Fans of the classic Maurice Sendak picture book might have been a little put off at the notion of a live-action feature fleshing out a very short story into a parable of childhood angst and family decay. But I think the first trailer, which brought tears to many eyes, proved that director Spike Jonze and co-writer Dave Eggers not only gave reverence to the childhood memory Where the Wild Things Are evokes...they created something unique and immersive.
The actual film is just as mesmerizing, if not quite as emotionally charged. Young Max (Max Records) is a boy who is feeling isolated from his sister and mother and acts out before running away into the night in his wolfish costume. After sailing across rough waters to a far away island, he meets a group of large creatures who crown him their king and include him in their bizarre play and activities.
All is not smooth and perfect in Max's new world (which is never assumed to be real, but is also never pointedly imagined either). Carol (voiced by James Gandolfini) is gruff and occasionally violent, mostly due to the loss of KW (Lauren Ambrose) from their gang. She's found other friends that appeal to her independent sensibilities and Carol can't always cope. Max brings some sense of unity and sets everyone to building a massive fortress they can live in, but turmoil eventually causes more rifts. Max works very hard to keep his new family together, but in the end this unit is no less dysfunctional than what he's likely encountered in his childhood already.
Wild Things is the most symbolic and metaphoric "children's" film I've seen in some time, but it's also one of the most vivid and well-constructed, too. The wild things themselves are marvelous creations, just different enough to be fascinating but emotive enough to be relatable. It doesn't take long for the viewer to recognize a familiar archetype in each character or, perhaps, themselves.
What may linger the longest in my mind is the world Jonze creates...elaborate set pieces, frame filling landscapes and seamless special effects. It's a world that can shift as quickly as a child's imagination...one moment frolicking in the woods, the next tirelessly trudging an epic desert.
The film is quickly paced, appropriate to prevent the inherent messaging from becoming heavy-handed and Max's inevitable departure is not as stunningly sad as one might expect...only a touching reminder that home is where we make it and nowhere is perfect.
Rating: A
Saturday, October 24, 2009
Sunday, October 11, 2009
New Music
Apologies for taking so much time away...late summer/early fall has been busy for yours truly. Today, I'm going to run through some of the latest music releases that have been spinning in my car and will contribute to this year's "Best of" mix CD.
Backspacer - Pearl Jam - B+
Pearl Jam's last, self-titled album was heaped with praise for a band returning to form but I wasn't blown away by it. It was a step up from some of the dark, meandering entries of recent years, but still a far cry from early albums that made Eddie Vedder and company a staple of the 90s alternative scene. Backspacer seems to be a step in the right direction. Someone listening with me didn't actually recognize it as Pearl Jam due to the decidedly upbeat feeling of the new material. I suppose we're used to Vedder moaning and groaning his way through songs which makes tracks like single "The Fixer," opening with a "hey, hey, hey!" seem positively poppy. What actually draws me into the album is some of the softer tunes like "Just Breathe," possibly carryovers from Vedder's Into the Wild soundtrack.
Life Starts Now - Three Days Grace - A
On their third album, these hard rock heavy hitters craft a set of tunes very listenable from beginning to end. Lead singer Adam Guntier (last heard on Apocalyptica hit "I Don't Care") still flexes one of the best voices in rock these days. It's not all doom and gloom, though..."Lost in You" is practically a love song (only a few tracks after one about getting past the "Bitter Taste" of someone else) and "The Good Life" is a rollicking ode to getting the finer things.
Dear Agony - Breaking Benjamin - B-
I truly expected this to be one of my favorite albums of the year, after watching this band get better and better in their first three releases, but Agony has left me wanting. It's not bad, but I've yet to find a stand-out tune on par with "Diary of Jane," "Breath" or "So Cold." This one might end up growing on me, but Three Days Grace has overshadowed it so far.
Shaka Rock - Jet - B-
Jet makes party rock, plain and simple. I mean, the first song I heard from this album was at a strip club (she also danced to a new Muse song, so props to her tastes...among other things). Shaka Rock actually shows a lot more talent and diversity than one might expect, though...it's almost got a Brit rock feel to it.
Black Gives Way to Blue - Alice in Chains - C-
The new Alice in Chains doesn't necessarily suffer from the absence of Layne Staley...Jerry Cantrell sings many of the new tunes and new "lead" singer William Duvall isn't a stretch from Staley. Hell, Elton John even plays piano on a song. What does kill the album is monotony. Most songs sound utterly similar...grinding guitars, bleak lyrics...this isn't a bold new page for an absent band, just a collection of songs that could have been forgotten tracks on early albums.
