WaveSpace - Movies and TV

In Defense Of Avatar

nospam@example.com (Guy McArthur) — Wed, 13 Jan 2010 01:09:32 -0500

I saw Avatar a few of weeks ago and thoroughly enjoyed it. In fact, I'd go so far as to say that it was one of the best movie experiences I've ever had. The 3D and CGI effects are amazing; a science fiction world is vibrantly visualized like never before. With this technology (and, currently, tons of money) sci-fi can finally be brought to the screen with little that needs to be left to the imagination (and I suppose that can either be a good thing or a bad thing)!

Some of the reviews have struck me as strange. For example, my good friend Richard Leis found the story anti-technological and anti-progress. Another transhumanist blogger, George Dvorsky, goes several steps further to add that Avatar is anti-corporate, anti-human and is "Gaianist" propoganda. With all due respect... what are they smoking?

Let's recap the story. Many reviews have pointed out similarities in plot to Dances With Wolves, Pocahontas, FernGully or Princess Mononoke. None of which I have seen, so I can't comment on that. But here's Avatar in a nutshell: a Western imperialist soldier switches allegience, coming to the aid of aboriginals, leading them to a victory they otherwise would have lost. If set in a historical setting, that would be very condescending, I would think. Set in a future, distant world it is something else; perhaps lacking in creativity you might say, maybe appropriate for a style of retro-pulp Indiana Jones sci-fi, but Cameron doesn't go there. Here's the twist: the world is a living entity, and responds to the crisis with a wave of biological activity that crushes the imperialist invaders. We might add that the imperialists in the story are the paramilitary half of a corporation (the other half is R&D) seeking to mine a mineral needed for the ongoing expansion of humanity.

Now let's examine the charges....

Continue reading "In Defense Of Avatar"

District 9

nospam@example.com (Guy McArthur) — Tue, 01 Sep 2009 10:14:11 -0400

Here's a few thoughts on District 9 without spoilers.... District 9 is great science fiction with a social message, although it doesn't beat you over the head with it, big Hollywood style. It's comparable to a really good short story rather than a condensed version of a novel. Most science fiction readers I've met claim to prefer novel-length stories, if not multi-volume epics. I've don't really understood why.

And it's real science fiction, not glorified space opera or thinly veiled action (though it does have some elements of that in a middle section that shifts away from the documentary-style technique in the rest of the movie). It seems that filmography is getting to the point where sf can be realized with enough believability that a lot of great stories could be adapted to the screen with this gritty, realistic feel!

District 9

nospam@example.com (Guy McArthur) — Tue, 01 Sep 2009 10:14:11 -0400

Mountain Of Movie Reviews

nospam@example.com (Guy McArthur) — Wed, 10 Jun 2009 00:08:40 -0400

I've only written one or two movie reviews since November of last year so I'm going to fill up a couple of posts and get caught up. Here's the first. Ranked best to worst....

