American Masters: Neil Young: Don't Be Denied

It was by chance that I caught this documentary on the 'grandfather of grunge' Neil Young. Wow! It's not everyday you get the chance to sit at the feet of a visionary. This doc, told by Young himself, examines his unflinching dedication to the art.

Loaded with unseen, archival performances with untold personal reflections, Don't Be Denied is a portal to Young's very soul. Collaborators like James Taylor, Nils Lofgren, Stephen Stills, David Crosby and Graham Nash add insight on the man.

From his short lived band Buffalo Springfield to Crazy Horse to CSN&Y, Young is unapologetic--cocky, even--as he relates his experiences throughout his career. Always moving forward, refusing to languish in what critics and fans say, Neil Young is refreshingly blunt.

Examining everything--from his multi platinum After the Gold Rush to his experiments with Devo in the 80s and even his protest album, Living with War, Young is conversational and AWESOME.

Neil Young: Don't be Denied is a MUST-SEE for any self-respecting music fan, but of particular interest to fans of this ICON.

Angels & Demons (2009)

When the sudden death of the Pope is followed with threat of more deaths from the once thought extinct sect known as the Illuminati, the Vatican summons Dr. Robert Langdon (Tom Hanks) to help locate the missing Cardinals on the eve of Conclave. Racing against time, Langdon and CERN scientist Vittoria Vetra must discover the Path of Illumination to uncover the conspiracy before the Illuminati show the world that science has triumphed over religion.

The follow-up to 2006's polarizing, yet average thriller The DaVinci Code, Angels & Demons is more of the same. Director Ron Howard with the help of writers Akiva Goldsmen (A Beautiful Mind, I am Legend) and David Koepp (Ghost Town, Jurassic Park) has taken Dan Brown's book and woven a far-fetched conspiracy that is blatantly obvious and uninspired. Still, view the film as a summer distraction and Angels & Demons will entertain.

Tom Hanks fits the role of symbolist Dr. Robert Langdon perfectly. Not too interesting, but smart. Hanks wears most of his role on his face--with a continually furrowed brow. Nicely accented Ewan McGregor as Camerlengo Patrick McKenna is an solid choice. His role, though obvious, is an asset. Dr. Langdon's unnecessary assistant, this time played by Ayelet Zurer, quickly becomes a vehicle for nothing.

Director Howard does keep the film well-paced, if not fully reasonable. He is masterful at keeping the viewer informed through Dr. Langdon's ability to explain, in length, a myriad of fallacies, legends, and truths while racing at a break neck speed.

It's the opulent settings of Vatican City and Rome that are most fascinating--trust me, you know how the story ends.. From the opening sequence, the visual are stunning. Howard's command of each frame is beautiful. In turn the architecture and history of the locale is rendered gorgeous. Also of note, the elegant score by Hans Zimmer--easily the film's highlight.

In the midst of the conspiracy, our dialogue drifts to the examination of faith and science. Can they coexist? By their very nature, faith and science are essentially oil and water. Howard's subtle shift in the story is flawless; he maintains a neutrality that is commendable. Instead, he allows Dr. Langdon's interactions between the Camerlengo (His Holiness' right hand, essentially) and Cardinal Strauss (exceptional Armin Mueller-Stahl: see Eastern Promises) to be our examiners. Howard not only dares to provoke, but also provide more character development than the entire Da Vinci Code.

As I see it, Angels & Demons is an entertaining, harmless summer movie, but one that is highly rentable. Save your dollars for the must-see!

Postscript 12.22.09 ~ I rented it.  I am disappointed in the obviousness of the entire thing.  There are great characters here, but Howard build on them enough to create the believable myth herein.  It entertains only if you check you brain at the door.

8 Mile (2002)

Aspiring rapper and white boy, Jimmy "B-Rabbit" Smith (Eminem) is from the wrong side of Detroit's 8 Mile. Jimmy struggles with the knowledge that he is better than his meager surroundings. His life takes a turning point when Jimmy decides to confront the fear that has held him captive for so long.

This is not normally a film genre that I would choose, but given the current Relapse by Eminem, I decided to examine the fictional tale of B-Rabbit that is based upon the rapper's own upbringing. Never has a film felt so empty and bleak.

