, 2009
His Name Was Jason: 30 Years of Friday the 13th (2009)
This documentary celebrates one of the greatest slasher franchises in cinematic history. Gore extraordinaire, Tom Savini, hosts our foray of interviews with directors, writers, actors, producers, composers and anyone else who was impacted by Jason {or has a horror movie to hawk}. Blatantly made for TV, the documentary doesn't bring anything new to the table or really explores much of the mystery. It's all opinion {and product shilling}.
Instead of watching this, gather your own friends, watch the movies, and discuss. You'd have more fun.
Instead of watching this, gather your own friends, watch the movies, and discuss. You'd have more fun.
Tuesday, February 10, 2009
An American Carol (2008)
This farcical take on the Dickens' tale, stars a strange cast that includes an aged Kelsey Grammer, Jon Voight, Leslie Nielson, Trace Adkins, Kevin Sorbo, and Dennis Hopper. Kevin P Farley is documentary film maker Michael Malone. His extreme anti-American sentiment has made him the hero of terrorist and they set out to recruit him to improve their image by directing their new recruitment video. On the eve of his Abolish the 4th of July rally, Malone is visited by General George Patton (Grammer), George Washington (Voight), and the Angel of Death (Adkins).
You know the story, but have you ever seen the train wreck? An American Carol is a joke itself. Yes, it succeeds in lazy humor and slight pokes at both the extreme right and left. The biggest surprise is the odd bunch of celebs that pop up. It's crazy and truth be told, that's the only {and funniest} reason to see it. Grammer as Patton--gets the best lines and the ACLU zombies are hysterical.
An American Carol is an easy going spoof. Director David Zucker had to have some stones to not only release something so crazily Pro-America and something to utterly half-assed. As I see it, the film is harmless and sadly, forgettable.
You know the story, but have you ever seen the train wreck? An American Carol is a joke itself. Yes, it succeeds in lazy humor and slight pokes at both the extreme right and left. The biggest surprise is the odd bunch of celebs that pop up. It's crazy and truth be told, that's the only {and funniest} reason to see it. Grammer as Patton--gets the best lines and the ACLU zombies are hysterical.
An American Carol is an easy going spoof. Director David Zucker had to have some stones to not only release something so crazily Pro-America and something to utterly half-assed. As I see it, the film is harmless and sadly, forgettable.
Sunday, February 8, 2009
The Grammys (2009)
Post-Grammy reactions, anyone?
- THANK YOU, BONO!! Love the look, but more important, finally a song without socio-political bullsh*t. YEAH!! Still think the name of the song should've been 'Sexy Boots', but I LOVE it all the same. Hope this is a sign of thing to come off of No Line On the Horizon.
- Whitney Houston?! What a novel idea. You look fabulous--now how 'bout an album?!
- Coldplay... finally another moment in the sun. Love the continued digs on Sir Paul. "More of a limestone kinda rock, you know" EAT it, Metallica!! PLEASE come back to Nashvegas in 09. PLEASE!! {My year would be complete.} Chris & Co., if you have to lose, at least it's to Robert Plant.
- The entire show was a pleasant and riveting surprise. Filled with performances by decent, and sometimes brilliant artists, the show didn't feel chintzy and it wasn't lame.
- You just watch... Plant and Krauss are totally hooking up. Their chemistry is amazing. Did you see the way he kissed her?! Twice!!
- Sir Paul--that was brilliant! Saw Her Standing There is a classic and seeing Grohl jamming out behind you. Too cool.
- Katy Perry, seriously?! The song, like VD, is certainly infectious. What a get-up?! Way to go, CBS! Subversive and seemingly harmless. Nice.
- Radiohead. I think an iTunes purchase is in my future.
- Blink-182 and Green Day are both staging comebacks. Quick, make 'em stop.
- Swagga?! Are you kidding me?! M.I.A.--disgusting. Show some respect for yourself. Get your trashy a$$ back in the house, show some class. Kanye, Lil Wayne, Jay-Z, T.I.--guys, you're not helping your arguement.
- Neil Portnow, nobody cares...
- Juno wins for best compilation; The Dark Knight scores for score; WALL*E for best song/best instrumental arrangement; John Williams for composition for The Mutt Chronicles (Indiana Jones and the Kingdom of the Crystal Skull).
