Q: Ben-Lo is directing a movie? Puh-leez. What does that lunkhead know about directing a movie?
A: Hey, the guy hasn't dated J-Lo for years. He's moved on, married Jennifer Garner, and had a child with her, and I suggest you do the same. At least the moving on part.
Affleck is an easy target due to all the crap movies he's been in, but if he is pretending to be the sincere filmmaker he comes off as in interviews and in shows like the late, lamented "Project Greenlight," then he's one hell of an actor. With "Gone Baby Gone," Affleck creates a fine movie, guiding a veteran cast to great performances, successfully navigating a complex story, and providing vivid atmosphere. I'll look forward to seeing what he directs next.
Q: This sounds like a pretty dark movie, one in which a private dick tries to find a kidnapped baby. Is this the dark noirish thriller it sounds like?
A: I'm not familiar with the source material, Dennis Lehane's novel of the same name, but while this one starts out as that kind of gritty crime film I was hoping for, it actually transcends that somewhat. It never loses its authentic grimness, but it ultimately engages you with moral questions and becomes far more thought-provoking than you could imagine after reading a simple synopsis--unless you read something that delves into the plot and spoils it for you. I ain't gonna do that here.
Q: Did Affleck choose to adapt this particular book only because it's set in Boston? A: Maybe. But his passion for the city and for bringing it to the big screen is evident, and it validates his choice. It's that atmosphere I mentioned earlier. We've seen Boston and its sports teams and their often-insufferable fans all over the media landscape recently, but arguably not the way it is presented here. This isn't the Hah-vahd, wine and cheese, donates hundreds of thousands of dollars to John Kerry Bahstan. It's a more menacing urban environment, and in this case, it's white, not particularly "ethnic," and decidedly working class. Many of the faces you see in this movie are not the kind you normally see in Hollywood pictures. Affleck also makes good use of many small, not-so-well-lit cramped interiors to show us the confinement one can feel in a lower-class urban environment, as well as a sense of claustrophobic menace facing the characters.
Q: Well, I can at least rip on Ben for casting his brother in the lead, can't I? Come on, at least give me that.
A: Nope, sorry. I hadn't been much impressed by Casey Affleck before seeing this film, but he shines in Gone Baby Gone, giving an emotional performance that seems rooted in reality. He vividly depicts moral anguish without the twitches of, say, Giovanni Ribisi. And while your first reaction might be that Casey, who plays a private investigator hired to investigate the missing baby; and Michelle Monaghan, as his girlfriend, will be blown off the screen by heavyweights like Ed Harris and Morgan Freeman...well, that's kind of the point. Their characters are young and a little foolish and in over their heads.
And even if you aren't wowed by the youngsters, you have Harris and Freeman and even John Ashton in a smaller but crucial role. And the real standout is Amy Ryan as the baby's mother. She is an accomplished pro, but someone like me who knows her mainly as Beadie on The Wire will be stunned by how she inhabits such a hard-edged character. She should be recognized come awards season.
Q: If this is so good, how come nobody saw it? It was in theaters for, like, two weeks.
A: Ah, because people are idjits?
Well, I don't know how much of a push this got, but it is a grim drama without an obvious marketing hook except to Dennis Lehane fans. Don't worry about box office numbers. Adult movie fans should enjoy this. Director Ben Affleck does a fine job, turning this movie--at about the time of a well-placed false finish--from a solid crime thriller to a meditation on morality. The overall product compares favorably to Clint Eastwood's acclaimed Lehane adaptation of a few years back--"Mystic River."
Tuesday, November 20, 2007
Sunday, November 18, 2007
Journey into DVD: The Paul Lynde Halloween Special
Sure, this post may be a few weeks late for Halloween, but really, is it ever too late for Paul Lynde? I think not, and that's why on this Journey into DVD I report on my experience watching this 1976 kitschfest, recently extracted from the bootleg circuit and given a legit release by S'More Entertainment.
When you put this disc in, you see a disclaimer stating that the special was long thought lost, someone found it, and now you're going to see it, but it's in crummy condition, so don't write the company asking for a refund. Well, not in so many words, but since the visual quality is somewhat akin to a third-generation VHS dub, S'More is a bit defensive. I doubt this looks much better than most of those bootlegged copies that circulate, but, hey, why quibble? This is a piece of history, and whoever supposedly "found" it should be hailed as the pop cultural Howard Carter he is, not jeered because he couldn't come up with a pristine copy.
