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(05/18/06 4:00am)
Terrence Malick's "The New World" is a film that requires a lot out of its viewer. It is not for the average, passive filmgoer and it is not for someone merely interested in just catching a glimpse of Colin Farrell's robust Irish chest. The film is slow moving, heavy on first person reflection narration and relies on the stunning but often drawn out cinematography. For some it is a film that will bring yawns, for others it is a powerful, intimate and visually dazzling look at our country's history, told by one of the most underrated, underused and underappreciated filmmakers working today. \nOn the surface "The New World" is the story of Pocahontas, John Smith and the landing at Jamestown, Virginia. The film, however, is more an allegory of the history behind not only America, but of the move towards the melding of different cultures and the creation of the "global village" that we live in today. \nThe film originally had a limited theatrical release and then was yanked back by Malick for the editing of 20 minutes of footage. While one would expect both versions of the film on the newly released DVD, Malick and New Line sadly decided to hold out, possibly until a special edition surfaces or maybe because the longer version was cut for a good reason. \nThe new DVD does feature an interesting hour-long documentary on the making of the film, which covers everything from the highly detailed, authentic production design of the film's sets and costumes to the use of various Native American actors and choreographers who all played a role in creating a historically accurate film. What's striking and unfortunate about the featurette, however, is that despite its one-hour running time and interviews with almost everyone involved in the film there is never once a shot or interview with director Terrence Malick even though he is referenced numerous times.\nMalick has always been somewhat of a mysterious, hermitesque filmmaker, having only directed four films in over 30 years. He surfaces every once and a while as a producer or writer of a film, but other than that not much is known about him. It would have been nice to hear his thoughts about the film but, alas, he leaves us to make up our own minds.\n"The New World" was one of the best films of last year and should have received more recognition. This is not your watered down, singing-raccoon-infused Disney retelling of one of America's most important events. It is a beautifully told tale of love and the discovery of a new way of life that, like "The Last of the Mohicans" and "The Mission," is one of the finest historical films about the clashing of cultures ever made.
(05/18/06 4:00am)
If by some chance you've never seen a film based on one of playwright Tennessee Williams' plays, you're missing out on cinematic slices of southern Americana. Williams broke rules and pushed boundaries of how much sexuality could be depicted, while psychological tensions burst out at the seams. \nWhat Warner Bros. has done is gathered up all their films based on good ol' TW's work and thrown them into a boxset. Sure you can buy all the films separately, but with a $60 price tag, you'd end up wasting plenty of dollars taking that route. \nThe biggest attraction is the American classic "A Streetcar Named Desire." Known for its iconic depiction of a drunken Marlon Brando screaming "STELLA!," this release is a massive upgrade from the first DVD incarnation. Spanning two discs, the film has been restored and now contains three minutes of unseen footage that was too steamy to be seen on the silver screen back in the day. Screen legend Karl Malden makes an appearance on the commentary track as do historians Rudy Behlmer and Jeff Young. \nDisc 2 is essential for it contains outtakes, an excellent documentary on director Elia Kazan and five other docs dealing with "Streetcar" on the stage, in Hollywood and even the censorship issues. Oh and for the ultimate in historic extras, Brando's screen test is here for the world to see. \nNext up, two TW films with Paul Newman: "Cat on a Hot Tin Roof" and "Sweet Bird of Youth." "Cat" comes in an all-new deluxe edition with a new featurette and commentary by TW biographer Donald Spoto. "Bird" too has a new featurette and more screen tests from the likes of Geraldine Page and Rip Torn. \n "The Night of the Iguana," directed by maverick John Huston, is a personal favorite of mine. It tells the story of a priest (Richard Burton) who has a falling out with his parish and must find redemption south of the border while confronted by three lovely ladies played by Ava Gardner, Deborah Kerr and Sue Lyon. Speaking of stories, check out the featurette "Huston's Gamble" for a look at one of Hollywood's finest directors. \nAlso included are the sultry "Baby Doll" and dull yet delightful "Roman Spring of Mrs. Stone." Both come with new featurettes and trailer galleries.\nExclusive to this set is an eighth DVD containing the documentary "Tennessee Williams' South" which I found to be both interesting and disappointing. It's great to hear the man tell stories and reminisce about his Hollywood days, but the re-enactments of scenes from his plays I could've done without.