As I see it, a nice Sunday evening.
Sisterhood of the Traveling Pants 2 (2008)
The beloved sisterhood is standing strong as Bridget (Blake Lively), Lennie (Alexis Bledel), Tibby (Amber Tamblyn), and Carmen (America Ferrera) head out for their first year of college. Despite the distance, the four girls remain united by the pants and as each girl faces new challenges in their lives, one thing remains the same, their friendship.
The sequel to 2005's tweener hit is harmless and dull. Sisterhood of the Traveling Pants 2 is steeped in Disney-esque fantasy as each girl has amazing opportunities without the hard work. Bee gets to intern in Turkey with an archaeologist, but decides to bail to rediscover her roots in Alabama. Lennie bails on summer art camp to return to Greece and reconnect with Kostas. Tibby has a pregnancy scare. Carmen deals with drama at theatre camp.
There is no substance here and unlike the first movie, this one does not contain anything remotely relatable. The attempts at life-changing drama come across half-hearted. Exploring relationships with uber-politically correct boyfriends during their freshman year. There are attempts at subplots that I'd have rather been explored instead of this inane mess.
All four young actresses are engaging and work well considering the screenplay. Blake Lively is something to watch as is America Ferrera. I just with these girls had more to work with.
Sisterhood of the Traveling Pants 2 has an unfaltering air of ridiculousness that annoys the Hades out of me. Everything is entirely too pretty; the four stories don't provide any true depth to our beloved characters. Ultimately, the friendship is really sacrified. For that reason, I'd recommend leaving this one alone.
The sequel to 2005's tweener hit is harmless and dull. Sisterhood of the Traveling Pants 2 is steeped in Disney-esque fantasy as each girl has amazing opportunities without the hard work. Bee gets to intern in Turkey with an archaeologist, but decides to bail to rediscover her roots in Alabama. Lennie bails on summer art camp to return to Greece and reconnect with Kostas. Tibby has a pregnancy scare. Carmen deals with drama at theatre camp.
There is no substance here and unlike the first movie, this one does not contain anything remotely relatable. The attempts at life-changing drama come across half-hearted. Exploring relationships with uber-politically correct boyfriends during their freshman year. There are attempts at subplots that I'd have rather been explored instead of this inane mess.
All four young actresses are engaging and work well considering the screenplay. Blake Lively is something to watch as is America Ferrera. I just with these girls had more to work with.
Sisterhood of the Traveling Pants 2 has an unfaltering air of ridiculousness that annoys the Hades out of me. Everything is entirely too pretty; the four stories don't provide any true depth to our beloved characters. Ultimately, the friendship is really sacrified. For that reason, I'd recommend leaving this one alone.
Friday, February 6, 2009
The Shadow (1994)
In 1930's New York, reformed criminal Lamont Cranston (Alec Baldwin) is a pretty playboy by day, much to his uncle's (Jonathan Winters) chagrin, and a crime-fighting hero by night. Trained by a Tibetan mystic, Cranston has mastered the art of mind control to defend New York for gangsters and hood. Cranston meets his match in the lovely Margo Lane (Penelope Ann Miller) debutant and daughter of Dr. Reinhart Lane (Ian McKellen). Margo is outspoken and impervious to The Shadow. With the help of Margo and cabbie sidekick (Peter Boyle), Cranston must fight Genghis Khan's descendant Shiwan Khan (John Lone) who is determined to rule the world.
The Shadow is delightfully campy and melodramatic. Reminiscent of film noir with a splash of Joel Schumacher, The Shadow embraces its roots and celebrates them. Thanks to an amazing ensemble cast that delivers solid, if cheeky, performances, the film is an underrated gem that few have seen. Baldwin is pitch perfect, as is Miller, but stealing the show is Tim Curry as Farley Claymore.
The production is nicely stylized and the special effects are mild, but charming. 1930's era New York is lavish and engaging. Our characters beautifully attired. The film moves at a nice clip, advancing characters and the outlandish plot quickly but without sacrificing any element. The dialogue, equal parts humor and drama, is easily a highlight of the film.
