X-Men First Class: The Mutant Blu-Ray

I loved X-Men First Class. So much so, that I saw in the theatre on opening day and a week before I bought it on DVD. To my sadness, the movie was CHOPPY. I am running another blu-ray in my PS3 to make sure it's not the new PS3. Here is a tweak to get it to play but skip a lot, and then I finally got it to work beautifully Here's the solution:

1. Fire up your PS3
2. Go into the Settings.
3. Turn off the Internet connection.
4. Erase all the files in the BD Temp folder.
5. Erase the X-Men First Class file under the Data tree. (tool around, you'll be able to find it)
6. Restart your PS3 without the disc in it.
7. Put in the movie and rejoice! It looks like a cross between an episode of Mad-Men and the first 50 issues of X-Men.

Roadtrip entertainment: four audiobooks

During our recent roadtrip travelling the highways through British Columbia and Alberta, our choice of entertainment was audiobooks. We finished four during the 10 days of travel:

• Planet Simpson: How a Cartoon Masterpiece Documented an Era and Defined a Generation by Chris Turner (abridged)
• World War Z: An Oral History of the Zombie War by Max Brooks (abridged, with full cast)
• The Poisoner's Handbook: Murder and the Birth of Forensic Medicine in Jazz Age New York by Deborah Blum (unabridged)
• Bossypants by Tina Fey (unabridged)

We had started Planet Simpson before we left on this trip but I am including it here because I haven't reviewed it yet elsewhere. For a family who watches hours of The Simpsons every week, this seemed to be a no-brainer as entertainment. For the most part, it was ridiculously enjoyable since we could all picture the exact sequences that the narrator was discussing as he led us through the show's inception and the many ways that The Simpsons have drawn from and contributed to popular culture.

Toward the latter chapters, we were noticing more repetition and the convention of using the episode numbers was annoying (7F01, 7F11, 8F13... they are meaningless to all but the most hardcore fans). It was also disappointing that for a show that spanned 20 seasons, the book only really discusses the first three or four. Suitable for almost any age though it does delve into some themes such as family values, politics and religion that may be a bit too academic for younger listeners.

***

Mike had already read World War Z and was disappointed that the audio book skipped over one pretty critical plot point (i.e. how the infection spread globally) but having a full cast (including big names like Carl Reiner, Rob Reiner and Alan Alda) made it more like a radio play than a novel. The story is told through a series of interviews with survivors following a war against ZACK (the Army code for Z, or Zombie). There is lots of descriptive gore from the front line but equal time is given to narrative about global politics and the different styles of warfare in which each nation engages.

While it was nice to have the full cast, I'd have liked the audio engineers to have paid more attention to balancing the levels from actor to actor -- I found myself needing to adjust the volume between each interview. That aside, I was kept entertained for the duration and it made me think about pandemics and how poorly most governments are prepared.

***

I had heard an interview with Deborah Blum about The Poisoner's Handbook on a Scientific American podcast last year; it had been on my wishlist ever since. The unabridged audiobook is read by Colleen Marlo who does a great job with the script. The book introduces the listener to two of the key players in the development of forensic toxicology: Charles Norris and Alexander Gettler. The two worked in New York from the late 1800s through early 20th century as Medical Examiner and Chief Toxicologist/Chemist respectively. They worked without much of a budget or staff but both were determined to find ways to measure various poisons scientifically and consistently so that the results could be used in court to convict, or clear the accused. They weren't always right and they also made a few enemies (including rather famously New York Mayor LaGuardia) but they did succeed in creating a new field of scientific study that had an immeasurable impact on 20th century criminal investigations.

Toward the end, we were growing tired of the constant discussion about methyl alcohol and its role in hundreds of deaths during Prohibition but aside from that, the story moves through a series of suspicious deaths, murders and crime sprees that mystery writers love and investigators hate. Some, I'd heard of before like the "Radium Girls" who worked in a factory painting glow in the dark paint on watch faces and many that were headlines in the 1920s but would be forgotten were it not for authors like Blum. There are some grizzly sequences, as can be expected and one section that was unexpectedly lurid; parents consider yourselves warned.

****

Tina Fey is definitely someone I admire -- I totally get her sense of humour and I respect the place she made for herself inside the Old Boy's Club of late-night and prime-time comedy. While she makes fun of her "nerd/librarian" vibe it has worked well for her. In Bossypants, she discusses her life from childhood traumas through her discovery of improv and how it changed her life, to her time with NBC and her life outside work as a parent and a celebrity. It's not a long book but there's not a five minute stretch that I didn't find entertaining.

If however, you are not a fan of Tina Fey you will not be won over by this book. She is, as always, unapologetic about being a woman, being liberal, and moving forward. Of all the books we listened to, this was the most "adult" -- Fey swears and discusses all sorts of subjects easily classified under the "parental discretion is advised" banner.

****

Focus by Leo Babauta

Leo Babauta, creator of zen habits, subtitled Focus “A simplicity manifesto in the age of distraction.” It’s an appropriate title for a collection of essays extolling the benefits of slowing down, clearing your mind, clearing your desk, and picking one thing to do at a time.

Babauta never claims it will be an easy task and even admits it’s not going to work for everyone in every situation. He does suggest that if you have even a small sum of control over your workflow, you can make meaningful changes and get more done with less stress.

I have to confess: I read this book in fits and starts in transit and on breaks and wherever I could find 10 minutes at a time until I was finally able to finish the last third in one extended uninterrupted sitting. As I write this review, I have the television on and am constantly switching my attention from one screen to the other. I fear actually tallying the number of hours I spend checking the black holes of Facebook, Twitter and Gmail. And clutter? I am its queen. If there is a target audience for this book, I’m in it.

