Hello Old Friend

Today I had an interesting conversation with my boss and a few regulars about blogging. My boss has read my blog and likes it. That's heartening, but I feel like I don't have as much time to write as I used to. Perhaps this has something to do with not being at an office job anymore. I certainly had more than enough time to devote thirty minutes a day to typing out a review when sitting in a cubicle. I also had more time to watch movies and go to the theatre when I worked a 9-5. Since moving into the bar scene, I find that all I want to do when I get home is catch up on TV and sleep. My days off are crammed with all the tasks that MUST be completed for me to continue living. Add to this the lack of internet at my house and you get a pretty lazy blogger.

The positives: I think I'm finally starting to find a balance after over a year of being a paid night owl. I am also consciously choosing to watch the movies that languish in my queue or on top of my DVD player. I miss writing about what inspires, drives, and truly nourishes me. That may sound cheesy, but film and to a slightly lesser extent TV have been my touch stones. I have always been interested in what makes them good, what other people think, and how they factor into my life. I don't know what I would do if my TV broke. Actually, I do; as that happened to me not too long ago. I borrowed money from my parents to replace it ASAP.

As a welcome back to blogging, I want to talk about a movie I just saw.

"Would You Rather" (2012)
Director: David Guy Levy
Starring: Brittany Snow (also Exec-Producer), John Heard, Enver Gjokaj, Sasha Grey, Eddie Steeples

"Would You Rather" is perfectly described as a cross between "Hostel" and "Ten Little Indians". The concept isn't particularly new, but the approach and acting elevate it beyond previous works. We meet Iris (Snow) as she interviews for a job. She just quit school to take care of a sick brother after both parents have died. Money is tight, and she doesn't seem qualified for much. Her brother's doctor introduces her to Shepard Lambick (Jeffery Combs), the head of some huge corporation? Endowment? It isn't explained very well. Needless to say, he's rich and giving away money. Would Iris be interested in attending a dinner party, playing a game, and potentially winning enough to make all her and her brothers' dreams come true? Sounds too good to be true, and that's our first red flag. WYR doesn't try to be smarter that other films of its ilk, it simply understands that you, the viewer, know what's going to happen, and speeds along until hitting pay dirt.

Iris agrees to go to the dinner where she meets a cast of characters plucked from the pulp headlines: a gambler down on his luck (Heard), a saucy minx (Grey), the token black guy (Steeples), the ex-military guy (Charles Hofheimer), the little old lady (June Squibb). Dinner seems pleasant until the game is introduced.

It's a simple children's game. We've all played it: Would you rather? In our version, the choices are usually between bedding some famous actor or the weird guy at school. Drinking some weird concoction or kissing a dog. Who knows? The possibilities are endless! Of course, this is a horror/suspense film, so the stakes are much higher. I don't want to ruin some of the ingenious ways Mr. Lambick has devised to torment and test his potential beneficiaries, but I will pose this offered question: Would you rather electrocute yourself or your neighbor? How much are you willing to risk to chance?

At times, WYR made me cover my eyes. It was a nice change of pace for me truthfully, where nothing is usually weird or disgusting enough that I've not seen it before. In this case, I may have seen it before, but I cared more for the characters involved that I didn't want to see what I knew must happen.

Is this torture porn in the same way Hostel may be categorized as? No. Is it equally, if not more, disturbing? Yes. What would the average person do in these"Exam" or "Cube" that "Hostel". It's really about what makes a person human? What limit is too far? What would you do to achieve what is most important to you? It is in these questions that WYR succeeds.

circumstances? As one character expressed, we'd like to think we know but as the timer runs down, what would we really do? Thinking on this now, I think the film has more in common with

Would you rather??

Backyard Movie Making: Super 8

**** (4.5 stars)

Sometimes I think it would be nice to relive old memories. The ones from childhood you often think about in times when being an adult is rough. There's my first birthday party to see "The Land Before Time", or the homemade Twister game at my Kindergarten Halloween party. The year I was Catwoman for Halloween, or when a deer walked within three feet of me at my Grandmother's house. It seems obvious that is exactly what writer/director J.J. Abrams and producer Steven Spielberg were doing when they conceived of "Super 8".