(05/18/06 4:00am)
I see your sideways glances at my Batman carrier bag, riddled with condescension. I've suffered the looks of disapproval when I jog past you on a Sunday afternoon: me in my Superman shirt, you in your Connor Kent Superboy hoodie. I'm sick and tired of reading a trade paper back in a class and getting asked in mock interest if I've read anything other than Joe Michael Straczynski's and John Romita Jr.'s first arc on Spider-Man or the look on your faces in the "V for Vendetta" box office line where the rest of those standing around are "obviously poseurs." \nI realize I may be putting this is terms that are hard for others to relate to for you non comic savvy readers, so let me broaden the playing field to allow others to join in. And to be honest, maybe I'm pointing a wrongful finger at a subculture whose fans have suffered greatly in part to the cinematic acceptance and exploitation of our passion. Overall, this seems like a problem that stems from larger issues within our society. In terms more relatable to today's pop culture I offer this question for debate: Is it fair for a person to represent and claim allegiance to an idea, a theme, a moral, a person, or a team for reasons that are strictly fashionable? Are their certain rules of conduct and guidelines for someone to be able to where a certain t-shirt, ball cap, backpack, or patch?\nHow many times have you seen somebody in a Beatles t-shirt and wondered: Can they identify members of the Fab Four? Or seen a Rolling Stones bumper sticker and questioned if the person who placed it there has ever even listened to Sticky Fingers, Let it Bleed, Exile on Main St. or Beggars Banquet to name a few. And since when were Guns N' Roses belt buckles, jackets, ties, and wallets considered accessories? How are we as a society allowing this sort of thing to come to pass? \nWhen these bands, movies, literary icons, etc become pop culture icons, are fans of the source material expected to except that wearing a t-shirt may mean the model is more fashion conscientious then supportive of the icon, be it Danzig, Spider-Man, Snoopy, or the New York Yankees. The New York Yankee's that's a real interesting one there.\nFred Durst, you rat bastard. At some point both Yankee and Mets ball caps in no way, shape, or form meant the person wearing the hat supported either ball club. So why wear it? Why! WHY!\nWhite Sox fan's you can relate. The only thing I can accept is a sense of representing your roots. Can the wearing of a sports team hat show the support of a region and not a team? "Oh are you a 49ers fan?" "No, why would you think that? I am from San Francisco, but I root for the Raiders…"\nMy problem with the unmotivated wearing of these pop icons mostly stems from the desire for organization. Like a gang member wearing colors, a Spider-Man shirt means a potential friend, whereas Dave Matthews means an enemy. My girlfriend disagrees with this concept. "It's just a shirt, Tristan. People can wear what they want." It's this mentality that continues to allow this perversion to continue. For those of you who are unreasonably siding with Anna on this one, allow me a little more time to try to win you over.\nWhat would the reaction be if I were to start wearing a shirt with a swastika? Completely inappropriate right? "What the hell!" "Oh this old thing? I just like the way it fits…" Now, I realize that we are talking about completely different ideologies here. One: pop culture icons that have no (for the most part) direct effect on modern standards of living. The other really needs no explanation. A more modern, far less loaded concept might revolve around a pin exclaiming "No War for Oil!" Would a person who disagrees with this pin The sentiment is similar. I am using an extreme example to illustrate a point. Why advertise something for free? Why pay to wear the representation of an idea that you can't back up or support?\nTo be honest, I am ecstatic with the larger acceptance of my favorite medium. I think it's very healthy, and if one person out of every thousand who goes to see "X3" this summer actually goes to their local comic shop and picks up a book then mission accomplished. It's the others that bother me. It's the disregard of another person's passion to an extent that seems to cheapen and take away from it.\nIt might be that not everyone is such a pop culture whore as I am, but either way Anna, you are wrong.
(05/17/06 11:27pm)
I see your sideways glances at my Batman carrier bag, riddled with condescension. I've suffered the looks of disapproval when I jog past you on a Sunday afternoon: me in my Superman shirt, you in your Connor Kent Superboy hoodie. I'm sick and tired of reading a trade paper back in a class and getting asked in mock interest if I've read anything other than Joe Michael Straczynski's and John Romita Jr.'s first arc on Spider-Man or the look on your faces in the "V for Vendetta" box office line where the rest of those standing around are "obviously poseurs." \nI realize I may be putting this is terms that are hard for others to relate to for you non comic savvy readers, so let me broaden the playing field to allow others to join in. And to be honest, maybe I'm pointing a wrongful finger at a subculture whose fans have suffered greatly in part to the cinematic acceptance and exploitation of our passion. Overall, this seems like a problem that stems from larger issues within our society. In terms more relatable to today's pop culture I offer this question for debate: Is it fair for a person to represent and claim allegiance to an idea, a theme, a moral, a person, or a team for reasons that are strictly fashionable? Are their certain rules of conduct and guidelines for someone to be able to where a certain t-shirt, ball cap, backpack, or patch?\nHow many times have you seen somebody in a Beatles t-shirt and wondered: Can they identify members of the Fab Four? Or seen a Rolling Stones bumper sticker and questioned if the person who placed it there has ever even listened to Sticky Fingers, Let it Bleed, Exile on Main St. or Beggars Banquet to name a few. And since when were Guns N' Roses belt buckles, jackets, ties, and wallets considered accessories? How are we as a society allowing this sort of thing to come to pass? \nWhen these bands, movies, literary icons, etc become pop culture icons, are fans of the source material expected to except that wearing a t-shirt may mean the model is more fashion conscientious then supportive of the icon, be it Danzig, Spider-Man, Snoopy, or the New York Yankees. The New York Yankee's that's a real interesting one there.\nFred Durst, you rat bastard. At some point both Yankee and Mets ball caps in no way, shape, or form meant the person wearing the hat supported either ball club. So why wear it? Why! WHY!\nWhite Sox fan's you can relate. The only thing I can accept is a sense of representing your roots. Can the wearing of a sports team hat show the support of a region and not a team? "Oh are you a 49ers fan?" "No, why would you think that? I am from San Francisco, but I root for the Raiders…"\nMy problem with the unmotivated wearing of these pop icons mostly stems from the desire for organization. Like a gang member wearing colors, a Spider-Man shirt means a potential friend, whereas Dave Matthews means an enemy. My girlfriend disagrees with this concept. "It's just a shirt, Tristan. People can wear what they want." It's this mentality that continues to allow this perversion to continue. For those of you who are unreasonably siding with Anna on this one, allow me a little more time to try to win you over.\nWhat would the reaction be if I were to start wearing a shirt with a swastika? Completely inappropriate right? "What the hell!" "Oh this old thing? I just like the way it fits…" Now, I realize that we are talking about completely different ideologies here. One: pop culture icons that have no (for the most part) direct effect on modern standards of living. The other really needs no explanation. A more modern, far less loaded concept might revolve around a pin exclaiming "No War for Oil!" Would a person who disagrees with this pin The sentiment is similar. I am using an extreme example to illustrate a point. Why advertise something for free? Why pay to wear the representation of an idea that you can't back up or support?\nTo be honest, I am ecstatic with the larger acceptance of my favorite medium. I think it's very healthy, and if one person out of every thousand who goes to see "X3" this summer actually goes to their local comic shop and picks up a book then mission accomplished. It's the others that bother me. It's the disregard of another person's passion to an extent that seems to cheapen and take away from it.\nIt might be that not everyone is such a pop culture whore as I am, but either way Anna, you are wrong.
