Lost in Austen (2008)

"Are the halls of Pemberly to be thus polluted?"

Dame Judi Dench as Lady Catherine de Bourg, Pride and Prejudice (2005)

Lost in Austen is an abomination, a travesty. Devotees of Austen and her beloved novels will find this TV mini-series to be a sacrilegious assault on their senses.

Amanda (Jemima Rooper) is a modern Londoner who takes solace is Jane Austen's 19th Century world. When she has the chance to swap places with Elizabeth Bennett, Amanda doesn't realize the magnitude of the event. Her arrival quickly begins to reshape one of the world's greatest love stories.

Lost in Austen is all wrong. The casting is poor; creating insulting caricatures of these literary couples. Lizzie has no personality. Mr. Darcy is beyond boorish. Mr. and Mrs. Bennett engage in a role reversal. Mr. Collins reeks of a child molester. Catherine Bingham is lesbian... it's all wrong... horrible wrong. The dialogue is lewd when juxtaposed against Austen's society. The production is classless.

There is nothing redeeming here. There is no kindness or gentility. It's ignorant, silly, and horribly clichéd. It's Austen--chick flick-ified. As I see it, Lost in Austen must be avoided at all costs!

Les Choristes (2004)

Former music teacher, turned prefect Clement Mathieu (Gerard Jugnot) arrives at Fond de l' Etang (translation: Bottom of the Well) to discover an abusive headmaster (Francois Berleand) and a boys only boarding school filled with orphans and hoodlums. The headmaster's motto: action=reaction is in direct conflict with Mathieu optimistic nature. Immediate distrust of headmaster earns Mathieu a shaky truce from the group of rag-tag boys. Sensing an opportunity to build up young lives, Mathiew forms a chorus to change the course of the young boys lives and in turn may lose his own.

Les Choristes is a gentle drama that celebrates triumph over adversity. Perhaps it is formulaic, but this French blend of Mr. Holland's Opus and Dead Poet's Society is beautiful. Warming the heart and tearing the eye, Les Choristes is a vibrant, human story.

The production of this French import is reminiscent of an old scrapbook. The Chorus is awash in muted, sepia tones with detailed costuming and weary settings of 1945. It's nicely aged without being intrusive. In retrospect, director Christophe Barratier's makes assumptions during the course of the film to stay on task, but overall his debut is thoughtful and satisfying.

The film would be nothing without the glorious voices of the boys. It's the true highlight. The boys (who according to the film's credits are not actors, but actual choral members) come alive with amazing results. In stark contrast to their surrounds and overall existence, these boys command such power with their voice--it's wonderfully chilling. Young soprano Jean-Baptiste Maunier, with his innocent face and expansive brown eyes is an angel.

Don't let the film's 'foreign' status, keep you from seeing a genuine story. As I see it, Les Choristes revel in exactly what it is: a simple tale of faith and hope.

The Others (2001)

Fierce Catholic Grace Stewart (Nicole Kidman) lives in an old house with curtains pulled shut because her two children, Anne and Nicholas have a sensitivity to light. After Grace hires on new help around the painfully quiet home, strange things begin to occur. When her children begin to talk of intruders, Grace decides to fight in order to protect her children.

Writer-director Alejandro Amenabar brings an effectual thriller to the screen in The Others. He replies solely on interpretation as he brilliantly manipulates his viewers. Much like The Sixth Sense, The Others lives for the epiphany that will change how you see the film.

The performances here are solid. Nicole Kidman is perfectly cast. She fits well into the period and plays cold/reserved well. The two children are equally whiny and naughty.

The Others works because it is perfectly creepy. With rolling fog that surrounds the estate, three morose servants (with Fionnula Flanagan (Lost, Four Brothers) leading the way), and enough shadowy corners and creaky door jams... the film is equal parts claustrophobia and Hitchcockian fright.

If the film has one detractor, its the length. Amenabar drags the film on in an attempt to build more thrills and an unfulfilling subplot with Christopher Eccleston (coming this summer as Destro!!).

The Others is a clever cerebral piece that delivers good scares and an even better a-HA! moment. The downside... you can only watch this one once.

Bonus Feature: CD

All it takes are the opening strains of Caleb Followill against the smoky riffs in Closer to know you're on to something cool. In their fourth album, Only_By_The_Night, Kings of Leon have blended a fresh mix of blues, rock, and pop. Steeped in simple rhythms and bluesy guitars, the album is heroin for the ears.

Sex on Fire, the first single, is slowly gaining recognition. It was the catalyst for the album purchase. Sexy cool, Caleb's vocals are part Bono, part Greg Allman. It's remarkable. Even better was that this song was only the beginning. The album didn't suck!! YEAH!!