8 Mile plays dark, gritty, and with an overwhelmingly emptiness that one struggles to cope with. Eminem gives a solid performance as B-Rabbit and quite frankly, shadows the true actors here. The rapper wears a badge of frustration and anger at life in general. It's a beautiful character study--you can see the hardship written across his face, carried on his shoulders, and tattooed on his heart. Kim Basinger, Brittany Murphy, and Mekhi Phifer support. All are adequate, but this genuinely is Eminem's show.

Kudos to director Curtis Hanson (Adaptation, The River Wild, L.A. Confidential) for retaining an authenticity--like I would know anything about that. The essence of the film is ugly, again bleak, is the preferred descriptor. From the ground up, Detroit/8 Mile feels oppressive, cold, bitter, and lonely. These are essential components as our protagonist thrives on those feelings to create his outlet.

Of course, the soundtrack is true to the genre. The rhythms of 'Lose Yourself' are woven throughout the film.

As I see it, 8 Mile is a solid film examining {for me} of a perplexing genre of music--how can such raw emotion and ugly lyrics exploding over simple beats be cathartic to a generation? Interesting. In another twenty years, just you wait, 8 Mile will stand alongside Purple Rain and Saturday Night Fever as an unforgettable soundtrack.

Welcome summer!

At 8.31 p.m. CST, I saw my first lightening bug of the season. Hello, summer.

Come back to me.

It's not the same since he's been gone. I spend more time with him than any other and I miss him. He makes me feel special and I miss the way he envelopes me each morning, ready for the day's adventure. I miss the way he smells mid-afternoon after the sun has beat down on him all day. The touch of warm leather, the clear melodies emitting from the speakers. I miss the way he cradles the road... strong and silent. It's been three days since Alfred went into intensive care and I want him back.

In his stead, is a cheap little number--a 2009 Hyundai Sonata. Don't slam the doors!! They might fall off. Sure, it may be new, but it screams average and Alfred knows I'm a whole lot more than average. It's some champagne gold color. I feel exposed, cheapened, less human.

Alfred, for the love of God, come back to me!! Until then, I remain humiliated--less than average in an average world.

Fanboys (2008)

A short time ago, in a galaxy not far away were a group of friends. Linus (Chris Marquette), Hutch (Dan Fogler), Windows (Jay Baruchel), Eric (Sam Huntington) and Zoe (Kristen Bell). When one is diagnosed with cancer, the friends embark on a road trip determined to allow Linus his last wish: to see Star Wars: Episode I: The Phantom Menace. Never tell them the odds. This group of fanboys won't let virginity, faulty power couplings or a rabid bunch of Trekkies from reaching Skywalker Ranch and ultimately seeing the film.

Set in 1998 (sigh, those were the days), director Kyle Newman submits the ultimate in nerd love. Fanboys is simply great fun that {gently} pokes at everything Star Wars fans {myself included} can relate to.

The 'average' cast of characters symbolize too much--I'm almost ashamed of myself. The camaraderie between the quintet is genuine all the way. Chris Marquette as Linus holds the group together, but it is Dan Fogler that steals the show.

So much of the set dressing is relatable for me-I couldn't help falling in love with this one. The boys take on their road trip in the A-Team van {of all things} decked out with some uber-special detailing. From the costuming to the soundtrack, director Newman evokes an awesome experience.

What's more the non-stop cameos from Star Wars alum Carrie Fisher, Billie Dee Williams and Ray Park add another layer of joy. Toss in a few more from it-boy Seth Rogan, William FREAKIN' Shatner, Roy and Darryl from The Office, Kevin James, Jason Mewes, Will Forte, and even Lou Taylor Pucci {somebody out there knows that one} and well... it's dork heaven. Kristen Bell is the one shot of estrogen and boy, does she deliver.

As if the cast, costuming, dialogue, and soundtrack isn't enough, director Newman delivers subtle and sometimes glaring tributes to the epic Lucas canon--THX and American Graffiti are first to mind.

The humor is sophomoric, sometimes crude, retarded and stereotypical. It's all the things you and I enjoy making fun {and secretly enjoy}. Fanboys celebrates the degenerate in all of us. For once, just go with it. Enjoy the movie at face value and you won't be disappointed.

As I see it, Fanboys is an unexpected gem of a movie. Fans of Star Wars, pop culturists, geeks... this is all you. I unapologetically enjoyed this movie.

