Sunday, March 31, 2013
The set design and costuming are pretty, and pretty impressive: Tarsem Singh loves making things look baroque. If the script were wittier, the whole thing might actually be a minor classic. It's certainly much lighter on its feet than the same year's other Snow White movie, the more epic Snow White and the Huntsman, and Collins is a much more charming presence than the other movie's Kristen Stewart. The movie's tone takes its cues from The Princess Bride, not Lord of the Rings.
Julia Roberts seems to be having fun being bad and doing a bad English accent. No one else even tries to do an accent. Unlike Snow White and the Huntsman, Mirror Mirror uses actual dwarves and not CGI-squashed actors. Armie Hammer is actually pretty funny as the Prince, and Nathan Lane gets about all the laughs out of his lines that he can.
Singh's visual inventiveness is mostly kept under control, though there's a fascinating sequence involving giant, homicidal marionettes that really is quite magical and odd. It's like something from a Guillermo del Toro movie. Lightly recommended.
This is Hollywood England, so we never find out why Miniver's husband, played by Canadian Walter Pidgeon, doesn't sound English, or how their son developed an almost parodic upper-class-twit accent, given that they're middle-class and neither of them sound remotely like him. American Teresa Wright also doesn't sound particularly English. Things never really change in Hollywood.
But anyway, much rallying of spirits occurs as Mrs. Miniver and the town endure war, Nazi bombing, fugitive Nazi airmen, Dunkirk (Mr. Miniver owns a boat and so is drafted into helping out with the evacuation), personal tragedy, a dogfight that seems to take place about three feet above the English countryside, and the annual Canterbury flower show.
That last is a major plot point, by the way. President Roosevelt loved the movie for its propaganda value as America itself finally entered the war. The final singing of "Onward, Christian Soldiers" may strike one as mildly disturbing -- the Nazis loved putting crosses on their military hardware, after all. Recommended.
For some reason, I love the fact that the character played by Peter Fonda in the first movie is now played by Ciaran Hinds. Because if you're going to recast, don't go with people who look alike. But then, for no good reason, the filmmakers have Hinds do a weirdly amorphous, mush-mouthed American accent. I guess his normal voice would have confused people who thought he was Peter Fonda.
I gained a lot of respect for Idris Elba, though, who does his best with a stupid character. And Nicolas Cage isn't awful, though he looks depressed at times to be in such an awful movie. You'd think a film about a motorcycle-riding figure of vengeance with a flaming skull for a head would at least be fun, but this one really isn't. And Johnny Whitworth, as the secondary villain, delivers one of the worst Joker-riffs in the history of action movies. He's almost impossible to watch.
Given the scarcity of decent visual effects sequences, it's hard to believe that this movie really cost $57 million. Much of it has the production values of a SciFi Channel movie. Though at least the filmmakers were honest about shooting in Eastern Europe to save money, as the movie is set there and in Turkey. So, good on them. Not recommended.
Saturday, March 30, 2013
Rotworld: written by Jeff Lemire, Scott Snyder, and others; illustrated by Yanick Paquette, Marco Rudy, Steve Pugh, Travel Foreman, and others (2011-2013): I'd imagine that DC will eventually package the entire Rotworld run of Swamp Thing, Animal Man, and several issues of Frankenstein: Agent of S.H.A.D.E. into one 1000-page omnibus volume. While only a handful of issues from each title bore the Rotworld banner, the entire story actually started with the rebooted Swamp Thing and Animal Man comic books back with their first issues in September 2011, and was really only resolved with issues 18 of those books this March.
The set-up was relatively simple: there are three great living kingdoms on Earth: the Green (Vegetation Kingdom), the Red (Animal Kingdom), and the Rot (well, guess). Swamp Thing is the living avatar of the Green, Animal Man is essentially the acting regent of the Red until his daughter comes of age, and long-time Swamp Thing villain Anton Arcane is the avatar of the Rot.
Normally the three powers live in an occasionally contested balance, but over the last 200 years, Arcane's stewardship of the Rot has led him to attempt to extinguish the other two forces in order to remake the Earth into a polluted, distorted kingdom for himself. And then he'll reach out for other planets.
So, over about 800 story pages, Swamp Thing and Animal Man and a number of allies battle the Rot in the past, present, and future of the Earth. Yes, time travel is involved. And as this is part of the 'soft' reboot of the DC Universe, Swamp Thing himself has been born again: it turns out he was never really Alec Holland, but he will be Alec Holland again. Animal Man also learns an assortment of things that fall squarely into the category of Everything You Knew Was Wrong. Long-time Swamp Thing paramour Abigail Arcane gets the biggest conceptual makeover, however: she, and not her evil Uncle, is supposed to be the avatar of the Rot.
