Borrowing from the legend of Guy Fawkes, a single man known only as V (Hugo Weaving) takes a stand against Britain's totalitarian regime of the very near future in V for Vendetta, based on Alan Moore's classic graphic novel of the same name. When V meets Evey (Natalie Portman), it seems like a coincidental meeting until it becomes clear that nothing in V's world is a coincidence -- everything and everyone is connected.
The film does stray somewhat from the novel which was written at the height of Thatcher's rule in the late 1980s but it strays so that it may seem that much more universal. Vendetta is still set in England and the idea that there can be hope even in times that seem hopeless remains the central theme.
While the film benefits from a strong script, based on a strong novel, it is carried by strong performances. In addition to Portman and Weaving, gripping performances are delivered by Stephen Rae and Rupert Graves as the detectives who come to fear the worst; and by Stephen Fry as Evey's boss, Gordon, a British Television Network celebrity who has a few secrets of his own. The casting of John Hurt as the totalitarian leader is also a wry wink to dystopian film fans who may remember his turn as Winston Smith in Nineteen Eighty Four.
Rounding out what is good about this film are the direction (by James McTeigue), the costume design, and the set design. In fact, there is little about it that I take exception with. I wasn't sure how much whizz-bang to expect from the Wachowski Brothers (of Matrix fame) but they did not go over the top. There is some gore and there are some impressive explosions and even a few spectacular fight sequences. Overall though, V for Vendetta is more about V than his vendetta; the film's focus is on the ideas of justice and of rebellion rather than on the way those things are brought about.
Considering the subject matter -- the central character is a terrorist -- V for Vendetta is a film that fills its audience with hope. In the end, it's clear: not only can you stand up to your government and say, "Bollocks," but sometimes you should.
****
V for Vendetta is in theatres now.
Buy the graphic novel V for Vendetta (Canada/USA/UK)
Buy the soundtrack Music from V for Vendetta (Canada/USA/UK)
TAGS: review, movie review, V for Vendetta
18 March 2006
10 March 2006
The Shaggy Dog (Disney, 2006)
It's been almost 50 years since Disney's original version of The Shaggy Dog (1958), starring Fred MacMurray, was released; long enough that even the parents of many of the kids who want to see the film will not have seen the original. Luckily, if they do remember the original, they will realize moments into the film that the only similarity between the two films is that the father hates dogs. In the original, the son transformed into a sheepdog; in the re-imagined version, the father (well-played by Tim Allen) transforms.
Tim Allen is Dave Douglas, a busy corporate lawyer aiming to be the next District Attourney. He's too busy for his kids -- political teen Carly (Zena Grey) and football-challenged Josh (Spencer Breslin) -- and even seems to have stopped listening to his wife Rebecca (Kirsten Davis), so it's only fair that a mystical dog should make him change his perspective. Allen is ideal for the role; his stand-up routine included comparisons between man and other animals; he's accomplished at both slapstick and drama; and after transforming into Santa, a sheepdog was not a big challenge. Rounding out the cast, Robert Downey Jr. puts in an over-the-top performance in the evil-scientist role and Craig Kilborn provides some punchlines as an annoying neighbour.
The comedy is classic Disney-family-style, with a few broad strokes of slapstick and some nods to other films thrown in (listen for Allen's Toy Story shoutout). The best shots in the film are those seen through Douglas' eyes as a dog and reminded me of some of the scenes from Cats and Dogs (2001). I walked into this movie with fairly low expectations but found myself laughing -- one ridiculous sequence in particular had me almost roaring -- and more or less enjoying this light little family film.
***
The soundtrack includes a half dozen songs about dogs; among them: Big Dog by Akon, the inevitable Who Let the Dogs Out by the Baha Men, Atomic Dog by George Clinton -- some of which didn't appear in the movie -- along with the original score by Alan Menken.
Buy The Shaggy Dog soundtrack on CD.
Buy The Shaggy Dog (1958) on DVD
Tim Allen is Dave Douglas, a busy corporate lawyer aiming to be the next District Attourney. He's too busy for his kids -- political teen Carly (Zena Grey) and football-challenged Josh (Spencer Breslin) -- and even seems to have stopped listening to his wife Rebecca (Kirsten Davis), so it's only fair that a mystical dog should make him change his perspective. Allen is ideal for the role; his stand-up routine included comparisons between man and other animals; he's accomplished at both slapstick and drama; and after transforming into Santa, a sheepdog was not a big challenge. Rounding out the cast, Robert Downey Jr. puts in an over-the-top performance in the evil-scientist role and Craig Kilborn provides some punchlines as an annoying neighbour.
The comedy is classic Disney-family-style, with a few broad strokes of slapstick and some nods to other films thrown in (listen for Allen's Toy Story shoutout). The best shots in the film are those seen through Douglas' eyes as a dog and reminded me of some of the scenes from Cats and Dogs (2001). I walked into this movie with fairly low expectations but found myself laughing -- one ridiculous sequence in particular had me almost roaring -- and more or less enjoying this light little family film.
***
The soundtrack includes a half dozen songs about dogs; among them: Big Dog by Akon, the inevitable Who Let the Dogs Out by the Baha Men, Atomic Dog by George Clinton -- some of which didn't appear in the movie -- along with the original score by Alan Menken.
Buy The Shaggy Dog soundtrack on CD.
Buy The Shaggy Dog (1958) on DVD
28 February 2006
Mirrormask (Sony Pictures, 2005)
Let me start by saying you've never seen a feature film like Mirrormask. The visual style mixes live action with computer-generated imagery and other magic by Henson Studios. Several days after seeing the film, I'm still not sure what to think about the plot (which was a bit simple) but the creatures and characters are still front and centre in my mind.
Helena is at the centre of the story. Her parents run a small circus (somewhere in tone between a traditional circus and Cirque du Soleil) but she wants to run away and "join real life." To escape, she draws, endlessly; her walls are covered in fantastic charcoal sketches. When her mother falls ill and her world is thrust into flux, she again retreats into her drawings. On the eve of her mother's operation, she falls asleep and the dream world she enters seems all-too familiar.
Neil Gaiman penned the script after he was approached by Lisa Henson to create a story similar in tone and scope to The Dark Crystal and Labyrinth. They then approached Dave McKean (who has collaborated with Gaiman on several children's books) to take the director's chair -- they offered him almost no money but complete creative control. The result is uneven (due to a plot that is too close for my liking to the aforementioned Labyrinth) but still worth seeing -- on the big screen if you get the chance.
***
Buy Mirrormask on DVD
Buy Mirrormask: The Illustrated Film Script.
Helena is at the centre of the story. Her parents run a small circus (somewhere in tone between a traditional circus and Cirque du Soleil) but she wants to run away and "join real life." To escape, she draws, endlessly; her walls are covered in fantastic charcoal sketches. When her mother falls ill and her world is thrust into flux, she again retreats into her drawings. On the eve of her mother's operation, she falls asleep and the dream world she enters seems all-too familiar.
