(cinema) Chronicle, d. Josh Trank, 2012. There’s a quote attributed to Will Rogers, a very practical guy: When you find yourself stuck in a hole, stop digging. I offer this aphorism for consideration to the lead character Andrew in Chronicle and to the filmmakers behind Chronicle as well. Andrew, a shy teenager, finds himself part of a trio of boys who discover a strange crystal artifact in an underground cavern. The crystal, for some reason, gives the boys telekinetic powers. They can move objects with their minds and even figure out how to fly above the clouds. The external benefits of Andrew’s new physical power include making new friends, becoming popular at school and even attracting the interest of girls. But ultimately Andrew’s damaged ego and personal problems at home are more powerful than his abilities his father is an abusive drunk and his mother has a terminal illness. As Andrew’s telekinetic powers strengthen, his emotional self-control weakens. Instead of being a hero, he becomes a menace of violence and destruction. The “chronicle” part of this is that the whole movie is shot in so called “found footage” style. I call it faux-verite. Andrew carries a video camera and his recording of everything that happens is our viewpoint into his rise and fall. There are a lot of movies using faux-verite but experimenting with the form, Chronicle ventures into original territory. I like the special effects work of the suspended objects and flying teenagers. I also like the story in the first two thirds a lot. Is all this really happening to Andrew or are we a voyeur into his fantasy life? Is this an origin story of Andrew as a comic book style hero, or super villain? There are probably a hundred interesting places Chronicle could have taken us but it doesn’t go to any of them. Instead the story runs out of gas creatively and begins to get boring, even at under 85 minutes. In the desperate feeling last act, Andrew goes on an I-can-destroy-you-all-if-I-chose power binge. The filmmakers have no idea what to do with their own character. So they drag Andrew into a hole of explosions, nihilism, and waste. Unfortunately, Andrew lacks the ability to think of any better solution than to just keep making things worse. In the same manner Chronicle goes from good, to boring, to bad, to worse. I should mention that I saw a strong homoerotic subtext here as Andrew’s fantasy-come-to life seems to be finding a phallic object in a cave and using its secret power to convince attractive, popular boys to runaway with him- just something I was thinking about as I watched this movie go to pieces. ๏ ๏ outof ๏ ๏ ๏ ๏ ๏… The Harvey Girls, d. George Sidney, 1946. Not everybody knows who Johnny Mercer was but everybody knows a Johnny Mercer song: “MOON RIVER”, “JEEPERS CREEPERS”, or “YOU MUST HAVE BEEN A BEAUTIFUL BABY.” Mercer wrote lyrics for and recorded hundreds of songs in the Great American Songbook including “ON THE ATCHISON, TOPEKA AND THE SANTA FE” for the movie musical The Harvey Girls (music: Harry Warren). That song is used in a grand Hollywood production number at the beginning. What happens after that are some less fantastic numbers and a thin story. Judy Garland plays a 19th Century mail order bride from Ohio whose train stops in an old Western American town. Garland takes a job as a Harvey Girl. That’s an ebullient, hard working server in a friendly whistle stop restaurant called Harvey’s. It’s a respectable opportunity for a young, unmarried woman, especially compared to the girls who “entertain” men more provocatively across the street at the local casino and dance hall. A cultural conflict is set up here between the two kinds of girls in town, a conflict repeated in the battle of affections over the same man by both Garland and the leader of the showgirls. There is a longer discussion to be had about how these microcosmic conflicts attempt to play out familiar value themes in musicals: work versus leisure and chastity versus sexual promiscuity. But the case is well summarized at the end when all of the town drunks and gamblers come over to Harvey’s to learn how to waltz. As the town parson says, “For the first time the men in this town chose having a good time over having a wild time.” This movie is a good but not wild time and there are some great, less recognizable Mercer/Warren tunes as well as an amazing tap dance specialty number by Ray Bolger.