You are either willing to sit down and watch something called The Paul Lynde Halloween Special or you are not. Modern TV audiences aren't exposed to the prime time network variety special much, but back in the day, it was quite common to see a celebrity play host to musicians, comedians, and other performers, often in a winking fashion. In this 1976 ABC TV special, Paul is supposedly at his home, preparing for Halloween, when some kind of goofy plot sets him out with his housekeeper to her sister's house. Guess what? His housekeeper is Margaret Hamilton, and she and her sister are...witches! Halloween ensues.
This is not just of interest for Paul Lynde fans, but for fans of the entire decade of the seventies--all couple hundred of you. Maybe you hated the seventies and need a reminder or you relish the chance to mock that period again. If so, here's enough ammo to last you until the latest of that era's several dozen revivals goes away again.
These are just some of the Seventies Hallmarks covered in the Paul Lynde Halloween Special:
*Lynde himself: While this isn't just for Lynde fans, you sure ought to be one if you want to watch this. He's not as sarcastic as he in on Hollywood Squares, but he is--well, he's Paul Lynde. As the center of the special, though, he has to play more of a--pardon the expression--straight man. Everyone even then knew that Lynde was, as Peter Marshall puts it in a DVD extra, "obviously, um, gay," but even without that level of awareness, the sequence where he plays a Rudolph Valentino type seducing Florence Henderson is so good it's bad--even if it knows it's bad. All that irritation we jaded audiences get today at excessive irony and winking goes out--way out--the closet when seeing vintage Paul Lynde.
*KISS: This appearance is amusing on many levels. The thought of KISS fans tuning into a Paul Lynde special isn't even as funny as the thought of KISS fans, years later, actually making efforts to obtain copies of the special. It's hardly surprising, though, that a band that actively markets a KISS coffin would hustle its albums by popping up on this kind of show. And really, while for many bands it would be odd to follow a square dance number by playing engulfed in fog in a witches' castle, that's par for the course for these guys. I got to admit, though, the fact that they sit around and chat with Paul and Margaret Hamilton--yeah, that's kind of odd.
*Truckin': Any self-respecting trendwatcher who was around back in the day knows you can't Keep on Truckin' without a cool handle and a CB radio. Lynde lives up to our expectations, appearing in one segment as a truck driver named Big Red. His convoy is big enough for guest star Tim Conway, and I swear that's not meant as a euphemism.
*Roz "Pinky Tuscadero" Kelly: Those who didn't grow up in the Seventies will be hard-pressed to understand exactly what Roz Kelly's appeal was. Those who DID grow up in the Seventies will, uh, be equally hard-pressed to explain it. Well, she was sassy. She gets to sing, dance, and be sassy with Paul in this special.
*Bruce Vilanch: OK, not really a Seventies Hallmark, but I feel obligated to mention his involvement as a credited writer.
If that's not enough far-out grooviness for you, consider the references to Bugsy Malone and to something being "too much Alice Cooper, not enough Alice Faye.
We're not missing much of the Seventies here. Presumably skits about gas shortages and Vietnam were considered but didn't make the cut. Fear not, though, watching The Paul Lynde Halloween Special will not put you in a general malaise. I recommend you pick this one up, poor video quality and all, and supplement the Great Pumpkin with the Great...eh, I'm not going there.
Kudos to S'More for filling out the 50-minute special with some extras to add value to the DVD. The best is an enlightening 12-minute audio interview with Hollywood Squares host Peter Marshall covers that game show, thought to be the pinnacle of Lynde's career. There's a still gallery of Paul's life for those who are into that sort of thing. It's presented as a "scrapbook," which makes the pictures a little too small and harder to appreciate than they should be.
Also on there is a selection of Lynde quotes and a "Name That Quip" challenge in which you're given the setup in the form of a Hollywood Squares question, then must choose which of 3 zingers Paul gave. This one goes on and on and on, and I eventually bailed out after about 30. For the record, I scored about 75%, and while I don't know if that's any good, I have a vague feeling I shouldn't be admitting it in public.