(05/17/06 11:25pm)
If by some chance you've never seen a film based on one of playwright Tennessee Williams' plays, you're missing out on cinematic slices of southern Americana. Williams broke rules and pushed boundaries of how much sexuality could be depicted, while psychological tensions burst out at the seams. \nWhat Warner Bros. has done is gathered up all their films based on good ol' TW's work and thrown them into a boxset. Sure you can buy all the films separately, but with a $60 price tag, you'd end up wasting plenty of dollars taking that route. \nThe biggest attraction is the American classic "A Streetcar Named Desire." Known for its iconic depiction of a drunken Marlon Brando screaming "STELLA!," this release is a massive upgrade from the first DVD incarnation. Spanning two discs, the film has been restored and now contains three minutes of unseen footage that was too steamy to be seen on the silver screen back in the day. Screen legend Karl Malden makes an appearance on the commentary track as do historians Rudy Behlmer and Jeff Young. \nDisc 2 is essential for it contains outtakes, an excellent documentary on director Elia Kazan and five other docs dealing with "Streetcar" on the stage, in Hollywood and even the censorship issues. Oh and for the ultimate in historic extras, Brando's screen test is here for the world to see. \nNext up, two TW films with Paul Newman: "Cat on a Hot Tin Roof" and "Sweet Bird of Youth." "Cat" comes in an all-new deluxe edition with a new featurette and commentary by TW biographer Donald Spoto. "Bird" too has a new featurette and more screen tests from the likes of Geraldine Page and Rip Torn. \n "The Night of the Iguana," directed by maverick John Huston, is a personal favorite of mine. It tells the story of a priest (Richard Burton) who has a falling out with his parish and must find redemption south of the border while confronted by three lovely ladies played by Ava Gardner, Deborah Kerr and Sue Lyon. Speaking of stories, check out the featurette "Huston's Gamble" for a look at one of Hollywood's finest directors. \nAlso included are the sultry "Baby Doll" and dull yet delightful "Roman Spring of Mrs. Stone." Both come with new featurettes and trailer galleries.\nExclusive to this set is an eighth DVD containing the documentary "Tennessee Williams' South" which I found to be both interesting and disappointing. It's great to hear the man tell stories and reminisce about his Hollywood days, but the re-enactments of scenes from his plays I could've done without.
(05/17/06 11:23pm)
Terrence Malick's "The New World" is a film that requires a lot out of its viewer. It is not for the average, passive filmgoer and it is not for someone merely interested in just catching a glimpse of Colin Farrell's robust Irish chest. The film is slow moving, heavy on first person reflection narration and relies on the stunning but often drawn out cinematography. For some it is a film that will bring yawns, for others it is a powerful, intimate and visually dazzling look at our country's history, told by one of the most underrated, underused and underappreciated filmmakers working today. \nOn the surface "The New World" is the story of Pocahontas, John Smith and the landing at Jamestown, Virginia. The film, however, is more an allegory of the history behind not only America, but of the move towards the melding of different cultures and the creation of the "global village" that we live in today. \nThe film originally had a limited theatrical release and then was yanked back by Malick for the editing of 20 minutes of footage. While one would expect both versions of the film on the newly released DVD, Malick and New Line sadly decided to hold out, possibly until a special edition surfaces or maybe because the longer version was cut for a good reason. \nThe new DVD does feature an interesting hour-long documentary on the making of the film, which covers everything from the highly detailed, authentic production design of the film's sets and costumes to the use of various Native American actors and choreographers who all played a role in creating a historically accurate film. What's striking and unfortunate about the featurette, however, is that despite its one-hour running time and interviews with almost everyone involved in the film there is never once a shot or interview with director Terrence Malick even though he is referenced numerous times.\nMalick has always been somewhat of a mysterious, hermitesque filmmaker, having only directed four films in over 30 years. He surfaces every once and a while as a producer or writer of a film, but other than that not much is known about him. It would have been nice to hear his thoughts about the film but, alas, he leaves us to make up our own minds.\n"The New World" was one of the best films of last year and should have received more recognition. This is not your watered down, singing-raccoon-infused Disney retelling of one of America's most important events. It is a beautifully told tale of love and the discovery of a new way of life that, like "The Last of the Mohicans" and "The Mission," is one of the finest historical films about the clashing of cultures ever made.
(05/17/06 11:21pm)
Gnarls Barkley seems like the most unlikely of artistic progressions: a former Dirty South rapper turned soul star and a former Athens, Georgia DJ turned virtuoso hip-hop producer collaborate to form a side project influenced by Motown, Seattle and Manchester. Famous for mixing, producing or manipulating other people's work (his combination of Jay-Z's Black Album and the Beatles' white album being the most notable), DJ Danger Mouse has finally delivered his own creative work (with vocals supplied by Goodie MOb's Cee-Lo Green).\nSupplied with biting production that varies from Gospel to rock grooves, St. Elsewhere almost works. In its moments of success, it's as phenomenal on first listen as Moby's Play seemed before every song was licensed. Green's voice is stunning -- it's probably the only non-synthesized instrument on this recording, but what an instrument it is -- and the well-developed rhythm central in every song keeps most tracks from being plodding.\nHowever, there is a serious lull in the middle of the album, and none of the tracks manage to shock and enthrall like the second, "Crazy." That song features a scratchy drum sample, a simple soul bassline and an absolutely jaw-dropping vocal performance from Green. Danger Mouse's recent success as the producer of Gorillaz's Demon Days is clearly audible, but "Crazy" is one of the only tracks that seems free of Damon Albarn's influence. It's a just a great song.\nUnfortunately, that high watermark is never again reached. "The Boogie Monster" tries to be spooky but only manages to be cloying, with Green's lyrics getting stupider as the song progresses. "Transformer," for all its creativity, is just flat-out annoying.\nThe later tracks ("Necromancing," "Storm Coming") take on a reggae influence that seems ill-fitting (Green even tries to channel Dizzie Rascal in the latter). They're not terrible, but they're not great either. "Who Cares" is one of the only success stories on the second half -- it uses minced '70s keyboards to supplement a great chord progression, and at times it seems reminiscent of some of the better downbeat Massive Attack songs.\nWhat's funny about collaborations like Gnarls Barkley, Gorillaz or Handsome Boy Modeling School is the fact that the resulting albums are often times pretty disappointing. Sometimes the two creative forces yield stunning results -- this album has a few -- but on a whole, this record is no great departure from the norm.\nStill, despite what will be a short shelf life, St. Elsewhere deserves credit just for the few times its reach comes close to its grasp. Maybe, like Gorillaz, the second time will be the charm.