๏ ๏ ๏outof ๏ ๏ ๏ ๏ ๏ … (television) Smash. This show premiered on television after a great deal of marketing and other ballyhoo. It’s premise is to follow the evolution of a fictional Broadway musical and the lives of its creators and performers. So far I don’t quite give it a “smash.” The pilot was more of a “ring” or a “bang” to me. The characters started out kind of flat but they promise to be much more interesting than the nitwit cartoon characters on Glee (Hate it!). I’m impressed with the quality of Smash’s original music by Marc Shaiman, composer/lyricist for musicals like Hairspray and Catch Me If You Can. I wonder if they’re going to be able to maintain the quality of that music over the course of a television series. One of the principle character conflicts is going to be the two young singers fighting for the lead role. I thought Megan Hilti, the blonde, was amazing and that Katherine McPhee, the brunette, was just really good. However my unbinding straw poll revealed that there are people who feel completely opposite, that McPhee clobbered Hilti. What did you think? I think Smash could turn out to be a lot of fun to watch. WATCH IT… In my continuing power screening of old Golden Girls episodes I just finished the 3rd season. LARCENY AND OLD LACE (S3, Ep.21) Sophia is dating a retired gangster and finds a wad of money she thinks he robbed from a bank just to impress her. One of the big problems I have with GG is that they enlist a lot of great Hollywood and Broadway actors as guest stars and then never give them anything funny to do, perhaps to contain them in upstaging the regulars. However, this episode features Mickey Rooney as the old crook and he’s in great form. WATCH IT. BTW, Mickey Rooney was older than any of the GG actresses. They’re all dead except for Betty White and Rooney’s still alive. ROSE’S BIG ADVENTURE (S3, Ep.22) Rose has to convince her newly retired boyfriend to do something with his life. Also, the girls hire an old Sicilian architect to remodel their garage. This isn’t a bad episode but neither story line is particularly believable or funny. SKIP IT. MIXED BLESSINGS (S3, Ep. 23) Dorothy forbids her son to marry a woman twice his age. Meanwhile the bride’s family is forbidding the marriage because they are black. It’s a weird pattern to me that the adult children are always flying into Miami to spring shocking news to their Golden Girl mother at the front door. Ever hear of a telephone? And what’s with all the parental forbidding? It’s okay though, the white people come out looking really tolerant in this one. SKIP IT. MR. TERRIFIC (S3, Ep. 24) Now Rose is dating a television kiddie show super hero named Mr. Terrific. What happened to the good for nothing she was seeing two episodes ago? Through sitcomy circumstance Dorothy gets Mr. Terrific fired from his gig and has to fill in for him on the air. I wanted that situation of comedy to be funnier. Also, I’ve always disliked the character actor Bob Dishy who plays Mr. Terrific. He never fails to irritate. SKIP IT. MOTHER’S DAY (S3, EP.25) Each GG recalls a memorable Mother’s Day story. Again, the show goes to the lengths of getting the great comedian Alice Ghostley as a guest star and she’s barely in it. But the writing in this episode is pretty touching. WATCH IT.
Posts tagged ‘golden girls’
(cinema) Midnight in Paris, d. Woody Allen, 2011. A few years Woody Allen got to old to play himself. Being a septuagenarian and casting himself as the male romantic lead against the likes of Marion Cotillard would seem as unseemly as, well, as Woody Allen’s real life romantic life perhaps. Anyway, the guy playing the Woody Allen character in Midnight in Paris is Owen Wilson and his Allen-esque comic delivery is an adequate replacement. Although, I prefer my neurotic nebbishes a bit more Jewy. With all the attention drawn to this movie, including Academy Award nominations for best picture, director and screenplay, one might draw the conclusion that Woody Allen has returned to making great films. I don’t know about that. The character in the movie is a writer who travels back in time to Paris in the 1920s, meets F. Scott Fitzgerald and Ernest Hemingway and other artistic heroes of the era. What he learns is that everybody thinks the era before their’s was better. I didn’t find this revelation all that profound. Nor did I think the comedy was consistently side-splitting. There are many intended to be funny scenes that come off completely flat. Midnight in Paris, like Woody Allen himself is likeable but too awkward to love. ๏ ๏ …(television) Alcatraz. Last week I reviewed the new J.J. Abrams vehicle and determined that I would watch one more episode to see if it was going to go with its mysterious premise or go with its boring cop-show gimmick. This week’s episode got no closer to investigating where all these prisoners went for 50 years and I got bored. Alcatraz is closed for me. Skip it…. Golden Girls, AND MAMA MAKES THREE, S3-Ep.20. Sofia is lonely and Dorothy is sorry when her mother starts attending all of Dorothy’s dates with a new beau. Sofia’s obliviousness to the imposition she becomes is inconsistent with her character as is Dorothy’s inability to tell her mother to get lost. But the episode is, overall, really funny. Watch it.