Neil Gaiman penned the script after he was approached by Lisa Henson to create a story similar in tone and scope to The Dark Crystal and Labyrinth. They then approached Dave McKean (who has collaborated with Gaiman on several children's books) to take the director's chair -- they offered him almost no money but complete creative control. The result is uneven (due to a plot that is too close for my liking to the aforementioned Labyrinth) but still worth seeing -- on the big screen if you get the chance.
***
Buy Mirrormask on DVD
Buy Mirrormask: The Illustrated Film Script.
25 February 2006
Eve and the Fire Horse (2005 - Golden Horse Productions)
<>Eve And The Fire Horse is set in 1970s, Vancouver BC China Japan
Bad luck befalls the household: Eve’s grandmother dies and Eve’s mother miscarries. Eve and her sister learn about Christianity. The girls begin to attend a Catholic church. At first, the family approve of their daughters’ new faith. They see it as a way of doubling down their bid for heavenly protection: with Jesus and Buddha protecting them, how could they go wrong? Their Catholic nun sees Buddhism differently: those who have not renounced all but Jesus are going to Hell.
This is Julie Kwan’s first feature length film. She has struggled to get out a film like this.
Eve And The Fire Horse is a heartfelt and entertaining look at religion and family. It’s full of inspired moments that are reminiscent of movies like Amelie: where household gods come alive; and girls dress up their Jesus in Barbie clothes because he looks cold. The real shame is that you may never get to see this movie. The pessimism of movie distributors and theatre owners is such that this movie may languish in obscurity.
28 January 2006
The Matador (Alliance Atlantis, 2005)
Pierce Brosnan plays Julian Noble: an assassin who interupts his hits with boozing and womanizing. When in Mexico City on a hit, he meets up with Danny Wright (Greg Kinnear), a businessman on hard times who is on a business trip that will make or break his future. Eventually, Julian confides in Danny and admits what his line of work it. Straight arrow Danny and hitman Julian part ways before long, leaving Danny with the mother of all anedotes. He goes home. Julian picks up his work but he's lost his edge. An assassin with the jitters is no good and he's in a crisis. Several months later, Julian arrives at Danny's doorstep.
The hitman in crisis is oddly a subgenre and more often plays as comedy than crime: Grosse Point Blank; Man Bites Dog; and the unfortunate Analyze This and Analyze That. Of these examples, this movie is the best of the lot. It's paced as a dark comedy with room for some pathos. Pierce Brosnan plays a bebonair gentleman in many of his roles. In this movie, he lets himself go in splendid style: scrubby looking, frequently drunk, banging women in most cities, angering women by trying to pay for sex in the other cities. He's an acidic and mean spirited wreck and because of his contrast, he really shines.
The Matador is a lean story. Like its title, this movie executes with precision.
tags: movies, Matador, Pierce Brosnan, Greg Kinnear, Hope Davis
The hitman in crisis is oddly a subgenre and more often plays as comedy than crime: Grosse Point Blank; Man Bites Dog; and the unfortunate Analyze This and Analyze That. Of these examples, this movie is the best of the lot. It's paced as a dark comedy with room for some pathos. Pierce Brosnan plays a bebonair gentleman in many of his roles. In this movie, he lets himself go in splendid style: scrubby looking, frequently drunk, banging women in most cities, angering women by trying to pay for sex in the other cities. He's an acidic and mean spirited wreck and because of his contrast, he really shines.
The Matador is a lean story. Like its title, this movie executes with precision.
tags: movies, Matador, Pierce Brosnan, Greg Kinnear, Hope Davis
24 January 2006
Will "Bubble" Burst the Multiplex?
Mark Cuban and Todd Wagner owners of Landmark Theatres and cable channel HDNet has partnered with Steven Soderbergh to release Bubble in theatres, on cable and on DVD simultaneously.
Ebert and Roeper weighed in on the controversy -- they feel it can only be a good thing, increasing the audience for smaller films. The crunch comes for blockbuster movies: will they still find enough of an audience to justify their outrageous budgets? I think so. So does Mark Cuban.
Cuban perfectly nails the issue in this post: What Business are theaters in ?[Blog Maverick] where he describes the generation gap in movie-goers,
In the meantime, I will continue to enjoy movies wherever I can find them, even if that means giving the stink-eye to the gaggle of teens behind me at the multiplex.
Ebert and Roeper weighed in on the controversy -- they feel it can only be a good thing, increasing the audience for smaller films. The crunch comes for blockbuster movies: will they still find enough of an audience to justify their outrageous budgets? I think so. So does Mark Cuban.
Cuban perfectly nails the issue in this post: What Business are theaters in ?[Blog Maverick] where he describes the generation gap in movie-goers,
Yes!! YES!! There is someone, somewhere who understands why the multiplex cinema experience is going to lose money soon if it can't adapt -- it is annoying more people than it is attracting. And so, Cuban says, "Why not actually start making a profit off the DVD sales?" Excellent question, and I hope he makes a lot of cash out of the deal so the naysayers can eat their words.When a 16 year old goes to a movie, there is absolutely nothing at all wrong with answering your cellphone, talking back to the screen and texting your heart away during a movie. The movie is just there because its better than doing the same thing sitting or walking at the mall...
All of the above drives anyone not in that demographic crazy. So when a couple of 35 year olds go to see King Kong, not only can you pretty much bet that they arent going to have a great experience during the showing of the movie, but they probably didnt have a great experience before they even got their seats.
They are probably already pissed because the stereos were blasting in the parking lot, the lines to the concession stands were filled with kids chit chattering and taking their good old time, while you wanted to get into the movie so you could talk to your wife or date.
In the meantime, I will continue to enjoy movies wherever I can find them, even if that means giving the stink-eye to the gaggle of teens behind me at the multiplex.
04 January 2006
100 Greatest Discoveries (Discovery Communications 2004)
I am currently watching 100 Greatest Discoveries, hosted by Bill Nye (known to millions as "Bill Nye the Science Guy"). Now, my kid loves Bill Nye but she is in bed right now, so I can't give you her opinion. On the other hand, I've been watching Bill Nye since he was a regular guest on Seattle's late night show, Almost Live, and I also count myself a big fan.
Nye makes a great host for what is essentially an overview of science; the eight episodes cover discoveries in the fields of Evolution, Earth Science, Medicine, Physics, Astronomy, Chemistry, Genetics, and Biology. The show uses historical recreation, expert interviews, computer graphics and location shots to give the viewer the best possible introduction to those discoveries and theories which form the basis of modern scientific thought.
It's currently airing in British Columbia on the Knowledge Network, but check your local Discovery Channel or PBS listings in the upcoming weeks and months.
Or, you can pre-order the DVD set from the Discovery Channel.