(05/17/06 11:21pm)
Being the more substantial half of Steven Spielberg's red-letter 2005 (along with War of the Worlds), "Munich" tells the tale of the terrorist group Black September's hi-jacking of Munich Germany's 1972 Olympic Games during which they kidnaped and killed a group of Israeli athletes. The events are seen through the eyes of a secret group of hitmen contracted to assassinate those who helped plan the attack. The bulk of the film dramatizes these hitmen's experiences as they take out the planners one by one. Spielberg succeeds in endowing this spy-thriller with a political statement on terrorism and retaliation, and their place within the modern world.\nSpielberg and his collaborators are all working at their creative peak here, with Janusz Kaminski's geometric, hyper-kinetic cinematography heightening all moods, Michael Kahn's editing jarring and relaxing viewers based on the scene, and John Williams score ranging from relentlessly propulsive to exceptionally haunting. The screenplay by Tony Kushner and Eric Roth plays out like an intricate maze of political dialogue and stunning set pieces, all building to the somber but inevitable climax. The actors are uniformly excellent, with Eric Bana giving a breakout performance as group leader Avner. The supporting cast, featuring Geoffrey Rush, the new blonde-Bond Daniel Craig and a host of great foreign actors, help put a human face on the terrible events of the Munich aftermath. Lynn Cohen and Marie-Josée Croze help establish a small but effective female cast as Israeli Prime Minister Golda Meir and a cunning female assassin respectively.\nThe two-disc Limited Edition of "Munich" is brimming with bonus features chronicling nearly every aspect of the filmmaking process. After a brief personal introduction from Spielberg, a series of mini-docs covering the main cast and international casting process, the cast and crew's life on the set, as well as the editing, sound design and orchestral scoring bring the film further into focus. The docs "Munich: Memories of the Event" and "Munich: Portrait of an Era" delve deep into the happenings of the actual Munich massacre and subsequent retaliation, as well as how the production designers and wardrobe staff helped re-create a wholly believable 1970's vibe. Missing from yet another Spielberg DVD release is any semblance of a full-length commentary track, but I suppose when the man offers us a film as near to perfection as this, we shouldn't quibble about his apprehension to discuss it in depth.\nDespite some claims that the film's bold political statements are as futile as the behaviors they condemn, and that the film comes off as anti-Israeli (a view held almost exclusively by Jews) or anti-Palestine (a view held almost exclusively by Palestinians and their sympathizers), "Munich" transcends criticism as it represents a great director on the top of his game for the first time since 1998's "Saving Private Ryan." It's spectacular cinema with a purpose, and we desperately need more films like it.
(05/17/06 11:16pm)
The Red Hot Chili Peppers are back after a four year hiatus. In their first release since 2002's By The Way, Anthony Kiedis and the gang bring you a double-disc effort titled Stadium Arcadium, which may at first sound like the name of a live album. This is far from what you will get. Two discs boasting 14 tracks each, for a grand total of 28 tunes for those of you too lazy to do the simple addition. \nStadium Arcadium is separated into two parts entitled Jupiter and Mars respectively. These titles really have nothing to do with the content of the album, but alas, they are there whether you like it or not. The first disc starts out with "Dani California," which sounds like it could be something from Tom Petty's archives. Jupiter swings back and forth between mellow, funky, and rockin'. "Hump de Bump," is a funky number that could be the brainchild of George Clinton. "Especially in Michigan," while trying to solicit the greatness of the 26th state in the Union, is a stand-out track, featuring a guitar solo from none other than Omar Rodriguez of Mars Volta fame. Jupiter has its slow parts as well, such as in the title track and the jazzy "Hey."\nMars is not much different from its counterpart. There tends to be more mellow tracks on this disc, but there's nothing exclusive to this disc that is left out on the previous one. "Desecration Smile" and "Hard To Concentrate" have a pop-ballad sound, but are still notable tracks. On "Readymade" guitar solos prevail from John Frusciante like something that Audioslave might put out, and "Storm in a Teacup" takes us back to something that you might find on Blood Sugar Sex Majik. This disc is softer in some areas, but there are still some pretty sweet Frusciante guitar solos to even out the mix.\nThe Red Hot Chili Peppers are extremely talented \nmusicians. This album does nothing less than showcase what they are capable of. Produced by Rick Rubin, it doesn't sound overproduced at all, which can be a downfall for popular bands like the Chili Peppers. Lyrically, the songs range from beautiful and poetic, to downright silly. I'm still trying to figure out what a rockapotomus is. Oh, and did I mention the artwork is cheesy?\nStadium Arcadium is a solid release. Twenty-eight tracks may be overwhelming, and there isn't any filler, so it's like you're getting two CDs, wait… actually you are. There is a little bit of overlap in material, but I didn't find myself bored at any time. This album collects the best elements of the Chili Peppers last four releases (Blood Sugar Sex Majik, One Hot Minute, Californication, and By The Way for those of you who have forgotten), puts them into a blender, and tosses them onto a lengthy, but rewarding set. This is possibly the best thing these guys have put out in the 23 years they have been a band. Definitely worth picking up this summer. Also, check out the Red Hot Chili Peppers at this year's Lollapolooza festival in Chicago.