(television) Project Runway All Stars, MISS PIGGY. The competition in this special run of Runway has been great despite the producer’s seeming attempt to infuse it with the most stupid, embarrassing themes like dress-up Miss Piggy. But all star designers continue to bring it. I don’t know if people are watching this version of the series. If you prefer the smash up derby aesthetic of the regular show you might find All Stars a little dull. I continue to be impressed by the resurrection of Michael Costello. He was made out to be persona non-grata of Season 8, everybody hated the bitch because she kept winning despite being a compulsive complainer who couldn’t sew (if you go back and find the episode where Costello hysterically imitates Michael Kors wearing a burka you’ll see he was always a likeable guy). Finding the only one winner in on All Stars has been difficult, but so far Michael Costello has been the most consistently good to great… The Golden Girls, GRAB THAT DOUGH (S3, Ep.16) The girls are jazzed up for their chance to win hundreds of dollars on a game show, Grab That Dough, but the trip out to Hollywood turns out to be nothing but a series of comical disasters. This in another one of those girls-go-on-a-trip episodes where the characters we used to know all act they’re possessed by the ghosts of Lucy and Ethel. Writing terrible, comedy lame. Skip it. MY BROTHER, MY FATHER (S3, Ep17) In order to impress an uncle who she hasn’t been seen in forty years Dorothy has to pretend to still be married to her ex Stan. Does that sound like a contrived, sitcomy premise? Your right. I hate Stan episodes. Skip it.
(television) Alcatraz. I kind of thought I was going out to Alcatraz to find what was new from the producers of Lost. Lostwas an ensemble show about seemingly normal people crashing into an impossible situation and, by the end, confronting paranormal forces. What’s behind the disappearance of the prisoners of Alcatraz Island, and their reappearance fifty years hence, may also turn out to be paranormal. The first two episodes that premiered this week are closer in genre to tv cops shows than to Lost. Alcatraz early on seems like it’s part of a trend in cop tv cops that are built around a single story telling concept: Numb3rs – every week mathematics are used to solve a crime, Without A Trace – every week somebody goes missing, Person of Interest – the good guys try to stop a bad guy before the crime happens. My problem with this kind of show is that often the characters are slaves to the gimmick and things get worn out very quickly. Alcatraz – the cops have to stop a new/old criminal every week. Maybe Alcatraz will reach a little higher over time but right now the gimmick is already a bore, the dramatic situation of the cast is illogical, and the crime solving has been implausible. I’m not done with Alcatraz yet but I am, so far, disappointed… Golden Girls, DOROTHY’S NEW FRIEND (S3, Ep.15) Dorothy is befriended by a local novelist and starts brushing off the other girls to rub elbows with intellectuals. She learns to value her friends when the novelist turns out to be a snob and an anti-Semite. This is a pretty funny episode as normally only simple-minded Rose goes full retard.
(cinema) 50/50, d. Jonathan Levine, 2011. Can you take a movie seriously that starts with the line, “I can’t have cancer, Doc. I recycle”, even if it’s a comedy? What if it’s a comedy about cancer? The script for 50/50 attempts to straddle a fence between being a wise cracking comedy about a young guy facing death, and an insightful drama about a young guy facing death. While Joseph Gordon-Levitt plays the young cancer patient adequately, he isn’t given much to do. When his mother, his best friend and his girlfriend all react in different ways badly to his condition, Cancer Boy comes off a bit blase to me. I don’t think he even looks that sick. But most of the characters in this movie aren’t very convincing. The girlfriend’s shallowness seems forced, all the doctors wouldn’t be so robotically insensitive, the perky new psychologist couldn’t possibly be so badly trained, and don’t tell me the mother would have actually said “I smothered him too much because I loved him.” The problem with 50/50 isn’t with any of the actors or even with trying to milk comedy out of a sad subject. I think Seth Rogen as the funny, knucklehead best friend who has no filter is the best character. But, on the whole, 50/50’s dialogue and characters just aren’t genuine enough for laughs or tears. When Gordon-Levitt’s character finally has an emotional catharsis near the end it’s too much too late… (television) Star Trek DS9, PROGRESS, S1-Ep.14. Major Kira, assigned to evacuate a Bajoran Moon for mining, confronts a stubborn farmer and an ethical dilemma about repeating the abuses perpetrated by the Cardasians on the Bajoran people. To this point in the show I have found Nana Visitor’s performances as Kira to be annoyingly at full volume. For once her over-excitement seems to have collided with a good script. I like Kira in this one and the turmoil she has with hating and having to do what’s right. Brian Keith as the irascible but wise old farmer is great too… The Golden Girls, BLANCHE’S LITTLE GIRL, S3-Ep.14. Blanche’s estranged daughter shows up after three years with a fiance and a lot of pounds heavier. When it turns out the fiance is a mean creep, Blanche is torn between protecting her daughter’s interest and butting into her life. This one is a better comedy episode than it is a drama, especially Sophia’s fat jokes about the daughter. It’s a little weird that the Goldies get so ticked off about the fiance making fat jokes when they were being just as mean.