****
Nye makes a great host for what is essentially an overview of science; the eight episodes cover discoveries in the fields of Evolution, Earth Science, Medicine, Physics, Astronomy, Chemistry, Genetics, and Biology. The show uses historical recreation, expert interviews, computer graphics and location shots to give the viewer the best possible introduction to those discoveries and theories which form the basis of modern scientific thought.
It's currently airing in British Columbia on the Knowledge Network, but check your local Discovery Channel or PBS listings in the upcoming weeks and months.
Or, you can pre-order the DVD set from the Discovery Channel.
****
28 December 2005
Jesus Christ Vampire Hunter (Odessa Films, 2001)
If B-Movies are your idea for a fun evening, then do yourself a favour and pick up the very odd Canadian indie film: Jesus Christ Vampire Hunter. Written by Ian Driscoll and directed by Lee Gordon Demabre, JCVH offers a little bit of everything: vampires (who hunt in daylight), kung-fu fighting, song and dance numbers, a priest with a mowhawk, a beefy transvestite, a mexican wrestler, an ass-kicking saviour, and much much more.
Surprisingly, the film has attracted little criticism. It has been screened for religious organizations but the jury is still out on whether the film presents enough of a positive image to counteract the obvious blasphemy. For the record, I think it does; it presents a modern Jesus as someone who can combat evil while still forgiving the evil-doer.
JCVH is a typical low-budget production, but the editing and sound production give it an edge over its competitors. The fight-scenes are well choreographed and well-paced; there's a suitable amount of blood and gore (it gets the point across without being excessive). Music is used to great advantage and someone had a great time adding in sound effects that range from the surreal crunch and squish of a vampire's bite to the silly boink and clunk of cartoon-style violence.
This is a full-length film, clocking in at 90 minutes and at times the story does drag a bit. Overall though, the film is a juicy addition to any B-movie fan's collection.
***
Buy Jesus Christ Vampire Hunter on DVD.
Buy other JCVH merchandise from Odessa Filmworks.
More info at IMDB and Odessa Filmworks.
TAGS: movie review, b-movie
Surprisingly, the film has attracted little criticism. It has been screened for religious organizations but the jury is still out on whether the film presents enough of a positive image to counteract the obvious blasphemy. For the record, I think it does; it presents a modern Jesus as someone who can combat evil while still forgiving the evil-doer.
JCVH is a typical low-budget production, but the editing and sound production give it an edge over its competitors. The fight-scenes are well choreographed and well-paced; there's a suitable amount of blood and gore (it gets the point across without being excessive). Music is used to great advantage and someone had a great time adding in sound effects that range from the surreal crunch and squish of a vampire's bite to the silly boink and clunk of cartoon-style violence.
This is a full-length film, clocking in at 90 minutes and at times the story does drag a bit. Overall though, the film is a juicy addition to any B-movie fan's collection.
***
Buy Jesus Christ Vampire Hunter on DVD.
Buy other JCVH merchandise from Odessa Filmworks.
More info at IMDB and Odessa Filmworks.
TAGS: movie review, b-movie
Book of Lost Souls (Marvel/Icon 2005- )
Jonathan lived in the nineteenth century. Jilted by his true love, he is driven to suicide and just before he jumps into a river, a stranger happens to give him a book (as a weight, of course). Jonathan jumps and is resurrected in the 21st century. While a talking black and white cat named Mystery is his guide, the Dark Man seems to be his master. The cat, it seems, is not the only mystery in this world created by writer J. Michael Straczynski (Amazing Spiderman, Babylon 5) and artist Colleen Doran (A Distant Soil).
I recently picked up the first three issues, drawn to them by Straczynski's name alone. Happily, I was not disappointed. Each issue (so far) contains a single story while also gradually revealing the overall arc of what Jonathan is doing, for whom, and why. The writing is, as expected, very strong -- I especially like Mystery's tone -- and the art fits quite well with the story. My only complaint is that so far it doesn't look like a terribly inventive premise, though the strength of the writing is enough for me to continue reading the series.
The Book of Lost Souls debuted in October 2005. It is an ongoing monthly series, available in comic stores now; issue 4 hits shelves on January 11, 2006.
***
Read an interview with Colleen Doran about the project.
Pre-order Book of Lost Souls trade paperback (collects issues 1-6).
Buy A Distant Soil: Coda by Colleen Doran (volume 4 of the series).
Buy the Complete Book of Scriptwriting by J. Michael Straczynski.
Buy The Amazing Spiderman v.9: Skin Deep by J. Michael Straczynski.
I recently picked up the first three issues, drawn to them by Straczynski's name alone. Happily, I was not disappointed. Each issue (so far) contains a single story while also gradually revealing the overall arc of what Jonathan is doing, for whom, and why. The writing is, as expected, very strong -- I especially like Mystery's tone -- and the art fits quite well with the story. My only complaint is that so far it doesn't look like a terribly inventive premise, though the strength of the writing is enough for me to continue reading the series.
The Book of Lost Souls debuted in October 2005. It is an ongoing monthly series, available in comic stores now; issue 4 hits shelves on January 11, 2006.
***
Read an interview with Colleen Doran about the project.
Pre-order Book of Lost Souls trade paperback (collects issues 1-6).
Buy A Distant Soil: Coda by Colleen Doran (volume 4 of the series).
Buy the Complete Book of Scriptwriting by J. Michael Straczynski.
Buy The Amazing Spiderman v.9: Skin Deep by J. Michael Straczynski.
18 December 2005
Dennis Leary's Merry F#%$in Christmas (Comedy Central, 2005)
Dennis Leary promised to put the X back in Xmas with this holiday special and he sure as [expletive deleted] did. It premiered November 27th on Comedy Central; in Canada, it aired last night on the Comedy Network.
With special guests ranging from the Barenaked Ladies to Carmen Electra, I was looking forward to settling in for an hour of raunch with a holiday twist. Instead, most of it was about as un-funny as an average episode of Mad TV. From the racist re-telling of A Night Before Christmas (set in "tha hood" and read by actor/comedian Charlie Murphy) to the very nasty mock infomercials suggesting viewers donate cash to get flat-chested teen girls breast implants (you can buy t-shirts for the non-cause if you really want to), it was like watching a trainwreck. Even the opening song, the titular "Merry F#%$in Christmas!" was weak, despite being animated a style reminiscent of the Rankin-Bass holiday specials.
There was only one laugh-out-loud sketch (there would've been two, but the promo spot gave the other laugh away) in which Dennis Leary lamented the lack of "dangerous toys" under the tree these days.
I recommend skipping this turkey.
*
Comedy Central is selling the CD-Single of "Merry F#%$in Christmas!" with "over 15 minutes" of bonus comedy material.
