ped and andrew talk the arts

We discuss The Dark Knight

2008-07-25T12:43:00.005-05:00

Due to the enormity of The Dark Knight, we decided to post excerpts of a discussion of our thoughts about the film. Warning: there are some spoilers of the film ahead, so read at your own risk.

Ped: so first impressions?
Andrew: so soon after seeing it, the dark knight may well be the best superhero movie ever made
Ped: that's a strong statement; i think it's definitely up there
Andrew: it is, but i can't think of one better; definitely an improvement over batman begins, which was already one of my favorites
Ped: i would agree with that
Andrew: spider-man 2, iron man, the original superman, X2; probably the only other ones that are in the discussion, and i think dark knight beats em all
Ped: so who's the bigger genius? Nolan or Ledger?
Andrew: haha; how bout we say that nolan is a genius for casting ledger
Ped: very true. who would have thought Heath could have pulled off a performance like that; think it meets the hype?
Andrew: absolutely, and considering the nearly impossible expectations, that's pretty high up
Ped: Oscar worthy?
Andrew: yup, he really creates a joker like nothing we've ever seen before. every joker before-jack nicholson, caser romero, mark hamill (in the animated series) has really played up the more comic angle of the joker. All good in their own ways, but ledger's joker is truly terrifying and really defines dark humor
Ped: I thought it was an awesome performance as well. His Joker was truly psycho the way the joker was meant to be, yet he also seemed so intelligent. One thing though, I kept asking myself if it was because I wanted it to be a great performance in that I was rooting for him and whether I had some sympathy for him that made the role seem even better
Andrew: well i don't think anyone would ever be able to ever truly forget about what happened to heath ledger, but he totally immerses himself in this role and is nearly unrecognizable beneath all the makeup, so much so that the character was the one that was affecting me
Ped: yeah. What other aspects of the film did you like? I felt that I was rooting for the joker more than batman and definitely more than harvey dent
Andrew: well i dont' know if i was rooting for him exactly
Ped: Harvey dent was weak, that whole plot was weak
Andrew: i may disagree with you there. I think aaron eckhart does fantastic work as harvey dent
Ped: Really?
Andrew: likely to be overshadowed by ledger's, but still great, charismatic
Ped: maybe that was the problem. i think harvey dent was a good portrayal but the two face character was forced. Harvey Dent/Two face is supposed to be torn character though with a multiple personality disorder. you don't get the sense that dent has evil in him until the end. it should been there all along
Andrew: well it's evident when he takes that one thug in and beats him. I actually think the harvey dent subplot, while maybe not complex and thought out as it is in the comics is actually really great in the context of the overall joker plot. It's not shoehorned in as a brand new plot, but a casualty of the joker's madness
Ped: Dent is strong strong character in the batman universe, he shouldn't be there to make the Joker more significant
Andrew: yeah but that's the comic book fan in you talking i think. in the context of the one film, it think it works very well
Ped: yes, but I don't think we get to see enough of the dark side of dent. His special effects were awesome by the way, exactly like the the way Tim Rice drew him in the comics
Andrew: well the comic part of it is definitely your domain, but he looked great. I wasn't disappointed in the way two-face was introduced because it really represented the dichotomy of how the true evil of the joker messed with the good represented by harvey dent, lt. gordon, and batman
Ped: yeah, the origin of two face was inaccurate, but the whole batman/dent/joker triangle was a interesting one. I thought it was a good touch that in the end the batman was painted as a villain
Andrew: yeah, and the title of the film really takes on more meaning because of it
Ped: and they made the Bruce Wayne role as batman mandatory, like he could not escape from it. Did you feel the movie was long?
Andrew: yes, but not unnecessarily so, it needed to be to get to all of the complex issues and moral quandaries that director christopher nolan wanted to get to; and in a way, the film is supposed to be exhausting and thrilling all at once
Ped: True and I was disappointed when it was over. There were so many scenes in the movie that blew me away. I'll mention some of them shortly so that not to give them away: the bank robbing, the pencil scene, the truck flipping scene, the criminal tossing the bomb switch out the window of the ship, and the scene where batman just appears behind the joker in the jail. People were applauding at all of those, and i was too
Andrew: yeah man, i certainly hope all of our talk of what made the characters and the story so great and deep won't make people think it isn't exciting and the action isn't first-rate
Ped: the action was awesome and I found it perfect that there was a bond trailer before the movie because I found them comparable
Andrew: haha, true enough
Ped: I loved how we never got the true origin of thee joker
Andrew: absolutely, made him all the scarier. We haven't really talked about batman/bruce wayne much to this point, but christian bale is once again excellent
Ped: well the Bale's performance is good, but it's the same as last time
Andrew: these movies are really the first to really delve into the fact that batman's actions have real consequences and that real people are affected by them. Bale really gets to the heart of that and as a sidebar, this movie probably should've been rated R, considering the realism of the violence
Ped: well yes, without a doubt I think the appeal of this film and batman movies is that he is the most realistic superhero. he has no special powers. the crime seemed real, the whole thing was much more believable. Plus nolan using a real city like chicago doesn't hurt. People criticize DC comics for having fake cities, ie Gotham, Metropolis, Star City while they applaud Marvel for having the characters in real cities ie Spidey in New York. Nolan makes it all so real
Andrew: yeah, it doesn't really matter much whether the city is actually real or not, it feels real. Any final thoughts?
Ped: Just that despite a few minor complaints, the dark knight is still an excellent movie, and that Heath Ledger's Joker is the most badass villain ever put on screen, greater even than Darth Vader or Lord Voldemort.
Andrew: Can't disagree too much there. Obviously I loved it, and i think it's incredible that there are studio films like The Dark Knight and Wall-E out there at the same time, which both manage to stay true to and transcend their respective genres.

Hellboy II: The Golden Army

2008-07-18T16:12:00.002-05:00

Hellboy II: The Golden Army is a perfect example of how good direction combined with the limitless imagination of one of the top creative talents in the industry, Guillermo del Toro (Pan’s Labyrinth, The Devil’s Backbone), can make for a good summer film. In this installment, Hellboy (Ron Pearlman) and his Bureau of Paranormal Research and Defense pals Liz Sherman (Selma Blair), Abe Sapian (Doug Jones) and Johann Krauss (voiced by Family Guy’s Seth McFarlane) must face a mythical world of creatures who rebel against the human race in order to take over and rule Earth. The leader of the rebellion, Prince Nuada (Luke Goss), threatens to use the Golden Army, an indestructible army of golden robots, to achieve his goal. Sounds out there, doesn’t it? Well, what do you expect from a comic book movie? The irony is that this movie was not based on any comic story at all, just comic characters. Del Toro along with Hellboy creator, Mike Mignola, penned this original story just for the film. The movie’s success is not driven by the story though, but by the characters and the visual magic that can only come from del Toro. In fact, I would say the best scenes had no action at all, but were when the humanity of these odd characters was revealed. Pearlman was meant to play Hellboy as he’s the only that could pull off the wacky one liners that come from such a comic book character. Overall, I would say this flic was good summer fun and definitely worth escaping the heat for. It just gets me anxious for del Toro’s next, which I’ve read may be Tolkien’s The Hobbit.