Did this story need to cover so many issues? Well, no. The reversals of fortune become frustrating at points, and there are times throughout where one wishes they'd just get on with it. But Snyder and Lemire also do some nice word-smithing and character-building.
Animal Man and Swamp Thing really shine in the art department, especially in those issues drawn by Yanick Paquette or Steve Pugh. Paquette really goes all-out depicting the verdant yet often horrifying world of Swamp Thing: it's the best art Paquette has ever done. Pugh, who's been around the Animal Man book before, has a rare flair for the grotesque and the cloachal. Frankly, they could have gone off-schedule a bit more (or made both books 8-times-a-year, like in the oldey-timey days of comic books) so that Pugh and Paquette could have handled all the art chores. Oh, well.
As both books present new origins for their avatars, the whole storyline isn't a bad jumping-on point for new readers. Long-time readers will of course wonder where the Hell the Fungus Kingdom -- the Grey -- is for the duration. Matango! Recommended.
Friday, March 29, 2013
All the sexual horrors that were vaguely implied in many of Lovecraft's stories are here made manifest, often in graphically disturbing fashion, all of them delineated in a razor-sharp quasi-realistic mode by Jacen Burroughs. It's a spectacular, and spectacularly disturbing, graphic novel that rewards multiple re-readings.
Burroughs's art complements the story beautifully, giving us a Cthulhu Mythos story with both the suggestiveness and the painful exactness necessary to certain sections. The relatively realistic nature of Burroughs's art may be seen as the equivalent of the faux-documentary stretches of many of Lovecraft's finest works, in which an accumulation of 'real' detail from interviews and newspaper articles served the construction of that awful Cthulhuian world.
This collected volume actually contains both the miniseries named Neonomicon and the earlier, shorter set-up, The Courtyard. On a slightly different alternate Earth where the major cities are domed so as to cut down on pollution and the telephones contain fax machines (!), three FBI agents at two different times try to seek out the origins of a strange rise in mass killings by people who seem totally unrelated.
While there are cloachal horrors and sexual horrors awaiting, there are also gratifyingly disturbing moments of weirdness that evoke the sort of cosmic horror Lovecraft strove for throughout his work, a breaking-down of existential categories, a collapse in causality. Moore's humour also plays out, sometimes in perfect harmony with the horror (as one cop says about a disturbing bit of graffitti/art, "I hope that's a tree." It isn't.).
The personal problems of the characters tie directly into the ideas Moore explores in the course of this dark odyssey: The Courtyard's protagonist is a hard-core racist, and his story plays out in the Red Hook district of New York, setting for Lovecraft's early, racist fear-of-miscegenation story, "The Horror at Red Hook." Neonomicon's protagonist is a female FBI agent whose career and personal problems with institutional sexism and exploitation will ultimately play a terrible role in the story's resolution. Lovecraft's stories didn't have female protagonists, and generally didn't have female characters with speaking roles.
This isn't a volume for everyone: it's vicious and boundary-pushing. But it's also an astonishing addition to Lovecraft's Cthulhu Mythos. Highly recommended.
Thursday, March 28, 2013
In a near-future world in which the Sun suddenly went into its Red Giant phase hundreds of millions of years early, a small group of survivors seek refuge on a trek across the floor of the former Atlantic Ocean. Set upon by pirates led by Castenado, a blind psychic buccaneer with two peg legs and two hook hands, they're rescued and eventually led by the mysterious Pilgrim, who quotes Bible verses and shoots dogs who "have the Devil in them."
However, the Pilgrim's violent efficiency causes most of the people, including the ten-year-old boy whose diary forms the narrative structure, to put their faith in the Pilgrim and God. Castenado won't give up his pursuit. So on a devastated, emptied seafloor filled with dangerous, mutated creatures, the small band will make their way toward a reckoning with Castenado. Along the way, the Pilgrim's origins in the pre-apocalyptic world will be revealed.
Like pretty much all of Ennis's comic-book output, this is NOT FOR THE SQUEAMISH. It does have some troubling, fascinating points to make about faith and a reliance on heroes that play out in other, longer Ennis works. The relationship between the Pilgrim and the boy plays with expectations caused by similar relationships in famous Westerns that include Shane, Pale Rider, and True Grit. Are we being set up? Ezquerra really is one of Ennis's perfect collaborators, with an ease and skill at portraying action and the grotesque and the occasionally comic. Followed by at least one sequel. Recommended.
Wednesday, March 27, 2013
It's an enjoyable story for someone who had followed writer Mike Baron and artist Steve Rude's Nexus superhero space-opera serial for the previous decade. But it's not really a standalone story, and it doesn't exactly have an ending. The miniseries should probably have simply been part of the normal run of Nexus, which Rude wasn't drawing at the time. Complications, complications.