This is a must-see DVD for fans of Paul Lynde, fans of the 1970s, and fans of megacheesy pop culture. I imagine there's a lot of crossover among those groups. They'll all be happy with this one.
When you put this disc in, you see a disclaimer stating that the special was long thought lost, someone found it, and now you're going to see it, but it's in crummy condition, so don't write the company asking for a refund. Well, not in so many words, but since the visual quality is somewhat akin to a third-generation VHS dub, S'More is a bit defensive. I doubt this looks much better than most of those bootlegged copies that circulate, but, hey, why quibble? This is a piece of history, and whoever supposedly "found" it should be hailed as the pop cultural Howard Carter he is, not jeered because he couldn't come up with a pristine copy.
You are either willing to sit down and watch something called The Paul Lynde Halloween Special or you are not. Modern TV audiences aren't exposed to the prime time network variety special much, but back in the day, it was quite common to see a celebrity play host to musicians, comedians, and other performers, often in a winking fashion. In this 1976 ABC TV special, Paul is supposedly at his home, preparing for Halloween, when some kind of goofy plot sets him out with his housekeeper to her sister's house. Guess what? His housekeeper is Margaret Hamilton, and she and her sister are...witches! Halloween ensues.
This is not just of interest for Paul Lynde fans, but for fans of the entire decade of the seventies--all couple hundred of you. Maybe you hated the seventies and need a reminder or you relish the chance to mock that period again. If so, here's enough ammo to last you until the latest of that era's several dozen revivals goes away again.
These are just some of the Seventies Hallmarks covered in the Paul Lynde Halloween Special:
*Lynde himself: While this isn't just for Lynde fans, you sure ought to be one if you want to watch this. He's not as sarcastic as he in on Hollywood Squares, but he is--well, he's Paul Lynde. As the center of the special, though, he has to play more of a--pardon the expression--straight man. Everyone even then knew that Lynde was, as Peter Marshall puts it in a DVD extra, "obviously, um, gay," but even without that level of awareness, the sequence where he plays a Rudolph Valentino type seducing Florence Henderson is so good it's bad--even if it knows it's bad. All that irritation we jaded audiences get today at excessive irony and winking goes out--way out--the closet when seeing vintage Paul Lynde.
*KISS: This appearance is amusing on many levels. The thought of KISS fans tuning into a Paul Lynde special isn't even as funny as the thought of KISS fans, years later, actually making efforts to obtain copies of the special. It's hardly surprising, though, that a band that actively markets a KISS coffin would hustle its albums by popping up on this kind of show. And really, while for many bands it would be odd to follow a square dance number by playing engulfed in fog in a witches' castle, that's par for the course for these guys. I got to admit, though, the fact that they sit around and chat with Paul and Margaret Hamilton--yeah, that's kind of odd.
*Truckin': Any self-respecting trendwatcher who was around back in the day knows you can't Keep on Truckin' without a cool handle and a CB radio. Lynde lives up to our expectations, appearing in one segment as a truck driver named Big Red. His convoy is big enough for guest star Tim Conway, and I swear that's not meant as a euphemism.
*Roz "Pinky Tuscadero" Kelly: Those who didn't grow up in the Seventies will be hard-pressed to understand exactly what Roz Kelly's appeal was. Those who DID grow up in the Seventies will, uh, be equally hard-pressed to explain it. Well, she was sassy. She gets to sing, dance, and be sassy with Paul in this special.
*Bruce Vilanch: OK, not really a Seventies Hallmark, but I feel obligated to mention his involvement as a credited writer.
If that's not enough far-out grooviness for you, consider the references to Bugsy Malone and to something being "too much Alice Cooper, not enough Alice Faye.
We're not missing much of the Seventies here. Presumably skits about gas shortages and Vietnam were considered but didn't make the cut. Fear not, though, watching The Paul Lynde Halloween Special will not put you in a general malaise. I recommend you pick this one up, poor video quality and all, and supplement the Great Pumpkin with the Great...eh, I'm not going there.