Sex on Fire leads to a Revelry. A beautifully textured track that highlights Caleb's post-70s burnt voice. The kid is channeling Greg Allman. 17 follows up with a bluesy wail courtesy of cousin Matthew.

There's not a bad song on the album--the tracks are seamless. Harder rocking tracks are kept to the first half of the album, but Kings of Leon finish strong with Notion (my early favorite) and bass-heavy I Want You (favorite too) whose chorus just dares you to slow dance. The final number, Cold Desert is a riff heavy blues piece that aches.

Only_By_The_Night is easily one of my favorite albums from last year that continues a heavy rotation in and out of the car. It stands in stark contrast to U2's meager offering earlier this year. It pains me to say, but after hearing this, I can't help think... this is the album Bono could have made.

Australia (2008)

Lady Sara Ashley (Nicole Kidman) leaves England and travels to the dusty Australian Outback to take hold of the dream her deceased husband once had. She arrives to find a sprawling ranch that has seen better days. When threated by a local land baron and competior, Ashley makes a reluctant pact with Drover (Hugh Jackman), a roughshod cattle rustler to drive a head of cattle through unforgiving territory. Add Nullah (Brandon Walters), a 'magical' child of mixed race (white father/Aboriginal mother) who steals the heart of Lady Ashley, the Japanese bombing of Dawin's harbor at the turn of WWII and you have a film of grandiose proportions.

Australia is a melodramatic period epic that indulges writer/director Baz Luhrmann. He starts with good intentions, but ultimately becomes mired in his own imagination. The sweeping cinematography provides gorgeous renderings of the landscape and that is Australia's redeeming quality.

Kidman and Jackman are beautiful onscreen. They manage average chemistry, but neither own their performances well enough to make us care. David Wenham has a nice turn as a clichéd baddie.

The trials of this tenacious trio are predictable and never quite achieve Luhrmann's intentions--which I think is a romanticized historical drama. Australia suffers from a massive identity crisis. Is it an epic romance? Adventure? Or a piece to memorialize the disgraceful treatment of the Aboriginals? Instead of culling the nation's history, Lurhmann packs his film in an attempt to make it as interesting as the country and fails miserably. There's enough information here for a trilogy.

As it is, Australia plays out at two films. The first half focuses on Ashley and her, ahem, adjustment to the rugged state of affairs. The second half focuses on the war and how it effects Ashley's state of affairs. Neither part does right by it's actors.

Lurhmann gets two things right. The cinematography and production values are top-notch. He knows how to build a frame and set stunning images on fire. The score is a little too melodramatic to be of much good.

I loathe to say it, but as I see it, Australia is an epic cliché. It's not great; it's not bad. It's simply average.

The Reader (2008)

As a teenager, Michael Berg (David Kross) was involved with an older woman (Kate Winslet). The affair ended when Hanna Schmitz disappeared. Years later, Michael is a law student and encounters Hanna as a defendant on trial for Nazi war crimes. Older Michael (Ralph Fiennes) reflects on his relationship with Hanna and how little he realized that erotically-charged summer shaped his life.

The Reader is a beautiful, poignant drama set across decades. Beginning in post-WWII Germany, the film traces a random act of kindness that forges an unforgettable connection. The film is a brilliant success thanks to a wonderfully written screenplay and powerful performances.

Newcomer David Kross executes a memorable role as young Michael. He blossoms onscreen. As a child who has discovered a secret treasure; then as a self assured teen-confident, yet still questioning acceptance. But it's his turn as the college aged, law clerk Michael that he speaks volumes. Kate Winslet {in an award deserving role} as Hanna equally riveting. She is cold, yet kind. Austere and matter-of-fact, yet loving. She is an enigma that puzzles Michael and the viewer. Winslet is brilliant. Ralph Fiennes' performance is eerily subtle, yet monumental.

Under the direction of Stephen Daldry (Billy Elliot, The Hours), this adaptation unfolds gently. Opening with a charged sensuality and a chilling urgency, The Reader captivates. Then Hanna disappears and our film slows to that of a memory. The cinematography is quietly rendered with power to evoke such strong feeling. Considering the drama's heady blend of morality, Daldry nails each frame so genuinely, the film is powerful.

It is in the final act between Michael and Hanna that the weight of our choices are forever remembered. This scene alone is worth the price of admission.

Masterful performances in which every word, look, and detail illuminate our characters make The Reader a must-see of 2008.

Blue Velvet (1986)

Jeffrey Beaumont (young Kyle MacLachlan) has returned to his small town to help out while his father recovers from a heart attack. While walking home one day, he discovers a severed ear. Curiosity gets the best of him and before long Jeffrey is mixed up in a local murder mystery that involves nightclub diva, Dorothy Vallens (Isabelle Rossellini), coked-out weirdo Frank (Dennis Hopper) and a myriad of two-bit players.