(05/17/06 11:13pm)
If Lindsay Lohan was trying to portray a more mature role and bring her acting career to a more serious level, then she is out of luck. It seems as if director Donald Petrie was going for something like his 2003's "How to Lose a Guy in 10 Days". Yet, "Just My Luck" happens to be nothing but a slight step up for both Petrie and Lindsay from Lohan's "Freaky Friday.\nThis comedy tells a story of a Manhattan socialite, Ashley (Lohan), who is fresh out of college and trying to make a career for herself. It just so happens that Ashley is the luckiest person in the world. Living an extravagant life style and taking everything for granted, Ashley denies that it is all luck. On the other hand, we also meet Jake (played by Chris Pine), who is probably the unluckiest person in the world. Jake holds a job as a food runner/janitor/handyman at a local bowling alley, where he also "manages" an unknown British band that he promises to get a record deal. \nWhen Ashley throws a masked costume party for her company's client and record producer, Damon Phillips (Faizon Love), her boss is nothing but pleased and immediately promotes her. At the same party, Jake finds himself trying to get a promo CD of his band to Damon Phillips but is rejected at the door for not being on the party's list. Pretending to be a dancer for the party, Jake finds himself looking for Damon only to run into Ashley, with whom he begins to dance with. When Ashley and Jake kiss, Ashley accidentally swaps her luck with the rather unfortunate Jake.\nImmediately, Ashley's perfect life turns into a living hell while Jake finds himself moving on up to the good life, and, after the switch of fortunes, Ashley frantically searches all of New York for the mystery man who she gave her luck to. Like I mentioned, "Just My Luck" is merely a more mature version of "Freaky Friday." Lohan delivers an entertaining, yet, no-brainer performance, and being only the age of 20, I found it really hard to believe she was a college graduate. Relative newcomer Chris Pine's acting is done well but he is most notable because he is simply adorable and charming. "Luck" is more of a comedy than romantic comedy, though it does have a few mushy love scenes towards the end. I would definitely recommend it to young teenage girls, but that's probably all. It was entertaining while it lasted and I am glad that I saw it, but I have no interest in sitting through it again.
(05/17/06 11:11pm)
One might think that Hollywood is trying to capitalize on the worst terrorist attack ever on American soil with "United 93," and while this is true to a point, the film was certainly made with a great deal of dignity and respect to the victims' families. \nIn directing this film, Paul Greengrass (whose previous works include "The Bourne Supremacy" and "Bloody Sunday") makes the audience into a direct observer of the events as they develop. He divides the film's focus between the passengers aboard flight 93 and the air traffic controllers and military personnel monitoring the situation from the ground. When the action is inside flight 93, the viewer becomes a passenger in the plane, and as the action shifts to the air traffic control center, the viewer is right in the middle of all the confusion. As the footage of the other planes crashing into the trade center towers plasters television screens in the air traffic control room, it feels like September 11th all over again. \nGreengrass further intensifies the reality of the film by allowing it to progress slowly, cutting between action in the air and on the ground, resulting in a real-time feel. Also, only unknown actors are used, and we learn almost nothing about any of the characters, just as their real life counterparts knew nothing about each other before boarding that plane. \nAt no point does the film make any judgments about any of the situations or characters. There are no poignant speeches and no behind-the-scenes politics, with the events left to the viewer for interpretation. Even the terrorists are shown in a human light. In one early scene, a soon-to-be hijacker calls a loved one for one last goodbye before he boards the plane. \n"United 93" may never have been the heroic story that is has become if it were not for an hour-long delay that held up the flight's takeoff. That slight twist of fate allowed the passengers time to hear about the other hijackings, and that coupled with a flight attendant seeing the pilots' murdered bodies, gave them the motivation to fight back. The terrified passengers knew that as a group, they could not sit idle and become a weapon of destruction. The last fifteen minutes of the film depicts their retaliation. When those passengers realized no one was going to save them, they accepted their fate and fought back. \n-- Doug Evans
(05/17/06 11:09pm)
I don't understand our preoccupation with disaster movies. "Twister." "The Core." "Deep Impact." It's always the same; lots of people are killed or threatened by a hostile physical environment. And though you can basically interchange the titles for these movies, and they still manage to get made and sell tickets.\nWith that in mind, I'm not going to bother ripping apart a movie that's about an escape from an overturned cruise ship. There's no point in acknowledging that it's a remake of a 1972 film; that just points out that stupidity spans decades in the film industry. \nInstead, I'm going to accept a movie like "Poseidon" for what it is - idiotic - and I'm going to move on, cause I'm OK with that.\n"Poseidon" is directed by Wolfgang Petersen, a man whose career has been a pendulum swing between sucks and awesome. Yeah, he made "Das Boot," but he also made "The Perfect Storm" and "Troy."\nHis current film falls right in the middle. The back-story is nonexistent and the acting is mailed in -- flipping the ship over is explained by 30 seconds of monologue about a "deadly rogue wave" -- but again, you knew it was going to be like this.\nAnd its better that way.Anyone who will buy a ticket to something like this isn't interested in why Kurt Russell is the de facto leader of the surviving passengers it doesn't matter that he was a hero firefighter and the former mayor of New York; the film says so, so he just is. And again, I couldn't care less about Richard Dreyfuss' cheating homosexual lover, or if lone-wolf Josh Lucas is a cardshark with a heart of gold. What evens "Poseidon" out and makes it worth watching is its chaos. Its disaster. I mean, come on. The fucking movie is about an upside-down cruise ship that's sinking into the ocean. It's pretty easy to make that marginally entertaining, so enough with the talk and get to ship-flipping.\nPetersen recognizes this, keeps the bullshit to a minimum, and gets right to the action. \nPretty soon, that rogue wave catches an amazingly inept ship's crew completely off-guard, and everything is turned on its head. Kind of like in bizarro-world.\nWhen somebody dies - and the movie doesn't go long without that happening because almost everybody does - they die hard. You don't just fall down an elevator shaft in "Poseidon," your dumb ass falls, gets impaled by metal spikes and is sandwiched by the elevator car too. You don't just slip off of wreckage to fall hundreds of feet into jagged furniture, you also get totally rocked by a free-falling engine roughly the size of a Volkswagen Bus. Spoiler: that's how Kevin Dillon dies. He sucks, so you'll cheer.\nThese scenes are ridiculous and awesome at the same time, and thankfully, there are a lot of them. I'm not going to warn anyone to stay away from this film; you know what it is, and you know what you'll be getting yourself into. It's retarded, mindless drivel that plays to the moron in all of us but is still marginally fun. If you want to turn your brain off for an hour and a half and don't have any pot handy, go see "Poseidon," because there have been worse summer blockbusters.