Kudos to S'More for filling out the 50-minute special with some extras to add value to the DVD. The best is an enlightening 12-minute audio interview with Hollywood Squares host Peter Marshall covers that game show, thought to be the pinnacle of Lynde's career. There's a still gallery of Paul's life for those who are into that sort of thing. It's presented as a "scrapbook," which makes the pictures a little too small and harder to appreciate than they should be.
Also on there is a selection of Lynde quotes and a "Name That Quip" challenge in which you're given the setup in the form of a Hollywood Squares question, then must choose which of 3 zingers Paul gave. This one goes on and on and on, and I eventually bailed out after about 30. For the record, I scored about 75%, and while I don't know if that's any good, I have a vague feeling I shouldn't be admitting it in public.
This is a must-see DVD for fans of Paul Lynde, fans of the 1970s, and fans of megacheesy pop culture. I imagine there's a lot of crossover among those groups. They'll all be happy with this one.
Saturday, November 17, 2007
This Week in DVD
Well, since the two highest-profile new DVDs this week are threequels, have I told you lately about Spider-Man 3? Just kidding! I'm done griping about that one for a while. And since I haven't yet seen Ocean's 13 or Shrek 3, I suppose it would be poor form to gripe about them.
I just didn't get around to seeing those threequels. Each has a bloated All-Star cast. Each follows a disappointing sequel. Each has a special larger-than-life animated character who promises to make the whole thing worthwhile. In Shrek's case, it's Puss in Boots; in Ocean's 13, it's Al Pacino. If some wizard figures out a way to put those two showstoppers in the same movie, I'm THERE, and I'm sure not waiting for video. Until then...eh, I could wait for video.
Also out this week:
Golden Boy: Now, here's a treat: A fine boxing yarn from 1939 with Bill Holden, Babs Stanwyck, and a stellar supporting cast; plus--this is Sony, mind you, so pardon my enthusiasm--EXTRAS. At a time when some studios seem to be scaling back or ignoring bonus features, Sony may be stepping it up. Rumor has it that they are committed to releasing more vintage material on DVD, and supposedly future 3 Stooges sets will have some goodies. Well, Golden Boy may give credence to that talk because it contains a rare cartoon, an old TV episode starring Stanwyck, and a film short with SHEMP HOWARD! Well done, Sony.
Black Books Series 3: Another set of the quite funny Britcom. Has this season been shown on BBC America yet? It's impossible to follow what's going on on that channel, and this show is pretty much an afterthought when it IS on American Beeb. This DVD release is another reason to give up on BBC America.
It's a Wonderful Life "Yet Another" Edition: The wizards at Paramount have taken the recent 60th anniversary edition and slapped on a new colorized version to entice fans to buy it again. Colorized movies? Still? I thought that went out with cigarette smoking.
Wrestling Society X Season One: Remember when MTV had its own pro wrestling promotion and gave it a half-hour show? Well, it was only months ago. Let's just say of all the things that make Vince McMahon worry these days, this is not one of them.
I just didn't get around to seeing those threequels. Each has a bloated All-Star cast. Each follows a disappointing sequel. Each has a special larger-than-life animated character who promises to make the whole thing worthwhile. In Shrek's case, it's Puss in Boots; in Ocean's 13, it's Al Pacino. If some wizard figures out a way to put those two showstoppers in the same movie, I'm THERE, and I'm sure not waiting for video. Until then...eh, I could wait for video.
Also out this week:
Golden Boy: Now, here's a treat: A fine boxing yarn from 1939 with Bill Holden, Babs Stanwyck, and a stellar supporting cast; plus--this is Sony, mind you, so pardon my enthusiasm--EXTRAS. At a time when some studios seem to be scaling back or ignoring bonus features, Sony may be stepping it up. Rumor has it that they are committed to releasing more vintage material on DVD, and supposedly future 3 Stooges sets will have some goodies. Well, Golden Boy may give credence to that talk because it contains a rare cartoon, an old TV episode starring Stanwyck, and a film short with SHEMP HOWARD! Well done, Sony.
Black Books Series 3: Another set of the quite funny Britcom. Has this season been shown on BBC America yet? It's impossible to follow what's going on on that channel, and this show is pretty much an afterthought when it IS on American Beeb. This DVD release is another reason to give up on BBC America.