Critical acclaim and EW's ranking of Frank Booth as #13 of their Top 20 Villains drove me to Blue Velvet. In the words of OMC, "How bizarre!" After viewing, I take issue with two things: How in the H-E-double-hockey-sticks did Frank Booth even get a mention on EW's {Iss 1041} list and more importantly, what is this movie about?!

Blue Velvet is aiming to take you behind the curtain of Small-town, USA, but writer/director David Lynch can't seem to focus long enough on anything to make a cohesive story. Random events are occurring in Lumberton and magically they are interconnected because some freak with arresting mommy issues keeps some aged dame's family hostage?! Excuse me?!

Insipid and cruel, Blue Velvet is disturbing. Lynch is content to shock versus examine events that shape the human condition. The cast provides solid performances that I cannot overcome. To think Rossellini subjected herself to such trash is maddening. Hopper is laughable where I think abhorrence is best served. MacLachlan is steady and fresh-faced Laura Dern hasn't aged a bit.

There is a sense of surrealism that I can only liken to A Clockwork Orange. But unlike Kubrick's film which contains human emotion that begs examination; Lynch's film is vile and tasteless.

Blue Velvet, a classic? Not in my book.

Bonus Feature: CD

Devoid of liner notes, images, or special thanks, The Killer's Bonus Trax CD is a genuine treat. In limited release, courtesy of Stormtrance, consider yourself lucky to get a copy of this collection of B-sides, covers, collaborations, and the like.

Simple handwritten track titles belie an explosive blend of tunes. Although I'm partial to Flowers and Co cover of the Bright Eyes song Four Winds--there's so much more here. Tidal Wave is a gentle caress that belongs on Day and Age. Forget About What I Said is a hook-filled, radio-friendly track that won't see the light of day that throws back to Hot Fuzz.

Three holiday tracks are smashed in the middle of the 14 song mix. Joseph, Better You Than Me features Elton John and Neil Tennant. Beautifully rendered, the song highlights gorgeous vocals from all three. This holiday single was released last year continuing the tradition of digital downloads from the band. Fans may remember proceeds benefited Bono's Project Red campaign.

I'm going to sound like a broken record, but there's not a bad song on the disc. Tell Me It's Not Over Yet is another favorite. The origins of this piece are unknown {Stormtrance, jump in}, but it is a wonderfully danceable and wickedly singable track.

Just when you think it couldn't possibly get better, The Killer's whip out Replaceable {see Sam's Town} and Waiting for Love which contains a danceable wall of sound.

Rounding out the disc is Soft Surrender and Desperate. With the synth wailing and grooving bass, I dare you not to move.

The Killer's Bonus Trax CD is a must own for fans of the band. Special thanks to Stormtrance!!

Ricky Gervais: Made in England: The Stand-Up Special (2008)

Ricky Gervais, the genius behind The Office and Extras finally gets his own HBO special. Made in England cements Gervais as stand alone funny. His take on current events and tackling 'taboo' is acerbic and entirely worth seeing.

His everyman attitude belies a sharp wit that kills. Gervais examination of America's obesity epidemic is spot-on. He makes life's little events humorous like you can't imagine and with an occasional British F-bomb for emphasis, Gervais is charming. The fictional conversation between Hitler and Nietzsche hits the spot. As does the coast guard and elephant interaction. He plays to social issues and their respective uncomfortable pauses.

Gervais' technique isn't rapid fire humor; rather it's a gentle story-telling that delivers a hearty laugh. Made In England is a nice outlet for Gervais. With his wonky teeth and disarming smile, Gervais gets to be everyman's best mate.

Wilde (1997)

If this BBC production is to be believed, Irishman Oscar Wilde was a poet, playwright, father, homosexual, and a foppish bore. Wilde traces the story of Oscar's (Stephen Fry) rise to fame as one of England most gifted writers. His advantageous marriage to Constance (Jenniger Ehle) gave way to numerous escapades with young men (Ioan Guffard, an uncredited and very young Orlando Bloom, Michael Sheen). It's the torrid affair with Lord Alfred Douglas (Jude Law) that ultimately brought about his downfall.

Stephen Fry phones in his performance of Wilde. What a disappointment. Other than a pert accent and lilting swagger, the viewer sees no other effort from Fry. The entire cast is aloof and in turn, the film becomes an annoyance.

The film parks on Wilde's self-realization of homosexuality leading the drama to take on a sense of voyeurism. Poorly executed attempts are homo-eroticism are laughable and compound Wilde's issues.

As period dramas go, Wilde is lavishly produced with sweeping detail. If it weren't for the irritating cast, it would be enjoyable to look at. Alas, everything is marginalized by Fry's disinterested performance. There is nothing to see here. Nothing at all.