If you are looking for some funny Dennis Leary, pick up a copy of Dennis Leary [Limited Collector's Edition] on DVD. It contains material from No Cure for Cancer and Lock N' Load, plus the video for his hit song, A**hole.
With special guests ranging from the Barenaked Ladies to Carmen Electra, I was looking forward to settling in for an hour of raunch with a holiday twist. Instead, most of it was about as un-funny as an average episode of Mad TV. From the racist re-telling of A Night Before Christmas (set in "tha hood" and read by actor/comedian Charlie Murphy) to the very nasty mock infomercials suggesting viewers donate cash to get flat-chested teen girls breast implants (you can buy t-shirts for the non-cause if you really want to), it was like watching a trainwreck. Even the opening song, the titular "Merry F#%$in Christmas!" was weak, despite being animated a style reminiscent of the Rankin-Bass holiday specials.
There was only one laugh-out-loud sketch (there would've been two, but the promo spot gave the other laugh away) in which Dennis Leary lamented the lack of "dangerous toys" under the tree these days.
I recommend skipping this turkey.
*
Comedy Central is selling the CD-Single of "Merry F#%$in Christmas!" with "over 15 minutes" of bonus comedy material.
If you are looking for some funny Dennis Leary, pick up a copy of Dennis Leary [Limited Collector's Edition] on DVD. It contains material from No Cure for Cancer and Lock N' Load, plus the video for his hit song, A**hole.
11 December 2005
Bad Cinema Experience
In a small digression from our usual reviews, I would like to take a moment to rant about the recent change to the cinema landscape in our hometown. When Cineplex-Odeon acquired Famous Players from Viacom, it meant there was an overlap in 13 "zones" across Canada which meant that 35 screens had to be sold off to other interested companies in the interest of open competition.
So, at some point in the last few months, Silver City started accepting Cineplex gift certificates and the once-modern Capitol 6 along with the University 4 Cinemas were bought out by the Empire Theatre company.
Today was our first visit to the University 4 under the new management. The new management fumbled big-time today, leading to a very unpleasant start to our visit. We wanted to buy tickets for two adults, one child, and get our concession vouchers all at the express wickets. Unfortunately, the machines kept giving us "CARD ERROR" messages -- we tried three cards before getting in line at the kiosk where we were told they could only take cash. The poor kid inside the kiosk looked like he was having the worst day of his life... I'm afraid my grumpiness didn't help him any. We pulled out of the line and debated going to the bank machine to grab cash... meanwhile many other people were trying the express wickets and getting the same error message. By now, management was well aware of the problem, but no one put up a sign; no one stood by the express wicket to direct people to the kiosks -- all of this had to be weathered by the kid in the kiosk.
Only after we had gone to the bank, got back in line, and finally got to the front of the queue did the management re-appear with some signs printed on official letterhead with their apologies. It turns out the interac system was down (which includes credit card transactions, I guess) -- this is not uncommon on a shopping day this close to Christmas, but their poor handling of the issue still ticked me off.
Next was our trip to the concession where the trainee was doing juuuuust fine (we often order soda water which tends to confuse those who don't see a big shiny light that says "soda water" (hint: there isn't one -- it's what is mixed with the syrup to get your soda of choice so there's either a small button or you pull instead of push a lever)). So anyway, the trainee was just about to put the lid on our drink when been-there-a-week-longer fella decides to pull rank. "What's wrong with that drink?" Not wanting to wait for the inevitable back-and-forth I interrupted, "Don't correct him, he's right. We ordered soda water." The other fella shut up and went to get our popcorn.
So zero-for-two I'd say, and we'll likely be choosing a different theatre for our next cinematic outing.
***
EDIT - Update, 15Dec05:
Mike was unhappy enough about the service that he emailed Empire Theatres and included a link to this post. Mike was very clear in his complaint that while he realized the problem may have been beyond their control it was their handling of the incident that made the experience an unhappy one. The result was a relatively prompt reply (within 48 hours) including an apology. Given their response, we will likely give them another chance but I'd like to wait for them to work out some of their growing pains before we go back.
So, at some point in the last few months, Silver City started accepting Cineplex gift certificates and the once-modern Capitol 6 along with the University 4 Cinemas were bought out by the Empire Theatre company.
Today was our first visit to the University 4 under the new management. The new management fumbled big-time today, leading to a very unpleasant start to our visit. We wanted to buy tickets for two adults, one child, and get our concession vouchers all at the express wickets. Unfortunately, the machines kept giving us "CARD ERROR" messages -- we tried three cards before getting in line at the kiosk where we were told they could only take cash. The poor kid inside the kiosk looked like he was having the worst day of his life... I'm afraid my grumpiness didn't help him any. We pulled out of the line and debated going to the bank machine to grab cash... meanwhile many other people were trying the express wickets and getting the same error message. By now, management was well aware of the problem, but no one put up a sign; no one stood by the express wicket to direct people to the kiosks -- all of this had to be weathered by the kid in the kiosk.
Only after we had gone to the bank, got back in line, and finally got to the front of the queue did the management re-appear with some signs printed on official letterhead with their apologies. It turns out the interac system was down (which includes credit card transactions, I guess) -- this is not uncommon on a shopping day this close to Christmas, but their poor handling of the issue still ticked me off.
Next was our trip to the concession where the trainee was doing juuuuust fine (we often order soda water which tends to confuse those who don't see a big shiny light that says "soda water" (hint: there isn't one -- it's what is mixed with the syrup to get your soda of choice so there's either a small button or you pull instead of push a lever)). So anyway, the trainee was just about to put the lid on our drink when been-there-a-week-longer fella decides to pull rank. "What's wrong with that drink?" Not wanting to wait for the inevitable back-and-forth I interrupted, "Don't correct him, he's right. We ordered soda water." The other fella shut up and went to get our popcorn.
So zero-for-two I'd say, and we'll likely be choosing a different theatre for our next cinematic outing.
***
EDIT - Update, 15Dec05:
Mike was unhappy enough about the service that he emailed Empire Theatres and included a link to this post. Mike was very clear in his complaint that while he realized the problem may have been beyond their control it was their handling of the incident that made the experience an unhappy one. The result was a relatively prompt reply (within 48 hours) including an apology. Given their response, we will likely give them another chance but I'd like to wait for them to work out some of their growing pains before we go back.
07 December 2005
Syriana (Participant/Warner Bros 2005)
There are a lot of jobs that you couldn't pay me to do -- anything involving international intrigue is high on the list. Syriana plays out not only in the oil-rich countries of the Middle-East, but also in the powerful cities of Washington, DC and Geneva, Switzerland.
Syriana is taut and finely woven. It is a thriller, a mystery, and something more. The official website describes it as "a political thriller that unfolds against the intrigues and corruption of the global oil industry." Regardless of how it is described, Syriana makes Michael Moore's revelations look like crass infomercials. It is raw and unflinching and has an undeniable impact on the viewers. The packed house with whom I viewed the film was eerily silent and still for the first few screens of credits -- it's that intense.