So as it's out of print and not the greatest introduction to the Nexus series, I'm not sure how to review it. It's great fun, and Rude's art is really at its late-1980's peak here. We get a nice look at the societies of the far future. Baron's writing is sharp and observant. Rude's art mixes up the superheroic and the comedic with elan: there's really still no one quite like him in comc books, and Nexus gave him the broad canvas to shine in a way that normal superhero books never did and never have.
The 'real' Nexus isn't Nexus at this point in the narrative, which means we have the de rigeur scenes of former Nexus Horatio Hellpop moping around and being noble now that he's no longer in charge of executing mass murderers across the galaxy at the whim of a hyper-powerful alien known as The Merk. A number of sub-plots from the main series play through the miniseries, making me wonder if this really was supposed to be four issues of the main series. So it goes. Great Goulessarian! Recommended for Nexus readers.
Thursday, March 21, 2013
At 80 minutes, American Grindhouse is too short to effectively cover 80 years of movies. What is covered, though, from the graphic childbirth movie The Story of Life to the beginnings of modern pornography, is fascinating. Boy, though, does this movie have a bit too much commentary from director John Landis and not enough from film historians. Still, a good introduction to The Repressed of American movies. Also, I love the movie in which Jesus fights American Neo-Nazis. Recommended.
Will Smith's Agent J has to travel back to 1969 after an alien thug (Boris the Animal) alters time so as to both kill Tommy Lee Jones's Agent K in the past and enable an apocalyptic alien invasion in the present day. Various shenanigans ensue. Boris bears some resemblance to DC Comics alien thug Lobo, while a benevolent alien called Griffin recalls Superman pest Mr. Mxyzptlk. So it goes.
Josh Brolin does a nice Tommy Lee Jones impersonation as the Agent K of 1969, while Alice Eve looks nothing like Emma Thompson, her supposed future self. Michael Stuhlbarg's alien Griffin really seems like a part meant for a young Robin Williams. Or youngish. Lightly recommended.
At the taping of a British talk show much like The Jerry Springer Show, soon-to-be-30 Luke discovers that his father isn't really his father, and his mother isn't really his mother, thanks to DNA tests. His uncle seems to know something about this, but he dies of a heart attack before he can tell Luke much of anything. As Luke starts to delve into what his uncle knew, using that uncle's strange journal as a guide, more deaths and disappearances follow.
Luke's expecting his first child with his partner Sophie, a classical guitarist. Luke himself is a rising comedian who specializes in an act that's an odd combination of mimicry and commentary on the foibles and failings of people. Luke's always been a terrific mimic, and was incredibly precocious in a way that seems like a sly homage to the precocious, early-reading H.P. Lovecraft, whom Campbell emulated early in his own precocious writing career.
And Luke was plagued by nightmares as a child about vaguely human-shaped things creeping into his bedroom to watch him at night. Now the nightmares have returned. Soon, they're no longer nightmares: they're what Luke sees in the daytime.
In what is Campbell's shortest novel in decades, a fabulous blending occurs of some of his own mythologies (references to other Campbell works span almost his entire writing career, from "The Franklyn Paragraphs" of the 1960's through The Doll Who Ate His Mother of the 1970's to The Grin of the Dark from 2004) and an assortment of myths and legends about fairies in the British Isles. "The Kind Folk" is just one of the terms used by fearful people to curry favour with fairy, who were not traditionally known for their kindness.
Luke's quest is extremely personal, though there are potentially apocalyptic ramifications to his quest to understand his origins. His uncle mapped out hot spots throughout the British Isles where another world seemed to be leaking through into this one -- and when Luke visits these places, very odd things start to happen. And people other than himself start to see the figures from his childhood, and not simply in dreams.
It's a solid, understated effort from Campbell, one whose chills are often existential, and whether or not the myths and legends of Fairyland herein are 'real' or invented by Campbell, they possess the haunting quality of real legend. Highly recommended.
Saturday, March 16, 2013
Mirroring the investigation, the film's pace is slow and deliberate. As the movie only shows Zodiac crimes for which there were witnesses, the first known Zodiac killing is discussed but never shown. And what we are shown of the killings is horrifying but not gratuitous. There's far more gore in an average episode of CSI. Or Dirty Harry, for that matter, itself based partially on the Zodiac killings.
This is a film to be savoured and mulled over. Fincher gets fine performances from his entire cast, though I think Mark Ruffalo -- as (real) Inspector Dave Toschi, gives both the best and the most period-accurate performance. Ruffalo looks like a 70's actor in this film, a slightly more conventionally handsome Gene Hackman. Everyone else is good as well, with Jake Gyllenhaal, as the editorial cartoonist-turned-amateur-sleuth Robert Graysmith, playing the straight-arrow heart of the movie (it's his book that the film is based on).