Alice's Restaurant (1969)

Inspired by the 18 minute song by Arlo Guthrie, Alice's Restaurant is a meandering piece of hippie Americana that I cannot, in my right mind, recommend to general audiences or cinephiles. This is a true niche film that celebrates a generation. Alice's Restaurant, for the uninitiated, is the story of Arlo and his unorthodox way of avoiding the Vietnam War draft.

The film unfolds as a seemingly random series of events. Here's the gist. Long-haired hippie Arlo visits Alice for Thanksgiving. As a favor, he takes a VW Microbus full of trash to the local dump which happens to be closed for the holiday. In turn, he finds a ravine (already filled with rubbish) and tosses it all there. Paraded about as the scourge of society, Arlo's littering charge leads him to be declared 'unfit for service'.

Arlo Guthrie narrates the very embodiment of a generation. When viewed in context, Alice's Restaurant is very much a socio-political statement from a generation filled with hope for a better tomorrow. But if viewed otherwise, the film is tired, dated, and downright slumber-inducing.

As I see it, Alice's Restaurant is better known as a song, not a movie. But the film could easily stand alongside Easy Rider as a voice for a generation.

Fear and Loathing in Las Vegas (1998)

Journalist Raoul Duke (Johnny Depp) and his lawyer, Dr. Gonzo (Benicio Del Toro) go on a three day road trip from L.A. to Las Vegas in a drug-addled stupor. Sounds fun, right?!

WRONG!! Terry Gilliam directs this weirdly random comedy that centers around Duke and Gonzo tripping on a seemingly endless supply of drugs from acid to ether. As of fan of Gilliam's odd brand of humor and Johnny Depp's filmography, I expected to enjoy this unusual combination.

WRONG!! Fear and Loathing in Las Vegas is self-indulgent nonsense that wasted, fortunately, only twenty minutes of my time. If there was something to 'get', I didn't 'get' it. I suspect there wasn't and Depp's performance wasn't brilliant enough to make me care. Sorry, Johnny.

Gilliam's trademark visuals are there, but alas, the film isn't even fascinating like a train wreck. I could look away and I did.

As I see it, Fear and Loathing in Las Vegas is the ultimate WTF. Uninspired and unpleasant, you'd have to be drugged out of your mind to enjoy this messterpiece.

Russell Brand in New York City (2009)

Fresh on the heels of his scene stealing turn in Forgetting Sarah Marshall and freshly minted memoir comes Brand's comedy special. Russell Brand in New York City gives the unique Brand much deserved face time. Although he spends more time on his infamous MTV VMA foray than necessary, Brand delivers a brilliant turn as he examines the parallels of Britney Spears and elephants. His tirade on current events, particularly the Jonas Brothers is spot-on.

There's more to the glam comic that his bird-nest hair and kohl-rimmed eyes. Poking fun at the mundane and exposing the ludicrous, Brand's self-deprecating humor is wickedly funny.

The Rage in Placid Lake (2003)

From his first day of school--his hippie parents sent him wearing a dress to explore pre-conceived notions of sexuality--Aussie teen Placid Lake (Ben Lee) has been the target of bullies. Placid's intellectual superiority serves him well at graduation. His kiss-off to prep school bullies, his parents, and society in general finds Placid in a body cast for months. Much to his best mate and intellectual companion, Gemma's (Rose Byrne) chagrin, Placid decides to reinvent himself as normal. His parents are devastated, Gemma bemused, and Placid?! Well, he likes it--suit and all. Icarus Insurance soon finds its latest Fast Track managerial candidate. It's not until a chance encounter that Placid really embraces what he's known all along.

In the same vein of Garden State and Napoleon Dynamite, The Rage in Placid Lake channels a quirky vibe in a left-of-center rebel/misfit/coming of age story. Never taking itself too seriously, the film is content to meander as Placid explores this thing call life, making startling and sometimes hysterical revelations.

Newcomer Ben Lee is an odd looking fellow and plays quirky cool well. Rose Byrne is too beautiful to be real here, but fits despite overtly sexual genius. Miranda Richardson stars as hippie mom Sylvia is top-notch. The entire cast of supporting characters are equally engaging.

What really elevates this virtual sleeper is the overall wacky tone from writer/director Tony McNamara. An underlying atmosphere of normalcy (see The Chumscrubber only less dark) is supplemented with sharp dialogue, unique delivery, and nearly unnoticeable soundtrack. All the elements created a film that most everyone can relate to, but will require a skewed sense to really enjoy.