Like Traffic, the last award-winning film from screenwriter Stephen Gaghan, Syriana relies on handicam (a.k.a. queasycam or wobblycam) filming for a large number of shots. While this technique does enhance the tension and urgency, it is really easily abused and it was the weakest aspect of this film. The script, based on the memoirs of ex-CIA agent Robert Baer, is solid and its direction, inspired. Most of the performances are top-notch. George Clooney burns with energy as CIA agent Bob Barnes, but the real standout is Alexander Siddig as Prince Nasir, the reform-minded heir to the Emir. There's already "Oscar® Buzz" making the rounds and you can add me to the list of Siddig's supporters.
Syriana doesn't ask the audience to stop driving their cars or boycott big oil companies but it does pose some bigger questions. It leaves them unanswered, in part because there are no answers.
*****
Buy the memoir See No Evil by Robert Baer.
Buy the soundtrack for Syriana.
Buy Traffic on DVD.
TAGS: movie review
Syriana is taut and finely woven. It is a thriller, a mystery, and something more. The official website describes it as "a political thriller that unfolds against the intrigues and corruption of the global oil industry." Regardless of how it is described, Syriana makes Michael Moore's revelations look like crass infomercials. It is raw and unflinching and has an undeniable impact on the viewers. The packed house with whom I viewed the film was eerily silent and still for the first few screens of credits -- it's that intense.
Like Traffic, the last award-winning film from screenwriter Stephen Gaghan, Syriana relies on handicam (a.k.a. queasycam or wobblycam) filming for a large number of shots. While this technique does enhance the tension and urgency, it is really easily abused and it was the weakest aspect of this film. The script, based on the memoirs of ex-CIA agent Robert Baer, is solid and its direction, inspired. Most of the performances are top-notch. George Clooney burns with energy as CIA agent Bob Barnes, but the real standout is Alexander Siddig as Prince Nasir, the reform-minded heir to the Emir. There's already "Oscar® Buzz" making the rounds and you can add me to the list of Siddig's supporters.
Syriana doesn't ask the audience to stop driving their cars or boycott big oil companies but it does pose some bigger questions. It leaves them unanswered, in part because there are no answers.
*****
Buy the memoir See No Evil by Robert Baer.
Buy the soundtrack for Syriana.
Buy Traffic on DVD.
TAGS: movie review
18 November 2005
Harry Potter and the Goblet of Fire (Warner Bros 2005)
When Harry Potter and the Goblet of Fire was originally released, fans were surprised by the size of the tome. It should be no surprise to those fans that in just over two and a half hours of run-time there is a lot of text that just didn't make it into the film. Rest assured though, not one page of script was wasted in this movie.
We find Harry Potter at the Weasley's house as they set off for the Quiddich world cup. Unfortunately, Lord Voldemort's followers, the Death Eaters disrupt the festivities and that attack sets the mood for the rest of the movie. Even the exciting announcement of the Tri-Wizard Tournaments to be held at Hogwarts is tainted by anxieties over the possible return of Voldemort and when the Goblet of Fire provides an unprecedented fourth name -- Harry Potter of course -- things can only get worse.
Each of J.K. Rowling's Potter books has been progressively darker than those which preceeded it; the films seem to amplify the darkness in sometimes unexpected ways. Goblet of Fire is the darkest so far, earning its PG-13 rating for some very tense and scary violence. There are some bright spots here, though, mostly in the form of teen dating.
Visually, Goblet of Fire is stunning. The visual effects are well-integrated and well-used with a few exceptions, none of which was jarring enough to break the action or the illusion. The sets are similar to those used in the Prisoner of Azkaban, perhaps because a large part of the action takes place outside the school on the grounds of Hogwarts, used extensively for the first time in the third film. Make-up crews for Goblet of Fire deserve a nod, too -- especially for "Mad-eye" Moody's creepy yet comical artificial eye.
There is a nervous energy to this film, and it really isn't suitable for young children or anyone who is easily scared when their favourite characters are threatened. For those who have been waiting, Mike Newell's direction fits perfectly with this script and its adolescent stars.
****
Buy Harry Potter and the Goblet of Fire (paperback book)
Buy the Harry Potter Collection (6 DVDs)
TAGS: movie review, harry potter
We find Harry Potter at the Weasley's house as they set off for the Quiddich world cup. Unfortunately, Lord Voldemort's followers, the Death Eaters disrupt the festivities and that attack sets the mood for the rest of the movie. Even the exciting announcement of the Tri-Wizard Tournaments to be held at Hogwarts is tainted by anxieties over the possible return of Voldemort and when the Goblet of Fire provides an unprecedented fourth name -- Harry Potter of course -- things can only get worse.
Each of J.K. Rowling's Potter books has been progressively darker than those which preceeded it; the films seem to amplify the darkness in sometimes unexpected ways. Goblet of Fire is the darkest so far, earning its PG-13 rating for some very tense and scary violence. There are some bright spots here, though, mostly in the form of teen dating.
Visually, Goblet of Fire is stunning. The visual effects are well-integrated and well-used with a few exceptions, none of which was jarring enough to break the action or the illusion. The sets are similar to those used in the Prisoner of Azkaban, perhaps because a large part of the action takes place outside the school on the grounds of Hogwarts, used extensively for the first time in the third film. Make-up crews for Goblet of Fire deserve a nod, too -- especially for "Mad-eye" Moody's creepy yet comical artificial eye.
There is a nervous energy to this film, and it really isn't suitable for young children or anyone who is easily scared when their favourite characters are threatened. For those who have been waiting, Mike Newell's direction fits perfectly with this script and its adolescent stars.
****
Buy Harry Potter and the Goblet of Fire (paperback book)
Buy the Harry Potter Collection (6 DVDs)
TAGS: movie review, harry potter
Tithe (Simon Pulse, 2004)
Teen fiction can be a tough market, but Holly Black seems to have cracked it with Tithe: A Modern Faerie Tale.
Sixteen year old Kaye has been living a rough life on the road with her mom's rock band. Her unconventional life gets even weirder though after she returns to her childhood home and finds she can perform magic and talk with faeries that she had long ago convinced herself were imaginary friends.
Kaye soon finds herself deeply immersed in the world of the faeries, caught between two feuding faerie kingdoms, and forced to play an important role. Only her best friend's brother seems willing to help but there is little he can do as a mere mortal.
The book has enough violence and gore to satisfy teen fans of vampire fiction and similar genres, plus the usual teen dating dilemmas, but it is in creating the faerie world where Black really excels. The feuding faeries are played one against the other in intrigue out of a political potboiler keeping the reader guessing to the end.
****
Buy Tithe: A Modern Faerie Tale in paperback.