The Resistance - Muse - A
Muse find their inner rock gods on their fifth studio release, as close to a modern day rock opera as most bands can get without being utterly ridiculous. The pomposity is occasionally much, especially on the closing three part "Exogenesis: Symphony," but the first half of the album is mostly brilliant, especially Queen-ish "United States of Eurasia" and sultry "Undisclosed Desires." Lead single "Uprising" is a fairly standard Muse cut, which is in no way an insult.
Humbug - Arctic Monkeys - B
I really didn't want to like the Arctic Monkeys when their debut album broke Oasis' sales record (in Britain at least), but by their second album, I found their heavily accented pop-rock infectious. Humbug is probably their most well-rounded set.
Backspacer - Pearl Jam - B+
Pearl Jam's last, self-titled album was heaped with praise for a band returning to form but I wasn't blown away by it. It was a step up from some of the dark, meandering entries of recent years, but still a far cry from early albums that made Eddie Vedder and company a staple of the 90s alternative scene. Backspacer seems to be a step in the right direction. Someone listening with me didn't actually recognize it as Pearl Jam due to the decidedly upbeat feeling of the new material. I suppose we're used to Vedder moaning and groaning his way through songs which makes tracks like single "The Fixer," opening with a "hey, hey, hey!" seem positively poppy. What actually draws me into the album is some of the softer tunes like "Just Breathe," possibly carryovers from Vedder's Into the Wild soundtrack.
Life Starts Now - Three Days Grace - A
On their third album, these hard rock heavy hitters craft a set of tunes very listenable from beginning to end. Lead singer Adam Guntier (last heard on Apocalyptica hit "I Don't Care") still flexes one of the best voices in rock these days. It's not all doom and gloom, though..."Lost in You" is practically a love song (only a few tracks after one about getting past the "Bitter Taste" of someone else) and "The Good Life" is a rollicking ode to getting the finer things.
Dear Agony - Breaking Benjamin - B-
I truly expected this to be one of my favorite albums of the year, after watching this band get better and better in their first three releases, but Agony has left me wanting. It's not bad, but I've yet to find a stand-out tune on par with "Diary of Jane," "Breath" or "So Cold." This one might end up growing on me, but Three Days Grace has overshadowed it so far.
Shaka Rock - Jet - B-
Jet makes party rock, plain and simple. I mean, the first song I heard from this album was at a strip club (she also danced to a new Muse song, so props to her tastes...among other things). Shaka Rock actually shows a lot more talent and diversity than one might expect, though...it's almost got a Brit rock feel to it.
Black Gives Way to Blue - Alice in Chains - C-
The new Alice in Chains doesn't necessarily suffer from the absence of Layne Staley...Jerry Cantrell sings many of the new tunes and new "lead" singer William Duvall isn't a stretch from Staley. Hell, Elton John even plays piano on a song. What does kill the album is monotony. Most songs sound utterly similar...grinding guitars, bleak lyrics...this isn't a bold new page for an absent band, just a collection of songs that could have been forgotten tracks on early albums.
The Resistance - Muse - A
Muse find their inner rock gods on their fifth studio release, as close to a modern day rock opera as most bands can get without being utterly ridiculous. The pomposity is occasionally much, especially on the closing three part "Exogenesis: Symphony," but the first half of the album is mostly brilliant, especially Queen-ish "United States of Eurasia" and sultry "Undisclosed Desires." Lead single "Uprising" is a fairly standard Muse cut, which is in no way an insult.
Humbug - Arctic Monkeys - B
I really didn't want to like the Arctic Monkeys when their debut album broke Oasis' sales record (in Britain at least), but by their second album, I found their heavily accented pop-rock infectious. Humbug is probably their most well-rounded set.
Saturday, September 5, 2009
TV: Summer Review/Fall Preview
Ahh, September...summer comes to a close, the weather begins to cool and we look forward to all the glorious new and returning television ahead. Actually, the fall TV season is growing somewhat archaic in the days of DVR, On Demand, TV on DVD and internet outlets like Hulu. No one has to make appointments to watch TV. With a couple button presses or a little time on your computer, you can watch your favorite show or catch up on the buzzworthy programs you missed at any time you like.