It's a Wonderful Life "Yet Another" Edition: The wizards at Paramount have taken the recent 60th anniversary edition and slapped on a new colorized version to entice fans to buy it again. Colorized movies? Still? I thought that went out with cigarette smoking.
Wrestling Society X Season One: Remember when MTV had its own pro wrestling promotion and gave it a half-hour show? Well, it was only months ago. Let's just say of all the things that make Vince McMahon worry these days, this is not one of them.
Friday, November 16, 2007
True Confessions: Heart's "Never"
I'm just come right out and say it: I heard "Never" by Heart on the radio the other day, and, yes, I kind of rocked out to it in my car. That alone might be embarrassing enough, but my True Confession involves my descent into The Three Circles of Shame. More specifically:
The First Circle of Shame: In which I kept the station on there and actually turned the volume up, all the better to hear it in all its Big 80s sonic glory. In this stage of shame, I feel sufficiently awkward to be hesitant to post this info in public on this blog.
This was quickly followed by my entry into...
The Second Circle of Shame: In which I sang along--at high volume--to the song. "We can't go ooooooo---ooooo--nnnn just running away, if we stay any longer, we will surely never get away..." Once I have reached this circle, I am ashamed to admit my behavior even to close friends and loved ones. It's difficult to confess this activity to my wife.
Things only got worse, though, as the next stop was the end of the line, the place from which there is no easy exit (insert Iraq joke here)...
The Third Circle of Shame: In this circle, I am so apalled by my own actions that I can't even relive them in my own mind. I am in a constant state of denial, refusing to believe I could be capable of such disgraceful deeds. This Third Circle of Shame is truly a private hell, and since I entered, living with myself is a constant struggle. But since my idea behind True Confessions is cleansing my slate and hopefully overcoming my deep-seated feelings of shame, I will now reveal what I did to earn my spot in this Third Circle.
At one point during the song--OK, several points--I actually did the Nancy Wilson rock and roll head tilt that she does in the video.
Even when she does it, it looks lame today, but she has the advantages of 1) being in a band, 2) being in a video, 3) holding a guitar, 4) being a chick, and 5) having really big hair. I offer none of these qualities, of course, making what I did in the car inexcusable.
What was I thinking? Well, that's the point. I wasn't thinking at all, I was rocking. Sure, 1980s-era Heart is kind of goofy, but "Never" has a great sound, slick as it is, and it's just tough to turn away when it comes on. Does this excuse me going so far as to plunge into The Third Circle of Shame? No, it does not, but I was caught up in the moment.
If you want to share in my shame, check out Nancy's head tilt at about 34 seconds into this clip
Just don't blink. She did this in a lot of her videos, as I recall, and it looked pretty cool when she did so. Not so much when I tried it. Hey, in my defense, at least I didn't do a random high leg kick, as she does about a few dozen times in this clip. Then again, if I hadn't been driving...
The First Circle of Shame: In which I kept the station on there and actually turned the volume up, all the better to hear it in all its Big 80s sonic glory. In this stage of shame, I feel sufficiently awkward to be hesitant to post this info in public on this blog.
This was quickly followed by my entry into...
The Second Circle of Shame: In which I sang along--at high volume--to the song. "We can't go ooooooo---ooooo--nnnn just running away, if we stay any longer, we will surely never get away..." Once I have reached this circle, I am ashamed to admit my behavior even to close friends and loved ones. It's difficult to confess this activity to my wife.
Things only got worse, though, as the next stop was the end of the line, the place from which there is no easy exit (insert Iraq joke here)...
The Third Circle of Shame: In this circle, I am so apalled by my own actions that I can't even relive them in my own mind. I am in a constant state of denial, refusing to believe I could be capable of such disgraceful deeds. This Third Circle of Shame is truly a private hell, and since I entered, living with myself is a constant struggle. But since my idea behind True Confessions is cleansing my slate and hopefully overcoming my deep-seated feelings of shame, I will now reveal what I did to earn my spot in this Third Circle.
At one point during the song--OK, several points--I actually did the Nancy Wilson rock and roll head tilt that she does in the video.