Pixar: An Appreciation

2008-07-14T13:31:00.013-05:00

After viewing the excellent documentary The Pixar Story on the Starz network, not to mention their magnificent new release Wall-E in theaters, I thought I would briefly comment on the astonishing creative and commercial success of Pixar Animation Studios. Starting in 1979 doing work for Lucasfilm, and subsequently forming partnerships with Apple founder Steve Jobs as well as Disney, Pixar has become the undisputed king of animation over the last decade or so. Beginning with 1995's Toy Story (the first full-length computer-animated film), Pixar has since had an unparalleled string of hits, with every film they've made taking in a ton of money and collecting a few Academy Awards along the way. Not only that, but they've managed to do so by coming up with completely original ideas for each film and continuing to put quality at the forefront.

That's really the most remarkable part; that, after 9 films, they haven't stumbled once creatively. It says something that their worst film by far is Cars, and even that is pretty solid entertainment. So how do they continue to keep churning out great film after great film? There's probably a large amount of luck involved, but a reasonable theory would be that every single person involved in the film making process on both the creative and technological side seems to be committed to raising the bar with every film they make. Every film is consistently entertaining and funny with eye-popping visuals, but those factors always exist to serve the story, instead of the other way around. The story is always the most important factor in their films and is perfected first, with great characterizations and smart social commentary that organically rise from it. Whether tackling issues like loneliness and identity (Toy Story 1 & 2), satirizing mass consumerism and pollution (Wall-E), or skewering society's "everyone is special" attitude (The Incredibles), Pixar has always managed to subtly embed intelligence and heart into their films, without ever being too schmaltzy or overbearing. Also gotta love the occasional references to great films like The Seven Samurai (in A Bug's Life) or 2001: A Space Odyssey (in Wall-E). The strength of their stories has also meant they've never had to resort to snark and pop-culture references for humor like so many lesser animated films have. The voice work they've hired has also been inspired, avoiding celebrity stunt-casting. They certainly use many big-time names (Tom Hanks, Kevin Spacey, Billy Crystal, etc.), but always in roles that they are right for, and they often use lesser known actors in main roles (Patton Oswalt, Lou Romano, Sarah Vowell). This winning formula has been successful regardless of the director they use, whether they are homegrown Pixar employees, like Andrew Stanton or studio co-founder John Lasseter; or outside talent, like Brad Bird. It's stunning, really, that they've been able maintain such an incredible streak, and I will continue to look forward to whatever instant classic Pixar puts out next.

For fun, below I've ranked all of the Pixar films in order of my preference, with ratings for each. This was extremely difficult for me, as tomorrow I could easily mix up the entire top 5 at random and still feel okay about it. That's how good they are. Love to hear all your opinions too.

1. Toy Story 2 (1999, d. John Lasseter) Grade: A
2. Wall-E (2008, d. Andrew Stanton) A
3. The Incredibles (2004, d. Brad Bird) A
4. Toy Story (1995, d. Lasseter) A
5. Ratatouille (2007, d. Bird) A
6. Finding Nemo (2003, d. Stanton) A-
7. A Bug's Life (1998, d. Lasseter) A-
8. Monsters, Inc. (2001, d. Pete Docter) A-
9. Cars (2006, d. Lasseter) B

Summer Mini-Movie Reviews

2008-07-10T14:58:00.003-05:00

Get Smart

Get Smart is the new update of the classic 1970's sitcom, with Steve Carell stepping into Don Adams' shoes as bumbling secret agent Maxwell Smart. Smart is an analyst at top secret govt. agency CONTROL, but longs to become an agent like his friend, the ultra-cool Agent 23 (Dwayne "The Rock" Johnson). He gets his chance when the evil organization KAOS infiltrates their headquarters and gains access to their files, putting all of their agents' identities at risk. Freshly promoted by the Chief (Alan Arkin), he teams up with the sexy Agent 99 (Anne Hathaway) and heads to Europe to try and foil KAOS's evil schemes. Naturally, as the goofy Maxwell is grossly inexperienced, hi jinks ensue as he learns to fight crime on the job. Get Smart doesn't exactly break new ground, but it is breezily funny and entertaining, with some moments of real, laugh-out-loud hilarity and even some decent action scenes. Most of the credit goes to Carell, who wisely does not imitate Adams' portrayal but is clumsily humorous in his own right, while throwing in a few references to the old show ("Missed it by that much", "Would you believe. . .?). It's a lot of fun. Grade: B+

Hancock

Will Smith is back, taking over July 4 weekend as he has so many times in years past (Independence Day, Men in Black). His new action spectacular is Hancock, a very different take on the superhero genre. Hancock is the only one of his kind in the world, with the powers of Superman, but is rude, swears at children, and is generally drunk all the time. He also tends to create more chaos than he prevents when trying to fight crime, causing millions of dollars in damage and earning himself the ire and hatred of most of the citizens of Los Angeles. When he saves the life of public relations man Ray Embrey (Jason Bateman), Ray decides to repay Hancock by helping him repair his public image, despite the reservations of his seemingly untrusting wife Mary (Charlize Theron). Without giving too much away, as Hancock does begin to get back into the public's good graces, the main characters' motivations become revealed, and Hancock begins to discover the origins of his powers. The first half of Hancock is the stronger part, with plenty of humor and well-staged action sequences from director Peter Berg (The Rundown, Friday Night Lights), and Smith's vulgar, alcoholic portrayal of Hancock is a wholly unique creation. The second half though (after a fairly big twist), as a deeper exploration of Hancock's origins, is not given enough time to develop fully to make it interesting enough to warrant the exploration at all. If this part had been fleshed out into an entire film, instead of just about 40 minutes, Hancock could have been a much richer experience. The action climax is also fairly weak, with no real sense of urgency or dramatic tension. It's still pretty fast, fun, and never boring though, and Smith does a great job. What could have been though. Grade: B-

Kung Fu Panda

Dreamworks' latest foray into the animation world is Kung Fu Panda, a family-friendly romp through China. Po (Jack Black) is a fat and lazy panda, working in his father's noodle shop, but a huge fan of kung fu, especially the legendary Furious Five: Tigress (Angelina Jolie), Monkey (Jackie Chan), Mantis (Seth Rogen), Viper (Lucy Liu), and Crane (David Cross), led by the great raccoon Master Shifu (Dustin Hoffman). When the evil Tai Lung (Ian McShane) escapes from prison and begins to come after the Five, Po is chosen (through a series of wacky events, of course) to fulfill an ancient prophecy and defend them all. Kung Fu Panda is pretty reasonable summer family fare with gentle humor that hits more often than not and a nice message about believing in yourself and using whatever gifts you have as strengths. The animation is crisp and lush, serving well the landscapes of China and impressively animated kung fu scenes. Black is nicely cast as the eager, food-loving Po, and Hoffman always lends gravitas to any wise teacher role. The rest of the celebrity voices (Jolie, Chan, etc.) are pretty much just stunt-casting though, with most of them having very few lines. Kung Fu Panda is pretty much representative of the long string of entertaining though unspectacular computer-animated films (Madagascar, Over the Hedge, Happy Feet, pretty much anything not from Pixar). Good, but it ain't no Wall-E. Grade: B