Despite such leisure, there is still a strong desire to see the shows we love and those that everyone will be talking about before...well, everyone starts talking about them. Don't worry, the MightyMartian is here to tell you what you must watch, might want to watch and maybe a couple things to avoid. Well, at least I'll tell you what I'll be watching and not.
Let's start with a recap of summer series you might have missed.
Being Human (BBC America) - A-
I could see this show being remade in America soon, but the original will probably be better. The premise sounds quirky at first: a vampire, ghost and werewolf share a house while trying to blend in with society and deny their "problems." Mitchell, the vamp, is struggling to fight his impulses and stay away from the rest of his kind. George is ashamed of his hairy transformation and ghostly Annie is still pining for her ex-fiance. Lots of dramatic twists keep you guessing.
Leverage (TNT) - B
Fun, fast-paced caper series about con-men/women playing Robin Hood to help out the little guys. The cons have the occasional Ocean's 11 feel to them and the cast, anchored by Timothy Hutton, is incredibly likeable.
In Plain Sight (USA) - B
Mary McCormick is the biggest reason to watch this show about Witness Protection agents. Her supporting cast is the rest. The "witness-of-the-week" plots are a little dull sometimes, but still watchable.
Defying Gravity (ABC) - B-
A lushly produced astronaut soap opera that starts slow before wrapping you up in its characters. Bouncing back and forth between the character's lives before and during a big space mission, the drama won't really appeal to sci-fi fans despite the setting. I suspect there won't be enough interest to keep this one around, which is a shame because there is potential.
Warehouse 13 (SyFy) - C+
There is some charm to be found in the story of two Secret Service agents pulled into chasing down dangerous artifacts to be kept in a secret warehouse in South Dakota. The problem is that the plots and effects are often hokey and we've yet to build a sustained thematic element.
And now for fall's new and returning offerings. Keep in mind that some of the best shows on TV right now (Lost, Breaking Bad, 24) won't return until spring. Let's start with returning series.
Mad Men (AMC) - Premiered Aug. 16
Already back in sexy 60s style, Mad sizzles as much as ever. Don still can't grasp the concept of fidelity while trying to hold together his marriage with very pregnant Betty (who is *gasp* still smoking and drinking...it is the 60s). Sterling-Cooper's new British owners are stirring up trouble and office political intrigue and the show is tackling issues with aging parents and homosexuality. Still tersely written and beautifully detailed.
The Office (NBC) - Sept. 17
I confess, the series lost a little bit of its heart when Jim and Pam finally got together, but their relationship has progressed nicely (I won't reveal last season's finale shocker for those that are behind) and the will they/won't they is replaced by Michael and Holly now. There are still guaranteed laughs in every episode.
Fringe (Fox) - Sept. 17
I never should have doubted J.J. Abrams. I wasn't certain how I felt about this pseudo-X-Files thriller at first, but the latter half of the season found its own voice and chilling thematic elements. Fringe is Lost without duping viewers into following a sci-fi premise disguised as a drama. It's edgy concept storytelling that will occasionally leave you staring at your TV in awe and I can't wait to see where it goes next. I fear a move to Thursday (up against Grey's, CSI and NBC comedies) could hurt.
Heroes (NBC) - Sept. 21
Oh, Heroes...in your first season, you were quite possibly the most innovative, well-constructed comic book story ever conceived. You juggled a great cast of characters, a strong storyline and several intriguing sub-plots. In two seasons since everything has gone to shit...and that's the kindest way to put it. I'm strongly debating tuning in for the next season (with such attention grabbing early plot leaks as Claire kissing her lesbian roommate). You'll have a short leash on my always rapidly filling DVR. Use your time there wisely.
How I Met Your Mother/Big Bang Theory (CBS) -
The best comedies on TV will now bookend CBS' Monday lineup (oddly Mother ends up in the earlier slot) and I'm so glad I finally keyed in on Big Bang's immense pool of laughs. Sheldon might be one of the greatest oddball characters ever conceived.
Southland (NBC) - Oct. 23
In the wake of gritty cop dramas like Homicide, The Wire and The Shield, it's hard to tell if this one will live up to the legacy, but the first season finished strong.
The Tonight Show with Conan O'Brien (NBC)
I was a little concerned Conan would lose some of his edgy humor moving to an earlier slot, but he hasn't. Letterman may still have the overall ratings, but Conan has to be winning younger viewers.
Dollhouse (Fox) - Sept. 25
I admit, I'm amazed this was renewed. Not always up to Joss Whedon's brilliant standards (admittedly, that can't be easy to accomplish), but the latter half of the debut season got much better and there are some great ideas to build upon.