Sixteen year old Kaye has been living a rough life on the road with her mom's rock band. Her unconventional life gets even weirder though after she returns to her childhood home and finds she can perform magic and talk with faeries that she had long ago convinced herself were imaginary friends.
Kaye soon finds herself deeply immersed in the world of the faeries, caught between two feuding faerie kingdoms, and forced to play an important role. Only her best friend's brother seems willing to help but there is little he can do as a mere mortal.
The book has enough violence and gore to satisfy teen fans of vampire fiction and similar genres, plus the usual teen dating dilemmas, but it is in creating the faerie world where Black really excels. The feuding faeries are played one against the other in intrigue out of a political potboiler keeping the reader guessing to the end.
****
Buy Tithe: A Modern Faerie Tale in paperback.
06 November 2005
Charlie and the Chocolate Factory (Warner Brothers 2005)
When I was a poor kid, I really identified with the Charlie and The Chocolate Factory book by Roald Dahl. Living in that ramshackle hut with all of his family and never complaining. The idea of him dividing scintillas of the Wonka bar over the year between one birthday and the next struck a chord. It was many years before I learned that there was a film version of this book. It came out in 1971, full of psychedelic colors and weird ideas; it seemed like that chocolate was easier to digest with a hit of LSD. Nevertheless, I liked that movie a lot.
When I heard that Tim Burton was going to tackle this story, I thought: Great! I am a big fan of Tim Burton and his capability of using childlike eyes to spy a world fit for adults (even adults who see the world through Goth lenses). But then I had a horrible flashback. I remembered a world overrun by talking apes; stupid plotlines a rapper turned rapper: Planet of the Apes. Batman was his kingmaker film but Planet of the Apes proved that he could wreck one of my favorites by remaking it. Well, Planet of the Apes was a fluke. Burton's version of Charlie and the Chocolate Factory captures the spirit of the book and only strays a ways to tell the story, do it in less than two hours and satisfy Burton’s need to use his films as psychotherapy.
For the uninitiated: Willy Wonka is a reclusive chocolatier who shut the doors to his factory years back. All that comes out the Wonka gates are Wonka bars of all varieties to the joy of children everywhere. Then, one day, he puts out a call: there are five golden tickets in his chocolate bars. The bearer and one guardian are allowed access. Four annoying brats procure tickets. Plus, poor Charlie.
I always liked the Wonka factory for the sheer stupidity of it. Most factories have conveyor belts and ovens. Willy Wonka’s factory is a magical place with dwarven Oompa Loompas, nut cracking squirrels, purple inducing candy and problematic teleporters. It’s a dangerous place for children: full of ironic justice and just desserts. I was thinking: “sure you can shut out the world, but how do you explain the squirrels and rivers of chocolate to those food inspectors?”
In the shadow of the Michael Jackson trial, Willy Wonka with the velvet clothing and Prince Valiant haircut rings creepy. Seeing Wonka usher in a number of children and ply them with chocolate actually felt uncomfortable: like a parable of the Michael Jackson case. Of course, that isn’t the case, it’s just a sad case of bad timing. Put that out of your head and you can fully enjoy the magical tale of Charlie’s journey through Wonka’s factory. It’s full of touches: equally sarcastic and colorful. This movie is more entertaining than the 1971 musical; and closer to the book.
This movie comes is available on DVD
TAGS: movie review, tim burton
When I heard that Tim Burton was going to tackle this story, I thought: Great! I am a big fan of Tim Burton and his capability of using childlike eyes to spy a world fit for adults (even adults who see the world through Goth lenses). But then I had a horrible flashback. I remembered a world overrun by talking apes; stupid plotlines a rapper turned rapper: Planet of the Apes. Batman was his kingmaker film but Planet of the Apes proved that he could wreck one of my favorites by remaking it. Well, Planet of the Apes was a fluke. Burton's version of Charlie and the Chocolate Factory captures the spirit of the book and only strays a ways to tell the story, do it in less than two hours and satisfy Burton’s need to use his films as psychotherapy.
For the uninitiated: Willy Wonka is a reclusive chocolatier who shut the doors to his factory years back. All that comes out the Wonka gates are Wonka bars of all varieties to the joy of children everywhere. Then, one day, he puts out a call: there are five golden tickets in his chocolate bars. The bearer and one guardian are allowed access. Four annoying brats procure tickets. Plus, poor Charlie.
I always liked the Wonka factory for the sheer stupidity of it. Most factories have conveyor belts and ovens. Willy Wonka’s factory is a magical place with dwarven Oompa Loompas, nut cracking squirrels, purple inducing candy and problematic teleporters. It’s a dangerous place for children: full of ironic justice and just desserts. I was thinking: “sure you can shut out the world, but how do you explain the squirrels and rivers of chocolate to those food inspectors?”
In the shadow of the Michael Jackson trial, Willy Wonka with the velvet clothing and Prince Valiant haircut rings creepy. Seeing Wonka usher in a number of children and ply them with chocolate actually felt uncomfortable: like a parable of the Michael Jackson case. Of course, that isn’t the case, it’s just a sad case of bad timing. Put that out of your head and you can fully enjoy the magical tale of Charlie’s journey through Wonka’s factory. It’s full of touches: equally sarcastic and colorful. This movie is more entertaining than the 1971 musical; and closer to the book.
This movie comes is available on DVD
TAGS: movie review, tim burton
Jarhead (Universal 2005)
Like the book, the movie Jarhead follows the enlistment of Anthony Swofford into the US Marine Corps during the late 1980s. He goes through grueling basic training and is then assigned to train as a scout-sniper: elite marksmen who are trained to take out targets with devastating accuracy. It must have been a downtime for the US military. In 1989, the Berlin Wall had fallen and the world was at peace. What a crappy time for a marine. As luck would have it, long time allies, Saddam Hussein and Iraq were tricked into invading Kuwait. The world cried foul and a coalition of nations positioned troops in Saudi Arabia. Diplomats pushed Iraq to withdraw from its tiny neighbor and the troops waited: some of them waited for upwards of 175 days. It is said that warfare is long periods of boredom interrupted by terror. Swofford’s platoon had to endure just that. Stationed in the dessert, they drilled and fought boredom by talking; guessing when their loved ones would cheat on them; masturbating; and talking about masturbation. The monotony drives Swofford to the edge. He was trained to be this surgical tool: to assassinate key targets from a mile away and instead he drills with his fellow jarheads. Finally the war comes. They move into Kuwait to kick some Iraqi ass. They do get shelled by the Iraqis who promptly retreat. At one point they’re shelled by airborne tank killers—US tank killers. They find evidence of collateral damage; and the Iraqi sabotage of the Kuwaiti oil fields. Do they engage the Iraqis and put all of their training to the test? I won’t spoil the story for you, but sufficed to say: this was a war fought from the air. It was a one-sided war. America was braced for massive casualties but lost more troops to accidents and friendly fire than they did to the Iraqi forces.