Even when she does it, it looks lame today, but she has the advantages of 1) being in a band, 2) being in a video, 3) holding a guitar, 4) being a chick, and 5) having really big hair. I offer none of these qualities, of course, making what I did in the car inexcusable.
What was I thinking? Well, that's the point. I wasn't thinking at all, I was rocking. Sure, 1980s-era Heart is kind of goofy, but "Never" has a great sound, slick as it is, and it's just tough to turn away when it comes on. Does this excuse me going so far as to plunge into The Third Circle of Shame? No, it does not, but I was caught up in the moment.
If you want to share in my shame, check out Nancy's head tilt at about 34 seconds into this clip
Just don't blink. She did this in a lot of her videos, as I recall, and it looked pretty cool when she did so. Not so much when I tried it. Hey, in my defense, at least I didn't do a random high leg kick, as she does about a few dozen times in this clip. Then again, if I hadn't been driving...
5 Question Movie Review: Eastern Promises
Q: Hey, great, a sequel to A History of Violence! Is this as good as the first one?
A: Whoa, whoa, whoa. Yes, this movie reunites director David Cronenberg with star Viggo Mortensen, and, yes, it explores the nature, causes, and effects of violence. But it's a completely different movie, with different characters in a new setting. Incidentally, it's not quite as good. but if you don't try to saddle this one with the comparison, it's a fine film.
Q: Got to ask about that bathhouse brawl scene that got all the pub, the one in which supposedly you see all of Viggo in action. is that as disturbing as it sounds?
A: Well, many might not find the idea of Naked Viggo disturbing, but there is nothing erotic about that brutal showstopper of a fight scene. It is extremely rough in a "realistic" sort of way. It's desperate, frantic combat without hyperstylized editing or a loud video game soundtrack to prod you into an adrenaline rush. And Mortensen is indeed naked the whole time and quite vulnerable, and all guys in the audience will cringe each time the blade involved is flashed.
That said, as a hetero male, as tough as this was to watch, as devastatingly vicious as it became, it STILL was much, much easier to take than the nude wrestling in "Borat."
Q: Is this movie as grim and unrelenting as all that? History of Violence was pretty intense once it got going.
A: Actually, despite several excessively violent scenes and a general sense of evil--Cronenberg even ups the stakes by resorting to putting a baby in jeopardy--there are signs of hope here, many coming from Naomi Watts. Watts is excellent as a nurse who becomes involved in the dark underworld of the Russian Mafia in London but never loses sight of her principles and her sense of right and wrong. It's an admirable performance--both strong and tender, with Watts going a relatively less glamorous route--in a movie landscape that is often lacking in good female roles.
Q: Aha! So there are people involved in this besides Viggo and Cronenberg?
A: Yes, there are, with vivid support from cast members like Armin-Mueller Stahl and Vincent Cassell. But while he wasn't the only actor in the film, Viggo Mortensen clearly owns it, delivering a mesmerizing performance that is arguably even more impressive and memorable than his work in History of Violence. I find that Eastern Promises lacks some of the depth and thought-provoking quality of that one. This is not due to any lack of trying by Viggo, though, as he brings subtlety and some ambiguity to his role.
Q: Does this movie really take us inside the world of the Russian Mafia?
A: It's not like Scorcese, but Cronenberg depicts that environment quite vividly in some ways--the tattoos, the food, the language. In other ways, he emphasizes how separate it is from what we think of London culture. The placement of the gangsters' realm in, say, an unassuming (from the outside) family-owned restaurant on a low-key downtown street creates that sense of a unique world that is apparently detached from the larger reality yet also lurking right within its heart. Inside these urban areas, these men dominate, but in outdoor scenes, they stick out, not just as "foreigners," but as criminals. It's a fascinating dichotomy that gives "Eastern Promises" a fresh slant on the familiar concept of organized crime.
A: Whoa, whoa, whoa. Yes, this movie reunites director David Cronenberg with star Viggo Mortensen, and, yes, it explores the nature, causes, and effects of violence. But it's a completely different movie, with different characters in a new setting. Incidentally, it's not quite as good. but if you don't try to saddle this one with the comparison, it's a fine film.
Q: Got to ask about that bathhouse brawl scene that got all the pub, the one in which supposedly you see all of Viggo in action. is that as disturbing as it sounds?