Star Wars: The Clone Wars (Cartoon Network) - Oct. 2
Quite possibly the biggest surprise of the previous season, the Star Wars universe is exciting again, even though we know what happens down the road, there are plenty of characters and plotlines here that will be fun to follow.
Now on to the new series debuting this fall.
V (ABC) - Nov. 3
The original V miniseries in the 80s were probably the must-see TV events of my youth. Epic alien invasion drama played out over a couple weeks with WWII allegory and lizard people pretending to be human? Sign. me. up. The remake promises to stick with the winning formula, updating the premise to our post-9/11 world and certainly kicking the special effects and production values up a few notches.
Flash-Forward (ABC) - Sept. 24
Attempting to fill the void that Lost will inevitably leave after its final season, this new drama also has a great mind-bending concept. On a random morning, the entire world blacks out for over two minutes and many see visions of a future in six months. The blackout causes worldwide destruction and carnage along with the trauma of futures terrifying and exciting to those who saw it. This will be the water-cooler series of the season.
Glee (Fox) - Sept. 9
The pilot, previewed in late spring, was incredibly fun and outlandish...High School Musical as semi-dark comedy. Centered around an unwanted glee club with varied members in it for varied reasons...the casting is excellent and the pilot's featured songs were toe-tapping (okay, I sang along, too).
Eastwick (ABC) - Sept. 23
Another attempt at a series based on The Witches of Eastwick? I was ready to ignore this one, but Paul Gross (of DueSouth) involvement guarantees I'll watch at least a couple episodes.
Community (NBC) - Sept. 17
Chevy Chase isn't really the draw on this new comedy set at a community college, it's Joel McHale. It's got to be better than the uneven Parks and Recreation.
Vampire Diaries (CW) - Sept. 10
Is it too much to hope that this is a new Buffy/Angel? Yes, but I'll give it a shot, hoping that it's more True Blood than Twilight.
What I won't be watching:
The Jay Leno Show (NBC)
Really, NBC? You've given up on producing new dramas for the ten o'clock hour entirely? So you're giving it over to Leno every night of the week? Good luck with that...
Melrose Place (CW)
Okay, I admit, I may actually check this out...the same way I did the first ep of 90210. I mean, I grew up with this stuff...I was a horny teenager when Heather Locklear was running around in micro-skirts and Laura Leighton (returning for this update) was sleeping with everyone. But taking my hormones out of the equation, I know it was a lot of sudsy flash.
NCIS: Los Angeles (CBS)
Nope...I don't do shows with acronyms or dozens of spin-offs. It just seems lazy... (V doesn't count.)
Mercy (NBC)
Medical dramas are temporarily done and this one looks so melodramatic...
Brothers (Fox)
This looks like the most generic comedy ever conceived...and then they asked Michael Strahan to star.
Three Rivers (CBS)
See Mercy above...
Whew...that was long. Choose your TV viewing wisely, my friends. Your DVR can only hold so much (esp. if you record in HD).
Despite such leisure, there is still a strong desire to see the shows we love and those that everyone will be talking about before...well, everyone starts talking about them. Don't worry, the MightyMartian is here to tell you what you must watch, might want to watch and maybe a couple things to avoid. Well, at least I'll tell you what I'll be watching and not.
Let's start with a recap of summer series you might have missed.
Being Human (BBC America) - A-
I could see this show being remade in America soon, but the original will probably be better. The premise sounds quirky at first: a vampire, ghost and werewolf share a house while trying to blend in with society and deny their "problems." Mitchell, the vamp, is struggling to fight his impulses and stay away from the rest of his kind. George is ashamed of his hairy transformation and ghostly Annie is still pining for her ex-fiance. Lots of dramatic twists keep you guessing.
Leverage (TNT) - B
Fun, fast-paced caper series about con-men/women playing Robin Hood to help out the little guys. The cons have the occasional Ocean's 11 feel to them and the cast, anchored by Timothy Hutton, is incredibly likeable.
In Plain Sight (USA) - B
Mary McCormick is the biggest reason to watch this show about Witness Protection agents. Her supporting cast is the rest. The "witness-of-the-week" plots are a little dull sometimes, but still watchable.
Defying Gravity (ABC) - B-
A lushly produced astronaut soap opera that starts slow before wrapping you up in its characters. Bouncing back and forth between the character's lives before and during a big space mission, the drama won't really appeal to sci-fi fans despite the setting. I suspect there won't be enough interest to keep this one around, which is a shame because there is potential.