Slumdog Millionaire: *****; All those Oscars? It totally deserved them.
Milk: *****; Incredible work by Sean Penn, the plot has no trouble being compelling and moving even though we know how it ends.
Defiance: *****; Gripping, dramatic, action packed; lots of Nazi's get killed. What more could you want?
Australia: *****; Epic movie, great ending, fantastic sets and settings, compelling story, not much is missing from this picture.
Special: *****; Highly original indie movie starring Michael Rappaport as a guy who participates in a clinical trial and comes to believe that he really has superpowers. It's really extraordinary how it plays with reality, and plays with the theme of an ordinary everyday average person becoming special. Though low budget, a higher budget probably would have taken away from its artistic authenticity.
Smother: *****; With Dax Shepard and Diane Keaton, this has an original screenplay, wonderful oddball characters, and is quite funny.
Burn After Reading: ****; Another fantastic movie from the Coen brothers, abrupt ending notwithstanding.
I Love You, Man: ****; Feel-good, low-key comedy with good acting, writing. Jon Favreau, one of my favorite actors, has a great though limited role as a type-A A-hole. Peter Segal is perfectly cast and Paul Rudd maintains his track record of never making a bad movie.
The Hangover: ****; Pretty darned funny, not as funny as Old School, but close.
Secret Smile: ****; From BBC TV, a young woman (Kate Ashfield from Sean Of The Dead) gets entangled with a sociopath (David Tennant, I think he's the new/current Dr. Who). As a profile of a sociopath and how they manipulate people, bringing a victim's closest friends and family over to their side, it is really brilliant. In the ways she becomes assertive and tries to take control back, it may even be educational. But a silly twist ending mars what would otherwise be an important movie. It is a lot like the stuff on Lifetime but the two great lead actors and the London setting make it better than typical TV fare.
Let The Right One In: ****; Weird, oddly quiet foreign movie about a child vampire. It draws you in, leading to a startling but satisfying ending.
Valkyrie: ***; Good but not great.
RocknRolla: ***; Some memorable characters, but it doesn't have the punch of Guy Ritchie's earlier movies.
The Rules Of Attraction: ***; I liked Less Than Zero, one of the better movies from the 80's. I guess Brett Easton Ellis specializes in tales of the young, rich and privileged engaging in depraved behavior. Based on his novel, this screenplay of Ivy Leaguers getting all F'd up, certainly takes it to the extreme. A small cameo by Fred Savage as a dorm-room junkie is remarkable for its stark difference from Vice Versa or the The Wonder Years. Eric Stoltz has another well-played cameo. But ultimately, the film becomes uncomfortable, getting caught up in the nihilism of its characters, letting it speak for itself I guess. A suicide scene is well-edited and momentarily shocking.
Boiler Room: ***; I rented this solely because it was on [Tucson film critic] Phil Villareal's top-100 list. It might make my top-1000 list but not top-100. Worth watching once. Giovanni Ribisi plays a kid caught up in a shady brokerage firm. A young Vin Diesel has a small role, and Ben Affleck manages to do pretty well as a fiercely driven manager. A scene that plays tribute to Wall Street is kinda neat. The storyline, with Ribisi's character struggling to impress his father really works, but weird snippets showing the downfall of a customer that Ribisi is sticking it too don't, because they don't fill in any of that backstory.
Bottle Shock: ***; Loosely based on the true story of California's emergence onto the world-class wine scene in the 1970's, with Chris Pine as a hippie-ish Northern California dude, Bill Pullman as his gruff dad and Rachael Taylor as, well, Pine's character's smokin' hot love interest (the film goes terribly awry when an outdoor shower scene with her is cut short). I really liked the dialog and the wine country setting, though it does take a while for the plot to congeal or give a sense of direction.
The Day The Earth Stood Still: ***; You know, if the biosphere can survive the impact of ~/50-km wide asteroids traveling at ~50 km/s then the notion of "saving the Earth" is truly ridiculous (except saving it from a hyperspace-bypass!). In the original it was about saving our species from ourselves, which is completely not ridiculous. That is about my only qualm with this otherwise great remake.
Quantum Of Solace: ***; Didn't quite measure up to the prior Bond.
Gonzo: The Life and Work of Dr. Hunter S. Thompson: ***; Thompson was a genius writer, one of my all-time favorites and an exemplary American, taking full advantage of his freedoms (and then some!). This documentary starts out great, has some fresh techniques, but like the gonzo doc himself, gets bogged down in the 70's. It recapitulates the best known stories while adding little else. If you're not familiar with him, then this movie is a must-see.
Body Of Lies: ***; Thankfully, this Ridley Scott movie doesn't try to hard to have a message about the "global war on terror" or whatever we're calling it these days. But I found the plot to be absurd when the two CIA characters, played by Leo DiCaprio and Russell Crowe, go above the law. They set up a middle eastern businessman by staging a bombing (with cadavers) to draw out the real terrorists they're after. The most interesting aspect of the movie is how Crowe's character manages all these remote ops over his bluetooth while at his daughter's soccer game, at the grocery, etc.
The Woods: ***; Horror movie set in a girl's school (sorry guys, nothing titillating here). Not too bad, but not remarkable either. Very Stephen King-ish, without measuring up to his better stuff.
Frost/Nixon: ***; A nice history lesson, but not terribly entertaining, somewhat lacking in drama.
New In Town: ***; A light-hearted comedy. Renee Zellwegger is a high-powered executive who steps in from the big city to shut down a small-town factory in Minnesota. Harry Connick Jr. is the rugged union rep fighting for the jobs. The film suffers from an overly conventional plot; how you imagine the story playing out is exactly what happens.
Twilight: **; Entertaining at times, but I thought sap would start running out of the DVD player when she's like "from that moment on... I was completely and irrevocably in love...".
Nobel Son: **; A letdown, just kind of crazy, throws everything against the wall and not much sticks (a sexy scene with Eliza Dushku was the high point for me).
Caprica (Battlestar Galactica spin-off): **; Galactica was one of the best television series ever and this TV movie is about average. Has some interesting sci-fi-ish elements (VR, robotics and simulations) but lacks the passion and grit of the series.
Paul Blart: Mall Cop: **; Kevin James is funny as usual, but the overly conventional plot where his character must face up to villains taking over his Mall drags it down quite a bit. They could have done this as a parody of Die Hard but it's nowhere near that clever.
My Bloody Valentine: **; Several lengthy nude scenes are about all this movie has going for it. I figured out who The Miner was very early on, and I never catch on to those things.
In The Electric Mist: **; Another in the series of James Lee Burke mysteries with detective Dave Robicheaux (hooray, I think I actually spelled that right and only looked once!), this time with Tommie Lee Jones instead of Alec Baldwin. It's just weird and dissonant how in this film he's taking names and kicking ass like Charles Bronson. Peter Sarsgaard, normally brilliant, is oddly miscast as a rehab-ready celebrity. And John Goodman doesn't fit as a local gangster boss. Maybe the humidity in Louisiana got to everyone, because it feels like they're doing a read-thru much of the time.
My Name Is Bruce: **; Bruce Campbell.
Blindness: *; Unbearable. We made it maybe twenty minutes in before it went back into a the red envelope.
Wendy and Lucy: *; Terrible. Unwatchable. I gave up after ten minutes. Poor sound, film school quality production. And I like many rambling incoherent art films.