As I see it, The Rage in Placid Lake is a charming, funny film for the misfit in all of us.

Taken (2009)

17 year old Kim (Maggie Grace) begs her father, Bryan (Liam Neeson) for permission to vacation in Paris. Bryan, a former covert-ops soldier, reluctantly agrees after being badgered by her mother Lenora (Famke Janssen). Permission granted with conditions, Bryan is on the phone with his daughter when Kim is taken by a group of human traffickers intent on selling her to the highest bidder. Bryan wants his daughter back and will employ his unusual skill set to do so.

Taken is an effectual action thriller that does nothing but entertain. Director Pierre Morel doesn't try to hard and ultimately it is Liam Neeson that elevates Taken from ho-hum predictability to 'Oh-Wow' average. Neeson brings a quiet reserve that he unleashes with incredible brutality. His character is more Jason Bourne than James Bond, complete with unexplored demons.

The production is highly-stylized. Action sequences are straight forward. Taken doesn't bother with complex plot lines or character development. It's simple action porn with swift resolution.

Taken is hardly an award-winner, but it does entertain. Strap in. Enjoy the car chases, opulent locales, and a** kicking.

Chalk (2006)

Chalk does for high school teachers what The Office does for the workplace--only it's not funny. Filmed in the same manor, Chalk follows three newbie teachers and one disenfranchised assistant principal around Harrison High, a fictional public school in Texas. The camera roles as the teachers battle the student body and each other.

Morgan Spurlock opens the film with a short recollection and a salute to educators. Sadly, that's as good as it gets. Chalk attempts a documentary style comedy and fails miserably. The ensemble cast is amateurish and dull. The film is all wrong, making students and administrators looking terribly inept.

As I see it, I'd rather listen to nails on a chalkboard...

Butch Cassidy and the Sundance Kid (1969)

Butch Cassidy (Paul Newman) and his Hole-in-the-Wall Gang are well known across the West for their brazen antics, but it's best friends Butch and the Sundance Kid (Robert Redford) that are legendary. Butch is the idea man. Sundance is the skill. Together, the two outlaws reach legendary status. But the west is changing and when Butch and Sundance rob E. H. Harriman's Union Pacific Railroad train one too many times, a posse begins to trail the two. No matter what tricks they pull--across mountains, rivers, and rocks, Butch and Sundance can't shake 'em. Then Butch has another idea. Bolivia. Sure as shootin', the boys shake the posse, but can't shake their lifestyle and before long are on the run again.

Butch Cassidy and the Sundance Kid is a well executed buddy western that strikes the perfect balance. Every element here is right on the mark (save for the score--which now seems overly dated--more on that later). It's hard to imagine a more perfect screenplay or a better duo for delivery.

Newman and Redford have phenomenal chemistry. They are charming. The banter between these two is equally funny and thoughtful. Katherine Ross stars as Etta Place, Kid's girl and Butch's friend. Director George Roy Hill taps into a camaraderie here that is essentially the entire film. It's perfect.

The cinematography is top-notch, rendering a perfectly dusty Old West. Cassidy's interaction with the bicycle comes to mind. Sweeping vistas, stretching plains, towering hillsides and Boliva. The film takes on a wonderfully-colored feel in Boliva.

Truly, I have a love/hate relationship with the score by Burt Bacharach. Such a lightweight feel is unheard of in the genre, but it fits the almost subversive tone of the film. Still, it's sugary sweetness leaves a cloying aftertaste.

Butch Cassidy and the Sundance Kid is everything that is right with art form. Although I think sometimes it struggles to maintain relevancy Butch Cassidy and the Sundance Kid is the original--therefore it is a must see. However, it's the dynamic duo of Newman/Redford--two ICONS at their greatest that make it classic.

Batman Begins (2005)

Haunted by his parent's murder, Bruce Wayne (Christian Bale) leaves Gotham City to find distraction. While in Asia, Wayne is challenged to face his fear and begins training with the mysterious League of Shadows under Henri Ducard (Liam Neeson). A disagreement in philosophy pulls Wayne back to Gotham City to find it governed by corruption and its citizens living in fear. Returning home, Wayne crafts a new identity with the help of Alfred (Sir Michael Caine) and Lucius Fox (Morgan Freeman), determined to rid Gotham's citizens of fear.