Wanted

Wanted is the American debut of Russian director Timur Bekmambetov (Night Watch) and stars James McAvoy (The Last King of Scotland, Atonement) as Wesley Gibson, an office loser who's life is turned upside down when he meets the beautiful and mysterious Fox (Angelina Jolie), who recruits him into the Fraternity, an ancient and super-secret group of assassins led by Sloan (Morgan Freeman). Wesley's long-absent father was apparently one of the greatest assassins in the history of the Fraternity, and was just killed by a rogue former Fraternity member. The Fraternity figures that Wesley has his father's genes, and begins training him in all of their deadly arts, which includes learning how to take a massive beating and how to bend bullets, so he can go after the rogue agent. I could discuss the acting (which is fine) or the story (which makes no sense whatsoever), but Wanted is all about the action, which is non-stop from start to finish. It makes no sense whatsoever either, but it's fast, furious, and fairly innovative, reminding me a little of when The Matrix was first released. You know what you're getting into here: big, dumb, loud, and exciting. Something Michael Bay usually aspires to. Grade: B-

WALL-E

2008-07-02T18:42:00.002-05:00

I want to work for Pixar. I don’t know how they do it, but they consistently create computer-animated films that are new, creative, inspirational and wonderfully perfect for the entire family. Oh, I’d toss my degrees out if I could just be in the room where their creative minds get together to discuss future projects. I feel like I was in the story room for Pixar’s latest project, WALL-E.

WALL-E is, in its simplest form, a love story that just happens to take place 700 years in the future. What makes it particularly intriguing is that it’s between two unlikely candidates in an old Johnny-5-like robot named WALL-E and the sleeker, more modern, space-age robot EVE. Who would think that love could be found and let alone be convincing between two robots, yet they pull it off. To quote a special friend of mine, “it was amazing how there could be so much emotion behind robot eyes.” Their love is played out with romantic scenes that are just beautiful.

There are other themes to the film, as well, which is why it seemed like I, an ecologist, could have been involved in the film. There are lessons about preserving the earth and of all things, a small plant is the symbol of hope that the earth can be saved from a state of ruin that has resulted from over-consumption and big commercialism. I loved the film and regardless of what else comes out, I think this a lock for best family film of the year.

Congrats to In the Heights!

2008-06-15T22:53:00.003-05:00

I'm totally shilling here because our friend Shaun Taylor-Corbett is in this show, but In the Heights has won the Tony Award for Best Musical. It's fantastic, go see it.

HULK SMASH!!!

2008-06-14T17:36:00.003-05:00

Aiming to shoot a perfect two for two, Marvel Studios hoped to please again this weekend with their second independent production with The Incredible Hulk. Comic fans have been waiting anxiously to see if the character reboot would successfully bring the big green guy back into favor after Ang Lee’s disappointing 2003 Hulk. This version chronicles Bruce Banner (Edward Norton) as he attempts to find a cure for his ailment, while trying to avoid being captured by General Ross (William Hurt). Trying to find a cure for himself, Banner looks to estranged love Betty Ross (Liv Tyler) and the mysterious Mr. Blue. To help capture Banner, Ross employs Emil Blonsky (Tim Roth) who volunteers to be injected with a gamma Formula created by Banner. Blonsky becomes obsessed with the power the gamma formula gives him and so takes a dose so large that turns him into the Abomination. Banner is then forced to rely on his alter ego, the Hulk, to defeat the more powerful monster.

Despite some controversy prior to its release, without a doubt, Marvel has rescued the incredible hulk and returned him to glory in a film that gets him back to its roots. With a shorter, better-written plot (penned in part by Norton), this Hulk flic is not just a blow ‘em up action flick, but a character story. You grasp Banner’s desperation to be cured so that he would no longer be a monster and away from his love Betty. The action, which is the reason why we go, was intense and worth the wait. With much improved special effects, since the last attempt, Hulk just looked how he should and I was happy that he didn’t seem as invincible. What I liked most about the movie is how it successful pays homage to the comics and television show that made the hero loved in the first place. It does so obvious ways with cameos by Stan Lee and Lou Ferringo and also more beautifully and subtly with music from the TV show, Hulk’s voice by Ferringo, and sequences taken directly form the comics. Much of this movie looked like it was taken directly from the top-selling story arc penned by Bruce Jones in the comics back in 2001, which had Banner utilizing meditation and yoga to keep the Hulk under control. While some may say this movie isn’t as great as the Iron Man, Marvel’s second attempt was a success and with great tie-ins from other stories I’m ready for sequels and the Avengers!

The Last Days of Krypton

2008-06-10T21:06:00.003-05:00

Superman is one of America’s greatest icons. Ask anyone about Superman and they’ll mention Clark Kent, Metropolis, Kryptonite, Lex Luthor, The Daily Planet and, of course, Lois Lane. Bigger fans may talk about Smallville, Lana Lang, General Zod, and Braniac. Often left out of Superman discussions is his origin because it has been so loosely defined. Many people forget that he is in fact alien named Kal-El from the expired planet Krypton. In The Last Days of Krypton, Kevin J. Anderson (Saga of Seven Suns), for the first time, fully defines what happened on Krypton that led to the planet’s demise and why Kal-El’s biological parents sent him away to Earth.

At the start of the novel, Krypton is ruled by a stagnant council, which discourages innovation, hides from conflict, and drowns all decisions in never-ending banter. This is much to the dismay of Jor-El a scientific genius who is constantly trying to better Krypton with his inventions such as his phantom zone and Rao beam and his brother Zor-El who discovers that their world was in danger. Both are given complete disregard by the council. When the android Braniac captures the capital city of Kandor, shrinks it and takes it away, Krypton is left in fear without a governing body. The commissioner under the council, Zod, who escapes capture, ceases the opportunity to rule Krypton with promises of defenses against future attacks. In return for marrying Jor-El with the historian/artist Lara, Zod blackmails Jor-El to help him build a new capital city and weapons in which he can rule. Zod claiming rule of the planet and using Jor-El’s inventions for harm angers important figures like Zor-El who begin a rebellion against him. Civil war results in a time when the people’s focus should be on the fate of the planet.

Overall, I found this telling of Krypton’s end a disappointment. Although, it defines the events that lead to the planet’s end, as well as, the reason for Zod’s future hatred of Superman, it lacked depth and emotion. When I picked up the book, I asked myself whether or not I really wanted to read a potentially sad story about the end of a race. I anticipated a gut-wrenching story about the love between Jor-El and Lara and how tragic it was that their lives were coming to an end before they could see their son growing up. Instead, I got a story where I was actually satisfied that an ignorant and stubborn society was coming to an end with a marriage of Kal-El’s parents that lacked romance. The concept that fear can be used to rule the people (as Zod did over Krypton after attack) was a good reflection of how our own country was convinced into a pointless war after terrorist attacks, but it was a little too obvious and beaten to death. Although Anderson creates a story that can possibly be used as a template for future Superman stories (eventhough he underplays Braniac and does not mention Kara (future Supergirl) at all), he does so in a way that would only grab the attention of the hardcore fan and no one else.

