Tagged: film

‘Persepolis’ Snubbed, No Academy Award Nomination

  • News
  • January 16, 2008

The finalists for "Best Foreign-Language Film" were announced by the Academy yesterday, with nine films making the cut for a potential Oscar. Conspicuously absent from the list, however, is the film adaptation of Marjane Satrapi’s graphic novel Persepolis. The animated film was the official submission of France to the category, and has been widely hailed by critics.

From the Los Angeles Times:

"Missing, too, is critically hailed "Persepolis," which won a jury prize at Cannes and was voted best animated film by the Los Angeles Film Critics Association and New York Film Critics Circle."

New Indiana Jones Downloads, Photos, Legos Hit The Net

  • News
  • January 16, 2008

The marketing machine for Indiana Jones and the Kingdom of the Crystal Skull, the latest installment in the Indiana Jones film franchise, appears to be in full swing over the last few days, with various sites, sneak peeks and tie-ins popping up around the ‘Net. The film, which is scheduled for a May 22 release, stars Harrison Ford, Shia LaBeouf, Cate Blanchett, Ray Winstone, Karen Allen, John Hurt and Jim Broadbent.

Among the more notable items dug up recently:

  • New downloadable wallpaper, icons and other virtual dressing on the official film site at www.indianajones.com [WARNING: Video and sound launch automatically.]
  • A new website was launched for the Indiana Jones-themed Lego sets, featuring sticker sheets, wallpaper and other Lego goods [WARNING: More automatic video/music]
  • A new photo from the film, featuring Ford, LaBeouf and Winstone

Heck, it’s like having your own, virtual archeological site without all of the dirt, sun and endless hours of dusting! Okay, not really… but if you’re an Indiana Jones fan, you get the idea.

Big Miserable Love, Juvenile Attell, by Ric Meyers

  • News
  • January 13, 2008

Welcome to the January doldrums, where, even if the Writers Guild of America wasn’t on strike, there’d still be precious little good new product, since this is the season where studios dump their loss leaders … I mean, this is the month where studios allow their most challenging productions to find their audience.

Actually, both estimations are true, and the titles considered in this column will reflect that. But since I also have a little breathing space, I want to take the opportunity to toast the year of the bummer. If the movies produced at the end of 2007 are any evidence, we’re all feeling really bad. How else do you comprehend a holiday when the most lauded films share a p.o.v. so bleak and unremittingly tragic that the bitter ending of Gone With The Wind seems positively giddy? 

No Country for Old Men, Sweeney Todd, There Will Be Blood, and Atonement – all … to quote George Harrison in A Hard Day’s Night: “a drag, a well-known drag.” In fact, Atonement not only shoves your face chin-deep into misery, but holds out a small, shiny piece of possible happiness, only to take great pleasure in then ramming it into your eye socket so it can shatter against your brain. Not to say that these aren’t great films, but to quote John Cleese in the fine farce Clockwise: “It’s not the despair. The despair I can handle. It’s the hope…!”

This is where the HBO Comedy Special DVD Dave Attell: Captain Miserable comes in. I’ve been a fan of this “functionally alcoholic” comedian since the days (or should I say nights) of his Comedy Central series Insomniac, where he’d go out after his act and see what the town he was playing in had going on in the wee hours. This is his first HBO special, following in the footsteps of George Carlin, Robert Klein, and Chris Rock, among others.  (more…)

Cloverfield: Big-Monster Flick, or 9/11 Allegory?, by Michael H. Price

  • News
  • January 13, 2008

cloverfield-6517630Ringed with popular anticipation in view of its producer’s involvement with the hit teleseries Lost, director Matt Reeves’ Cloverfield proves to be something more than the moviegoing customers might have expected.

The film is an American Godzilla, and I don’t mean the bloated Hollywood Godzilla of 1998. A larger-than-life disaster film, Cloverfield addresses the terrorist attacks of September 11, 2001, in much the same way that Inoshiro Honda’s Gojira, or Godzilla, of 1954, helped Japan to come belatedly to terms with the bombings in 1945 of Hiroshima and Nagasaki.

And yes, I know: Giant-monster movies are dime-a-dozen fare, and so what do we need with another one? We don’t so much need another one, as we need somebody capable of doing one right – the way Fritz Lang did with Siegfried in 1924, or Honda with the original Godzilla. Cloverfield makes the cut, okay.

Such impossible menaces, after all, have served since ancient times to literalize humanity’s fears of threatening forces beyond reasonable control, from the Tiger Demon mythology of primeval Siam through the Germanic and British legends of Siegfried and Beowulf. (Robert Zemeckis’ 2007 version of Beowulf is more a matter of digital-effects overkill than of mythological resonance.)