A: Well, many might not find the idea of Naked Viggo disturbing, but there is nothing erotic about that brutal showstopper of a fight scene. It is extremely rough in a "realistic" sort of way. It's desperate, frantic combat without hyperstylized editing or a loud video game soundtrack to prod you into an adrenaline rush. And Mortensen is indeed naked the whole time and quite vulnerable, and all guys in the audience will cringe each time the blade involved is flashed.
That said, as a hetero male, as tough as this was to watch, as devastatingly vicious as it became, it STILL was much, much easier to take than the nude wrestling in "Borat."
Q: Is this movie as grim and unrelenting as all that? History of Violence was pretty intense once it got going.
A: Actually, despite several excessively violent scenes and a general sense of evil--Cronenberg even ups the stakes by resorting to putting a baby in jeopardy--there are signs of hope here, many coming from Naomi Watts. Watts is excellent as a nurse who becomes involved in the dark underworld of the Russian Mafia in London but never loses sight of her principles and her sense of right and wrong. It's an admirable performance--both strong and tender, with Watts going a relatively less glamorous route--in a movie landscape that is often lacking in good female roles.
Q: Aha! So there are people involved in this besides Viggo and Cronenberg?
A: Yes, there are, with vivid support from cast members like Armin-Mueller Stahl and Vincent Cassell. But while he wasn't the only actor in the film, Viggo Mortensen clearly owns it, delivering a mesmerizing performance that is arguably even more impressive and memorable than his work in History of Violence. I find that Eastern Promises lacks some of the depth and thought-provoking quality of that one. This is not due to any lack of trying by Viggo, though, as he brings subtlety and some ambiguity to his role.
Q: Does this movie really take us inside the world of the Russian Mafia?
A: It's not like Scorcese, but Cronenberg depicts that environment quite vividly in some ways--the tattoos, the food, the language. In other ways, he emphasizes how separate it is from what we think of London culture. The placement of the gangsters' realm in, say, an unassuming (from the outside) family-owned restaurant on a low-key downtown street creates that sense of a unique world that is apparently detached from the larger reality yet also lurking right within its heart. Inside these urban areas, these men dominate, but in outdoor scenes, they stick out, not just as "foreigners," but as criminals. It's a fascinating dichotomy that gives "Eastern Promises" a fresh slant on the familiar concept of organized crime.
Sunday, November 11, 2007
5 Question Movie Review: Across the Universe
Q: Is this a total disgrace to the Beatles' legacy or what?
A: No, that would be the Sgt. Pepper's Lonely Hearts Club Band debacle from 1978. Across the Universe is no turkey. However, it's no big success, either. It's faint praise to say it's pleasant and doesn't embarrass any one (with perhaps one exception noted below), but that's probably the best I can do for it. Beatle fans that might appreciate the references the most might also be the ones who would rather just hear the original music.
Q: So what's wrong with it?
A: Director Julie Taymor has her cast singing Beatles songs as they represent the happenings of the sixties. Some of the musical numbers are quite simple, with just one of the cast singing the tune, while others are elaborate !extravaganzas! But throughout the movie, I never got a sense of emotional uplift. I personally find the Beatles' music fun and exciting. Even the sadder songs in their catalog make me feel GOOD about feeling sad. Here, Taymor has her cast members do rather sedate, downbeat versions of songs like "Something" and "If I Fell," and it robs the story of the excitement it might have had with more exuberant versions. I found that the best music had the least inspired visuals, while the best visual sequences often accompanied the less effective music.
Simply put, there is a wealth of cool images, but not much narrative momentum or build. There is a climactic sequence that takes place on a rooftop, and even that doesn't have the emotional impact Taymor is striving for--and it's a rooftop concert! Come on, you should be able to make that work in a Beatle-inspired story.
Ultimately, Across the Universe reminds you of that NBC miniseries "The 60's." It's just young people going through all the cliches of that decade, only with a unique twist on the soundtrack. The leads are a little too bland to carry it. Who woulda thunk Marilyn Manson's girlfriend would be "bland" on screen? But there you go.
Q: Are there any Beatle cameos?