Theater-August: Osage County

2008-05-26T18:29:00.007-05:00

Winner of 2008's Pulitzer Prize for Drama and the heavy favorite to take the Tony Award for Best Play on June 15, the exhilarating August: Osage County has taken Broadway by storm, firing up critics and audiences alike. Retaining most of the original cast from it's acclaimed run at Chicago's Steppenwolf Theatre, August: Osage County centers on the highly dysfunctional Weston family of Oklahoma, headed by literary professor and alcoholic patriarch Beverly (Michael McGuire), and imbalanced, vitriolic matriarch Violet (Deanna Dunagan), who has a weakness for prescription painkillers. When Beverly goes missing, the pair's three daughters (Amy Morton, Sally Murphy, Mariann Mayberry), as well as the entire extended family, return to the homestead. The complexities of the large family's dynamics come into focus as they alternately show love and hurl profane insults and tirades at each other. Relationships are tested, shocking secrets are revealed, and the family comes near it's breaking point as they deal with disastrous events. It's all insightful and tragic, not to mention hilarious and ferociously entertaining, thanks to the razor sharp script by Tracy Letts (Bug) and the outstanding ensemble cast, not one of whom isn't pitch perfect. Special mention should go to Dunagan, who is electric as the vicious but deceptively complicated drug addict Violet; and to Morton, as eldest and strongest daughter Barbara, who is also dealing with her rebellious daughter (Molly Ranson) and cheating husband (Jeff Perry) and is more like her mother than she knows. It's a wonderful, layered performance, and the scenes between her and Dunagan are some of the most powerful of the play. With some sitcom and soap opera elements thrown in, August: Osage County is fast, funny, and thoroughly energetic and engrossing. It clocks in at a robust 3 1/2 hours, but only feels about half of that. One of the best plays I've ever seen.

Indiana Jones and the Kingdom of the Crystal Skull

2008-05-23T20:44:00.002-05:00

After 19 years, Indiana Jones is back, albeit a little older and grayer. He's still sporting his fedora and bull whip though, and still knows how to get into trouble. This time around, Indy (Harrison Ford) has found a new nemesis in Communist Russians, led by scientist/dominatrix Irina Spalko (Cate Blanchett). The Russians have stumbled onto some paranormal phenomenon that promises unlimited power (kinda like the Ark of the Covenant and the Holy Grail did), and they need the expertise of Dr. Jones to help them find it. After a grand escape in old-fashioned Indy-style and a number of complex plot contrivances, Jones ends up in South America racing against the Russians to hunt down the artifacts (which do involve a crystal skull). Along the way he picks up a young greaser sidekick, Mutt Williams (Shia LeBeouf); Professor Oxley (John Hurt), the leading expert about the treasure they seek who has been driven insane by his quest; and Indy's old flame from the first film, Marion Ravenwood (Karen Allen). In keeping with the Indy tradition there are plentiful chases, fights, and grand action spectacles, all leading to a final discovery of the true power and meaning of the centuries-old relics.

The Indiana Jones films are among the most beloved of American films, and as such, Indiana Jones and the Kingdom of the Crystal Skull has been one of the most anticipated movies of the last few years, especially after reuniting stars Harrison Ford and Karen Allen, producer George Lucas, and director Steven Spielberg. So does it live up to the almost unreasonable hype? Well, not entirely, but it's far from a total disappointment. Ford easily slips back into the Indiana Jones role, incorporating his sly wit, humor, and intelligence; and even at 65 is credible as an action hero. He still has plenty of chemistry with Allen, who brings a spark of energy as the feisty Marion. Spielberg, who essentially invented the summer blockbuster trend, is still an expert at staging action sequences, capped off with a thrilling chase sequence in the rain forest that involves parallel Jeeps, a series of waterfalls, giant killer ants, and a bunch of monkeys. The problem is really in the central story, which is unnecessarily convoluted and even silly at times. It exists mostly as a tent pole for the action scenes, and as a result, Crystal Skull lacks the emotional resonance of Raiders of the Lost Ark or Last Crusade. It's more in line with Temple of Doom, which was well-made, over-the-top entertainment with little connection to the characters. Crystal Skull will likely be viewed in the same way. It doesn't quite live up to the impossible expectations, but it's a fun, old-fashioned, entertaining ride. A lesser Spielberg film is still better than most.

Iron Man

2008-05-05T21:26:00.005-05:00

The canon of Marvel Comics has been raided many times over the last few years, resulting in films that range from the heights of X2 and Spider-Man 2 to the dregs of Fantastic Four and Elektra. They've gone to the well again this summer with Iron Man (and again later this summer with take-two of The Incredible Hulk. DC Comics gets it's shot with The Dark Knight). Iron Man stars Robert Downey, Jr. as billionaire Tony Stark, a genius weapons manufacturer who lives a fast life of drinking, partying, and women. While on a sales trip in Afghanistan, he is taken hostage by a rogue terrorist group who already use much of his company's technology for their murderous acts and want him to build a super-missile for them. He instead builds a kick-ass weaponized, armored suit which he uses to escape. Upon returning to the U.S., he has a change of heart about how he's made all of his money and decides to shut down his company's weapons division, much to the chagrin of long-time friend and partner, Obadiah Stane (Jeff Bridges). Stark instead invests his time in perfecting his armored suit design, planning to now use his brains and technology for the good of the world. He enlists the help of his loyal assistant Pepper Potts (Gwyneth Paltrow) and military friend Rhodey (Terrence Howard) in his quest against evil, as Obadiah's intentions and motives become clearer.

Not being a huge comics fan, I knew very little about Iron Man going in. However actor-turned-director Jon Favreau (Elf, Zathura) creates a thoroughly accessible and entertaining film for comic fans and non-fans alike. The writing is sharp and clever, and the action (which is mostly first rate, with a few exceptions) actually serves the story, instead of the other way around. The acting is excellent across the board, with the supporting cast such as Paltrow and Howard creating three-dimensionality out of what could have been stock characters. The movie's success, though, rests on the not-so-obvious but inspired casting of Downey, and he is more than up to the challenge. He fully embodies Stark's transformation from playboy to concerned (but not brooding) crime fighter, without giving up the sarcasm and wit that makes Iron Man a unique and more human superhero. It's one of the best comic-book performances ever. As with any origin story, there can be somewhat of a let's-get-to-it feeling before Iron Man actually shows up, but Favreau keeps things moving pretty well with well-placed action sequences and humor. The gold standard of the recent glut of comic-book movies has been set by Spider-Man 2 and Batman Begins, and while Iron Man may not quite reach those heights, it comes pretty damn close. Check it out. And don't forget to stay after the credits.