The opening scene, set to Donovan's "Hurdy Gurdy Man", is one of the most striking set-pieces I've seen in any film. And Donovan's daughter, Ione Skye, has an uncredited cameo later in the film. Weird stuff. The Zodiac too is weird: a mixture of the malign and the banal and the lucky, the killer is accurately portrayed as a windbag who craves media attention. His interactions with celebrity lawyer Melvin Belli (played with smarmy, self-satisfied gusto by Brian Cox, the first movie Hannibal Lecter) look like rehearsals for every ridiculous Nancy Grace and Geraldo Rivera moment of the past 20 years. Belli even appeared in an episode of the original Star Trek, "And the Children Shall Lead", as evil alien angel Gorgon!
Whatever and whoever he was, there's nothing Luciferian about Zodiac, nothing of Hannibal Lecter. John Carroll Lynch (Marge's husband in Fargo) nails his few scenes as the prime suspect in the case, an angry white guy with a really awful trailer full of awful stuff.
The Director's Cut DVD also gives the viewer about three hours of new documentary material on the Zodiac investigation, much of it shot and edited in the style of Errol Morris. This, too, is riveting stuff, and the filmmakers play fair: the documentary material raises doubts about the film's conclusion as to who the Zodiac really was. Highly recommended.
Tuesday, March 12, 2013
But as we advance through the years covered by the novel -- 1806-1817 -- we discover a curious thing. History has pretty much progressed, and continues to progress, exactly as it did in our world. To note the biggest example of this, the Napoleonic Wars play out exactly as they did in our world, despite Great Britain and its allies having the services of two powerful magicians. Is this an imaginative failing on the part of the novel? Well, yes. It's hard to believe in magic when it seems to be zero-sum.
I can see why a lot of people -- and perhaps more non-fantasy readers than fantasy readers -- praised the novel. It's a triumph of pastiche and multiple stylistic homages to writers that include Jane Austen and Charles Dickens. But it's also thin as spring ice. After a 1000 pages, most characters still possess only a few defining characteristics. The two main characters -- Strange and Norrell, England's first two practicing magicians in a couple of centuries -- are defined by arrogance and fear, respectively, and little else.
Many of the supporting characters fall into one of two camps: the thinly drawn sympathetic and the pseudo-Dickensian grotesque. But our sympathies for the most ill-served-by-events character in the novel must develop entirely from the situation she's placed in: she has no actual personality traits that aren't reactions to her situation. Another character is pretty much entirely defined by being nice and slightly worried. With 1000 pages to work with, Clarke perhaps could have given us more, though the book did need room for all the pseudo-scholarly footnotes on the history of English magic. Actually, many of the footnotes are more magical and interesting than the primary text.
And oh, that mannered style. Arch and distancing, it renders much of the text droll and occasionally cutting, but it also makes sympathy for the characters difficult. The archness of style and the thinness of the characters don't mix well with the epic scope of the novel. And for the main plot to proceed, several supposedly smart characters have to be unsatisfyingly stupid and dense for a very, very, very long time (ten years and several hundred pages).
But anyway, there's magic. It comes back from somewhere. Two Englishmen, the exceedingly bookish Mr. Norrell and the more public Mr. Strange, learn how to use it. Strange helps with the Napoleonic Wars in Europe; Norrell helps with the defense of England. The true plot grows from Norrell's second work of public magic, the one that established him as a magician to be reckoned with in polite society in London. The lesson to be learned: Don't trust fairies.
I'm glad I read the novel, though I can't say I ever want to read another one by Clarke. The racial and gender critiques in the novel are about as thuddingly obvious as they come. The fantastic universe itself makes very little sense: how did magic change absolutely nothing about the history of England? Because the novel needs everything to be the same for its pastiche elements to work properly, I suppose is the only answer. And a real 'What if?' novel might scare away a lot of the paying customers, the ones who like Jane Austen but can't tell a hobbit from a hat-pin.
There are weird historical miscues (Clarke seems to be unaware that a height of 5'9" wouldn't make a man seem tiny in 1816, given that it would actually be above average height). And there really isn't an ending so much as a stoppage in play. The pay-offs to two of the main plot-threads are so muted as to almost be non-existent, while a third becomes a culmination of a deus ex machina that removes much of the agency from Strange and Norrell themselves. There's certainly room for a sequel. I'm sure it will be long. Lightly recommended.