Never mind that the American movie-import market had treated the 1954 Godzilla as merely another creature-feature extravaganza, drive-in escapism with trivialized English-language insert-footage and enough re-editing to diminish the myth-making allegory. In its authentic Japanese cut, Godzilla is a national epic on a par with Akira Kurosawa’s The Seven Samurai – same year, same studio. It took a while for America to catch on: The fire-breathing creature known as Godzilla is the A-bomb, re-imagined in mythological terms.

Yes, and it takes time for the popular culture to get a grip on a real-world disaster. Hollywood dealt at first with the 9/11 destruction of New York’s World Trade Center by dodging the issue, then gradually addressing the loss in such lifelike dramas as Spike Lee’s 25th Hour (2002), whose allusions to Ground Zero pointed toward an explicit depiction of the crisis in Oliver Stone’s World Trade Center (2006). There have been other such striking examples – but you get the idea. 

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Doctor Who Turns 100

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  • January 8, 2008

Not to encroach on Glenn Hauman’s turf, but, hey, happy 100th birthday, William Hartnell!

The man who created the role of Doctor Who – his first broadcast was transmitted immediately after the BBC announced the death of President Kennedy – and stayed with the role for three years had been performing on stage and in movies for 40 years by the time he was cast, including the classic British comedy Carry On Sergeant.  

Retiring due to ill health, Hartnell returned to the role to film a few scenes in the groundbreaking 10th anniversary episode "The Three Doctors." His role, in which he helped save the Doctor’s next two incarnations, was curtailed somewhat due to his poor health. It was Hartnell’s final performance; he died two years after the show was broadcast.

Resident Dragon Extinction, by Ric Meyers

  • News
  • January 6, 2008
Let us now celebrate one of the greatest boons to entertainment in the entire history of film. It is seemingly small and insignificant – just a tiny speck amongst many others – but with a mere touch it can turn dreadful wastes of time into tolerable, even enjoyable, enhancements to one’s well-being. 
 
It is, of course, the fast forward button on your DVD remote, and, thanks to this brilliant advance in viewing pleasure, productions which were execrable in the cinema are made amusing at the very least. And, not only will it bridge the mind-numbing gaps between a mediocre film’s decent scenes, but it does so at a wide range of speeds.
 
You can watch at double-time, where, if your eye reflexes are honed by Wii or PS2/3, you can still catch the bulk of any subtitles (which is lucky for the likes of me and fellow kung-fu film fans). The FF button has, in fact, saved my emotional life many times, and it certainly was a godsend during this week’s DVD viewing – which, if truth be told, rarely got below 16X.
 
Of course I watched the special features at regular speed. That’s the least I could do, considering my ComicMix responsibilities. Besides, the extras are almost always interesting, whether they feature an underdog’s hopes or the stereotypically overstated prattle of seasoned hackmeisters. Both were on display in abundance this week.
 

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A Deeper Origin of the Asian Horror-Film Phenomenon, by Michael H. Price

  • News
  • January 6, 2008
Blame it on Bud Pollard, for want of a more readily identifiable scapegoat: Hollywood’s prevailing obsession with remaking scary movies from Japan seems to have caught fire with Hideo Nakata’s Ringu (1998), which led to Gore Verbinski’s The Ring in 2002, with sequels and imitations from either side of the planet.
 
Old-time hack filmmaker and Directors Guild co-founder Pollard (1886-1952) helped to seed the movement back during 1932–1933, though, when a domestically un-releasable flop of his called The Horror – involving an Eastern curse placed upon a Western thief – became a well-received attraction when exported to Japan.
 
Ignored by the Depression-era American critics and seldom shown in the U.S., The Horror garnered thoughtful, if dumbfounded, coverage in its day from Japan’s influential Kinema Junpo magazine. As translated from the archaic pre-war Japanese grammar and syntax, the Kinema Junpo review finds the critic-of-record as fascinated with the rambling, surrealistic presentation as he appears flabbergasted by the film’s refusal to follow a coherent narrative arc.
 
Leslie T. King – who had played the Mad Hatter in Pollard’s similarly odd 1931 Alice in Wonderland – serves The Horror as a traveler who steals a sacred idol, only to find himself besieged by weird apparitions and a disfiguring transformation. Pollard re-edited The Horror during the 1940s to convey a temperance lecture, re-titling the film as John the Drunkard and explaining the ordeal as a nightmare brought on by an alcoholic stupor. Where The Horror had gone largely unreleased in America as a theatrical attraction, its preachy condensation played long and widely in church-and-school bookings.

 

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Bourne Potter, by Ric Meyers

  • News
  • December 9, 2007

I have a special relationship with Jason Bourne. But, before I elaborate on my entirely self-manufactured rapport, let’s establish something at the outset. Bourne (and/or 24’s Jack Bauer, for that matter) literally wouldn’t exist without James Bond. You don’t think that all their initials being “J.B.” is a coincidence, do you? In fact, the late author Robert Ludlum created the Bourne book series with the brilliantly simple and engaging high concept of “what if 007 got amnesia?”