Jarhead has so many levels that it brings something new to this well traveled territory. Full Metal Jacket explored this same territory in a 1960s setting. The terror of Saving Private Ryan is almost the opposite of Jarhead. According to cinema, we know how ludicrous the military is: everything from Stripes to Catch 22 to Private Benjamin has taught us that. Jarhead doesn’t move into parody territory, but it does carry an undercurrent of sarcasm: e.g. when a drill sergeant is slapping Swofford in the back of the head and asking Swofford why he’s in the military, Swofford replies, “Sir! I got lost on the way to college! Sir!”
Swofford: the author of Jarhead is the central character of Jarhead. He’s well played by Jake Gyllenhaal who turns in a solid performance as a man who would rather be anywhere else but he needs to earn money for college. The mess of his family is described in a short montage: a depressed mother; an institutionalized sister; a father who managed to never leave Vietnam behind. Swofford is simultaneously eager to snipe his first kills; and repulsed by the disregard for human life that is common in war and in the military.
Swofford’s platoon is made up of losers, rejects, psychopaths and unskilled men who needed the work. Swofford’s spotter, Troy, is played by Peter Sarsgaard: who fills out the role as Swofford’s foil. The supporting cast is rounded out by Jamie Foxx as Staff Sgt. Sykes, leader of his squad. Some of the troops want out. Some who love the marines are about to get tossed. Sykes is the exception: he’s happy where he is and the marines aren’t about to throw him out.
In Vietnam, soldiers were thrown into the fray, mowed down and spat on when they came home. By the time of the first Gulf War, military reconnaissance had become so evolved that air strikes scrubbed out the enemy and troops were sent to mop up. The US military is so good at killing and so good at surviving enemy fire that the majority of their casualties come from friendly fire. The soldiers—especially the marines— are left with this sense of pent-up rage that can’t be satisfied on the battlefield. They’re so effective at warfare that they come home victorious to cheering crowds. Whether it’s a hated Vietnam vet; or a Jarhead who’s getting accolades for surviving boredom—both of them came home feeling they got something they didn’t deserve.
The book, Jarhead is available for sale
TAGS: movie review
Jarhead has so many levels that it brings something new to this well traveled territory. Full Metal Jacket explored this same territory in a 1960s setting. The terror of Saving Private Ryan is almost the opposite of Jarhead. According to cinema, we know how ludicrous the military is: everything from Stripes to Catch 22 to Private Benjamin has taught us that. Jarhead doesn’t move into parody territory, but it does carry an undercurrent of sarcasm: e.g. when a drill sergeant is slapping Swofford in the back of the head and asking Swofford why he’s in the military, Swofford replies, “Sir! I got lost on the way to college! Sir!”
Swofford: the author of Jarhead is the central character of Jarhead. He’s well played by Jake Gyllenhaal who turns in a solid performance as a man who would rather be anywhere else but he needs to earn money for college. The mess of his family is described in a short montage: a depressed mother; an institutionalized sister; a father who managed to never leave Vietnam behind. Swofford is simultaneously eager to snipe his first kills; and repulsed by the disregard for human life that is common in war and in the military.
Swofford’s platoon is made up of losers, rejects, psychopaths and unskilled men who needed the work. Swofford’s spotter, Troy, is played by Peter Sarsgaard: who fills out the role as Swofford’s foil. The supporting cast is rounded out by Jamie Foxx as Staff Sgt. Sykes, leader of his squad. Some of the troops want out. Some who love the marines are about to get tossed. Sykes is the exception: he’s happy where he is and the marines aren’t about to throw him out.
In Vietnam, soldiers were thrown into the fray, mowed down and spat on when they came home. By the time of the first Gulf War, military reconnaissance had become so evolved that air strikes scrubbed out the enemy and troops were sent to mop up. The US military is so good at killing and so good at surviving enemy fire that the majority of their casualties come from friendly fire. The soldiers—especially the marines— are left with this sense of pent-up rage that can’t be satisfied on the battlefield. They’re so effective at warfare that they come home victorious to cheering crowds. Whether it’s a hated Vietnam vet; or a Jarhead who’s getting accolades for surviving boredom—both of them came home feeling they got something they didn’t deserve.
The book, Jarhead is available for sale
TAGS: movie review
30 October 2005
American Gods (Harper Collins, 2001)
In Neil Gaiman's America, Gods from all cultures live among regular folks, though they don't exactly live regular lives. Some have gone a bit crazy having been forgotten, unworshipped or disrespected; others have found creative ways to channel the energy they need. Of course America has also created its own gods -- Media, Internet, Commerce, and so on -- and a war is brewing between the old and the new gods for the masses' worship and sacrifice on which they feed.
American Gods follows a convict who goes by the name of Shadow. It follows him out of jail, where he finds the life he left behind in crumbled ruins, and into the employ of a man who calls himself Wednesday. Shadow is hired as a bodyguard, but it is soon clear he has a much bigger part to play. Shadow moves guardedly and skeptically through the world, usually choosing to observe rather than interact with people. He is well-read and he practices coin tricks to keep his mind focused. Gaiman slowly reveals details through Shadow's experiences and dreams, being careful not to reveal too much at each waypoint. The result is an inevitable but satisfying conclusion.
The recently released Anansi Boys is a spin-off from American Gods, following the family of Anansi who plays a small role in this book.
Buy American Gods.
Buy Anansi Boys.
American Gods follows a convict who goes by the name of Shadow. It follows him out of jail, where he finds the life he left behind in crumbled ruins, and into the employ of a man who calls himself Wednesday. Shadow is hired as a bodyguard, but it is soon clear he has a much bigger part to play. Shadow moves guardedly and skeptically through the world, usually choosing to observe rather than interact with people. He is well-read and he practices coin tricks to keep his mind focused. Gaiman slowly reveals details through Shadow's experiences and dreams, being careful not to reveal too much at each waypoint. The result is an inevitable but satisfying conclusion.
The recently released Anansi Boys is a spin-off from American Gods, following the family of Anansi who plays a small role in this book.
Buy American Gods.
Buy Anansi Boys.
24 October 2005
Edgar Allan Poe's Tales of Mystery and Madness (Atheneum, 2004)
This small collection of four of Edgar Allen Poe's creepy tales is aimed squarely at the tweens and teens set and published by Atheneum Books for Young Readers (an imprint of Simon and Shuster's Children's division). The illustrations by Gris Grimly -- pen and ink and with watercolour -- lend a graphic novel feel to Poe's dark, dry wit. Included are abridged texts of "The Black Cat," "The Masque of the Red Death," "Hop Frog" and "The Fall of the House of Usher."