Battlestar Diaspora

nospam@example.com (Guy McArthur) — Mon, 30 Mar 2009 23:36:54 -0400

Spoiler Alert!

I'll tell you what I didn't like about the unsatisfying series finalé to Battlestar Galactica. It wasn't the revelation that Kara was an angel, though that seemed like a deus ex Galactica cop-out that could have been handled by explaining her relationship to Daniel. It wasn't the fact that Baltar's (and Caprica 6's) faith ending up saving humanity; I was pleased to see his character redeemed and brought full circle. It wasn't the fact that we were left with no explanation for so many things, including the phenomena of Baltar and 6's "head" versions of themselves (other than that they were angels that no one else could see); though like the reincarnation of Starbuck, it would seem that it could have been explained in terms of creative malfunctions of resurrection technology. It wasn't the fact that they ended up on our Earth in the distance path, that seemed like a natural if not obvious place and time to end the series. Rather than any of these, it was that their civilization came to such an abrupt end after an entire series spent in pursuit of its salvation.

Let me get this straight, they saved 30,000+ lives only to force them to scatter, become hunter-gatherers and fend for themselves? On some hoaky, touch-feely, spur-of-the-moment decision by Lee to abandon all of their technology? Sure, that makes some kind of sense, to explain why there would be no archaeological record of them in our world. But why try so hard to make that connection clean, rational, sensible but invoke miracles to close all the other loopholes? It was completely ridiculous. I'm inclined to agree with those who say they ran out of ideas in season three....

Movies 2008

nospam@example.com (Guy McArthur) — Wed, 31 Dec 2008 15:57:54 -0500

I looked through the list of 2008 U.S. releases according to IMDB, and there's a long list of (possibly great, possibly terrible) movies I haven't seen yet. It includes the following.

Baghead
Bolt
Burn After Reading
Changeling
The Day the Earth Stood Still
Frost/Nixon
Gran Torino
How the Garcia Girls Spent Their Summer
The Killing of John Lennon
Milk
Nobel Son
The Promotion
Quantum of Solace
Religulous
Snow Angels
Special
Standard Operating Procedure
Stop-Loss
Synecdoche, New York
Traitor
Transsiberian
W
WALL-E
What Doesn't Kill You
Valkyrie
Zack and Miri Make a Porno

But of the movies of 2008 that I have seen, here are my favorites.

Hellboy II: The Golden Army
In Bruges
Kung Fu Panda
Meet Bill
Street Kings
Step Brothers
Teeth

Movies

nospam@example.com (Guy McArthur) — Sun, 23 Nov 2008 23:59:43 -0500

Most of the movies we've gotten this year though NetFlix have been good, though not good enough to write about. That changed with these two: I Could Never Be Your Woman [2007] and Black Sheep [2006].