Almost everything in Focus makes sense to me and yet I can’t yet visualize myself doing most of it. Specifically, two key parts would require me to make huge changes to my outlook: decluttering and disconnecting.

Decluttering is something I have struggled with my entire life. My parents bought in bulk and hung on to things “just in case” they came in handy, and they often did. As a kid, I just assumed this was how everyone lived, surrounded by Stuff. There is nothing new to me in Focus that I haven’t already read and tried to implement at some point over the years.

However, in one of the bonus chapters at the end of Focus, “How to create a minimalist workspace to find focus” by Everett Bogue is this sentence that I think I need to cross-stitch and hang somewhere obvious:

“Just in case” is a place in the space-time continuum that invokes clutter, but not much else that’s useful.

Or is creating the cross-stitch just adding clutter? Oh well.

Disconnecting is do-able for me, but I always feel, as Babauta suggests, like I am missing something. He rightly points out however that we are not omniscient beings and online or not, we are always missing many somethings. It’s an important concept to keep in mind.

These are just my personal hang-ups of course and it may yet be possible for me to overcome them if I wanted to. Is Babauta’s book the answer for me? No, but it is a solid building block. toward a happy medium, I suspect. He even offers some tips on how parents can focus without blocking out their kids and how to work with spouses and bosses in order to find focus.

Focus is a springboard book – it offers some key concepts in how to find and keep one’s mind open and clear by stepping back from some of the worlds’ distractions. If you are looking for somewhere to start, this is as good as any other you’ll find on the self-help shelves.

On the other hand, if you're thinking all this is BS, you're not alone. Penelope Trunk thinks Babauta's minimalist lifestyle is boring and requires too many sacrifices to be realistic for most people.

***

Buy the full book at focusmanifesto.com or follow the links to Amazon below for other formats:

Mayor of the Sunset Strip (2003)

Rodney Bingenheimer has launched some of the biggest and most influential acts in North America and yet I'd never heard of him until I saw this documentary. Bingenheimer got his start as a publicist for Sonny and Cher in the mid-60s. He used his position to build up a reputation as a super-groupie -- celebrities' go-to-guy in L.A. -- eventually evolving into a star-maker and an authority on the next big thing in music.

Through a nightclub called the English Disco (which he abandoned once disco hit mainstream) and later through his long-running radio show on KROQ, Bingenheimer introduced David Bowie, Blondie, Bow Wow Wow, Nirvana, Oasis and countless others to his followers. His show still runs on KROQ and though it airs in the wee hours between Sunday and Monday (midnight to 3 am) podcasting could allow him to reach out to potential new listeners.

Written and directed by George Hickenlooper (Factory Girl, Hearts of Darkness), Mayor of the Sunset Strip is a biographical documentary of Bingenheimer that illustrates how much influence one music fan could have on the industry in the 70s and 80s and even into the 90s and beyond. The footage was gathered over a span of 6 years and includes interviews with many of the people whose careers Bingenheimer launched plus notable "Rodneyites" from Mackenzie Phillips to Courtenay Love to Kato Kaelin. The film is equal parts a biography of Bingenheimer and of the world of glam rock, punk and alternative rock -- it's perhaps fitting that someone who spent his life on the edge of society immersed himself in the edges of popular music.

What amazes me is that while Bingenheimer has been surrounded by celebrities most of his life, he is neither rich nor famous. He eats at Denny's, drives a classic GTO, and seems to be living his life in his own shadow. There is a palpable sadness to the film as the music scene has become very much a music industry where radio play is increasingly irrelevant. Though he can count many of the biggest names in music among his friends and has his own star on the Hollywood Walk of Fame, one senses that he is on some level utterly alone.

****

Currently, Mayor of the Sunset Strip is available on YouTube in 7 parts.

Starter for 10 (2006)

Starter for 10 is a British romantic comedy based on David Nicholls' novel of the same name. It stars James McAvoy as Brian Jackson who has been obsessed with quiz shows his whole life. When he leaves his working class neighbourhood to attend University, he leaps at the chance to join the University Challenge team.

On his first night in town, his new roommates drag him to a "Tarts & Vicars" theme party where he meets Rebecca (Rebecca Hall). Their paths cross again on his way to Challenge try-outs but he almost completely forgets her when Alice (Alice Eve), the clever blonde, catches his eye. From here, the film takes a well-beaten romantic path of falling for the wrong girl even though the right girl is clearly under his nose. However, even in this standard arena, the writing is good enough to rise above the average romcom. While Brian is pursuing Alice he is also in pursuit of general knowledge. His main obstacle to that goal is the petty competitiveness of Patrick Watts (Benedict Cumberbatch), the University Challenge team lead. The audience presumes from the outset that the climax will have to occur at the quiz show and the screenplay does not disappoint on that level.

Nichols' Starter for 10 feels very much like a Nick Hornby story -- both authors seem to write about young male adults awkwardly navigating through life. It also features a great soundtrack full of early to mid-80s British chart toppers: The Cure, early Wham!, Buzzcocks, New Order and more -- though I could have done without The Smiths' "Please Please Please Let Me Get What I Want" on yet another soundtrack. The 80s retro-ness is not over the top, however, the movie could take place in almost any era.

Clocking in at just over 90 minutes, the film is well paced with just enough awkwardness to keep it from being saccharine and the cast strong enough to give well-rounded performances to even the smallest roles.

***

Mad Men before Mad Men

All out of Mad Men episodes? Get the flavour of 1960s advertising from a retro double feature of How to Succeed in Business Without Really Trying (1967) and Lover Come Back (1961).