Both "Hop-Frog" and "The Black Cat" were new to me and so the images I hold of those tales will now always be Grimly's -- and that is not a bad thing. As the writer discusses his growing aversion to the cat, listing the many reasons, Grimly counters with exhibits A through F: six smaller illustrations in the sidebars pinpointing each of the reasons the writer hates the cat. The illustrations of the climax of "Hop Frog" are horrific and gruesome without being gory -- Poe fills in the gore nicely, though, fear not. Like the Gorey-illustrated War of the Worlds, the combinaion of Grimly with Poe's text is a near-perfect match. Kudos also to the graphic designers for setting the text in Locarno, a slightly-off-kilter decorative serif font that enhances Grimly's images as much as it embrace's Poe's writing.
If there is a comic-book enthusiast on your Christmas List who might be ready for an introduction to some classic lit, this is a fine option; it would also make a great gift for any self-identified goth, fans of Tim Burton's films, or of course horror enthusiasts.
Buy Edgar Allan Poe's Tales of Mystery and Madness illustrated by Gris Grimly.
Both "Hop-Frog" and "The Black Cat" were new to me and so the images I hold of those tales will now always be Grimly's -- and that is not a bad thing. As the writer discusses his growing aversion to the cat, listing the many reasons, Grimly counters with exhibits A through F: six smaller illustrations in the sidebars pinpointing each of the reasons the writer hates the cat. The illustrations of the climax of "Hop Frog" are horrific and gruesome without being gory -- Poe fills in the gore nicely, though, fear not. Like the Gorey-illustrated War of the Worlds, the combinaion of Grimly with Poe's text is a near-perfect match. Kudos also to the graphic designers for setting the text in Locarno, a slightly-off-kilter decorative serif font that enhances Grimly's images as much as it embrace's Poe's writing.
If there is a comic-book enthusiast on your Christmas List who might be ready for an introduction to some classic lit, this is a fine option; it would also make a great gift for any self-identified goth, fans of Tim Burton's films, or of course horror enthusiasts.
Buy Edgar Allan Poe's Tales of Mystery and Madness illustrated by Gris Grimly.
20 October 2005
2046 (Sony Picture Classics, 2005)
2046 is the number of a hotel room that a writer uses for inspiration to write 2046, a scifi story about a journey on a train to 2046, a place to recover lost memories. On the train are androids with whom travellers "must never fall in love."
If the film had focused on the train and the androids, I'd have been able to see the film I expected to see. Instead, 2046 is about a man who treats women as objects and will not let himself fall in love.
Many reviewers will tell you this is a beautiful, moving film; I will not. There were a few scenes which were beautiful, some that were moving, and some that were jarring. Mostly, the scenes were long. Wong Kar Wai draws out the action and the inaction in life -- a woman considers a draw on a cigarette, s-l-o-w-l-y brings the cigarette to her lips, takes a drag then slowly watches the smoke she blows into the air. Then the writer says , "Sometimes scenes from my life show up in my work," and we see the same woman, in a different costume, take the same impossibly long drag of a cigarette.
I kept wondering when it would end. The writer, Chow, kept talking about different women he had mistreated and each time a relationship ended, I thought, "OK, roll credits!" and another scene would open. The long feel of the film combined with of seeing a drama-romance when I was prepared for a scifi mindbender resulted a big disappointment.
I'm sure there is an audience who will love this film -- I just can't count myself in it.
If the film had focused on the train and the androids, I'd have been able to see the film I expected to see. Instead, 2046 is about a man who treats women as objects and will not let himself fall in love.
Many reviewers will tell you this is a beautiful, moving film; I will not. There were a few scenes which were beautiful, some that were moving, and some that were jarring. Mostly, the scenes were long. Wong Kar Wai draws out the action and the inaction in life -- a woman considers a draw on a cigarette, s-l-o-w-l-y brings the cigarette to her lips, takes a drag then slowly watches the smoke she blows into the air. Then the writer says , "Sometimes scenes from my life show up in my work," and we see the same woman, in a different costume, take the same impossibly long drag of a cigarette.
I kept wondering when it would end. The writer, Chow, kept talking about different women he had mistreated and each time a relationship ended, I thought, "OK, roll credits!" and another scene would open. The long feel of the film combined with of seeing a drama-romance when I was prepared for a scifi mindbender resulted a big disappointment.
I'm sure there is an audience who will love this film -- I just can't count myself in it.
15 October 2005
Wallace and Gromit: The Curse of the Were-Rabbit (Aardman Films, 2005)
Wallace and Gromit make their feature-film debut in The Curse of the Were-Rabbit, a clever and funny little film, suitable for all ages. (If you haven't seen Nick Park's Wallace and Gromit shorts, all three films are available together on DVD and they are well worth watching, over and over again.)
In The Curse of the Were-Rabbit, Wallace (Peter Sallis) and Gromit are the owner-operators of Anti-Pesto, a humane pest control company. When we join the action, the town is preparing for the annual Giant Vegetable compettition, hosted by Lady Tottington (Helena Bonham-Carter). While Anti-Pesto has no trouble dealing with regular rabbits, a monstrous rabbit who feeds by moonlight poses a bit more trouble. Will Anti-Pesto be able to tame the beast or will Lady Tottington be forced to turn to her suitor and avid hunter, Victor Quartermaine (Ralph Finnes)?
Like Burton's Corpse Bride, The Curse of the Were-Rabbit is filmed using stop-motion animation techniques. (If you look closely, you'll see fingerprints on the figures.) The film took five years to make and many of the figures were recently lost in a warehouse fire.
Typical of the best family films, The Curse of the Were-Rabbit has humour aimed at children and at their parents -- many of the funniest jokes for adults are names or written cues with double meanings and nods to classic flims. Children enjoy the physical humour which is most evident through Gromit, Wallace's dog who does not speak.
Highly recommended.
Buy Wallace and Gromit in Three Great Adventures.
In The Curse of the Were-Rabbit, Wallace (Peter Sallis) and Gromit are the owner-operators of Anti-Pesto, a humane pest control company. When we join the action, the town is preparing for the annual Giant Vegetable compettition, hosted by Lady Tottington (Helena Bonham-Carter). While Anti-Pesto has no trouble dealing with regular rabbits, a monstrous rabbit who feeds by moonlight poses a bit more trouble. Will Anti-Pesto be able to tame the beast or will Lady Tottington be forced to turn to her suitor and avid hunter, Victor Quartermaine (Ralph Finnes)?
Like Burton's Corpse Bride, The Curse of the Were-Rabbit is filmed using stop-motion animation techniques. (If you look closely, you'll see fingerprints on the figures.) The film took five years to make and many of the figures were recently lost in a warehouse fire.
Typical of the best family films, The Curse of the Were-Rabbit has humour aimed at children and at their parents -- many of the funniest jokes for adults are names or written cues with double meanings and nods to classic flims. Children enjoy the physical humour which is most evident through Gromit, Wallace's dog who does not speak.
Highly recommended.
Buy Wallace and Gromit in Three Great Adventures.
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