(05/17/06 11:02pm)
Some say karaoke is the poor man's version of American Idol. \n For Derek Reckley, it's just another chance to get up on stage and do what he loves -- entertain people.\n Reckley, 23, an actor and IU theatre student, is also a self-proclaimed karaoke enthusiast. \n "It's become a huge thing, actually," Reckley said. That's an understatement.\n His stage name is D-Bone, which was a childhood nickname, and his shtick is with the soul music. For this IU student, karaoke is a passion.\n "I do soulful songs. I prance and do James Brown and stuff," he said. "[Karaoke] is just a fun way to get on the stage, experience the crowd and study what people enjoy."\n Reckley has taken that passion beyond the regular karaoke routine, finding the societal study of karaoke performing just as interesting as getting up there and doing it himself. He is in the process of filming a movie about karaoke with Pale Trio Productions. He's even performing in an interactive play about karaoke in June called The Age of Cynicism, or Karaoke Night at the Hog, which is being put on by the Bloomington Playwrights Project.\n Everyone has seen the karaoke stereotype, whether they've ever entered a karaoke bar or not. The drunken woman with her work friends gets up on stage, slurring her words dreadfully as she warbles off-key into the mic. The happy-go-lucky guy with just a few too many under his belt proclaims undying love to the tune of Bruce Springsteen while his college buddies howl with laughter.\n While Reckley thinks those moments are classic, he also believes there is a strange sort of art to the karaoke process, which he finds fascinating.\n "Trying to find an art behind it is quite amazing," he said. "It's strange what the crowd will respond to."\n He described how karaoke can empower ordinary people.\n "People who look like the type of person who would not sing on stage get the largest crowd reaction," he said. He told a story about a recent karaoke singer, a tiny, 50-year-old woman, who stood up in front of a large crowd and sang "I Will Survive." The audience roared with approval, giving her a huge amount of support that a typical, young 20-something wouldn't have received from the same song. \n "If you've got balls and you go up there and do it people will applaud you more," he said.\n Reckley also talked about how karaoke can be an addictive rush.\n In the moment when a person steps up to the mic to sing, there is a pause as the crowd waits. They're watching, and studying, and the singer finds they've suddenly got an adrenaline rush. \n It is the feeling of power that keeps people returning to the mic time and again. \n "For a little moment, they can feel like they are someone important," Reckley said. "It's sad in a way, but also kind of beautiful."\n The Age of Cynicism runs every evening at 8 PM. from June 1 through the 17 at the Bloomington Playwrights Project, located at 109 W. 7th Street.
(05/17/06 11:02pm)
There are many unique experiences for Bloomington residents in the summer. Traffic on 10th is thinned, the quarries are still relatively accessible for those braving the "No Trespassing" signs and the Ryder Film Series is once again filling a variety of different venues with interesting, important and classic films.\nThe Ryder Film Series was started 25 years ago by Peter LoPilato. The then student, LoPilato had been hearing from friends in New York City about the many exciting films they were seeing, however none of these films ever seemed to make their way to Bloomington. LoPilato decided to change this. He began obtaining the rights to screen movies at Time-Out (now known as the Tap located on Walnut). These films showed at Time-Out for a few months before the club closed and LoPilato and the Ryder Film Series began its lasting relationship with the restaurant/bar Bear's Place. LoPilato was only 22 when he did this. "Physically I was 22, emotionally I was more around 14."\nLoPilato is still in charge of the Ryder Series and has since also started the Ryder Magazine, a monthly film program that offers news and features on Bloomington arts and popular culture and can be found virtually anywhere in Bloomington. \n"It's a business in the loosest sense of the word," LoPilato says about his work with the Ryder. "But it's closer to a hobby."\nThe Ryder Film Series now hosts film screenings at not only Bear's Place, but also the IU Fine Arts building, the Cinemat, Bryan Park and the Buskirk-Chumley. Old participants of the screenings may notice that Laughing Planet is no longer having its annual summer night screenings, this is due to the new daylight savings time change, where residents can now expect sunlight until 10PM. \n"Each venue has its own personality" explains LoPilato. Bear's Place, for example, offers moviegoers a chance to eat a meal, have a snack, or simply enjoy a drink in its 21 or over screening room. It's also suggested by the www.theryder.com that participants wear a sweater, even in summer, to a screening at Bear's Place, as it can be a bit on the chilly side.\nThe most recently added venue for film screenings is the Buskirk-Chumley. Last week they featured "The Battle of Algiers," the 1966 film by Gillo Pontecorvo that was commissioned by the Algerian government in an attempt to show an unbiased account of the country's revolution against France. \nThis upcoming Friday promises an even more exciting evening as Harry O'Hoyt's 1925 silent feature "The Lost World" will be screened as piano player William O'Brien provides a live performance of an originally scored soundtrack. The special effects are particularly of interest with this film as it is the first feature film to utilize stop motion animation which was created by Marcel Delgato who went on to do "King Kong" 8 years later. \nBeginning the first Monday in June, the Buskirk-Chumley will begin a Foreign Classic Film Series with screenings of the films at 7 PM and then again at 9PM. This event starts off with a kick as cinephiles are treated to an array of incredible classics beginning with the brilliant Italian director Federico Fellini's Oscar Nominated "Satyricon." The following week will feature "Last Tango in Paris" by director Bernardo Bertolucci and starring a still charismatic Marlon Brando. The foreign hits continue to roll the third week of June with Michelangelo Antonioni's 1966 remarkable "Blow-Up." Each of these films are on the "must see list" for any fan of good movies and will be quite a treat on the screens of the Buskirk. \nOne of the reasons for the recent addition of the Buskirk to the list of Ryder screening locations is an attempt to offer fans of all different theater preferences a place to see these classic films. The Buskirk offers a more formal atmosphere for those who wish not to attend screenings at Bear's or the Cinemat, and for others who would rather avoid the IU campus' Fine Arts Building. \nThe IU Fine Arts Building screenings were added in part to accommodate Indiana University professors who felt the film screenings were important for underage students who were unable to get into Bear's Place. The Fine Art's building has two rooms for the screenings and much like Bear's Place, the Fine Art's screening can still be cold during summer, so dress accordingly.\nBryan Park, which has been host to Ryder's outdoor summer screenings for the past 8 years, will continue to screen movies this summer. This is an event that offers something for everyone and is quite the experience. The Ryder website invites people to "bring a blanket. Bring a snack. Bring a dog." But make sure to call ahead if there is a chance of rain, as screenings at Bryan Park are weather permitting. \nThe Cinemat is primarily a video rental store, but serves as a screening room for Ryder Films twice a week. There relationship started relatively recently, about 2 years ago, but is considered one of the more intimate places to see a Ryder Film. \nFor years, Peter LoPilato and the Ryder Film Series have offered Bloomington residents opportunities to see movies that aren't found on other theaters' screens. This year is no different and with the addition of the Buskirk-Chumley as a venue along with the Foreign Classic Film Series that begins in June, Bloomington will once again offer summer inhabitants and movie fans plenty of chances to enjoy a good movie, no matter what their preference of theater or film. \nFor more information on the Ryder, pick up their monthly magazine available all over campus, or visit their website at www.theryder.com. For film listings and showtimes call 339-2002.