I Could Never Be Your Woman stars Michelle Pfieffer and Paul Rudd (who seems incapable of picking a bad script). It's a lame title, but a funny, original script, directed by the same person who did American Splendor. Fred Willard is good as a slimy TV executive, and Stacy Dash (who I've long thought deserved to be a much bigger star) in a smaller role as a self-absorbed actress. The movie is at it's best poking fun at the television industry, somewhat less in the romantic comedy bits (which are brief).

Black Sheep is a New Zealand horror/parody... zombie sheep. 'Nuff said.

Both were worth copying for future viewings with friends & family.

Payne, Max Payne

nospam@example.com (Guy McArthur) — Sun, 19 Oct 2008 11:21:07 -0400

Max Payne is a dark, noirish, nearly perfect action thriller based on the video game of the same name. I had low expectations; I expected it to be marginally less loathsome than last year's Hitman--having little or no redeeming qualities to offset a gratuitous on-screen death toll. But Max Payne does have the redeeming qualities to make it a good movie, actually a great movie within its genre.

The casting choices were quite odd. Sometimes it worked really well (Donal Logue in a small part), other times not so much (Mila Kunis) as a hardcore criminal (to her credit, she does a good job, but it's just such a departure for her). Marky Mark's subdued performance makes the character believable.

It's a good, tight story; there are turns but you anticipate all of them. Visually the movie hits all the right targets: an icy, overcast New York deep in winter, where the only warm tones are in Max's memory.

The Good German

nospam@example.com (Guy McArthur) — Sat, 27 Sep 2008 01:24:50 -0400

I didn't hear or read much about The Good German, and hence was very pleasantly surprised after finally seeing it. This is Steven Soderbergh's WWII-era drama starring George Clooney and Kate Blanchett. It uses many stylistic devices of 1940's and 50's Hollywood films including, first and foremost, a black & white print. I wasted a good chunk of my childhood watching movies of this era on Seattle's KCPQ "Q-13" (I think they stopped filling their air-time with vintage movies right around the time I left; nearly 20 years ago). So it was kind of cool to see all those techniques and styles put to use again.

But, more importantly, it has a good plot. Set in Berlin right after the German surrender, it involves intrigue among various (and historically fairly accurate) factions: Americans who want to capture and prosecute Nazis, Americans who want to find the brightest rocket scientists to kick-start our own missile program, Russians who want to find them before we do, Germans who want to escape their complicity in Nazi war crimes, and Germans who want to cooperate and bring justice to those responsible. So given all the competing motives, you can imagine that a few plot twists are in order. Throw in a journalist just trying to get to the bottom of a story (Clooney), a corrupt Army sergeant (Tobey McGuire, his dopeyness is less out-of-place than usual here, given the actors that might have filled the role in a classic movie) and a possibly widowed German driven to prostitution (the aforementioned Blanchett) into the mix, and you have a plot that Hollywood would have loved sixty years ago.

But it still works today, and part of that is due to (no spoilers) working into the screenplay some of the actual historical facts that we have learned, namely the personal participation of German rocket scientists (including von Braun) at the slave labor camp where the V-2 was put into production. Struggle over direct evidence of such participation becomes a central plot-line providing additional drama with modern-day resonance.

Bad Boys In Blue

nospam@example.com (Guy McArthur) — Sat, 27 Sep 2008 00:54:53 -0400

There's nothing Hollywood does quite so well as dramatic tales of rogue cops and corrupt police departments, good guys gone bad, violent power struggles with Internal Affairs, and the bloody carnage of those who decide they're above the law. Street Kings is the latest in this long line, and it's quite entertaining. It is hard-fuggin-boiled, sometimes just about to the point of absurdity, lending it a latter-day noir-ish quality. Keanu Reeves' character is the bad cop, a "guided missile" with no regard for due process, taking on thugs and fellow officers alike. I gotta say, he's gradually become a better actor and he actually gives the role something very much akin to... ...believability. He's aided here by an exceptional cast: Forest Whitaker, Terry Crews, Jay Mohr, John Corbett, Hugh Laurie, Chris Evans, and others. I want to watch it again!