Warehouse 13 (SyFy) - C+
There is some charm to be found in the story of two Secret Service agents pulled into chasing down dangerous artifacts to be kept in a secret warehouse in South Dakota. The problem is that the plots and effects are often hokey and we've yet to build a sustained thematic element.
And now for fall's new and returning offerings. Keep in mind that some of the best shows on TV right now (Lost, Breaking Bad, 24) won't return until spring. Let's start with returning series.
Mad Men (AMC) - Premiered Aug. 16
Already back in sexy 60s style, Mad sizzles as much as ever. Don still can't grasp the concept of fidelity while trying to hold together his marriage with very pregnant Betty (who is *gasp* still smoking and drinking...it is the 60s). Sterling-Cooper's new British owners are stirring up trouble and office political intrigue and the show is tackling issues with aging parents and homosexuality. Still tersely written and beautifully detailed.
The Office (NBC) - Sept. 17
I confess, the series lost a little bit of its heart when Jim and Pam finally got together, but their relationship has progressed nicely (I won't reveal last season's finale shocker for those that are behind) and the will they/won't they is replaced by Michael and Holly now. There are still guaranteed laughs in every episode.
Fringe (Fox) - Sept. 17
I never should have doubted J.J. Abrams. I wasn't certain how I felt about this pseudo-X-Files thriller at first, but the latter half of the season found its own voice and chilling thematic elements. Fringe is Lost without duping viewers into following a sci-fi premise disguised as a drama. It's edgy concept storytelling that will occasionally leave you staring at your TV in awe and I can't wait to see where it goes next. I fear a move to Thursday (up against Grey's, CSI and NBC comedies) could hurt.
Heroes (NBC) - Sept. 21
Oh, Heroes...in your first season, you were quite possibly the most innovative, well-constructed comic book story ever conceived. You juggled a great cast of characters, a strong storyline and several intriguing sub-plots. In two seasons since everything has gone to shit...and that's the kindest way to put it. I'm strongly debating tuning in for the next season (with such attention grabbing early plot leaks as Claire kissing her lesbian roommate). You'll have a short leash on my always rapidly filling DVR. Use your time there wisely.
How I Met Your Mother/Big Bang Theory (CBS) -
The best comedies on TV will now bookend CBS' Monday lineup (oddly Mother ends up in the earlier slot) and I'm so glad I finally keyed in on Big Bang's immense pool of laughs. Sheldon might be one of the greatest oddball characters ever conceived.
Southland (NBC) - Oct. 23
In the wake of gritty cop dramas like Homicide, The Wire and The Shield, it's hard to tell if this one will live up to the legacy, but the first season finished strong.
The Tonight Show with Conan O'Brien (NBC)
I was a little concerned Conan would lose some of his edgy humor moving to an earlier slot, but he hasn't. Letterman may still have the overall ratings, but Conan has to be winning younger viewers.
Dollhouse (Fox) - Sept. 25
I admit, I'm amazed this was renewed. Not always up to Joss Whedon's brilliant standards (admittedly, that can't be easy to accomplish), but the latter half of the debut season got much better and there are some great ideas to build upon.
Star Wars: The Clone Wars (Cartoon Network) - Oct. 2
Quite possibly the biggest surprise of the previous season, the Star Wars universe is exciting again, even though we know what happens down the road, there are plenty of characters and plotlines here that will be fun to follow.
Now on to the new series debuting this fall.
V (ABC) - Nov. 3
The original V miniseries in the 80s were probably the must-see TV events of my youth. Epic alien invasion drama played out over a couple weeks with WWII allegory and lizard people pretending to be human? Sign. me. up. The remake promises to stick with the winning formula, updating the premise to our post-9/11 world and certainly kicking the special effects and production values up a few notches.
Flash-Forward (ABC) - Sept. 24
Attempting to fill the void that Lost will inevitably leave after its final season, this new drama also has a great mind-bending concept. On a random morning, the entire world blacks out for over two minutes and many see visions of a future in six months. The blackout causes worldwide destruction and carnage along with the trauma of futures terrifying and exciting to those who saw it. This will be the water-cooler series of the season.
Glee (Fox) - Sept. 9
The pilot, previewed in late spring, was incredibly fun and outlandish...High School Musical as semi-dark comedy. Centered around an unwanted glee club with varied members in it for varied reasons...the casting is excellent and the pilot's featured songs were toe-tapping (okay, I sang along, too).