(05/17/06 10:55pm)
Bear's Place\nIf you are looking for a great karaoke time spent with friends, Bear's Place on 3rd Street is, well, the place. Thursday nights starting at 9 p.m. the back room throbs with the drunken warbles of college students having a good time. The DJ also has a good time, with a strong selection of music, and for a $2 cover charge the evening can be yours.
(05/11/06 4:00am)
Staying in Bloomington during the summer months may scream boredom for some. The students that remain in town are taking classes or working and may dread the long, hot days with little to do.\nYet, summer is the highlight of the year for Bloomington residents and fewer people does not necessarily translate into less activity. Less traffic, warmer, sunnier weather and an abundance of outdoor activities help this town spring to life.\nThe Union Board is active in the summer, but has yet to convene. When they do, the Summer Board will begin planning events for students staying in Bloomington this summer.\n"(We) will have an active board for the summer and will be actively programming," said Tony Bruno, programming director for the Union.\nWhile waiting for the Union Board-sponsored events to begin, students have many options to keep busy including events in and around Bloomington that have already begun to take shape. \nRemaining students and residents have a lot to choose from when they are not at work or in class. Traditionally, with the Fourth of July each year, many anticipated events are scheduled. Even on regular days, students should still have many options to keep themselves busy.\nHere is a sampling of what is to come in the next few months, including one-time and summer-long events:
(05/11/06 4:00am)
WHAT: Smithsonian Jazz Festival\nWHEN: Aug. 12, 8 p.m.\nWHERE: IU Musical Arts Center\nCOST: $14, $8 for IU students\nFestivals are all over the country, and right here in Bloomington we have shows all summer long on campus. The summer of inexpensive, and sometimes free, shows are capped off with the Smithsonian Jazz Festival in August. Featuring legendary Jazz musician David Baker and The Smithsonian Jazz Masterworks Orchestra, the performance will showcase some of the most important Jazz of the last 100 years. \nJelly Roll Morton, George Gershwin, Duke Ellington, Billy Strayhorn and Quincy Jones are just a few of the impressive list of artists being covered. The show will also include some IU performers.\n"I'm thrilled that the all-star musicians who make up this orchestra will get a chance to visit our campus," Baker says. "And (they will) see firsthand what we're trying to do in our jazz studies department as well as in the rest of the School of Music."\nThe Jacobs School of Music also has chamber shows, orchestral concerts, jazz concerts, outdoor bands, choruses, the Opera "The Mikado" and free events all summer long.
(05/11/06 4:00am)
So, it is summer time again. No seriously it is. Check your calendar, I am right. In Bloomington that means a few things. First of all, it means that you can now drive down 10th Street in under an hour. It also means that the ratio of Escalades to Pickup trucks takes a severe nosedive. But the biggest, most important thing that happens this, and every, summer, is the blockbuster. That is right, it is time for the summer blockbuster. Superheroes, horror movies and high profile action are all coming your way. Screw Oscar time, this is when the best movies come out, and unlike last year it looks like this summer will see a lot of worthwhile fare. My mouth is salivating over "X-Men 3", "Pirates of the Caribbean 2," "Superman Returns" and "Idiocracy," Mike Judge's long delayed follow-up to "Office Space." But on the other hand there is going to be a lot of crap. And this isn't just normal run of the mill crap; we are talking about the radioactive son of crap, Crapzilla. \n"Poseidon:" What is the best way to remake a crappy disaster movie from the '70s? Cast it with has-beens and unknowns. What does it say when your biggest names are Richard Dreyfuss and THAT guy from "Sweet Home Alabama." Seriously, what rock did they find Richard Dreyfuss under? Rumor is that he is working for food and a place to crash.\n"The Omen:" The only reason the original "The Omen" was even worth watching at all is for camp value. Just because there is going to be a 06/06/06 this year doesn't mean you have to release a movie about the devil ... okay the release date is kind of cool.\n"The Fast and the Furious: Tokyo Drift:" Dear God! What horror hath those who saw "2 Fast 2 Furious" wrought? Here is the premise, down home southern boy goes to Japan with Bow Wow and shows those dirty Japanese how we race in America. How bad does a movie have to be before Paul Walker refuses to work on it? I guess we are going to find out.\n"Garfield's A Tale of Two Kittens:" Come on, there is no way that anyone could have possibly thought that a "Garfield" sequel was a good idea. The executives over at Fox must have missed the first one, as did the rest of America.\n"Little Man:" If you have yet to see the preview for this movie, do yourself a favor and hop on the Internet and check it out. Marlon Wayans' head CGIed onto a 3-year-old's body. I think I died a little inside by just seeing that. Who keeps letting the Wayans Brothers make movies? Then again White Chicks make a boat load of money so someone out there it watching this stuff.\n"Lady in the Water:" After "Unbreakable" and "The Village" there cannot possibly be anyone left who is still willing to sit through a M. Night Shyamalan film. I wonder if this movie will end with a ridiculously over the top and pointless twist. Well according to my Magic Eight Ball, all signs point to yes.\n"Miami Vice:" Don't think this movie will be that bad? Well I have a question for you. Has Colin Farrell ever been in a good movie? Plus, it is becoming all too clear that Academy Award winner Jamie Foxx is more like Academy Award winner Cher than Academy Award winner Laurence Olivier. \n"Zoom:" Tim Allen Stars in an exact rip off of last year's superhero film "Sky High." I wonder if we pool our money together, do you think we can raise enough to bribe people to stop putting Tim Allen in films. Sadly this will probably be better than his other film coming out this year, "The Santa Clause 3."\n"DOA: Dead or Alive:" This movie has one point and one point only: boobs and plenty of them. Then again what do you expect when you have a movie that is based on a video game that gained its notoriety by being the first fighting game with jiggling. They are yet to reveal the plot of "DOA," but I have a feeling that it will have something to do with a beach.\n"Snakes on a Plane:" I think this might be the worst movie that I have ever been dying to see. Will it be bad? Of course it will, but there are going to be snakes! On a plane! I think the greatest joke that could ever be played on America would be if this movie were actually a three hour biopic about Herbert Hoover.