Harold and Kumar Escape from Guantanamo Bay

2008-04-28T21:31:00.003-05:00

2004's stoner comedy Harold and Kumar Go to White Castle made a mere $18 million in theaters, but gained new life on DVD and has garnered a strong cult following from both weed-lovers and non-weed-lovers alike. Thus we now have Harold and Kumar Escape from Guantanamo Bay. This sequel picks up right where the first one left off, with Harold Lee (John Cho) and Kumar Patel (Kal Penn) leaving for Amsterdam, so Harold can continue to pursue his new love Maria (Paula Garces). Their plans are derailed though, when Kumar sneaks a homemade bong onto the plane and is mistaken for a terrorist. A comically racist government agent, Ron Fox (Rob Corddry) thinks that this is a sign of North Korea and Al-Qaeda teaming up in terrorist activities, and ships the pair off to Guantanamo Bay. They manage to escape the prison there, and figure their best shot is to head to Texas to get the help of their well-connected college friend Colton (Eric Winter), who also happens to be getting married to Kumar's ex-girlfriend Vanessa (Danneel Harris). With Fox hot on their tails, the duo embark on another wacky road trip, where they encounter a redneck couple, the KKK, and of course, Neil Patrick Harris (Neil Patrick Harris).

The simple review of this film would be this: pretty funny, not as good as the first one. White Castle was an unexpectedly hilarious romp, mixing low-brow humor with an undercurrent of social commentary about race relations that was actually rather incisive. Guantanamo Bay ratchets up everything to the next level, with even raunchier humor and more ambitious targets on top of race, most obviously the current administration. It's a hit-and-miss affair, with many of the jokes being predictable and a few more that fall flat this time around. There are plenty of big laughs to be found though, most notably from NPH and an inspired moment of humor about the square root of 3. The social commentary is a little more obvious and in-your-face this time around, but it manages to retain much of the wit and smarts of the first film. Despite Guantanomo Bay's flaws, Harold and Kumar are still worth taking another ride with.

The Forbidden Kingdom

2008-04-20T21:33:00.004-05:00

The Forbidden Kingdom is one of the most anticipated films for martial arts fans everywhere, boasting the first-ever on-screen pairing of Chinese legends Jackie Chan and Jet Li. Despite indisputably being the two biggest martial arts stars in Asian cinema of the last 20 years or so, these two have never appeared in a film together until now. And all it took was an American film to do it. The film opens in modern day Boston, where teenage geek and kung fu enthusiast Jason (Michael Angarano, TV's Will and Grace) frequents his favorite pawn shop in Chinatown, run by old Chinese man Hop (Jackie Chan). There Jason finds an old staff, which magically transports him back to ancient China. It turns out the staff belongs to the great warrior the Monkey King (Jet Li), who has been imprisoned in a statue and needs the staff returned so he can free himself and defeat the evil Jade Warlord (Collin Chou). Helping Jason in his quest to return the staff and against the Warlord's army is Lu Yan (also Jackie Chan), a seemingly goofy drunk who is much more skilled at combat than he seems. Along the way they are also joined by the Golden Sparrow (Yifei Liu), a deadly young lady out to avenge her family's murders, and the Silent Monk (also Jet Li), who has spent his life trying to find the staff and return it to the Monkey King. After an initial misunderstanding that leads to Lu and the Monk trading blows, they team up to help Jason as well as teaching him some martial arts, trading some good-natured barbs in their downtime.

The Forbidden Kingdom is an enjoyable action-comedy, with a light tone and wall-to-wall fight sequences efficiently staged by director Rob Minkoff (The Lion King) and legendary fight choreographer Yuen Woo-Ping, who has long been the go-to action guy of Asian cinema and lately, of the Wachowski brothers (The Matrix) and Quentin Tarantino (Kill Bill). The real draw here though is, of course, the teaming of Chan and Li. It probably doesn't quite live up to the expectations of true martial arts buffs, but it also probably comes about 10-15 years later than it should have (Chan is now 54 years old, Li is 44). But Minkoff and Yuen wisely play to both of their strengths and mix in a good blend of CGI effects and wire choreography, making the fight scenes fast, crisp, and exciting (an extended fight scene pitting Chan against Li is the high point of the film). There's also a lot of broad comedy, making it more family-friendly and placing it more in Chan's comfort zone. Li is game for it though, playing along and seeming to enjoy himself. It can get pretty silly and ridiculous at times, and the plot borders on nonsensical (also Chan territory). But hey, we're here for the fights and the funny, and Chan and Li deliver the best they can. One has to wonder what kind of masterpiece they could have made together in their respective primes, but The Forbidden Kingdom is fun, action-filled entertainment, and worth seeing to see these two masters finally at work together.

21

2008-04-11T20:32:00.002-05:00

Loosely based on Ben Mezrich's bestseller "Bringing Down the House," which itself was based on a true story, 21 centers on Ben Campbell (Jim Sturgess, Across the Universe), a supernerd at MIT and one of the most talented minds on campus. He's been accepted to Harvard Medical School, but comes from a poor background and can't afford the $300,000 he'll need for tuition and expenses (student loans don't exist in this world, it would seem). He finds a solution when he is asked to join a special team formed by his charismatic, Lex Luthor-like math professor Mickey Rosa (Kevin Spacey). Mickey and his team of students have used their considerable mathematical genius to devise a card-counting scheme that they use at blackjack every weekend in Las Vegas to make a ton of money. At first Ben is reluctant, but is turned around by the prospect of paying off medical school, the allure of the way-too-hot-for-MIT team member Jill Taylor (Kate Bosworth), and hey, counting cards isn't illegal, so there can't be any real danger right? Yeah right. Ben is a natural from the start. He manages to continue as a student at MIT during the week, but makes tens of thousands each weekend in Vegas and lives it up with partying, strip clubs, shopping, and room service. His luck starts to change however, when he catches the eye of an old school security expert (Laurence Fishburne) who believes in old school security methods, and he sees a new side of Mickey when things start to go south.

21 is serviceable entertainment, with quick-cutting, high energy sequences from director Robert Luketic (Legally Blonde). However, in an attempt to give the story more weight, uninteresting character development, relationships, and morality issues have been added that drag the film down. It's a nice idea, but poorly executed. And you'd be amazed at how characters who are supposed to be off-the-charts smart can do so many amazingly stupid things. The story would likely have been better served by taking the Ocean's Eleven route, focusing more on the scheming and plotting of the crew and keeping the tone light and breezy. Up-and-comer Sturgess does nice work as Ben, and Spacey is fine in a sleazy role he could sleepwalk through. Bosworth is unimpressive in a meaningless role. 21 is a decently entertaining way to kill time, but is one of the few instances where the movie actually could have been better if the filmmakers had aimed a little lower.

R.E.M.'s Accelerate

2008-04-09T21:24:00.002-05:00

What happened to alternative radio? When did all music become all pop? Today’s rap, rock, R&B and reggae are more pop than anything else. Even indie music sounds pop to me. I miss 90’s alternative. Give me Nirvana, Sonic Youth, The Cure, Smashing Pumpkins, Jane’s Addiction, Pearl Jam, Violent Femmes etc. any day over today’s junk. There is one alternative band that we still can get love from, R.E.M. They defined the genre, have survived the turn of the century, and are still relevant with their new just released (March 31st) studio album, Accelerate.