Eastwick (ABC) - Sept. 23
Another attempt at a series based on The Witches of Eastwick? I was ready to ignore this one, but Paul Gross (of DueSouth) involvement guarantees I'll watch at least a couple episodes.
Community (NBC) - Sept. 17
Chevy Chase isn't really the draw on this new comedy set at a community college, it's Joel McHale. It's got to be better than the uneven Parks and Recreation.
Vampire Diaries (CW) - Sept. 10
Is it too much to hope that this is a new Buffy/Angel? Yes, but I'll give it a shot, hoping that it's more True Blood than Twilight.
What I won't be watching:
The Jay Leno Show (NBC)
Really, NBC? You've given up on producing new dramas for the ten o'clock hour entirely? So you're giving it over to Leno every night of the week? Good luck with that...
Melrose Place (CW)
Okay, I admit, I may actually check this out...the same way I did the first ep of 90210. I mean, I grew up with this stuff...I was a horny teenager when Heather Locklear was running around in micro-skirts and Laura Leighton (returning for this update) was sleeping with everyone. But taking my hormones out of the equation, I know it was a lot of sudsy flash.
NCIS: Los Angeles (CBS)
Nope...I don't do shows with acronyms or dozens of spin-offs. It just seems lazy... (V doesn't count.)
Mercy (NBC)
Medical dramas are temporarily done and this one looks so melodramatic...
Brothers (Fox)
This looks like the most generic comedy ever conceived...and then they asked Michael Strahan to star.
Three Rivers (CBS)
See Mercy above...
Whew...that was long. Choose your TV viewing wisely, my friends. Your DVR can only hold so much (esp. if you record in HD).
Saturday, August 22, 2009
Avatar (Sneak Peek)
I had the chance to check out about fifteen minutes of footage from James Cameron's new film, Avatar, releasing December 18. The movie is being hyped as a revolution in special effects and the boundaries of filmmaking.
After a brief intro from Cameron himself, we put on our bulky 3D glasses (especially for someone that already wears corrective lenses) and watched a quick early scene of Sam Worthington as a crippled soldier attending a briefing on a distant planet. The commanding officer is speaking to all the dangers in the jungles beyond the base. Cut to a scene with Sigourney Weaver strapping Worthington ("Jake" in the film) into an apparatus that scans his brain.
Apparently Jake's consciousness is then transferred to the tall, muscular body of a native alien, his "avatar." The next scene features Jake in his new self deep in the jungle going toe to toe with a dinosaur-like beast. From here on out, the clips are essentially highly rendered CGI...an uber-detailed animated film set in this alien land. Creatures are attacking or attacked...Jake meets others of his "kind" and his grapples with a flying creature to show his dominance. The final minute or so is a montage of battle sequences with militaristic forces.
The 3D was intriguing (I probably haven't been to such a film since my childhood and it's obviously advanced a bit from the days of flimsy blue/red lensed glasses) and the effects are certainly solid, but, as I said, it's more or less exceptional animation. I'm intrigued by the story and I was very pleased visually, but I have this horrible feeling the film might be met with apathy outside of the genre set (of which the screening was mostly populated). It's been over 10 years since Cameron was king of the movie world with Titanic. I'm happy to see him return to his science-fiction roots, but from this glance Avatar won't offer anything earth-shaking.
So is it a revolutionary step in filmmaking that will change the future of movies? Maybe only for directors and producers with deep pockets and long leashes. I think the rest will still rely on actual actors and sets. We'll see how the general movie-going populace reacts in December.
After a brief intro from Cameron himself, we put on our bulky 3D glasses (especially for someone that already wears corrective lenses) and watched a quick early scene of Sam Worthington as a crippled soldier attending a briefing on a distant planet. The commanding officer is speaking to all the dangers in the jungles beyond the base. Cut to a scene with Sigourney Weaver strapping Worthington ("Jake" in the film) into an apparatus that scans his brain.
Apparently Jake's consciousness is then transferred to the tall, muscular body of a native alien, his "avatar." The next scene features Jake in his new self deep in the jungle going toe to toe with a dinosaur-like beast. From here on out, the clips are essentially highly rendered CGI...an uber-detailed animated film set in this alien land. Creatures are attacking or attacked...Jake meets others of his "kind" and his grapples with a flying creature to show his dominance. The final minute or so is a montage of battle sequences with militaristic forces.