A: I didn't catch any, but there were famous cameos, usually not faring too well. Joe Cocker does a good job, but his presence is distracting, given that he is already known not just for being a rock star, but for doing memorable Beatles covers. Bono is trying as Dr. Robert, but he comes off like he's doing a weak Robin Williams impersonation. Worst of all is Eddie Izzard, though, he makes an ass of himself by plodding through "Being for the Benefit of the Kite." I imagine the movie's creative team shares the blame for this, but Izzard is about the only performer who doesn't appear to respect the source material.
Q: What stand out as the best songs in the movie? The worst?
A: I mentioned my dislike of Izzard's number. I enjoyed the "rock"-ier versions done by Dana Fuchs and Martin Luther as Sadie and Jo Jo, respectively--including "Helter Skelter" and "Oh Darling."
Q: In your Fall Movie Preview, you said something about the trailer and Salma Hayek in a nurse's outfit. I don't have a question here. Just please confirm for me this made it into the movie.
A: Oh, if only her scene were longer--much longer. The brevity of her appearance is the only thing disappointing about it. Taymor stages a dizzying dreamlike number in which a wounded soldier is tended to by multiple Nurse Salmas to the sounds of--who cares what the song is? Multiple Nurse Salmas! It may be a long autumn and winter ahead of us, but that image should get many of us through the cold months.
A: No, that would be the Sgt. Pepper's Lonely Hearts Club Band debacle from 1978. Across the Universe is no turkey. However, it's no big success, either. It's faint praise to say it's pleasant and doesn't embarrass any one (with perhaps one exception noted below), but that's probably the best I can do for it. Beatle fans that might appreciate the references the most might also be the ones who would rather just hear the original music.
Q: So what's wrong with it?
A: Director Julie Taymor has her cast singing Beatles songs as they represent the happenings of the sixties. Some of the musical numbers are quite simple, with just one of the cast singing the tune, while others are elaborate !extravaganzas! But throughout the movie, I never got a sense of emotional uplift. I personally find the Beatles' music fun and exciting. Even the sadder songs in their catalog make me feel GOOD about feeling sad. Here, Taymor has her cast members do rather sedate, downbeat versions of songs like "Something" and "If I Fell," and it robs the story of the excitement it might have had with more exuberant versions. I found that the best music had the least inspired visuals, while the best visual sequences often accompanied the less effective music.
Simply put, there is a wealth of cool images, but not much narrative momentum or build. There is a climactic sequence that takes place on a rooftop, and even that doesn't have the emotional impact Taymor is striving for--and it's a rooftop concert! Come on, you should be able to make that work in a Beatle-inspired story.
Ultimately, Across the Universe reminds you of that NBC miniseries "The 60's." It's just young people going through all the cliches of that decade, only with a unique twist on the soundtrack. The leads are a little too bland to carry it. Who woulda thunk Marilyn Manson's girlfriend would be "bland" on screen? But there you go.
Q: Are there any Beatle cameos?
A: I didn't catch any, but there were famous cameos, usually not faring too well. Joe Cocker does a good job, but his presence is distracting, given that he is already known not just for being a rock star, but for doing memorable Beatles covers. Bono is trying as Dr. Robert, but he comes off like he's doing a weak Robin Williams impersonation. Worst of all is Eddie Izzard, though, he makes an ass of himself by plodding through "Being for the Benefit of the Kite." I imagine the movie's creative team shares the blame for this, but Izzard is about the only performer who doesn't appear to respect the source material.
Q: What stand out as the best songs in the movie? The worst?
A: I mentioned my dislike of Izzard's number. I enjoyed the "rock"-ier versions done by Dana Fuchs and Martin Luther as Sadie and Jo Jo, respectively--including "Helter Skelter" and "Oh Darling."
Q: In your Fall Movie Preview, you said something about the trailer and Salma Hayek in a nurse's outfit. I don't have a question here. Just please confirm for me this made it into the movie.
A: Oh, if only her scene were longer--much longer. The brevity of her appearance is the only thing disappointing about it. Taymor stages a dizzying dreamlike number in which a wounded soldier is tended to by multiple Nurse Salmas to the sounds of--who cares what the song is? Multiple Nurse Salmas! It may be a long autumn and winter ahead of us, but that image should get many of us through the cold months.
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