Accelerate is a return to form for R.E.M. giving us the good in the band that we all grew to love and not so much the snore that was characteristic of their last couple of albums that failed to inspire. Songs like Supernatural Serious combine fast paced licks by Peter Buck, harmonies by Mike Mills and catchy lyrics by Michael Stipe that produce a sound that is all too familiar. There are statement songs, as you would expect from the politically and socially active Stipe, that address the state of the nation. Here’s an example of the lyrics from “Until the Day is Done:”

The battle's been lost, the war is not won
An addled republic, a bitter refund
The business first flat earthers licking their wounds
The verdict is dire, the country's in ruins

Providence blinked, facing the sun
Where are we left to carry on
Until the day is done
Until the day is done

Overall the album is more than good than bad, so if you’re a fan of R.E.M., check Accelerate out or these songs I recommend: Supernatural Serious, Hollow Man, Living Well is the Best Revenge, Accelerate, Until the Day is Done. Check out this video to hear their first single.

Ped's favorite baseball flics

2008-04-05T23:40:00.003-05:00

In honor of opening week in baseball, I decided to rank my top ten favorite baseball movies. When I was doing a little research, I discovered that Hollywood has made more than 50 films about baseball. Some are total crap, but some or awesome. Below are my favorite baseball movies, let us know what you think.

10. Rookie of the Year (1993)
Ok, ok, I know this isn’t that a good a movie, but something about a freak accident giving a kid the ability to play in the pros that makes me wish it was true and it was me.

9. Bad News Bears (1976)
The classic, with Walter Matthau and Tatum O’Neal, is the original story about losers and oddballs winning the big game.

8. Major League (1989)
According to most baseball players, Charlie Sheen gives the most realistic pitch delivery of all actors playing pitchers. Hard to believe for a movie that is more memorable for Willy Mays Hayes, the voodoo believing Cerrano, and that pin-up the Indians undress with every win.

7. Pride of the Yankees (1942)
An old school telling of Lou Gerig that’s still draws the tears.

6. The Rookie (2002)
One in the long line of Disney movies about great sports stories, but still good. You’ll be so happy when Jim Morris makes it.

5. The Sandlot (1993)
“You’re killin’ me Smalls!” What’s better than playing ball with the neighbor kids?

4. A League of Their Own (1992)
“What…. Are you crying? There’s no crying! There’s no crying in baseball!”

3. The Natural (1984)
What’s more classic than the imagery in this one? In particular, I like when Hobbs actually knocks the leather off the ball.

2. Field of Dreams (1989)
This one’s pretty self explanatory. Who’s done more baseball movies than Costner? He’s in the next one too.

1. Bull Durham (1988)
All the baseball movies out there just seem to focus on either little kids or the big leagues, but nothing in between. This is a great story about what it’s like to play in the minors and you’ll appreciate how hard it is to make the show. It also paints a good picture into fandom and pitcher/catcher relationships.

Kick-Ass

2008-03-23T12:11:00.002-05:00

Ever wonder what it would be like to put a costume and actually be a superhero? Ever thought about doing it even though you have no super powers at all? This is the premise of Mark Millar (Wanted, The Ultimates) and John Romita Jr.’s (Amazing Spiderman, Black Panther) mature comic Kick-Ass. In it, a comic fanboy, Dave Lizewski, decides to make a costume (a wet suit he tailors himself), work out and go fight crime. But reality hits when in his first attempt to do something results in him getting his “ass kicked.” Millar’s style, as usual, is gritty and raw with foul language and violence, which is why adults, who don’t like the cheesy traditional comics, tend to gravitate towards his books. John Romita Jr. has a style that makes you appreciate the fact that comics are an art form with his use of lines for shading and texture. I’m curious about whether or not Dave actually succeeds as a hero, so I’ll pick up number 2 next month.

Potter movies to be split

2008-03-23T10:08:00.003-05:00

I thought I would update our readers about our recent poll about the 7th Harry Potter film. Last Thursday, the producers of the films announced that J.K. Rowling's last installment, "Harry Potter and the Deathly Hallows," will be split into two parts on the big screen. The first film is slated for release in November 2010, with part two following in May 2011. Both films will be shot simultaneously. To me, this means two things: first, now nothing will be cut out, which is good and second that feeling of loss we will all feel after the last movie comes out will be put off six more months.

Born Standing Up: A Comic's Life by Steve Martin

2008-03-05T00:00:00.005-05:00

Ok, a small confession: I had never read a biography before. Scratch that. I had never read a biography before for leisure. I have read some for book reports, Arthur Ashe and Benjamin Franklin I think. Yeah, definitely Franklin because I remember the homemade bald cap my mother had made for me to wear when I gave my presentation in third grade. Normally, biographies aren’t my style, but this week I decided to try one out from a writer/playwright whose works (Shopgirl, The Underpants, Picasso at the Lapine Agile) I have enjoyed in the past, Steve Martin.

Born Standing Up: A Comic’s Life is Martin’s memoir chronicling his life as a standup comedian from early childhood to when he decided to give it up. The book is an encapsulating evolution of how Martin developed and refined his act starting with him as a child with his first performance as Rudolph the red-nosed reindeer, through the times he did magic tricks at amusement parks and then small gigs strumming on the Banjo at folksy dives, up to performances on The Tonight Show and hosting SNL. You will truly gain an appreciation of how his success was not purely due to talent, but more the result of trial and error and his life experiences. He describes his development as a comic that comes about because of his loves, his experiences with drugs, his struggles with anxiety and loneliness, his college education in logic and his relationships. Martin’s description of his relationship with his father is the most touching of all. His father was a hard man who was unsupportive of Martin’s career as a comedian until he was on his brink of death. I cried when Steve tells of the moment he was able to finally connect with his father. There is humor in the book too as Martin reveals pieces of former bits and anecdotes about the times. For example, he tells of how the free sex age when he was with multiple girls while on tour. On behalf of the readers Martin inquires on whether or not the girls he fooled around with were attractive and he replies, “Of course, we were in our twenties. Everyone’s attractive in their twenties.” It’s Martin’s style that has made me a fan of his writing. He’s witty and fun and this memoir makes him real to me and not so untouchable like most celebs. Hey Steve, I'm still a fan.

If you’re interested in reading Martin, but don’t have the time to read, I recommend one of the audio versions. He usually narrates himself and includes Banjo excerpts that are played by Martin himself.

Here's some classic Steve for your enjoyment:

Oprah's Big Give

2008-03-03T15:24:00.002-05:00

With the writer's strike over, we're finally gone get some real TV back, right? Wrong. We're gonna have to wait until next fall. Meanwhile, the major networks will drown us in bad reality TV. When will it end? We don't need reality TV anymore, that's what YouTube is for.

Last night, Oprah's own reality show of sorts, The Big Give, debuted on ABC. The premise of the show is simple. Contestants compete to see who can give the most to those in need. The weakest giver each week gets eliminated with the last person remaining at the end of the show winning a million smackeroos.