Lover Come Back showcases Rock Hudson, Doris Day and Tony Randall performing their usual screwball comedy shenanigans in this film about competing advertising executives, the drinking, womanizing charmer Jerry Webster (Hudson) and the hard working, ethically-superior Carol Templeton (Day). Randall is Webster’s boss, uneasy in his role under the shadow of his late father. As Webster’s unscrupulous tactics threaten to take down the agency, he cooks up a way to hush up a witness by making her the new “VIP girl.” Unfortunately, VIP doesn’t exist and Webster has to create a product to go with the pitch. When Templeton tries to track Webster (and VIP) down, a mistaken identity leads to madcap adventures.

Lover Come Back is typical of the 60s screwball comedy -- if you’ve seen Pillow Talk (1959) or the more recent Down With Love (2003) then you’ve already seen Lover Come Back -- but by watching it through the eyes of a Mad Men fan, you can interpret it on another level. t’s fun to see the characteristics of Webster and Templeton in Don Draper and Peggy Olson and maybe just a bit of Pete Ramsey in Pete Campbell. It’s also got the same feel for the cutthroat competition between agencies and the lengths to which agents will go to get an account.

The first thing you notice about How to Succeed in Buisness is lead actor Robert Morse who fans will recognize as agency head Burt Cooper from Mad Men. A much younger Robert Morse is J. Pierpont Finch, a window-washer who stumbles on a book that teaches him how to bluff his way up the ladder in an ad-agency. It’s a musical, albeit an uneven one, and Morse also played the role on Broadway. Also reprising his role from the stage is Rudy Vallee as Mr. Biggley.

Unlike Lover Come Back which more or less glamorizes the industry, How to Succeed lampoons it, every step of the way, from the opener about "The Company Way" to the era’s take on sexual harassment with the musical number "A Secretary is Not a Toy" to the constant sarcastic narrative from the booklet. Unfortunately How to Succeed tends to lag in the third act but does eventually redeem itself. Worth seeing just for Morse’s performance.

There is no doubt in my mind that the Mad Men set directors, costume designers, and even the writers took some crib notes from these two films, so while we wait for the next season, why not treat yourself to these two classics.

Lover Come Back (1961) ****
How to Succeed in Business... (1967) ***

Teenage Paparazzo (2010)

Adrian Grenier is best known as Vince, the lead character in Entourage and he knows something about the paparazzi. Teenage Paparazzo is Grenier's story about trying to understand the paparazzi through the eyes of one of them, who happens to be just 14 years old.

I have one word to describe this film: engrossing. I could not look away. It had all the best parts of a documentary (great hook, intriguing subject, good pacing) plus celebrities. Grenier manages to get the best of both worlds -- as an actor, he has easy access to other actors and celebrities -- he even uses Paris Hilton (who deosn't seem to mind) to show off how fast rumors are spun from the photos that are submitted to the tabloids. On the other hand, he buys a camera and spends some time running with the paparazzi, stalking other celebrities.

In addition to looking at the heart of the issue (who is buying the photos? who is consuming them? what's with our obsession?) through discussions with psychologists, historians and other experts, Grenier manages to portray paparazzi not as bottom-feeders but as people doing a job.

But this is not a movie about Grenier (something he actually seems to figure out along the way); it's about a boy, Austin Visschedyk, who is so invested in getting the shot that will pay off -- pushing, cursing, and always clicking -- it's easy to forget that he's just a kid. When his story breaks, he is thrust into the other side of the camera as a celebrity.

I have to wonder what path Visshedyk will ultimately follow, having had both a taste of celebrity and also of the adrenalin-fueled pace of the celebrity-stalker. I kinda hope he grows up to be an accountant but I suspect Hollywood has a pretty firm hold.

****

It's All In Your Head. Everything May Be In Your Head

Inception is proof that an idea doesn’t need to be new to be original. The expertly crafted work from Christopher Nolan comes after decades of movies of a similar topic. Think of all of the big budget movies that have come out with the premise that all of reality is in our imagination.

The Manchurian Candidate - The pop-culture idea that the brain was an erector set came out of the Korean War. The Chinese attempted to use brainwashing to change its subjects. In the 1962 thriller, Frank Sinatra tried to find out how the Chinese messed with his head and the head of the titular character played by Lawrence Harvey.

The Matrix - The granddaddy headspace of the last decade or so was The Matrix. The Wachowski Brothers movie lent from Dark City, Terminator and other movies to weave a figurative matrix that does two things at the same time: it gives you a visual feast and a lot of philosophy to chew on.
"Whoa."

Total Recall - The Schwarzenegger blockbuster Total Recall used “is this for real” as a massive plot device. The company, Recall, sells memories of vacations. When they go to imprint Arnie’s character, they discover that he’s living with an imprinted memory. So: is he a secret agent jarred into turmoil through the Recall process; or is he living out the ultimate fantasy vacation as a double agent on Mars.

Dreamscape - When I first heard of Inception I thought, “Oh man... Dreamscape...” and was worried that even Christopher Nolan could turn out a turkey. This movie from 1984 shares a lot of similarities to Inception. Dennis Quaid has the job of delving into people’s nightmares. Ironically, this movie about nightmares was eclipsed by the first Nightmare on Elm Street movie that came out that same year.

The Cell - Before Jennifer Lopez was a punchline she was in the imaginative and gripping movie, The Cell. Like Dreamscape and Inception, the characters in The Cell move into the dreaming minds of people. When they take a walk into the Serial Killer mind of Vincent D'Onofrio things get going.