The Yes Men

nospam@example.com (Guy McArthur) — Sat, 02 Aug 2008 02:09:53 -0400

The Yes Men are prankster activists attempting to show the harm caused by global corporatism. They first became known for a fake GW Bush campaign site, for which the real GW famously said "There outta be limits to freedom."

Their movie has some truly hilarious pranks. The clips are on YouTube (of course!) but require some intros, as they are missing the long lead-ins which make them much funnier.

In the first, they pose as WTO representatives at a conference in Finland. After a presentation favorably comparing the use of third world sweatshops to slavery (among other outrageous statements), they whip out a demonstration, a futuristic business suit that allows managers to watch their workers by means of a giant phallic extension with a TV screen embedded in it, the Employee Visualization Appendage.

Amazingly, the stuffed shirts at the conference never catch on that they are being pranked. Here's the clip.

In another, they give a talk before an economics class to introduce a new plan to feed starving people in the Third World and at the same time make lots of money. After generously feeding the entire class with McDonald's, they show a video of the concept which is called "ReBurger." Let's just say that it would give new meaning to the phrase "ordering a number two." Here's the clip. Shocked and disgusted, the class ultimately does realize it is a joke.

Southland Tales

nospam@example.com (Guy McArthur) — Thu, 05 Jun 2008 01:12:07 -0400

Southland Tales, the latest movie from Donnie Darko creator Richard Kelly, was savagely trashed by movie critics. I had to check it out to see if there were any redeeming qualities.

It's set in 2008, but in a world very different than ours. A massive terrorist strike on U.S. soil has shocked the nation, and catalyzed dramatic changes in American society. Republicans have used the tragedy to crack down on civil liberties. New branches of government have been created to monitor citizens. In Southern California, left-wing celebrities form a sort of unorganized resistance movement. Oil is in short supply, adding strain to the economy and leading to urgent searches for new energy sources. Media outlets alternate fear-mongering news with sex-obsessed coverage of Hollywood stars. Porn has become mainstream.

Oh wait; that's exactly like our world.

Southland Tales is a complex film, with a plot so opaque it could not be followed, even if it did make sense. It reminded me of certain films from the 1970's like Tommy or A Clockwork Orange that are sprawling, seemingly drug-induced, and non-linear. The characters are well drawn and, for the most part, well acted. Kelly uses a great many comedic actors in dramatic roles (including 4 or 5 SNL alums), and it works.

If I had half a day to spare, I'd read the plot synopsis and figure out what it all was about. But it probably still wouldn't make sense. There are some similarities with Donnie Darko particularly the apocalyptic focus, time travel, strange loops, wounded eyes.

Many of the quotes from this movie are hilarious. My favorite is from Sarah Michelle Gellar's character, who hosts a TV show like The View except with porn stars: "Join us for an in-depth discussion of the penetrating issues facing society today. Issues like abortion, terrorism, crime, poverty, social reform, quantum teleportation, teen horniness and war..." And one of the main characters, a police officer, wears a vest with the letters UPU2 (Unified Police Unit 2?)

Good stuff. I'd stop short of calling Southland Tales a misunderstood masterpiece, but it is worth seeing, especially if you liked Donnie Darko. Just don't expect it to make sense.

Indy IV (Spoilers)

nospam@example.com (Guy McArthur) — Wed, 28 May 2008 23:47:16 -0400

Well, I thought the coolest part from Indiana Jones and the Crystal Skull was where it is revealed that Indy was a double agent for the OSS (precursor to the CIA, see The Good Shepard) during WWII. Now that would have made for a much better movie. As it was, Indy IV was okay, but I think it will be remembered as the 4th best in the series.

The setup sequence was pretty neat, sort of a tribute to 50's Americana. Now, obviously, what Spielberg and Lucas have always done very well with this series is recreate the feel of old movie-reel cinema cliffhangers (PBS used to replay them on Matinee at the Bijou), where the characters are caricatures and everything is larger than life. This movie is definitely in keeping with that tradition. The foley work was almost comically loud for instance. But surviving a nuclear blast? In reality, if that fridge had been accelerated like that, he would have been turned into goo. And Grays? As Mayan Gods? In a giant flying saucer? Shia as a dead ringer for Marlin Brando in The Wild One? I thought it went too far, but I suppose it's really the only place you can go after immortal crusaders and the holy grail.

al dente

nospam@example.com (Guy McArthur) — Sun, 25 May 2008 14:12:31 -0400

The genius of the dark comedy slash horror movie Teeth is that it combines the fear of sex represented by the vagina dentata myth with the all-too real repercussions of social conservatism in modern American schools. And also that, in its own way, it satirizes the teen-horror genre, where the first victims are always the sexually active ones, while at the same time offering enough blood and fake mutilation to qualify as a real horror film itself. And finally, by putting identifiable characters in absurd, but strangely realistic, situations, to be a truly great dark comedy. I loved it; it's definitely going on my ten-best list.