Monday, March 11, 2013
The love of 12-year-olds Sam Shakusky and Suzy Bishop leads them to run away from home. Well, he runs away from his Khaki Scout Troop. But all this is happening on one of the small, rural islands near New York (so far as I can tell, anyway) in the mid-1960's, and there's a major storm rolling in.
The major players are Sam, an orphan whose foster family intends to send him back to Social Services; Suzy, a depressed outsider with a great love of reading and mascara; Police Captain Sharp, a lonely bachelor having an affair with Suzy's mother, played by Frances McDormand; Walt Bishop, played by Bill Murray in mostly buttoned-down mode (though when he gets really angry, he goes outside with a bottle of booze and chops down a tree); the Scout Troop who mostly view Sam as an annoying outsider; and Scout Master Ward, a math teacher who has poured all his energies and enthusiasm into scouting.
There's also a scouting jamboree taking place on a nearby island, Bob Balaban as the narrator, a dog named Snoopy, and a whole lot of canoeing and hiking and tent-pitching. Harvey Keitel makes something of a surprise appearance as the Head Scout, while Tilda Swinton appears as an officious Social Services employee who repeatedly refers to herself only as Social Services.
The whole thing plays out in that vaguely bemused Wes Anderson fashion. There are several big laughs, but the real point of these movies seems to always be the small ways in which the strangeness of the human condition is illuminated, generally without narrative judgment. There will be a climax of sorts, and some things will get resolved, but others will not be resolved. The kids, who have to carry a lot of the movie on their own, are real charmers, possessed of the deadpan seriousness that perhaps only teenagers can muster about themselves and their primary place in the world.
Much of the movie is shot in the autumnal glow of nostalgia or a Norman Rockwell painting, occasionally lit by lightning or obscured by rain. Most everyone turns out to be a decent person in the end, flaws and all. Nominated for a Best Original Screenplay Oscar. Recommended.
Peter Parker is now a young super-genius, just as he was in the original comic books, and his cleverness will aid him in his adventures. As comic-book-writer/artist John Byrne would say, only Peter Parker could have been Spider-man. It especially helps that, as in the comic book, he has to build his own web-shooters: they don't just conveniently pop out of his wrists as they did in the Raimi movies, though there they really should have popped out of his bum if we were to be even vaguely realistic about this whole human-spider schlemozzle.
Andrew Garfield is appropriately slighter than Maguire, while Emma Stone makes an appropriately cute Gwen Stacy, moved from her place much later in Peter Parker's life in the comic books to the start of his career. Betty Brant really gets no respect in these movies. This Gwen Stacy is also something of a science prodigy, which means she gets more to do than just scream and offer romantic support to the web-spinner.
The performances are all really quite solid, with Rhys Ifans as the scientist who will become the villainous Lizard and Denis Leary as Gwen's Police Captain father. A complicated back-story for Peter's family looks to be the thread that goes through all these new movies. I like my superheroes with much simpler, original origins; unfortunately, Hollywood Screenwriting 101 has taught us that everyone and everything has to be connected, that there are no coincidences, and that every superhero must ultimately be motivated by revenge rather than altruism.
They do a nice job here of setting up Peter's guilt over his Uncle Ben's death (the whole wrestling story has been discarded, which may be a good idea) and the existence of his capacity for heroism before he gains his powers. Still, his battle with the Lizard is ultimately a personal one because, you know, Motivation 101 and all that crappy studio crappy crap.
The visual effects are mostly serviceable, though nothing stands out as spectacular or even amazing. And I'd really have kept the comic-book Lizard's alligator-like head, complete with snout: here, Spider-man's either fighting the Scorpion or perhaps the Abomination from the second Hulk film. It's a strikingly unoriginal bit of character visualization, and frankly it looks way too blobby and way not enough scaly to be called The Lizard. And where is his giant white lab-coat and giant-lizard-sized purple pants????? Recommended.
Thursday, March 7, 2013
The Changeling: written by Russell Hunter, William Gray, and Diana Maddox; directed by Peter Medak; starring George C. Scott (John Russell), Trish VanDevere (Claire Norman), Melvyn Douglas (Senator Joe Carmichael), John Colicos (Captain DeWitt) and Barry Morse (Dr. Pemberton) (1980): One of the good results of Canada's tax-shelter days for movies, The Changeling is a traditional ghost story that plays fair with its audience. It also won pretty much every major Canadian movie award for 1980, demonstrating that a horror movie can do such a thing, but only in Canada. Screw you, Oscar!
George C. Scott plays composer John Russell, who's removed himself to Seattle to teach at a university and try to recuperate from a personal tragedy. But the house he rents turns out to be haunted. But while the ghost there is initially prone mainly to minor fits of glass-breaking and noise-making, its persistence leads Russell to try to figure out who it was and why it's still hanging around. Director Peter Medak and his writers build the suspense gradually, with attention to detail that makes the scares, when they come, quite effective.