Christopher Nolan directs this reboot of the beloved superhero. Gone is the camp, replaced by a solid origin story that builds a frame work for more. Nolan combines key elements of action, dialogue, CGI, and cinematography to create pure entertainment with teeth.

Casting is top-notch. Christan Bale delivers as solid performance as Wayne and his alter ego. Bale tempers his superhero with a nuanced uncertainty that allows Caine and Freeman's characters to shine. Michael Caine's Alfred is better than any other. Freeman plays Batman's very own Q. Not to be overlooked, Gary Oldman in a faithful portrayl of Jim Gordan.

Cillian Murphy takes a turn as comic book baddie, Dr. Jonathan Crain/Scarecrow. His storyline is marginalized alongside Tom Wilkinson's crime boss Carmine Falcone and the League of Shadows.

The production is slick. Under Nolan's direction, Batman Begins takes on fresh attitude. Sure it's moody, but it's more than that. Batman Begins feels raw and gritty. The action is explosive, the drama engaging, and the story real. In the midst of all this, is a natural evolution of the character. From the suit to the cave, Nolan's production team has left nothing behind. The opulence of Wayne Manor, the machine that is Wayne Enterprises, each gadget--it's all very grounded.

As I see it, Batman Begins is perfectly executed. Nolan successfully revitalized a dead franchise to create a superhero more interesting than we remembered.

For more on the franchise, see The Dark Knight review.

Doubt (2008)

As principal of a Catholic elementary school, Sister Aloysius (Meryl Streep) is the hand of God. This Puritanical sister does not suffer fools and she's beginning to have doubts about one of the priests, Father Brendan Flynn (Phillip Seymour Hoffman). When Sister James (Amy Adams) confides in Sister Aloysius her concerns over the Father's interest in the school's first black student, Aloysius' reaction is alarming. But it's not until her conversation with Mrs. Miller (Voila Davis), the boy's mother that Aloysius' reaction has Father Flynn squarely in her path.

Doubt is a beautifully rendered character study that gives the audience complete control of its outcome. The drama, adapted from a play and directed by John Patrick Shanley forces viewers to think and ultimately choose sides. The film is bleak, moody, disquieting--but it's cast is riveting.

Watching Phillip Seymour Hoffman and Meryl Streep spar onscreen is absolutely brilliant. As forward thinking Father Flynn, Hoffman imbue the character with optimism and hope. Standing in stark contrast is Streep. Sister Aloysius strikes fear in the soul, but thanks to Streep's ambiguous delivery, one is never sure if the witch hunt the Sister is on, is personal or religious. She's remarkable. Amy Adams' fresh face is spot-on as the younger Sister James, the catalyst for Aloysius' campaign. Viola Davis commands the screen with her short appearance.

Set just after Kennedy's assassination, early 1960s, the production is thoughtful, highly detailed. The cinematography presents a secretive, multi-layered atmosphere that chills. Ultimately, it is the discourse between our characters that sell this film. The dialogue is quick, it's righteous, it is volatile and brilliantly executed. Themes of morality, authority and religion are explored as Sister Aloysius parades about.

Under Shanley's direction, the film builds doubt within all of our characters and distrust quickly mounts for the viewer. Facts or presumed facts are presented leaving the viewer alarmed and scrambling to obtain the pieces needed to complete the puzzle. Therein lies the film's demise.

Doubt climaxes with a troubling exchange between the Sisters. The film's conclusion, successful or not, is entirely dependent on the viewer. As I see it, Doubt will either frustrate or haunt. You decide.

X-Men Origins: Wolverine (2009)

Allow me to preface this review with a disclosure. I am not a fanboy. I do not have years of comic history on which to base my love of this character. What I do have... is the memory and love of the old Fox Saturday animated series, X-Men {newly released to DVD, last week, I believe}. I have that and that is all I need to cherish the quorum of mutants. Wolverine is near and dear simply because of the character complexity--yes, even in the cartoon one could sense it. With Hugh Jackman's continued evolution of the character, my admiration for Wolverine remains.

So, let's get to it... WARNING: potential spoilers present!!

The film is a prequel of sorts for the X-Men films of recent history. Here, we explore the man, James/Logan (Hugh Jackman) behind the animal, Wolverine. The film exposes the early history of William Stryker (Danny Huston), Sabretooth/Victor Creed (brilliantly played by Liev Schreiber) and other evens that shaped his adamantium skeleton. We learn simply what many of us already believed: Wolverine is a man shaped by loss, grief, and anger. It's the death of his school-teacher girlfriend that is the catalyst for the action onslaught.