The 3D was intriguing (I probably haven't been to such a film since my childhood and it's obviously advanced a bit from the days of flimsy blue/red lensed glasses) and the effects are certainly solid, but, as I said, it's more or less exceptional animation. I'm intrigued by the story and I was very pleased visually, but I have this horrible feeling the film might be met with apathy outside of the genre set (of which the screening was mostly populated). It's been over 10 years since Cameron was king of the movie world with Titanic. I'm happy to see him return to his science-fiction roots, but from this glance Avatar won't offer anything earth-shaking.
So is it a revolutionary step in filmmaking that will change the future of movies? Maybe only for directors and producers with deep pockets and long leashes. I think the rest will still rely on actual actors and sets. We'll see how the general movie-going populace reacts in December.
Wednesday, August 19, 2009
The Hangover
I'm not a huge fan of modern comedy. Most of it tries too hard, aims for the lowest of laughs and assumes that the only comedy that's funny requires bodily fluids, naked women to distract you from the lack of real jokes and an overpaid actor hamming it up with a goofy voice. But enough about Adam Sandler... (I kid...mostly.)
That's not to say that The Hangover doesn't have it's share of dirty, nay...filthy, jokes that are most definitely meant for an adult audience. At one point a seemingly gay naked Asian gangster attacks the leads and a tiger is dry humped in the back of a police car...so we aren't talking about sophisticated humor in a British accent.
What makes The Hangover so much fun and such a solid modern comedy is sheer unpredictability and a cast that gels with comic synergy. The first act of this flick is a little slow, but necessary to set up the rest. Four guys head to Las Vegas for one last night of partying before one gets married. They get dressed for the night out and head to the roof for a drink and toast together before getting started. Flash-forward to the next morning as three of them wake up in a demolished room with a chicken, a tiger and no groom. No one has a clue what happened.
Bradley Cooper, Ed Helms (The Office) and bushy man-child Zach Galifianakis hold their own as the three groomsmen racing around town attempting to piece together a night they need to remember but may be happy they forgot. The quest puts them in one bizarre situation after another, including encounters with the aforementioned "gangster," a sweet stripper (Heather Graham) and Mike Tyson. Cue hilarity and enjoy.
Rating: B+
That's not to say that The Hangover doesn't have it's share of dirty, nay...filthy, jokes that are most definitely meant for an adult audience. At one point a seemingly gay naked Asian gangster attacks the leads and a tiger is dry humped in the back of a police car...so we aren't talking about sophisticated humor in a British accent.
What makes The Hangover so much fun and such a solid modern comedy is sheer unpredictability and a cast that gels with comic synergy. The first act of this flick is a little slow, but necessary to set up the rest. Four guys head to Las Vegas for one last night of partying before one gets married. They get dressed for the night out and head to the roof for a drink and toast together before getting started. Flash-forward to the next morning as three of them wake up in a demolished room with a chicken, a tiger and no groom. No one has a clue what happened.
Bradley Cooper, Ed Helms (The Office) and bushy man-child Zach Galifianakis hold their own as the three groomsmen racing around town attempting to piece together a night they need to remember but may be happy they forgot. The quest puts them in one bizarre situation after another, including encounters with the aforementioned "gangster," a sweet stripper (Heather Graham) and Mike Tyson. Cue hilarity and enjoy.
Rating: B+
Tuesday, August 18, 2009
Lily Allen
Alright, Still - B
Sassy, sweet, profane and utterly British, Lily burst onto the pop scene in 2007 and immediately disarmed listeners with catchy ska-esque tunes occasionally fused with hip-hop and a potty mouth you can't help but smile at. Album opener "Smile" sets the tone immediately:
Sassy, sweet, profane and utterly British, Lily burst onto the pop scene in 2007 and immediately disarmed listeners with catchy ska-esque tunes occasionally fused with hip-hop and a potty mouth you can't help but smile at. Album opener "Smile" sets the tone immediately:
When you first left me I was wanting more
But you were fucking that girl next door
What ya do that for?
Thrown in a few more songs about dealing with unwanted suitors ("Knock 'Em Out"), life in a gimme-gimme world ("Everything's Just Wonderful") and a plea to her slacker brother, "Alfie," and you have a charming debut, but not too charming.