Brainstorm - Like Inception, The Cell and others, Brainstorm hinges on the technology held inside of a super box. In The last movie to star Natalie Wood co-starred Christopher Walken and Louise Fletcher as a trio of scientists who could record and replay what people experienced. The doodad in Inception became so much military surplus, but the government in Brainstorm wanted to take it over and make it into a torture device. Along the way they trapped the dying moments of the someone’s life and the tape becomes forbidden fruit.

Eternal Sunshine of the Spotless Mind - In Eternal Sunshine of the Spotless Mind, Jim Carey’s characters was too many memories and he wants to pay to have some of them excised. Say good-bye to heart ache and loss-- deleted like bad photos. But then, what are we, if all of the sadness could get zapped out?

Dark City - In Dark City, they’ve taken the chemistry set approach and what we are, then use bad experiences and good memories to melange people. Aliens want to learn who we are by distilling us-- our personalities-- and recombining them like a massive extended compare contrast. Who are we if our memories were just ingredients off of a shelf?

Waking Life - To get into the surrealism of what is reality, there’s Waking Life. The movie was shot on video and then the scenes were re-done as animations. Director Richard Linklater takes the palette of the animations and adds an extra visual dimension to this long but fascinating rumination on what Waking Life actually is.

Dollhouse - On the small screen, Dollhouse started with a shallow premise that evolved into so much more. The short-lived series from Joss Whedon featured a “Dollhouse”-- a place that sold people programmed to be other people. The sinister potential of this concept came to fruition later in the series as it was revealed that the Dollhouse corporation was treating human consciousness like hard drives-- and you both copy, blank out, edit and shelve hard drives.

Christoper Nolan’s movie comes into a thicket of other movies that ask “What is real?” I like to think that all movies-- works of fiction-- are not real and the irony that they pose these questions is terrific.

Did I miss anything?

Inception (2010)

Inception, like The Matrix and Waking Life, challenges the viewer's concept of reality. All three films do so by wrapping the philosophy inside a grenade of visual effects. The risk taken by these films is that viewers may not "get it" -- that they will walk away more frustrated than amazed. Of the three, The Matrix is still the benchmark for mass appeal but Inception should be a close second.

The definition of inception is "the beginning of something, a commencement or origin" and for the purposes of this film, it is the seed of an idea that can be planted deep in a person's subconscious through a shared dream state. To believe that this is possible, one must first accept the film's premise that dreams can be not only shared but also built, directed, and manipulated by others. Cobb (Leonardo Di Caprio) and Arthur (Joseph Gordon Levitt) work together with a carefully selected crew of chemists, architects and forgers to infiltrate minds and secure secrets for their clients. We learn that extracting information is much easier than planting an idea and that both activities are not only illegal but also very dangerous.

It's not the first film to illustrate the dangers of messing with people's minds -- both Eternal Sunshine of the Spotless Mind and Being John Malkovich also explore this realm. While the crumbling memories of Eternal Sunshine are well-represented in Inception, I also think writer-director Christopher Nolan picked up on Malkovich's pride of self in building believable worlds for the dreamer.

Nolan wrote the first draft of the script about 8 years ago but has said that the idea grew from his own attempts (and apparent success) of lucid dreaming. Nolan's scripts frequently delve into the mind's corners, dragging the viewer into situations that seem just barely plausible. In lesser films I would be not so forgiving of the apparent lack of internal consistency afforded one key plot point, the kick. I won't discuss it here but for a great summary of my problem with it, check point #39 in "50 Things About Inception" by Adam Best (but be warned, the article is wall-to-wall spoilers).

My only other complaint is that I would have preferred to see better use of some of the supporting cast -- Levitt's Arthur is particularly strong as the straight man who just wants to go in and get the job done but is also able to adapt to Cobb's penchant for bending the rules. On the other hand, if Inception were to ever become a franchise, Nolan could easily develop a film around Arthur or almost any one of the other characters.

While there is grumbling across the net about the ending, I appreciated it, just as I don't mind following Nolan's breadcrumbs through a film. The breadcrumbs are what make Memento and his adaptation of The Prestige so much fun to watch again and again; once you know how each film ends, watching one from the beginning adds a new layer to your understanding. Inception is very similar in its structure and while I can't say I will rush to see it a second time in its first run, I am already looking forward to seeing Cobb and his crew again.

**** 1/2

P.S. If you've seen the film, or if you want a better idea of the world in which it takes place, check out Inception: the Cobol Job, a prequel in comic form.

The Dark Side of Dancing.

Saturday Night Fever (1977), Fame (1980) and Flashdance (1983): three films about finding fame as entertainers shaped my teenage views of the industry -- or did they?

At only 8, I was not old enough to see Saturday Night Fever in the theatre so all I knew of it at that age was from the soundtrack and the many pop-culture references to Tony's (John Travolta) famous dance sequence on the disco floor. To me, it was all about the dance competition; it wasn't until years later that I saw the full movie and got to see just how crappy the rest of Tony's life was.

Again, with Fame, I'm not sure I saw the film in the theatre but I did watch the TV show, at least in its early years (did it really run until 1987?). I know that I eventually saw the film on Pay-TV (Superchannel, likely) and/or VHS. Unlike the TV show, the film included nudity, swearing, and even drug use, highlighting the inner-city side of the students' lives.

Flashdance I definitely saw in the theatre and I watched it over and over through my teens and early 20s on VHS. I was willing to overlook that the dancing was done by a body double and that the movie started the trends of torn sweatshirts and leg-warmers simply because Alex taught me how to take off a bra without removing my shirt.

More important though, was what the movies taught me: if you work hard enough, you can be an entertainer. There was never a question of luck, or money, just hard work and determination, oh, and making the "right" choices (don't do topless lap-dances, come back and work at the skeezy artsy dance house!) -- your basic American Dream scenario.