Scott stays under control for most of the picture, and has some fine character moments -- one in which he weeps in bed is especially effective. Scott's wife, Trish VanDevere, plays a local woman who helps with the investigation of the ghost's origins and motives. The investigation itself is a time capsule of technology: there's a reel-to-reel recorder and microfilm involved!
One of the sharpest things about The Changeling is its refusal to become sentimental, a decision that's laudable given the subject material. This may be the ghost of a child, but it's had decades for its rage to build. Its apparent allies may be in as much danger from its wrath as those it's seeking revenge upon.
A lot of Canadian stalwarts -- most notably John Colicos and Barry Morse -- make what are basically extended cameos. This is really a two-person show, with some able assistance from the soon-to-be-dead Melvyn Douglas as a U.S. Senator with a connection to the mystery. Recommended.
Twilight's Kristen Stewart is a bit of a void here as the saintly Snow White -- her inability to master basic facial expressions is one of the most peculiar actorly failings of the last decade. Is she stoned all the time? Will she ever get that overbite fixed? And why doesn't she ever wash her hair?
Nevertheless, I enjoyed the movie. More than I enjoyed The Hobbit, anyway. The CGI-assisted dwarves, all played by normal actors and then squashed into their onscreen forms by the magic of computers, are more interesting than their counterparts in The Hobbit. There's a troll that's really awesome but which mysteriously doesn't show up at the climax when it really should. Charlize Theron chews the scenery as a really wicked witch. Chris Hemsworth tries and fails to deliver a comprehensible Scottish accent, but is otherwise enjoyable as the Huntsman.
There's a lyrical forest scene that seems to have been lifted from Miyazaki's Princess Mononoke by way of Ridley Scott's Legend. There's a trek-by-foot that looks a lot like the travelling scenes in The Lord of the Rings movies. There's a magic mirror that sounds like Darth Vader and looks like the T-1000. This isn't a particularly original movie, but it looks great and it comes to a suitably rousing finale. Recommended.
Wednesday, March 6, 2013
A series of mishaps puts single mother Marsha Mason, daughter Quinn Cummings, and Dreyfuss in the same apartment in New York for four months while she searches for a job and he prepares to play Richard III in an off-Broadway production of Shakespeare's play. Various meet-cute things happen. Mason's character tries to come to grips with her tendency to be attracted to men who always leave her; Dreyfus's character tries to come to grips with the horrible botch that this version of Richard III is turning out to be.
The film holds up for the most part, though much of the comedy of this version of Richard III hasn't aged all that well, given that much of it is based on the director's misguided efforts to make Richard III gay. And by gay, we mean stereotyped-gay. And it's a bit hard to navigate exactly where the comedy is supposed to be situated in those scenes dealing with this interpretation: with the ineptitude of the director or with the simple idea that Richard is being played as a stereotypical gay man? Is gayness in and of itself supposed to be the punchline here?
Mason's ten-year-old daughter is played as one of those wise-beyond-her-years children who luckily gets some good lines and isn't overwhelmingly annoying or surpassingly omniscient. Dreyfuss's character is an interesting assortment of twitches and bluster. I can't imagine him winning a Best Actor Oscar for this role now because, of course, the character is neither a historical figure nor someone suffering from a mental or physical illness. Have the Oscars gotten worse since 1977? Recommended.
The Little Tramp gets hired by a circus after he's discovered to be an inadvertant comic genius. He falls in love with the stepdaughter of the Ringmaster/Owner, who is constantly mistreated by her stepfather. That's pretty much the entire spoiler-free plot.
Chaplin can suffer quite a bit when compared to contemporary Buster Keaton as a director, at least when one looks at shot-to-shot composition and the exploitation of the unique qualities of film. Chaplin generally uses the shot as a proscenium arch: he's interested in what he can do within the mise-en-scene. And a lot of his physical comedy relies upon startling the viewer with what seem to be impossible feats, simply filmed.
But what physical comedy! There's something ridiculously amusing about the Tramp's reaction to good news in this film (and others), for instance: he runs around kicking people in the stomach. Why? I have no idea. But it's hilarious.
Chaplin made this film while in the midst of a court trial. His studio burned down during production. And the footage of him performing a tightrop scene while actually 40 feet above the ground was damaged, forcing him to quickly do what he considered an inferior (but much safer) reshoot. And after The Circus was completed, Chaplin had a nervous breakdown. Frankly, it's amazing the film wasn't a tragedy. Recommended.