My love for The Shadow is unwavering. Sure, it's not particularly award-worthy or even technically spectacular, but as I see it, The Shadow is what you want in a movie--it's entertaining. Oft-overlooked and completely enjoyable, The Shadow is deserving of another chance from the fickle superhero fans.
The Shadow is delightfully campy and melodramatic. Reminiscent of film noir with a splash of Joel Schumacher, The Shadow embraces its roots and celebrates them. Thanks to an amazing ensemble cast that delivers solid, if cheeky, performances, the film is an underrated gem that few have seen. Baldwin is pitch perfect, as is Miller, but stealing the show is Tim Curry as Farley Claymore.
The production is nicely stylized and the special effects are mild, but charming. 1930's era New York is lavish and engaging. Our characters beautifully attired. The film moves at a nice clip, advancing characters and the outlandish plot quickly but without sacrificing any element. The dialogue, equal parts humor and drama, is easily a highlight of the film.
My love for The Shadow is unwavering. Sure, it's not particularly award-worthy or even technically spectacular, but as I see it, The Shadow is what you want in a movie--it's entertaining. Oft-overlooked and completely enjoyable, The Shadow is deserving of another chance from the fickle superhero fans.
Thursday, February 5, 2009
Get Smart (2008)
When the secret identities of CONTROL agents are compromised, the Chief (Alan Arkin) enlists uber-analyst Maxwell Smart (Steve Carell) to become Agent 86. Teamed with the only special agent who's cover remains intact, Agent 99 (Anne Hathaway), they must overcome drastic--she's deadly, he's bumbling--differences in order to stop the shady terrorist organization known as KAOS and their operative, Siegfried (Terence Stamp) from unleashing nuclear missiles.
Allow me to preface this review by stating that I come into this movie completely blind, vaguely aware that this movie is based on a classic TV sitcom. I can't say how the movie compares to the series. What I will say is Get Smart is a surprisngly effectual comedy/spy caper that {surprisingly} entertains.
Steve Carell leads the stellar cast as Max. Playing a government analyst who takes his job more than seriously, Carell is pitch perfect. While he has a tendency to play shades of his Michael Scott in all his roles, you won't find that here. Carell walks the fine line of comedy/drama nicely. Even the suit takes on new meaning. Anne Hathaway is a surprise, but a solid choice as Agent 99. Stylish, charming, and effective, Hathaway has a great sense of timing. The chemistry between the two is believable, if corny. Her seriousness is great foil to his ineptitude.
The supporting cast is stacked with a blend of seasoned veterans, character actors, and Carell sidekicks. Dwayne Johnson takes a turn as Agent 23. Bill Murray gets in a cameo as Agent 13. James Caan, Masi Oki, Patrick Warburton, and David Koechner pop-up in various roles. Alan Arkin as the Chief is remarkable. Arkin maintains a poise throughout the chaos and seemingly adds an overall validity to the film.
With a vague storyline, Get Smart never reaches to far. Director Peter Segal seems content to entertain and allow the film to become the Steve Carell vehicle it is. But for all that, Get Smart contains some surprisingly slick action sequences. Carell and Hathaway deliver beautifully. Segal cobbles together exotic locals, physical comedy, funny dialogue and laudable villains for a good balance of nonsense and energy.
There are some inspired periods of humor that I hesitate to give away. Alan Arkin's tirade of 'nuclear' kills me. And there must be some tremendous send-ups to the original series based on the reaction of a certain family member. I can't imagine any viewer not coming away without a smile.
As I see it, Get Smart is simply an entertaining spoof. I was pleasantly surprised. Get Smart manages to rise above average thanks to inspired performances from all; it feels genuine.
Allow me to preface this review by stating that I come into this movie completely blind, vaguely aware that this movie is based on a classic TV sitcom. I can't say how the movie compares to the series. What I will say is Get Smart is a surprisngly effectual comedy/spy caper that {surprisingly} entertains.
Steve Carell leads the stellar cast as Max. Playing a government analyst who takes his job more than seriously, Carell is pitch perfect. While he has a tendency to play shades of his Michael Scott in all his roles, you won't find that here. Carell walks the fine line of comedy/drama nicely. Even the suit takes on new meaning. Anne Hathaway is a surprise, but a solid choice as Agent 99. Stylish, charming, and effective, Hathaway has a great sense of timing. The chemistry between the two is believable, if corny. Her seriousness is great foil to his ineptitude.