The Good: People in need are actually getting helped in the show and their stories are touching.

The Bad: Isn't the whole point for the show to be a charity thing? Why give the winner a money prize? The contestants signed on thinking they're doing a charity thing. Why reward them? Isn't charity supposed to be self-rewarding? I hope the winner gives their prize money away.

The Ugly: Why does it feel like the show is only making Oprah richer? Cause it is. The show only makes her look like some kind of god and in worship, people will spend more money buying her books and magazines. I'm not convinced that she really is that selfless. I wouldn't be surprised if she like many other gajillionares gives to charity and then uses it as a tax write-off.

A Raisin in the Sun

2008-02-27T10:30:00.003-05:00

Two Broadway productions of Lorraine Hansberry’s groundbreaking play “A Raisin in the Sun” have been translated into film. Both, justifiably so. The play tells of a struggling black family, the Youngers, who yearn for a better life than the one they had in their rundown Chicago apartment. Both the son, Walter and the daughter, Beneatha wish for a better life for themselves, but it seems there dreams require money. Would their dreams come true with the insurance check from a diseased father that comes to their mother Lena? Or would Lena make a decision of her own of what to do with the money? With dialogue that makes you think, the play addresses racism and idea of pursuing your dreams.

In 1961, the original Broadway production was turned into film with the great Sidney Poitier playing the son, Walter and the recently Oscar nominated Rube Dee (American Gangster) as Lena. Again, in 2008, the Broadway cast featuring Sean “Diddy” Combs and Phylicia Rashad (Clair Huxtable people!) resumed their roles as Walter and Lena, respectively in the made-for-TV version. I have seen both film versions and it is clear that when you have good writing, every production will be a success. I tuned in Monday night to watch the newer version with two questions in my head. First, was it necessary to remake the movie? And, second, can Diddy act? As far as Diddy goes…well…he’s no Poitier, but he’s not bad considering it was his first real movie role. The only problem is not bad stands out when everyone else is awesome. Rashad wows. It’s no wonder she won a Tony for her portrayal on stage. She made me cry twice. Audra McDonald, Tony winner, and Sanaa Lathan, Tony-nominated, were fantastic as well. The three females carry this film far, which warrants the translation into film. It’s an excellent ode to black history month. With Oprah as a backer, I'm sure it'll be on dvd soon, so check it out.

By the way, I’ve more than once wondered what the title means. Well, it turns out the title comes from the opening lines of a Langston Hughes poem called “Harlem:”

What happens to a dream deferred?
Does it dry up like a raisin in the sun?
Or does it explode?

Andrew's Oscar Picks '08

2008-02-17T22:40:00.010-05:00

The Academy Awards are this Sunday, Feb. 24, saved from disaster by the recent end to the writers' strike, so I'm back with my predictions and personal preferences. I'm looking forward to seeing this year's telecast, hoping that the short amount of time for the writers will result in a looser, more free-wheeling broadcast and some improv from host Jon Stewart. I'm even somewhat excited to see some of the musical performances too, namely seeing Enchanted star Amy Adams perform "Happy Working Song" and Broadway veteran (and Pushing Daisies star) Kristin Chenoweth take on "That's How You Know" from that film. And any chance to see Glen Hansard and Marketa Irglova sing the lovely and touching "Falling Slowly" from Once is okay by me. Actually I would have killed to see Hugh Grant and Scott Porter dance through "PoP! Goes My Heart," the hilariously cheesy (but catchy) retro-pop concoction from Music and Lyrics, but alas, it was robbed of a nomination. Ah well. On to the picks. As I've said in a previous column, it was a great year for movies, so I actually haven't gotten a chance to see a few of the nominated films, so I'll indicate which ones those are. Here we go.

(*) indicates a film/performance I haven't seen

Best Director

Paul Thomas Anderson, There Will Be Blood
Joel and Ethan Coen, No Country for Old Men
Tony Gilroy, Michael Clayton
Jason Reitman, Juno
Julian Schnabel, The Diving Bell and the Butterfly

After years in the business and having won an Oscar for writing, the Coen brothers have landed only their second Best Director nomination (after Fargo, though only one of them, Joel, was allowed the nomination). It seems like this is their year, as they collected most of the major critics' prizes for their most ambitious film ever, as well as the prestigious Director's Guild award, historically a near-guarantee for Oscar victory. Anderson snagged a few of the critics' awards, but probably not enough. Schnabel managed to steal the Golden Globe for the undeniably visual Diving Bell, but his film wasn't nominated for Best Picture, so it's very unlikely.

Prediction: Joel and Ethan Coen
Preference: Julian Schnabel
Should've been nominated: Tim Burton, Sweeney Todd: The Demon Barber of Fleet Street

Best Supporting Actress
Cate Blanchett, I'm Not There *
Ruby Dee, American Gangster
Saoirse Ronan, Atonement
Amy Ryan, Gone Baby Gone
Tilda Swinton, Michael Clayton

This is probably the toughest category of the night to call, as all five actresses have at least a fighting chance. I'm gonna go ahead and discount Ronan, as she's only 13 and her film seems to have lost a lot of momentum recently. For a long time, it seemed as if this was a two-person race between Blanchett's uncanny Bob Dylan impersonation in I'm Not There and Ryan's fierce performance as an entirely unsympathetic mother to an abducted girl in Gone Baby Gone, as they split most of the major critics' awards. Blanchett seemed to take the lead with her Golden Globe win, but Ruby Dee threw a wrench into everything by surprising everyone with her Screen Actor's Guild upset. Swinton has gained momentum recently too, with her win at the BAFTA (Britain's Oscars) and remains Michael Clayton's best shot at an Oscar. It's mostly guesswork at this point, but I'm thinking Oscar will want to reward the legendary career of 83-year-old Dee (as well as her late husband, fellow legend Ossie Davis), despite being in Gangster for maybe 5 whole minutes. Blanchett won this award only 3 years ago, and theater veteran Ryan is new to the scene, playing an unlikeable character. But again, mostly just guessing here.

Prediction: Ruby Dee
Preference: Amy Ryan
Should've been nominated: Jennifer Garner, Juno

Best Supporting Actor

Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford *
Javier Bardem, No Country for Old Men
Philip Seymour Hoffman, Charlie Wilson's War
Hal Holbrook, Into the Wild *
Tom Wilkinson, Michael Clayton

Bardem owns this category, having created one of the most memorable villains in screen history, with his terrifyingly creepy psychopath Anton Chigurh earning comparisons to Hannibal Lecter and Darth Vader. He's won pretty much every major precursor so far (SAG, Golden Globe) and is the heavy favorite to win. The only possible upset I can see is from 82-year-old Holbrook, who may benefit from that respected veteran advantage that Ruby Dee has, although his claim isn't as strong, and Bardem has likely pulled way too far ahead.