I can't imagine a better opening to the summer movie season than X-Men Origins: Wolverine. It is everything you want in a summer movie and fortunately, director Gavin Hood balances the elements nicely. As with most movies like this, don't expect an intricate plot. Sure, I'd have preferred a LOTR-esque screen time, but I'm more than satisfied with Hood's allotted running time.

Casting was brilliantly executed. Jackman stands strong in his role as Wolverine. The seemingly organic origin of Wolverine's skeleton was thoughtful. Jackman's subtle and often cheeky delivery as the multi-faceted character is a pleasure to watch. Wolverine is inherently decent, but wickedly troubled and Hugh Jackman OWNS him.

Liev Schreiber is spot-on as Creed {and really had me wanting an origin story of his own.} The love/hate chemistry between Jackman and Scheiber is palpable. The few scenes in which the brothers actually converse are filled with great dialogue.

It's in the supporting cast that I was most flummoxed and sometimes, nicely so. Ryan Renyold's turn as Wade Wilson/Deadpool was annoyingly fun. Will.i.am as John Wraithe was a distraction--loved his character, but the ever-present Will.i.am was truly disconcerting. Archvillian Colonel William Stryker played by Danny Huston is characteristically evil.

Aw... Remy LeBeau... Gambit (Taylor Kitsch) looms surprisingly larger that expected. While Gambit gets a small scene in which to showcase his mutant talent {manipulation of kinetic energy which turns any object into a potentially lethal weapon--but you DID know that}, he gets more dialogue that necessary. I was really torn here because I wanted more of Kitsch' Gambit.

Director Hood knows what he's doing and delivers most aspects well. The overall timeline of the film works. He showcases Three Mile Island and the Weapon X trials, touches on the young mutants that are to become Prof. X's students, highlights Stryker's vendetta, and lays groundwork for untold spin-offs.

Action sequences quickly escalate to Defcon-One whether between Wolverine and Creed, Wolverine and Gambit, Wolverine and, well... everyone else. They are predictable and thoroughly entertaining. But the wheels of Hood's vehicle are often threaten by lack-luster CGI. What?! ILM wasn't available?! Wolverine's adamantium cutlery isn't always a sharp as needed, but fortunately, the film distracts us at its worst--save for the visit with Uncle Ben and Aunt May. Oh wait, wrong movie.

As I see it, X-Men Origins: Wolverine is exactly what you want for the summer: entertainment. It fits well within the film canon {X3-Xcluded}. It enhances the character and delivers summer thrills.

Bonus Feature: Book

Every now and then, something comes along that really sticks with you. It's the movie that becomes an obsession. It's the book that you read year after year. It's the song that brings the memory. The quote that becomes tattooed on your brain.

The Year of Living Biblically: One Man's Humble Quest to Follow the Bible as Literally as Possible by A. J. Jacobs isn't it. No, it's not My Name is Asher Lev, but it is memorable. Jacobs' intentions I think were humorous, but I found the book to be quite insightful and downright engaging. I wonder... would it be that way if I were still walking in faith?

The author is quick to label himself Agnostic {a person who holds that the existence of the ultimate cause, as God, and the essential nature of things are unknown and unknowable, or that human knowledge is limited to experience}. But confesses to being intrigued by the relevance of faith in today's world. Jacobs' decides full immersion is the best option. He vows to obey the Bible as literally as possible for a full year. Surrounding himself with spiritual advisers of all denominations (Baptists, Church of Christ, snake-handlers, Jews, Red-Letters, etc) he quickly realizes there's more to the Bible than the Ten Commandments.

Surprisingly respectfully and funny, the author's journey is complex from the start. Which Bible to choose? A shopping trip later and Jacobs has, by his own admission, "a stack of Bibles, almost waist high." Jacobs journey is humorous (gird yourself in white) and perplexing (no wearing of mixed-fibers), but ultimately eye-opening. The book is supplemented with Jacobs B&W beard evolution. He explores tellfin, circumcision, ten-string harps, stoning adulterers, sacrifice... he leaves no verse unquestioned. What the author seems to find most surprising is how freeing the exploration is.