Unfortunately, it the characters lives are actually all pretty dark and miserable. They are surrounded by suicides, teen pregnancies, crappy day jobs and estranged parents. The films even look filtered and muted -- while this was typical of the era (a more realistic view of the world in contrast to Technicolor), in comparison to today's hyper-color-corrected and digitally enhanced films they just seem that much more gritty and depressing.

Perhaps I succeeded in distilling these films down to their dance sequences through listening totheir soundtracks; eventually, the scenes in between just faded away. Seeing each of them recently, I kind of wish I'd let those sleeping dogs lie.

I still recommend all of these films -- maybe even as a triple bill over a weekend -- but be prepared for the bumpy ride before you get to the inevitable happy ending of each one.

Date Night (2010)

Tina Fey and Steve Carell are such an obvious comedic pairing it's almost a shame that this is their debut. Almost. The two of them are good enough comedians to be able to elevate this rather average mistaken-identity action-comedy beyond simply "watchable" to "amusing."

Date Night takes average people out of the suburbs and drops them into the middle of an unlikely evening of excitement in the big city -- think of After Hours, Adventures in Babysitting, even Harold & Kumar Go to White Castle. The mistaken identity plot line isn't particularly fresh either -- think of North By Northwest, The Big Lebowski, and countless others -- but Fey and Carell have a genuine screen chemistry and make the most of a thin script.

All they want is a nice dinner in Manhattan; what they get is a not-quite-madcap dash throughout New York City, complete with gunfire and car-chases. Unlike couples in so many romantic comedies the Fosters are happily married and, while they might be in a rut, they seem to genuinely enjoy each other's company and support each other. They work together to get out of the mess they are in -- from finding unlikely help in Manhattan to the saw-it-coming-down-Main-street showdown at the climax.

Date Night is not a long movie. Clocking in at only 88 minutes, the movie doesn't have too much time to drag. Throughout, there are plenty of laughs that run the spectrum from knee-slapping guffaws to uncomfortable chuckles and while most are care of lines delivered by Fey and Carell, other actors get to shine, too. I doubt that Date Night will find a place in the rom-com cannon but it's a decent date flick, worth the admission price.

If you go, be sure to stay through the credits; two of my biggest laughs were at the out-takes.

***

Alice in Wonderland (2010)

Disney's latest version of Alice in Wonderland, helmed by Tim Burton is every bit as weird and whimsical as you might expect. The first thing you need to know is that it is not a remake of the childhood classic. Instead, it picks up the characters thirteen years later, when Alice is all but grown up and facing an arranged marriage. It's an interesting way to approach the material and the characters without destroying something so dear to many people.

Without giving too much away, this movie owes as much to The Matrix as it does to the Lewis Carroll's original works. Alice is convinced she is in a dream for most of the adventure and spends most of her time trying to wake up. However, as in the Matrix, the characters are split as to whether she is the right Alice (i.e. The One) or whether the White Rabbit (like Morpheus) has fetched the wrong one; only The Alice will be able to help them defeat their foe. The caterpillar here plays the role of the Oracle and the Mad Hatter and other tea party guests are much like the group of rebels on board the Nebuchadnezzar. Like the Matrix there is also a climatic battle scene that uses the lion's share of the special effects budget.

The look of the film is typical of Tim Burton, full of twisted trees, characters with exaggerated features, and the feeling of a world that extends well beyond the edges of the screen (even without 3D technology -- we did not see the 3D print so I can't comment on how well the technology was applied. ). Burton also used colour very deliberately, with the Mad Hatter (Johnny Depp) and the Red Queen (Helena Bonham Carter) as twin centres of attention and Alice (Mia Wasikowska) in her trademark blue standing out against the rest of Wonderland's muted hues. As an example, here is a comparison of Tweedledum and Tweedledee from the famous John Tenniel drawings, the 1951 Disney Animated version and the Tim Burton version, played by Matt Lucas (which I think was brilliant casting):



The film does take some odd turns -- most peculiar is the funderwhacking that is mentioned so many times that the viewer knows it will play out before the credits roll. Unfortunately when it appears, it's like a rancid walnut in a mouthful of mixed nuts and it really should have been left on the cutting room floor (it's as out of place as the jitterbug sequence that was wisely cut from The Wizard of Oz).

In the end, this version of Alice in Wonderland is principally 100 minutes of eye candy; my 9 year old said it best, "You know how there are some movies where, once they start, you can't take your eyes off the screen? This one was like that." It's not going to pay off big with a great plot or even memorable performances (though some are at least interesting, many of the cast were given little with which they could work) but if you see it on the big screen, you're likely to feel like you got your money's worth.

*** 1/2




Related media:

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Collapse (2009)

Michael Ruppert is a man who has been preaching about the downfall of civilization for a couple of decades and he might be right. The collapse of the title is civilization as we know it -- but it's not global destruction from nuclear fallout, a global weather event, or alien attacks. The collapse Ruppert has predicted is what happens when oil runs out. The scary part is thinking about everything else that oil is used to produce -- not just the fuel to run our cars, but tires, toothbrushes, fertilizers and much more. Ruppert believes that once oil is no longer affordable, society will begin to crumble.

As often happens with documentaries, Chris Smith had not set out to direct this particular film. He was researching another issue for which Ruppert was a source but, as it says on the opening frame, Ruppert had other things to talk about.

For the majority of the film, the camera focuses on Ruppert as he talks, smokes, and laughs at the interviewer's "rookie" questions. Stock footage is used to move the story along as Ruppert goes from credible to crazy and back again.