The supporting cast is stacked with a blend of seasoned veterans, character actors, and Carell sidekicks. Dwayne Johnson takes a turn as Agent 23. Bill Murray gets in a cameo as Agent 13. James Caan, Masi Oki, Patrick Warburton, and David Koechner pop-up in various roles. Alan Arkin as the Chief is remarkable. Arkin maintains a poise throughout the chaos and seemingly adds an overall validity to the film.
With a vague storyline, Get Smart never reaches to far. Director Peter Segal seems content to entertain and allow the film to become the Steve Carell vehicle it is. But for all that, Get Smart contains some surprisingly slick action sequences. Carell and Hathaway deliver beautifully. Segal cobbles together exotic locals, physical comedy, funny dialogue and laudable villains for a good balance of nonsense and energy.
There are some inspired periods of humor that I hesitate to give away. Alan Arkin's tirade of 'nuclear' kills me. And there must be some tremendous send-ups to the original series based on the reaction of a certain family member. I can't imagine any viewer not coming away without a smile.
As I see it, Get Smart is simply an entertaining spoof. I was pleasantly surprised. Get Smart manages to rise above average thanks to inspired performances from all; it feels genuine.
Wednesday, February 4, 2009
Say it ain't so...
Heard this news?! Live Nation and Ticketmaster are in talks for a merger. Both companies have an element that does work. Live Nation may manage multiple facets of the music industry, i.e. album sales, concerts, merch, and licensing, their ticket platform sucks. In contrast, Ticketmaster can't seem to make a profit on anything but tickets. So this should be a match made in heaven, right?! If you're a shareholder maybe.
Should the merger come to fruition, you are looking at a uber-billion dollar music monopoly. Imagine the return with as many different income producing areas per artist. It's insane. All this is well and good, again for the shareholder.
No matter the anti-trust laws, this merger is bound to happen and when it does Joe Concertgoer-Downloader is screwed. The music industry was a one-trick pony--albums. Now, in the digital era, the industry is scrambling to stay relevant and with the buying power truly in the music lover's hand, the industry is grasping at the feathers of the golden goose.
With Live Nation Ticketmaster, price increases across the board would be inevitable. Whether in the form of additional 'convenience' fees {airlines, people} or straight up increase, tickets for shows would increase two. And while merchandising and licensing fees would possibly be in-house, we, the consumer, would not be on the receiving end of lower prices. Additionally, imagine the dreck {artists or merch} that could be packaged and sold as 'music'. Informed consumers already have to wade through the constant barrage of mediocrity to find true gems.
Skepticism is key with this transaction. Neither company is in real fiscal trouble, both are simply trying to increase market share. The consumer will be the one to truly lose out.
Should the merger come to fruition, you are looking at a uber-billion dollar music monopoly. Imagine the return with as many different income producing areas per artist. It's insane. All this is well and good, again for the shareholder.
No matter the anti-trust laws, this merger is bound to happen and when it does Joe Concertgoer-Downloader is screwed. The music industry was a one-trick pony--albums. Now, in the digital era, the industry is scrambling to stay relevant and with the buying power truly in the music lover's hand, the industry is grasping at the feathers of the golden goose.
With Live Nation Ticketmaster, price increases across the board would be inevitable. Whether in the form of additional 'convenience' fees {airlines, people} or straight up increase, tickets for shows would increase two. And while merchandising and licensing fees would possibly be in-house, we, the consumer, would not be on the receiving end of lower prices. Additionally, imagine the dreck {artists or merch} that could be packaged and sold as 'music'. Informed consumers already have to wade through the constant barrage of mediocrity to find true gems.
Skepticism is key with this transaction. Neither company is in real fiscal trouble, both are simply trying to increase market share. The consumer will be the one to truly lose out.