The Year of Living Biblically is quite the read. Inevitably, A.J. Jacobs comes to terms with what he calls 'cafeteria religion' and finds his truth. As for this reader, Jacobs' refreshing honesty continues to implore further reading--weeks later.

Bonus Feature: Book

As I am often the last person to join the bandwagon, feel free to laugh as I say... my first exposure to British comedian Russell Brand was 2008's Forgetting Sarah Marshall. {Go ahead, I don't mind.} His performance and pitch-perfect delivery as the disinterested megalomaniac Aldous Snow was the highlight of the film.

His performance there, as well as a MUST GOOGLE interview on The Tonight Show with Jay Leno and fellow Brit Gordon Ramsey {HYSTERICAL} was the sole reasoning behind this purchase.

My Booky Wook: A Memoir of Sex, Drugs, and Stand-Up relates Brand's troubled childhood and drug addiction that shaped the comic. His memoir is ugly, bare, and overwhelmingly depressing. But he writes with a refreshing emotional honesty that the reader will respect. Exposing your addictions--much less owning them--takes courage.

Russell Brand writes conversationally which often finds the author side-barring and interrupting the cadence. Plus his constant references to obscure British pop culture can be annoying. But when he's not sharing his inner dialogue, he writes with an incredible observational tone. Those observations are funny, but when taken out of context are even funnier. For instance... in the middle of retelling 'stick it to the man' heroics during a flight, Russell makes this one:

Of all the consumer products, chewing gum is perhaps the most ridiculous: it literally has no nourishment--you just chew it to give yourself something to do with your stupid idiot Western mouth. Half the world is starving, and the other's going, "I don't actually need any nutrition, but it would be good to masticate, just to keep my mind off things."

It's these gems that make My Booky Wook worth picking up. Be warned: Brand is gratuitous with his drug and sex addictions--his truthfulness is blunt.

There Will Be Blood (2007)

Daniel Plainview (Daniel Day-Lewis) is a simple prospector turned ruthless tycoon after securing the oil rights to a family's goat ranch. Eli Sunday (Paul Dano) is the son of the family and a young charismatic preacher in the town who quickly becomes at odds with the greedy Plainview. Driven by pride and greed, the gentle parlay an unsteady relationship and ultimately live to see the demise of each other.

There Will Be Blood is a masterpiece of storytelling. Writer/director Paul Thomas Anderson's adaptation of Upton Sinclair's novel, Oil! is in a word: magnificent.

With minimal dialogue, elegant score, and two brilliantly executed characters, Anderson delivers a film of epic proportions. Daniel Day-Lewis is captivating as the multi-faceted Plainview. The story follows a quarter century of a self-made man and the events that hardened him. Day-Lewis ages along with his character. He turns an honest, hopeful face into a tired and twisted one. Paul Dano owned Eli Sunday with balanced conviction. It was remarkable. Toe to toe, both actors reflect an art form and its the viewers that win.

Darkly vicious, the film examines the human psyche exposing the very worst. It would be uncomfortable if not so effortlessly rendered. The cinematography is stunning and Anderson is right to use it as a pressure release.

There Will Be Blood is a must see for Anderson's Kubrickian execution and mesmerizing performances, but I imagine it will be a very polarizing film. Clocking in at nearly three hours, you're either going to feel cheated or relieved. One thing is for certain... you will be haunted.

Speak (2004)

Melinda (Kristen Stewart) enters her first day of high school as a selective mute, isolating herself from everyone at school and home. Traumatized from events of last summer, shunned by her once friends, the former A-student is on auto-pilot until challenged by art teacher Mr. Freeman (Steve Zahn). With his encouragement, Mel finds the strength to express herself and ultimately, heal.

Twilight's very own Kristen Stewart stars in this solid teen drama. Speak is nicely done. The story, an adaptation from writer/directer Jessica Sharzer, centers around Melinda--rightly so--its just the outside influences that are supposed to shape our character that make the film oddly disorienting. They just don't fit properly.

Stewart fits the roll with a perfect blend of depression, disinterest and pain. This jury is still out. Here she is sufficient. Steve Zahn gets a solid turn, but you never really connect with him or with his connection to her. As with films of this genre, we have two maddeningly disinterested parents played by D.B Sweeney and Elizabeth Perkins.

As I see it, Speak contains all the essential elements of a teen drama-sans soundtrack. It's an authentic emotional roller coaster with a grounding symbolism that is weirdly rewarding.