(05/11/06 4:00am)
Hooray for mediocrity! Let's face it, that is about all one could possibly expect from "Mission: Impossible III." In the end, that is exactly what this movie does, it lives up to your expectations. There are lots of guns and explosions and ridiculously complicated plans for heists, including one hilarious scene where the main character saves the day through the heroic use of algebra.\nThe plot for "M:i:III" is as predictable as can be, which actually has its upside since you can sleep through all of the boring parts and not lose track of the story. Ethan Hunt (Tom "I have lost my damn mind" Cruise) has retired and now restricts his talents to training other agents. When his first student is captured by evil super villain, Owen Davien (Phillip Seymour Hoffman), he is called back to active duty to try and save her life. But when Davien captures Hunt's newlywed bride (Michelle Monaghan), Hunt has to gather his team of super agents to trot the globe and try to get her back. How on Earth it took three writers to come up with this script I have no idea, but whichever one was \nin charge of dialog should probably be fired.\nAlthough the script is piss poor, that is not really that big of a deal for an action movie. Half the people aren't even paying attention to the plot anyway. Honestly the biggest problem with this movie is the presence of Tom Cruise. It has become practically impossible to separate his on-screen characters from his off-screen antics. The entire time he was speaking I just kept thinking about the time he jumped on Oprah's couch, or his recent claim that after his wife gave birth he was going to eat the placenta. Let me tell you, nothing ruins an action movie like imagining the main character eating a placenta.\nOf course the visual effects were great, but who cares. It is 2006; we are too accustomed to visual effects to be wowed by them any more. Frankly, the last time I enjoyed a bad movie because of the digital effects was "Star Wars: Episode I." Still I guess there will always be a place in America's heart for big explosions and ridiculously crafted gunfights.\nOverall, "Mission: Impossible III" is exactly as good as one could reasonably expect it to be. It is a pointless action flick with lots of shooting and blowing stuff up. Completely mindless but, in all honesty, that is what the audience wants sometimes, mindless fiery action.
(05/11/06 4:00am)
The most frightening thing about "An American Haunting" is that it was written and produced by Courtney Solomon, the same man who directed "Dungeons & Dragons" in 2000. There is a vacuous six- year gap punctuating Solomon's career résumé between his first movie and this one -- meaning no big projects to cut his teeth on and no opportunity to hone his craft. Though "An American Haunting" wasn't the genre-crippling embarrassment that his last flick was, it may well ensure another six years of directorial idleness for Solomon.\nThere is a magical rapport that can exist between actor and director, one that brings out the best in even subpar entertainers. Conversely, there are movies like this one. Donald Sutherland and Sissy Spacek receive poor direction, and the result is cardboard at best. The same thing happened under Solomon's watch in "Dungeons & Dragons" when Jeremy Irons stepped into frame and proceeded to ham it up like a high school drama instructor. When it comes to acting like that, you can't hate the playa, you gotta hate the game.\nThe plot centers on the Bell family. Its patriarch, John Bell (Sutherland), angers the local witch, who unleashes a slap-happy, hair-pulling, blanket-wielding spirit on him and his daughter. As the movie unfolds, it turns out that the witch might not be at fault. Maybe John Bell cursed himself or maybe he molested his daughter and her own ghostly self is attacking her still-living body as a result. This feeble storyline just barely manages to unfold between the dream sequences, horrendous editing and a disappointing surprise ending. \nThe movie claims to be inspired by substantiated, true events, which is a Hollywood way of saying that the film is based on a fictional novel, The Bell Witch: An American Haunting by Brent Monahan. True, there is a dubious legend of the Bell Witch, on which both the movie and 1995 book are based. However, Solomon's telling leaves out the folkloric antics about the spirit-rescuing children, engaging in theology lectures and cracking walnuts for an ailing wife in favor of supernatural angst with a 19th century backdrop. \nAs a horror movie, "An American Haunting" is passable. The film won't leave you psychologically traumatized, but you might jump in your seat if you are frightened by sudden movement and loud noises -- really loud noises. In fact, its scares are charted in decibel levels. Though mediocre, the movie avoids the damning hallmark of Uwe Boll cinematography and manages to stay a step ahead of many recent horror remakes. Still, not being unwatchable doesn't necessarily make "An American Haunting" worth the price of admission.