Tuesday, February 3, 2009
Bonus Feature: CD
But February made me shiver, with every paper I'd deliver. Bad news on the doorstep; I couldn't take one more step. I can't remember if I cried, when I read about his widowed bride, but something touched me deep inside, the day the music died.50 years ago today, Buddy Holly, the young promising Texan and leader of the melody makers known as the 'Chirping Crickets' died needlessly. A founding member of rock and roll and an inspiration to nearly everyone, Buddy Holly's legacy continues to influence and inspire.
The Chirping Crickets, the group's debut album was released in November 1957. Housed in twelve unassuming tracks, was a rare intensity and energy. Holly along with fellow Texans, Larry Welborn and Jerry Allison {SHOUT-OUT!} and Cal native Niki Sullivan brought a new and unbridled sound to vinyl.
That'll Be the Day skyrocketed the group to stardom It's here in all it's glorious simplicity with Holly's Fender Strat laying it down. {This would also be the first song The Beatles would record.} With a simple back beat and sweet harmony, That'll Be the Day is stunning.
Each of the songs consists of simple formula. It's Holly's vocals, those harmonies, that Strat... it's just incredible.
Now, decades later, it's amazing to me what an impact Holly and his raucous, simplistic styling had and continues to have. Listen to the original. You won't be sorry.
Monday, February 2, 2009
2008: In review
2008 was a year of much needed escapism. How else do you explain Twilight and Indiana Jones?! 2008 was also a year of abundant mediocrity in film and while The Dark Knight and Iron Man probably deserve a spot on my end of the year list, I--like most Americans--am tightening my belt. The Top Ten become the Top Five. Unapologetically, here are my most memorable films of 2008.
- Tropic Thunder ~ An ensemble cast delivers biting satire and sharp dialogue in a riotous FU to Hollywood {and the easily offended}. Downey Jr and Cruise easily upstage Ben Stiller, but it's the little things {Simple Jack, Lance, and 'Sandusky} that make it better worth coming back for more.
- Wall*E ~ Only Pixar could coat bitter social truths in a ridiculously cute robot that we all could swallow.
- Cloverfield ~ Remember this one? I do. You should.
- The Curious Case of Benjamin Button ~ Dull? Hardly. The one-two of Pitt/Blanchett and love/mortality makes a beautiful thing.
- Gran Torino ~ If this is Clint Eastwood's swan song, he goes out swinging.
Addendum 03.01.09 ~ In Bruges hereby offically added to my favorites list of 2008. I loathe to knock Eastwood off, so I'm just going to squeeze In Bruges right between Pitt and him.
Honorably Mentionables:
- The Bank Job
- Burn After Reading
- Be Kind Rewind
Surprises: Wow, that was nice.
- Nick and Norah's Infinite Playlist ~ One last hurrah for days of youth. This time next year, I'm gonna hate 'whippersnapper' movies.
- Young @ Heart ~ In an society that celebrates youth, this film should make us ashamed that we confine such vigor and allow the youth of the mind to go to waste.
- Ghost Town ~ An off-kilter romantic comedy that really works.
Ho-Hums: Oh, what could have been.
- Indiana Jones and the Kingdom of the Crystal Skull
- Hancock
- Appaloosa
Duds: So bad, I beg you... PLEASE don't watch them.
- The Happening ~ Easily my biggest disappointment of the year.
- Semi-Pro
- Meet Bill
Sunday, February 1, 2009
The Killers (2009)
Overheard at The Killers concert:
- You want some of my coke?
- I hate the saxophone. It's got to be the worst musical instrument ever.
- Kiss your date.
- I aint kissing Steve.
- If this is a bunch of gays, I'm outta here.
- I've got 325 TV channels and I'm here?!
- I could be home playing Rock Band.
If anything, The Killers concert at the Opry House was a riotous bliss. Brandon Flowers and Co rocked the house with a set that included 9 of their newest tracks from Day and Age and all their hits. Playing to a comfortably packed house and an audience that could sing along to every song, The Killers brought an infectious intensity that rocked the House.
Flowers is an engaging frontman seemingly playing to each audience member. Emerging with the now infamous {I like it} feathered jacket, Flowers didn't waste a minute.
What a memory! Neon Tiger and Joy Ride take on new meaning and The Killers cement themselves {in my eyes} as a {more than} legitimate band since they can play live so well. You should've been there.
Special shout-out to my companions for the evening!!