Prediction: Javier Bardem
Preference: Javier Bardem
Should've been nominated: Ben Foster, 3:10 to Yuma

Best Actress

Cate Blanchett, Elizabeth: The Golden Age *
Julie Christie, Away From Her
Marion Cotillard, La Vie en Rose
Laura Linney, The Savages *
Ellen Page, Juno

This is another tough category to call. Veteran British actress Julie Christie (Doctor Zhivago, Heaven Can Wait, Afterglow) won this award for the first and only time 42 years ago for Darling, and has been selective with her projects in the years since. Her role as an Alzheimer's sufferer in Away from Her has garnered her numerous critics prizes and accolades (including the Golden Globe and the SAG) which would seem to make her the frontrunner. It could be argued, however, that her role is more of a supporting one, opening the door for her closest competition, Marion Cotillard, who's transformative performance as French singer Edith Piaf has netted her a fair share of prizes as well. And it's possible that vote-splitting between the two frontrunners could allow rising star Ellen Page to sneak in and steal the victory, Adrien Brody-style. Blanchett and Linney are just along for the ride. I don't feel all that strongly about it, but I'm still going with Christie to take this one. Cotillard's performance is all in French, Page is probably too young, and Christie is a well-respected throwback to old Hollywood, which the Academy loves.

Prediction: Julie Christie
Preference: Marion Cotillard
Should've been nominated: Amy Adams, Enchanted

Best Actor

George Clooney, Michael Clayton
Daniel Day-Lewis, There Will Be Blood
Johnny Depp, Sweeney Todd: The Demon Barber of Fleet Street
Tommy Lee Jones, In the Valley of Elah *
Viggo Mortensen, Eastern Promises

Anyone defeating Daniel Day-Lewis' searing performance in There Will Be Blood would be an upset of monumental proportions. He gave one of the best performances of this or any year and has won pretty much every award there is to win so far. He's an insanely respected actor who only picks a project every few years or so, always turning in award-worthy stuff. He's won once before (for My Left Foot) and has miraculously only been nominated two other times (In the Name of the Father, Gangs of New York). His classy tribute to Heath Ledger at the SAG awards only helped I'm sure. I've heard rumblings that Clooney could stage the upset, but I don't buy it.

Prediction: Daniel Day-Lewis
Preference: Daniel Day-Lewis
Should've been nominated: Gordon Pinsent, Away from Her

Best Picture

Atonement
Juno
Michael Clayton
No Country for Old Men
There Will Be Blood

This is No Country's to lose, as the Coen brothers' masterwork has won almost all the major precursor awards to this point (SAG, Director's Guild, Producer's Guild). Really the only thing that could stop it's momentum now would be awards fatigue, with voters possibly not wanting to bother voting for a film that's been the front runner for so long. Michael Clayton could pull the upset; it's a serious, traditional message movie with a big star at the center, but it's won nothing up till now. There Will Be Blood has been hailed as an epic masterpiece by many, but it has a very polarizing effect on people: they love it or they hate it. Juno made the most money out of all the nominees (usually a plus) and has easily had the most mainstream/crossover appeal, but it may be viewed as too lightweight. Atonement probably stands the poorest chance (despite snagging the increasingly less relevant Golden Globe), as it has lost a lot of steam down the stretch since it's original status as a favorite back in August. So it looks like No Country will likely take the prize, with Michael Clayton being the best (but still slim) hope for an upset.

Prediction: No Country for Old Men
Preference: No Country for Old Men
Should've been nominated: Once, The Diving Bell and the Butterfly

See you at the Oscars!

The Spiderwick Chronicles

2008-02-16T01:25:00.003-05:00

Based on the popular children’s book series by Tony Diterlizzi and Holly Black, The Spiderwick Chronicles is Nickelodeon’s attempt at the now widely done fantasy genre. Encapsulating all five books into a single film, Chronicles tells of a short-tempered nine-year-old boy named Jared Grace, who, with his mild-mannered twin Simon and older sister Mallory, move into the Spiderwick Estate where he discovers a field guide to all the magical creatures of the world. Mulgorath, an evil ogre voiced by Nick Nolte, wants this guide in order to destroy all the creatures and conquer the world, so he pursues the children who do whatever they can to protect it.

Freddie Highmore (Finding Neverland, August Rush, Willy Wonka) shows his versatility playing the Grace twins with two quite different personalities, while maintaining a believable American accent. I was amazed that this kid still continues to exhibit superior acting, until I read that he's 16 now! But he looks ten?! Huh? Anyways, voice actor Martin Short was typical Martin and Seth Rogen who provides the voice of Hogsqueal, is quality. The creatures were well done (as one would expect, because with each film, the special effects get better and better). Overall, the movie was good, but not great. I felt like if I was ten, I would have loved it, but as an adult, I felt like the plot was lacking. One would think that having five books and a plethora of accompanying texts would provide enough source material.

Theater-The Little Mermaid

2008-01-29T22:23:00.000-05:00

In the last decade or so, it seems as if Disney has taken over Broadway, coming out with a new show every few years with various degrees of success. With the exception of the Elton John misfire Aida, all of them have been adaptations from their extensive canon of films (Beauty and the Beast, The Lion King, Tarzan, Mary Poppins). They've gone back to the well again, this time with The Little Mermaid, from the 1989 smash hit that led off Disney's impressive animation renaissance during the 90's. For the 4 of you out there who don't know, Mermaid tells the story of Ariel (Sierra Boggess), the sweet-singing but rebellious mermaid daughter of King Triton (Norm Lewis) who longs to be human so she can be with Prince Eric (Sean Palmer). She makes a deal with the sea witch Ursula (Sherie Rene Scott) who can turn her human, but in return she must give up her voice. With the help of her friends Flounder (J.J. Singleton) and Sebastian (Tituss Burgess), she has three days to get Eric to kiss her or she becomes Ursula's prisoner forever.

The Little Mermaid boasts an impressive pedigree, including multi-Olivier Award-winning director Francesca Zambello, Pulitzer and Tony-Award winning writer Doug Wright (I Am My Own Wife, Grey Gardens), and retaining the Oscar-winning songs by Alan Menken and the late Howard Ashman. Yet somehow, it all manages to come up short. There are things to like, such as the impressive underwater sets and costumes. The actors give the illusion of swimming using a variation of those roller skate/sneaker combinations that seem to be so popular with the kids these days in a creative piece of staging. I was actually pretty entertained during the first act when the best songs like "Under the Sea" and "Poor Unfortunate Souls" take place. Unfortunately the new songs added for the production (by Menken and Glenn Slater) aren't anywhere near as good as the original film's compositions. And the second act suffers due to the fact that the ending of the film is too action-oriented and difficult to stage, resulting in a re-imagining of the climax that is clumsy, awkward, and rushed (a similar problem in the stage version of Beauty and the Beast). The performances range from mediocre (Burgess' Sebastian) to above average, with Scott giving the best performance in the show as Ursula. Boggess makes for a serviceably perky Ariel, delivering a lovely rendition of the signature song, "Part of Your World." The nostalgia factor is a big key in enjoying this show (it's still The Little Mermaid after all), but objectively it leaves a lot to be desired. Overall I would say The Little Mermaid makes for a pleasant night at the theater, about the level of Beauty and the Beast but nowhere near the heights of The Lion King.