At one point, Ruppert talks about the kind of people you find on the Titanic when told it is sinking: the type who have no clue (deer in the headlights), the type who know and are willing to do what is necessary to survive (the builders) and those who think that the messenger has no clue (the non-believers). He suggested that the builders would get busy putting together the life boats and getting the heck out of there. What he failed to mention was the subset of non-believers (or just as likely, among the deer in the headlights crowd) who, on seeing the solution, would simply take the life boats, using force as needed.

Ultimately, on the credible-crazy scale I would award him credible, though I would like to back it up by researching some of his claims myself.


***

Visit the official website or view the trailer:

In the End...

Sometimes the best part of a movie is the ending but when reviewing movies it's not a good thing when you give that away. So, here, in no particular order and spoiler-free are seven movies that I think are better because of their endings:

The Italian Job (1969) -- Michael Caine leads a crew of Brits through the streets of Turin to pull off a heist during the World Cup celebrations. Don't be hoodwinked into renting the re-make; it's a pale imitation that lacks all the imagination and cool of the original.

Shallow Grave (1994) -- Ewan McGregor, Christopher Eccleston and Kerry Fox are roommates who share a very dark sense of humour. When they find a dead body and a lot of money their friendship may be at risk. This film is very dark, and more than a little violent but also very funny.

The Prestige (2006) -- Michael Caine again, here with Christian Bale and Hugh Jackman in a tale about two rival magicians. Before I saw this film, someone told me to pay close attention to a certain scene because it would reveal the ending. I paid attention and still gasped as the ending played out screen.

The Spanish Prisoner (1997) -- Campbell Scott and Steve Martin headline this clever con film. Maybe my favourite David Mamet film, the script is filled with sharp dialog and plot twists right to the last lines.

Knowing (2009) -- Strange things start to happen after a time capsule is opened; Nicholas Cage leads. Probably the cheeziest movie on this list but I really appreciated the follow-through.

War of the Roses (1989) -- When Michael Douglas and and Kathleen Turner decide to get a divorce, it gets ugly, fast. Another black comedy, the details in the final scene paint it even darker.

The Talented Mr. Ripley (1999) -- Matt Damon finds that he is skilled in impersonation while on a trip to Italy to retrieve a playboy living in luxury. At once dreamlike and creepy, this film will stick in your mind.

Cloudy with a Chance of Meatballs (2009)

All Flint Lockwood (voiced by Bill Hader) wants to be is a great inventor. Unfortunately, he lives in Swallow Falls which is known only as the world's biggest supplier of canned sardines. After years of failure, he finally finds success with a machine that can turn water into food -- what could go wrong?

Cloudy with a Chance of Meatballs is inspired by a bestselling picture book by Ron and Judi Barrett that tells the story of a scientist trying to solve world hunger. Similar problems evolve in both the book and the film, though, and lead to a similar conclusion.

Like many animated films, Cloudy includes some sight gags and dialogue that is aimed at the parents in the audience but for the most part this film is perfectly suited to young kids. The characters are miles away from the uncanny valley with oversize heads, big eyes, and wild hair. They live in a crayon-hued world that follows the rules of cartoons rather than physics.

The voice work is top notch, having borrowed half the current cast of Saturday Night Live and thrown in Bruce Campbell, Mister T, Benjamin Bratt, Neil Patrick Harris, and Al Roker just for kicks.

Cloudy With a Chance of Meatballs is not Oscar-worthy animation but it's not a bad way to spend 90 minutes with the kids.

*** ½

Daybreakers (2009)

What happens when the population has adapted to the vampire lifestyle but starts to run out of humans? If you are the CEO of Bromley Marks, you offer a supply of human blood while researching a synthetic alternative. Of course, Charles Bromley's (Sam Neill) blood bank clearly has its own agenda and isn't about to let its star researcher Edward Dalton (Ethan Hawke) alter it. In the meantime, the army has been re-deployed to hunt humans and blood-starved vampires are mutating into something much more frightening.

Unlike similar films -- think of The Matrix, Blade, Underworld, and Zombieland -- that take some time to pull the audience aside and explain "how we got into this mess," Daybreakers skips all of that. It skips a few other key points too, leaving it wide open for sequels, prequels, spinoffs and whatever else might make a future buck.

Daybreakers connects some interesting dots. For example, there are a lot of smokers among the vampires -- I guess if you're already dead, lung cancer is not an issue -- and coffee, the universal lubricant of the white collar worker, is being served with 20% blood. Chrysler got some product placement, too, with cars modified for "daylight driving systems" -- a series of shields, cameras and heads-up displays -- one of several tech and infrastructure modifications for our future vampire selves.

Overall, I appreciated the world the filmmakers built but it lacked some basic aspects of, well, humanity. I know who we were supposed to cheer for but somewhere in the midst of a car chase that belonged in a different screenplay I lost interest. The characters had little to offer me in the way of emotion -- even (maybe especially) the human characters. There's also a subplot with Bromley that works only as a plot device to shove the story forward, however awkwardly.

In fact, awkward may be the best word to describe this film -- a little bit like a gawky teen who has grown faster than he's matured, Daybreakers features some great ideas and inventive special effects and makeup work, but it sends mixed-messages with its inconsistency. I suspect the Spierig brothers have a great film in them but Daybreakers isn't it.

I will give it top marks in one department: Daybreakers delivers on its promise of sparkle-free vampires.

***

Two Polanski Films: Rosemary's Baby and Chinatown

Following the storm around Roman Polanski's arrest and pending extradition from Switzerland, Mike and I decided it was time to watch two of his films that were on our fill-in-the-canon list. (Canon may be too strong here but they are oft-referenced films by academics and other reviewers that we hadn't seen.) Both films were available at our local library so I placed holds on both titles and the stars aligned to make them both available last night.