   

So, perhaps I should rephrase my declaration: I have a special “bond” with Jason Bourne. Dr. No was the first “adult” film I ever saw. The Bourne Identity is the most recent movie I saw with my brother at a cinema. I saw its sequel, The Bourne Supremacy, on Christmas Eve, the last day of my first tenure as Santa Claus at the Danbury (CT) Fair Mall. Sitting alone in a dark hotel room as the snow fell outside, watching director Paul Greengrass’ frenetic, yet somehow followable, chases on a hotel’s small TV screen – prior to heading out for a Christmas celebration with my family – created an evocative memory.

   

Now there’s The Bourne Ultimatum, out this coming Tuesday as a single, non-special edition DVD. I originally saw the film at its New York screening, but truly appreciated seeing it again on an HDTV, since the DVD remote control allowed me to slow down the frenzied editing so I could truly enjoy the jigsaw-designed chases and hand-to-hand battles (especially a frantic fight in a cramped apartment where Bourne proves that the book is mightier than the knife).

   

Although it remains one of the worthiest second sequels in film history, I still found the DVD lacking for two small reasons. First, despite truly fascinating featurettes on the action sequences – “Rooftop Pursuit,” “Planning the Punches,” “Driving School,” and “New York Chase” – character building “deleted scenes,” which were excised when Greengrass decided that he was making a “violent ballet” rather than a character-driven drama, and a doc called “Man on the Move: Jason Bourne,” none (or all) of them really don’t communicate how agonizing the film’s production actually was. (more…)

I Know Paprika Killed Me, by Ric Meyers

  • News
  • November 25, 2007

Prurient: “Having or intended to arouse an unwholesome interest in sexual matters.”

– Encarta World English Dictionary

That’s pretty much the only word anyone needs to explain I Know Who Killed Me starring Lindsay Lohan. The words “great,” “well-made,” “engrossing,” or even “entertaining” wouldn’t suffice. “Fascinating,” however, might fit, given this car wreck of a film perfectly represented the star’s car wreck of a life at the time of its production.

The term “car wreck” is carefully and purposely chosen, however, since watching Lohan’s human accident is much like slowing down for highway rubbernecking – thanks to the “celebrity” obsessed media (who’s far more interested in such things than the public they maintain they serve seems to be).

Much in the way you can chart any actor’s state of mind by the projects they choose, this unfocussed, confused, schizo, meandering, self-absorbed-slash-self-loathing-slash-self-aggrandizing-slash-self-mutilating effort can reveal anything you ever wanted to know about Lohan’s self-sabotaging lifestyle. Her stumbles are all the more sad since, of the troika of self-immolating “celebs” the media is micro-analyzing (Britney and Paris make up the rest of the 3 Stooges), Lohan is clearly the most promising and/or talented.

That talent is only vaguely on display in this slasher psycho-drama, leaving only the body the actress and media seem to have a love/hate relationship with. Within the pretentious, muddled, fairly dull film, she plays a college student, who, after barely surviving an abduction, torture, and mutilation by a serial killer, wakes up to maintain that she’s a self-destructive stripper. This allows the film to lurch hither and yon between both girls’ lives as somebody searches for the sicko, and director Chris Sivertson tries to out DePalma Brian DePalma when it comes to pointless “are they or aren’t they?” fantasies, dream sequences, and flashbacks.

The film not only represents Lohan’s life, but it also reflects the quality of the DVD’s “special” features. The “Alternate Opening” and “Blooper Reel,” especially, are as misleading as the film. The former is simply an extended sequence with several more shots of lights reflected in water, which doesn’t change the opening’s meaning in any way (alternate means “different from,” not “slightly longer”). The latter are just a few joyless instances of actors inadvertently confusing a character’s name or not knowing their lines (blooper means that said mistake be “humorous” or even “mildly embarrassing”).

So that leaves the “Alternate Ending” and what any real fan came for: the “Extended Strip Dance Scene.” The former is less than a minute, but long enough to give the connotation that all that preceded it was a fiction from within the mind of the college student. The latter is exactly what it says: a longer version of Lohan’s PG-13 stripper act (complete with R-rated support strippers around her). No question: she’s an attractive young woman who can languidly sashay around on high heels, act pouty/dirty, and even (in the sequence’s “climax”) open her legs. Whoop-dee-do. (more…)

Frank Miller Gets Sent Up

  • News
  • October 22, 2007

There are a lot of people who owe a LOT of their careers to parodying Frank Miller. Exhibit A: Kevin Eastman, Peter Laird, and the Teenage Mutant Ninja Turtles.

Now, sadly, it looks like the movies are following suit.

We are not particularly proud to present Meet The Spartans, starring (left to right) Carmen Electra, Diedrich Bader, and Kevin Sorbo. Brought to you by the same people who bring you Scary Movies, I suspect that the only surprise in the film is what you see in this photo: that Diedrich Bader actually has a six pack.

We’re going to just recommend you save the price of a ticket and ninety minutes of your life and go watch United 300 instead:

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