Seeking a Friend for the End of the World is the sort of science-fiction film that most people don't realize is a science-fiction film because it's concerned with character and not plot. But it is science fiction of the adult sort that almost never make it into a film, one in which the social implications of the impact of one changed premise upon a society are explored with wit, humour, and a certain amount of poignance.
A giant (actually, a really, really giant, as in ridiculously giant) asteroid will soon destroy life as we know it. On the bright side, the asteroid is named Matilda. Steve Carell's Dodge, whose wife runs out on him with three weeks to go until doomsday, is a slightly repressed and deeply unhappy insurance salesman. Keira Knightley is his free-spirit upstairs neighbour. Some of what happens between them can be predicted, but not all of it.
Forced together into a road trip, she to find a plane to get her back home to England to be with her family and he to desperately reconnect with the love of his life, they have a series of wacky but thankfully realistically muted adventures that net them a truck with a bullet hole in the windshield, a cute dog, and a lot of unpacking of emotional baggage.
Developments with the asteroid mostly go on in the background; in the foreground, people run the gamut of emotions and actions one would expect in such a situation. The power-company people are the real heroes here, as the electricity stays on pretty much right to the end. Kudos!
A nitpicker with even a bit of astronomical knowledge will probably decide by the end of this film that one way or the other, aliens are involved with this asteroid. With personal theories resulting from these asteroidal shenanigans (though the science here is at least as realistic as what happens with the comet and the asteroid in Deep Impact and Armageddon, respectively), one can decide what happens after the final scene in a way that I don't think writer-director Lorene Scarfaria intended.
As it stands, this is a worthy addition to that small but sturdy sub-genre of films with the apocalypse in the background and not the foreground (see also Last Night, Melancholia, and apparently five or six comedies coming out in the next six months). Knightley is really good, as is Carell, and the supporting characters are also all clearly defined and believeable. Recommended.
Monday, March 4, 2013
The sell-by date on some of the rants included here may have already expired by the time the book came out -- celebrity stuff often wanes with great rapidity. We know that Britney Spears and Kevin Federline were still a topic of conversation in 2005. Lindsay Lohan had already become a joke. Pope Benedict has just become Pope among revelations he'd been a member of the Hitler Youth. How time flies!
There are still a lot of laughs here from Maher and his stable of TV writers, many of them now bitter, long-after-the-fact laughs at the dark days of Bush and Cheney. And it's a short book, obviously, and one you'll probably only find in used bookstores. So it'll be cheap! I got mine for 50 cents!!! Lightly recommended.
We see several familiar characters again, chief among them Morpheus, also known as Dream, one of the seven Endless in Gaiman's comic book (the others being, circa 1989, Destiny, Death, Desire, Despair, Destruction, and Delirium, the last once having been Delight before something changed).
Set in medieval Japan, The Dream Hunters ostensibly retells a Japanese folk tale. Gaiman's afterword in which he somewhat puckishly and straight-facedly describes this (imaginary) folk tale led a lot of people to believe there really was a folk tale to begin with. There wasn't. That thinly veiled versions of DC Comics' Cain and Abel make an appearance, along with the Dream King's raven, possibly should have tipped people off.
The story begins with a bet between a fox and a badger about who can force a young Monk to abandon his lonely mountain-side shrine so that either the fox or the badger can live there. As foxes and badgers have considerable abilities in the realms of shape-changing and illusion, this is a bet it seems one or the other must win. But things don't go the way either plans.
It's a very enjoyable story, and Amano's illustrations offer a new look at Gaiman's Lord of Dreams and his kingdom. I do think that Gaiman is a better comic-book writer than a writer of prose, however, and P. Craig Russell's comic-book adaptation of this novella, from 2009, is superior to this work. In either case, one doesn't have to know the backstory of Sandman to enjoy the book. Recommended.
After World War Two, the vast majority of America's super-beings, super-scientists, super-villains, and supernatural beings were forcibly relocated to the city of Neopolis because normal people didn't like having them around. Also robots and talking animals and super-pilots and a variety of other homages to pretty much every comic-book and comic-strip character ever. And they needed police. And then Earth made contact with a vast confederation of alternate Earths of which it was designated Earth-10. And so the tenth precinct of Neopolis was born: Top Ten.
While mysterious, super-strong, and mostly invulnerable (and initially very grumpy) Jeff Smax and his new partner and new officer Toybox are the focus of this "first season" of Top Ten, we also meet a rich assortment of cops, villains, and others. Moore does a nice job of hiding the "real" major case of the year until late in the game.