(cinema) The Help, d. Tate Taylor, 2011. I didn’t know anything about this movie or
it’s source novel before screening it (In fact, I’m embarrassed to admit that I was under the impression it was a comedy about black people who hire a white maid). I enjoyed it overall but I couldn’t stop thinking the whole thing doesn’t seems inaccurate. The conservatism of the Southern whites seem behind the times of the setting and the black characters are patronizingly simple-minded. The telling of America’s civil rights struggles in the 1960 is territory that has been well covered in better movies. It’s interesting that this story about black domestic help is told mostly from the white character points of view. And while I hate to say it, there is something cloyingly liberal about the depictions of “proud” black people and “good” white people. The movie is well made and well acted but the level of story telling never goes above something you might see on Lifetime. 2 1/2 movie spotlights… (television) Star Trek DS9, “Move Along Home.” Quark is forced to participate in a game with a gang of gamblers who all look like roadies for a Southern rock band. The stakes of the game involve transporting the DS9 senior officers into a holographic maze that is filled with trap doors and dangers. You would like to trip with our characters into this Alice In Wonderland like fantasy game. But the episode fails completely to ever establish a plausible connection between what’s happening in Quark’s game room and what’s happening in the hologram. It all comes off to me as under imagined and lazy. 1 spotlight. “The Nagus.” Quark is put in charge of the Ferengi trade alliance and becomes the target of assassination plots. This is the first episode in the ST universe that gives us some flavor and background of who the Ferengi people are besides cartoonish filchers (and vaguely anti-semitic stereotypes). It’s a fun episode even it is light on sci-fi and drama. 2 1/2 spotlights… Golden Girls, “Charlie’s Buddy.” Rose falls for a con-artist who is pretending to be an old friend of her deceased husband. This a pretty well-balanced episode that handles both its dramatic story and its comedic subplot with some maturity – a quality surprisingly lacking in many episodes of this show. 3 spotlights.
(cinema) The Girl With the Dragon Tattoo, d. David Fincher, 2011. A character in this movie says that society in Sweden hides behind the shiny veneer of Ikea furniture. Behind the European setting and slick filmmaking lies a silly, and totally predictable story. When you take away the heavy down parkas the mystery is as thin as its undernourished heroine. I liked GWTDT but probably in total only about 60%. 2 and 1/2 spotlights… (television) Star Trek DS9, “Captive Pursuit.” The crew rescues the representative of a new species who turns out to be the hunted prey of his bloodsport pursuers from the Gamma Quadrant. Sisco must balance his moral conviction with his responsibilities to uphold the prime directive. Like the best episodes of past Star Trek series, often the right thing to do is not what is best decision. This is a very sophisticated script for the being only the 6th episode. 3 and 1/2 spotlights… The Golden Girls, “Three On A Couch.” Are relations really so frayed around the GG house that they all need to a group therapy hour with a psychiatrist? Not, really. The session is just a flashback device to some recent, disconnected comic incidents, none of which seem important enough to take in for service. A watchable but unmemorable episode. 2 spotlights… (theater) Blood Brothers, screening of 1989 London cast w/Kiki Dee. Music, lyrics and book by Willy Russell. Twin brothers are secretly separated as infants into rich and poor upbringings. Circumstances raises them as best friends but both of them are doomed to a young, violent death. The story is inspired by The Corsican Brothers and the music obviously by A.L. Webber’s popular rock theatricals of the 1980s. I found the play to kind of sputter until finally getting interesting in the last half of the second half. The music to me sounded like the same two songs over and over, alternating between the gloomy one and the peppy one. There are some good elements but overall: skip it.