Rosemary's Baby does have some creepy moments but overall it is a ridiculous film. The most unsettling scenes are in the first act where a young couple moves into an odd apartment building and soon meets the Castavets, possibly the world's most invasive elderly couple. From the time that Rosemary (Mia Farrow) and her husband first dine with the Castavets, the film takes a turn from creepy to off-balanced and from there it rockets to just plain silly. The biggest problem comes from the connection that the screenplay (and Levin's book before that) makes between witchcraft and satanism. This not only dates the film (more so than the Vidal Sassoon haircut and 60s wardrobe) but makes it almost unwatchable for anyone who is familiar with wiccans and modern witchcraft. That aside, Polanski does manage to make the film tense right up to the last scene (which let me down), if you believe that the protagonist was unable to put two and two together until someone sent her a book filled with underlined passages. Her fogginess is due in part to being perpetually drugged by the Castavets and her complicit husband. His cooperation was one of many plot points that was poorly supported. It's clear that Rosemary's Baby is a horror film -- most of the truly frightening events are left to the imagination of the viewer -- but it is a weak representation of the genre.

Chinatown, on the other hand, is a much more watchable movie. Set in 1930s Los Angeles, the film centres on Jake Gittes (Jack Nicholson), a private eye who deals in relationship issues but .ends up getting drawn into a much bigger case. Chinatown is considered a "neo-noir" -- it bears all the marks of a Film Noir but was made 25 years after the golden age for that genre. Throughout, it reminded me of L.A. Confidential (if you have seen one, you'll likely enjoy the other). Nicholson is at his best here, playing a detective with a conscience -- he just wants to get to the bottom of it all. Faye Dunaway plays the femme fatale and she does it well; it's hard to tell just which side she's on until the end. I was not expecting the political intrigue or the other drama that unfolds; there's a lot to tell in Chinatown and it is all worth watching. The movie has aged well, perhaps due to being set in the past and, despite its age, still manages to be shocking.


** Rosemary's Baby
**** Chinatown

Hard Candy (2005)

What happens when the predator becomes the prey? In Hard Candy, we watch a 30-something photographer, Jeff lure Hayley, a precocious honor-roll 14 year old from an internet chat room to a meeting at a local coffee shop and then to his home. Unfortunately for Jeff, Hayley already knows what she's getting into.

Everything about the production -- from the direction to the sound editing -- is well executed but the performances from the two leads, each intensely emotional and raw, are the cornerstone.

Watching Hard Candy is an intellectual tennis match as the audience is torn between rooting for the creepy pedophile and the violent teen. Is it exploitation? That's hard to say although the suggestion algorithms on some movie sites put it in the same category as Saw and other "torture porn" horror films. Personally, I would put it in the same category as some of David Mamet's and Neil LaBute's work such as Oleanna and In the Company of Men. Like those films, Hard Candy humanizes people who are normally shown as one-dimensional villains and also forces the audience to consider the repercussions of vigilante actions.

****

Underworld: Rise of the Lycans

The ancient feud between Werewolves (aka Lycans) and Vampires had a beginning. The first two Underworld movies were set in modern day as Vampires and Lycans blasted away at each other with machine guns and high-tech toys. In the modern day, Viktor (Bill Nighy) meets his end, there comes a hybrid of the Lycans and Vampires. Centuries earlier, Viktor was a king-- he held sway over lesser Vampires as well as the lords of the nearby human lands. He and his undead held court. Humans accept Viktor's reign in exchange for his promise of relief from the onslaught of Werewolves. Past their supernatural origins, Werewolves were polar opposite of Vampires: feral, cursed, once men but doomed to live our their lives as vicious predators in animal form. Viktor found a Werewolf that gave birth to a human-appearing child. He killed the Werewolf, but took her baby, named it Lucian, and raised him in his castle. When Werewolves bite humans, they transfer the curse to their victims. Lucian was different: he could transform into Lycan form and back into human form. As a Lycan, his bite would infect victims with his variation of lycanthropy-- they could go to and from human form. The Vampires ruled the night but could not survive the day-- they needed the Lycans as servants and daytime protectors-- slaves. As we all know, slaves rebel. Viktor's daughter, Sonja, eventually joins the Vampire ranks after spending her childhood growing up sharing the castle with Lucian as he too grew up. Sonja is in love with Lucian. When Viktor discovers their secret love and the unborn Vampire/Lycan baby she bears, he puts her to death. Open revolts breaks out between the Lycans and the Vampires. In this medieval battle, the stage is set for the latter events of the first two movies.

The first two movies were written and directed by Len Wiseman. This time, Patrick Tatopolous directs the movie. Most of his movie credits involve technical world as a creature designer or costumer. Being a designer doesn't preclude someone from being good as a director (eg. Len Wiseman's art production background as well as Guillermo del Toro's origins), but Tatopolous may be stronger in the workshop than behind the camera. Tatopolous is stuck on one palette in this movie: blue. Dark, light, dull blue. Blue! The piercing blue eyes of Bill Nighy was very impressive; but there is a scene where Werewolves are lying await in the night in some foilage and there is almost no way to tell what is what. It was like an extra layer of macrovision copy protection at points, where you have guess with dark blue is connected to someone with a sword or a set of fangs.