The weirdness of Neopolis, with everything from Bugtown to a robot ghetto (robots get discriminated against...a lot), is an endless source of stories. There's a bar where the gods of every major religion get drunk. There are weird new drugs and vices unknown to our world and diseases that only affect people with superpowers. There's Sergeant Kemlo, a dog with a penchant for tropical-themed shirts, operating in a human-shaped cybernetic exoskeleton; and Girl One, a nudist android; and Synesthesia, whose powers are pretty much right there in her name; and King Peacock, the Satanist magician. And others.
Jeff Smax will gradually learn to trust his new partner -- he's still getting over the death of his old one, and he has people issues anyway. Toybox will find out that the hero named The Rumour actually exists. And they'll all find out why Jeff's warning in a dream to "Beware Caesar" is true.
Cannon and Ha's art is terrific, jam-packed without seeming crowded, and with pleasing, and occasionally pleasingly intricate, costumes on everybody (Girl One and King Peacock must especially have been a pain to draw). And of course there's Gograh, that giant drunk lizard, and his trouble-causing, man-sized son Ernesto Gograh. Just don't let a giant drunken lizard with radioactive breath barf on you. Highly recommended.
Sunday, March 3, 2013
The Twelve is a better book in pretty much every way, though the horror elements have all but disappeared, replaced by a greater focus on epic fantasy and survival fiction and even a well-imagined dystopia. The battle between North America's surviving humans and the vampire-like armies of The Twelve -- the twelve super-vampires created in a Black Ops science experiment gone awry in 2015 -- continues in the future one-hundred years from now, and (roughly) the present-day, and twenty years before the (sort of) contemporary future of the narrative. And there's a frame narrative that will remind people of The Handmaid's Tale, notes from an academic conference approximately 1000 years after the events of the novel. Man, that's a lot of timelines to keep track of.
One problem from the previous novel remains, while a new one rises in prominence. The returning problem lies with Cronin's decision to divide the narrative among those various timelines spanning 1000 years. This doesn't help narrative momentum. More importantly, it's become obvious by this point that the division exists so that Cronin can keep some vital information about the origins of the vampire plague hidden until the climactic pages of the third book. It's a clumsy way to create suspense, and I think a good editor could have fixed this. And because of the frame narrative, we know that things must have turned out OK. See what I mean about dramatic problems?
The (mostly) new narrative problem lies with God. The Lord of the Rings probably represents the ideal form of how to have an epic fantasy in which God (or a God-like being, in that case Eru or Iluvatar) has rigged the game so as to ensure the triumph of Good without this fact detracting from the dramatic tension or, indeed, being apparent to the reader without at least some critical consideration of the events of the novel. Good ultimately wins in Lord of the Rings because good people -- most importantly Bilbo, Frodo, and Sam -- were in the right place at the right time and made the right choices. In a world run by a benevolent God, this is not a coincidence. But it should probably look like one because if it doesn't, even the illusion of free will vanishes.
Now imagine if, instead of Sam and Frodo having a conversation on the steps of Cirith Ungol about the story of Beren and Luthien and their own inclusion in that story that never really ended, we instead had five pages of Sam and Frodo listing all the coincidences and chance meetings that had occurred up to that point in the novel before realizing that these couldn't all be coincidences and that, instead, some higher power was moving them around the chess board. Now imagine this same sort of conversation happening with every character in The Lord of the Rings, every 50 pages or so, just in case you hadn't had the point hammered home enough that there were no coincidences. Throw in some scenes from the afterlife, too, so that we know characters don't simply die.
All this God stuff really saps the drama from the narrative even as it also verges on the metafictional. This is a work of fiction, after all, and the characters are pretty much going where the author tells them to. See, he's sorta like a god! No wonder they keep having these fortunate chance meetings, and no wonder even things that initially seem bad often serve ultimately to advance the cause of Good! So metaphysics becomes metanarrative.
As Cronin is a talented writer, at least in the stylistic sense, I imagine at least some of these problems will work themselves out. Right now, because of the big book deal he signed for this trilogy, we're watching him work them out on the big stage with a big advance whereas other genre writers have at least been lucky enough, if they were being published, to figure these things out in paperback originals and rejected novels.
The novel does do a number of things well -- the characters are well-drawn, even the terrible ones: Guilder, the CIA agent whose secret project helped start this whole mess, comes across as a convincingly self-deluded tin-pot dictator whose "best intentions" have been polluted by his essential qualities of self-interest and self-pity. Cronin also manages some terse, tense action set-pieces, though things seem to go a bit too easily in the novel's concluding battle with the eleven remaining lieutenant Virals. The uber-Viral has yet to be seen in his/Its entirety.
In summation, I'm glad I've read the first two novels in this trilogy, flawed and occasionally annoying as they are. I'll be interested to see if Cronin remains a genre writer after the third novel, or if he returns to mainstream fiction, hopefully in either case with some lessons learned. Recommended.