It's Not Me, It's You - A-
It's Not Me, It's You - A-
For her follow-up, Allen doesn't stray too far from her formula, but still grows up and out a bit, mixing in stronger social commentary with her usual cheeky attacks on bad lovers ("Not Fair"), small-minded people ("Fuck You"...nothing left to the imagination there) and the celebrity drug culture ("Everyone's At It"). Along the way she even gets downright romantic on "Who'd Have Known" and "Chinese." I look forward to where this gal can go in the future.
Sunday, August 16, 2009
District 9
Some of the best science fiction films are those that slip in under the radar. They don't have a "name" cast, multimillion-dollar promotional campaigns or prime summer scheduling. They get by on solid screenwriting, directing and maybe a concept never before seen or expected. Think Dark City, Donnie Darko or Cloverfield. All "little" films that could...only the latter was a real box office success, but they all became cult classics through "you have to see this" word of mouth.
District 9 seems likely to be added to this list. Mostly unheralded in this summer's blockbuster season, it's quite possibly one of the best unconventional sci-fi films in years.
Filmed in a semi-documentary style (at least in the first half), the movie depicts one of the most honest portrayals of an alien visitation. In the early 80s, a giant spaceship appeared over Johannesburg, South Africa (which the movie acknowledges is already different than most American-centric filmmaking would give us) and just sat there. Once the military got inside, they found millions of alien refugees in a state of disorder, disease and poor living conditions, eventually moving them to a poorly managed slum called District 9.
Twenty years have passed and conditions have only worsened. Johannesburg's residents are not pleased with their presence and occasional incursions, the governments of the world won't let the aliens (known as "prawns" for their insectile/crustacean-like appearances) leave or join our society. The third-world/war refugee analogies are pretty obvious, but there is no heavy-handed proselytizing here.
The prawns have powerful weapons that can't be used by humans, so a powerful corporation with UN-esque authority have taken it upon themselves to police the district and seize these weapons. Their latest effort is to relocate the aliens to another camp, further from civiliation (and presumably even more restricted). Our POV character is Wikus (Sharlto Copley), the paper-pusher promoted to oversee the evictions and serve notice across the district. Wikus ends up deeply embroiled in the struggle for the prawns to survive under circumstances I won't spoil, leading to a shift in the status quo and a battle for the future of an entire species.
At times brutal and violent, District 9 plays more like a street-drama than traditional genre flick, but it's still filled with incredible special effects work. The prawns themselves are masterfully done...I couldn't tell when they were CGI or practical models and/or costumes (if they are ever the latter at all). The haunting mothership looms over many shots and the action-packed final act features exotic weapons and machinery that makes CGI like Transformers look like over-done videogames.
District 9 is my pick for sleeper hit of 2009.
Rating: A-
District 9 seems likely to be added to this list. Mostly unheralded in this summer's blockbuster season, it's quite possibly one of the best unconventional sci-fi films in years.
Filmed in a semi-documentary style (at least in the first half), the movie depicts one of the most honest portrayals of an alien visitation. In the early 80s, a giant spaceship appeared over Johannesburg, South Africa (which the movie acknowledges is already different than most American-centric filmmaking would give us) and just sat there. Once the military got inside, they found millions of alien refugees in a state of disorder, disease and poor living conditions, eventually moving them to a poorly managed slum called District 9.
Twenty years have passed and conditions have only worsened. Johannesburg's residents are not pleased with their presence and occasional incursions, the governments of the world won't let the aliens (known as "prawns" for their insectile/crustacean-like appearances) leave or join our society. The third-world/war refugee analogies are pretty obvious, but there is no heavy-handed proselytizing here.
The prawns have powerful weapons that can't be used by humans, so a powerful corporation with UN-esque authority have taken it upon themselves to police the district and seize these weapons. Their latest effort is to relocate the aliens to another camp, further from civiliation (and presumably even more restricted). Our POV character is Wikus (Sharlto Copley), the paper-pusher promoted to oversee the evictions and serve notice across the district. Wikus ends up deeply embroiled in the struggle for the prawns to survive under circumstances I won't spoil, leading to a shift in the status quo and a battle for the future of an entire species.
At times brutal and violent, District 9 plays more like a street-drama than traditional genre flick, but it's still filled with incredible special effects work. The prawns themselves are masterfully done...I couldn't tell when they were CGI or practical models and/or costumes (if they are ever the latter at all). The haunting mothership looms over many shots and the action-packed final act features exotic weapons and machinery that makes CGI like Transformers look like over-done videogames.
District 9 is my pick for sleeper hit of 2009.
Rating: A-
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