This movie has a couple unenviable stumbling blocks. Preclude can be claustrophobic-- you know characters who appear in earliers movies will make it out alive of the latter prequel. This movie definitely goes down that road. Also, it feels like there is some franchise fatigue. The first two movies has Scott Speedman and Kate Beckinsale in front of the camera; with Len Wiseman behind the lens and scripting. The signifigant players (Bill Nighy, Michael Sheen with Kevin Grevioux) do return to color in the start of this feud. Beckinsale's role of Selena is replaced by lookalike Rhona Mitra playing Sonja-- this was set-up in the first movie and paid off here. Danny McBride (stuntman and contributor to all three movies) and Dirk Blackman (who's credits are this movie and the Viking-Alien epic, Outlander) penned this movie in Wiseman's place.

This movie is just what the title implies: it's the origin story of the Lycans and much of the movie centers around those creatures and characters. You don't see the Vampires in all their glory (almost done of the "Dracula" bag of tricks come into play-- no turning into bats, rats or wolves, nada). Nor is there the angry villager bent. Humans are backdrop: they express displeasure with Viktor like they were townspeople lipping off to the city comptroller. There is some much great potential from this concept and much of it boils down to cool sword battles, some great CGI of Werewolves and Lycans laying seige to a castle; and some naked side-hip action from Mitra and Sheen. As way to close off the franchise, this movie does accomplish that, but it falls well short of surprising you or giving you something new.

DVD Extras: The special featurettes talk about the production of the movie and the inner workings of the feud between Lycans and their former masters. There is a filmmakers's commentary where he details the production from his perspective.

***

Terminator: Salvation

The film opens on death row. A condemned prisoner, Martin Wright (Sam Worthington) is giving a chance to donate his body to science. The scientist is from Cyberdyne Systems. In Terminator 3, John Connor is locked away safely when Skynet launches Judgment Day to emerge as the salvation of mankind-- pre-armed with the foreknowledge of how to fight the machines. Tune in 15 years later: Christian Bale plays John Connor-- the rebel leader / soldier. Humans are well organized against the robots: jets, subs and armed troops. They seem much better equipped than the ragtag fighters seen in the first movie. Michael Ironside commands the resistance from a secret location along with what looks to be remnants of an international force of senior officers. They have developed a way to shut off the machines and John Connor demands to test their new weapon. It also turns out that Skynet publishes a hit list of human targets: John Connor is #2 of the list; Kyle Reese is #1. Kyle Reese as Termintor followers will know is destined to be John Connor's father. Right now he's an anonymous resistance fighter and half of the force fighting in Los Angeles. After the raid on a research lab by Connor and the resistance, Martin Wright comes back from the dead. Confused, he stumbles through the wasteland (think of a super-duper version of the Fallout 3 environment). The wanders into LA defended by Reese and a plucky mute girl-- two people are left in Los Angeles. Outside of town Reese, Wright and the girl find an abandonned 7-11 teaming with survivors: easily 10 times the population of post-nuclear LA. The machines attack in some great action sequences-- scenes coupled with deep audio that rumbles like no home theatre could ever accomplish: it'll really bubble your soda. Reese is targetted for termination, but is taken captive. Wright does not get captured, but instead gets rescued by the sexy fighter pilot, Blair Williams (Moon Bloodgood). After the obligatory fighting-off-the-rapists scene, the two bond. She takes them back to the secret base when Connor is located. Then the big shocker-- the dead guy bought by Cyberdyne at the start of the movie who is impervious to harm and hunger, is.. a robot! Eventually he escapes and goes back to Skynet headquarters to find Reese. Connor follows to bust Reese and other captives out of Skynet headquarters. The big action unfolds and in a poorly guarded secret, Arnie makes a comback. What is majorly cool: it's an all digital Arnie. If your harken back to Mummy II and the sadly plastic Rock, then progress through the technical leaps you get to this movie. He looks freakish like the same Schwarzenegger that busted up a police station in the early 1980s. If this is the face of cinema, I think we'll get to see an all-digital Humphrey Bogart / Harrison Ford movie in five years. It's really impressive. By the wrap-up, the loose ends are tied and up the door is open for many sequences with young Kyle Reese and his son, John Connor fighting the machines.

The action is impressive. There is some terrific tension built into the scenes. McG has a stupid name but a real talent for putting together great action sequences. Christan Bale and the rest of the cast are good in their respective roles. If park your brain at the door, you're in for a great ride. If you think you sink in this movie. The plot holes abound. Connor keeps jumping up and down the Resistance org chart: one minute he's a soldier taking orders; next minute, he just short of being in charge of the whole movement. The robots control this massive sum of technology, but they can't zero in on the pirate broadcast from Connor yet they can tune in on the command headquarters. The robots wanted Reese and Connor dead-- but when given the chance they resort to stupid Bond-villian style exploits including revealing their plans to the only hero who can make a difference. Maybe someone jammed a Roger Moore Bond DVD into Skynet before it went online. Connor is obsessed with saving his eventual father because if he doesn't he won't be born. When WHEN WHEN will Hollywood figure out how time travels works? If someone changes "a" past it doesn't change all pasts-- it just changes the relative past. Besides that-- the crux of the Terminator franchise is that people travel through time to change the past. The resistance has a super weapon that will simple shut off the machines-- when they have the chance to deploy, they do not. Why? Likely because of Terminator Salvation II. Worst of all-- when they find Wright and discover that he's all fleshy on the outside and geary on the inside, Connor goes back to his mother's tapes. He was was never prepared for this. WTF? Didn't Connor hitch a ride with Arnie in Terminator II and III ? How could he not know that Terminator impersonate people? At the end of the movie, there is a stupid plot point introduced and then resolved. It's all sentimental and ridiculous. Go for the thrills, the explosions and super cool robots-- but put your brain in offline mode before seeing Terminator: Salvation.

**