Dawn, the lead character, is initially unaware of her second set of chompers. She's a prominent student leader of an abstinence-until-marriage group at her high school. She, and her friends, are having difficulty keeping to the ideal of "purity"; impure thoughts are driven into them by movies, advertisements and their own raging hormones. Their teachers are no help at de-mystifying sex; their health teacher cannot even make himself utter the V word. In their textbooks, a depiction of female genitals is covered up by a giant gold sticker. The teacher has trouble explaining why the corresponding male anatomy can be shown until Dawn offers a reason: that women have an innate modesty (and the boy who has a crush on her is quick to agree). It's the resurgent but age-old American puritanism: female sexuality is a threat to a male-dominated order; driven down by making it unspeakable.

But perhaps helped by the nuclear power plant looming near Dawn's house, Nature has responded with a new adaptation. In a discussion of evolution, their science teacher is very careful to avoid scientific evidence and give credence to "alternative theories." In this repressed environment, the scene is set for Dawn's terrible blossoming.

Her step-brother is a polar opposite. Tattooed and pierced, fixated on his step-sister after a childhood incident that opens the movie, with his heavy metal cranked, he can hardly get off his girlfriend's ass long enough to smoke a bowl or shoot his B.B. gun into the wall.

But I don't want to give away too much more. See this movie! In a decade filled with third-rate horror movies, many of them knock-offs or remakes of those from the 1980's, this one really stands out as using the genre in a smart, witty, darkly comedic way. The actors, all of them, are perfect in their roles. [And I'll again mention Lightning Bug which also uses some conventions of horror, but in a much different way, to dramatize a kids' escape from an abusive step-parent in the repressive environment of a small town in the deep South].

Movies, Again

nospam@example.com (Guy McArthur) — Thu, 24 Apr 2008 22:33:40 -0400

In the recently watched category:

Cloverfield: Entertaining, I would even go so far as to say it lived up my expectations. It should have ended with a nuclear blast! And characters that seemed like they actually lived in Manhattan... real New Yorkers.
Flight of the Living Dead: For some reason, I thought this was another George Romero movie, like Land of the Dead, which is my favorite. It definitely isn't; it's pretty bad.
TED: The Future We Will Create: This is an interesting look at the TED (Technology, Education, Design) conference from 2006. There's a number of cool, futuristic concepts presented along with present-day work by big thinkers to make the world a better place. Maybe next year, someone will make a documentary about the grassroots BIL conference!
Jumper: Usually (read 99.999% of the time), when Hollywood takes a concept from science fiction, they make it a totally ridiculous movie. Even more frequently when it is geared toward a younger audience. So it was surprising to see this exception to the rule!
Michael Clayton: Confusing movie. Only by the time you are well into do you understand who Michael Clayton is, who he is working for, what the case is about, etc, etc. I guess I'm not a fan of movies that keep you in the dark, struggling to puzzle out characters and their motives. It didn't seem to be Oscar caliber material.
This Is England: Amazing independent movie from the UK. Set in 1983, the story of a kid drawn slowly into the circle of skinheads, straining his other burgeoning friendships. Ultimately examines the intersection of bigotry, nationalism, and hate crime. But otherwise, it does a convincing job of presenting England as it was a quarter century ago, and the early scenes of kids playing among the detritus of a collapsed economy made me slightly nostalgic for that bygone era. Five out of five stars.
Juno: I found the character played by Jason Bateman and Jennifer Garner to be more interesting than the teens, possible because the character of Juno was completely off the wall, and the role played by the kid from Superbad isn't given much room for character development. So the older couple are 30-something yuppies who superficially appear to have it made, but are ultimately revealed to be victims of their own conformity.