Set in 1979-1980, a group of boys entertain themselves in small town Ohio by making 8mm movies about zombies. What none of them expect is that the fantasy world they've created will suddenly show up on their door step. After witnessing a horrific train crash, their sleepy town of Lillian undergoes several strange events from lost phone lines, to missing car engines, to missing people. The U.S. Air Force shows up to take control of the wreckage as well as the town. The fate of the people lie in the youthful audacity and curiosity that only children have. What they find is at times funny, moving, scary, and cheesy.

It would be unfair to say too much about this movie. The trailers, some of the best in recent years, have done a good job of building suspense and excitement for the film without giving anything away. The audience I was with jumped three times, but laughed along with the jokes twice as often. And, that's the thing. This isn't really a sci-fi film, it's a coming of age movie that everyone regardless of how they grew up can relate. In the band of geeks, there's the chubby one, the dictator, the quiet one, the crazy one, the passive one, and the hot one. These actors, many of whom have few to zero credits to their names, capture what it was like to be adolescent. The dialog rings true because they were free to ad lib where need be. Another testament to Abrams power as a director. I would love to see him dial it back a bit and make a really personal (even more so) film. Something that reminds us this is the guy who created "Felicity". It's time for his "first feature" and not another blockbuster. Of course, with the estimated earnings of this movie, that dream will probably never come to pass.

It's easy to make comparisons to Speilberg's early work, especially "E.T." and "Close Encounters of the Third Kind", but that really diminishes the film that is Abrams creation. Certainly he was influenced by these films, but what filmmaker working in this genre isn't? There was a lovely quote by Spielberg in this weeks "Entertainment Weekly" that talked about how all films influence us and it's impossible to make a movie that doesn't draw on those influences, whether it be a complete rip off, homage, or tone. [side note: I wish I had the article with me, it was really good, but I'm writing this away from the house so I suggest you just go out and get you a copy!] Someone should wake up M. Night Shamylan and tell him this is how you make a movie.

I'm not sure this is the summer movie to trump all summer movies, but it is enjoyable on many levels that other blockbusters are not. A perfect double feature: "X-Men: First Class" and "Super 8". We could subtitle it: "A lesson in what the summer could be".

The Power of X

It should be noted that I am a geek. One of the highlights of my year so far was attending the Dallas ComicCon and missing Leonard Nimoy in the hall by just seconds. Geek.

I love comic books; the art, the characters (both fantastical and realistic), the stories. Whether it be a far away galaxy or right here on earth, the future or in the present or the past; I am constantly impressed by what the writers and artists are able to accomplish. Comic books, and their grown counter part the graphic novel, represent the perfect blend of my twin passions- movies and books. Seemingly simple writing is reinforced by the art work, both working diligently to move the story forward and build characters frame by frame.

It seems shocking that it would take so long for Hollywood to jump on the geek bandwagon, until you remember comics are for kids. Or, at least that was the popular thought when the greatest characters were created in the 50s. Who would have thought a dime store comic book would later sell for millions?

Regardless of how long it took to get there, Hollywood eventually did come calling and have been turning out both good (1st Superman, Batman, Blade, Iron Man, Ghost World) and bad (Daredevil, the Hulk, Barb Wire, Tank Girl (though I LOVE that movie), Ghost Rider) ever since. The list could go on. It amazes me how anyone could fuck up a comic book movie. It's all right there! The set design, art direction, costumes, physical characteristics, etc. Each character has a long and layered back story. There are established hero's and villains, not to mention plots galore. Seriously, some one must be taking the piss to turn out as much garbage as they do.

It was with great excitement that I went to see "X-Men: First Class". I love the X-Men. Of all the big "brands", the mutant warriors of good and evil are by far my favourite. I love how each character is so different from the next, but there are subtle overlaps in powers. The line between good and evil is also blurred as each villain and obstacle are attacked by opposing sides- the "good" X-Men and the "bad" Magneto and his army. [side note: Does anyone else think it's kind of lame that Magneto didn't get a cool moniker for his brood?].

My favourite character is Jean Grey, almost exclusively because she becomes the Dark Phoenix whom I adore. It is much for this reason I loved "X-3", and seem to be the only person who did! I urge you to go back and watch it again. Sure, Brett Ratner isn't known for the subtlety that proved Bryan Singer the right man for the job. (Remember when everyone hated that he was directing? Fools!). The story was good but perhaps they tried to do too much in too little time (much like this newest film). **SPOILER ALERT IF YOU NEVER SAW "X-3: THE LAST STAND"** Still, who could forget when Mystique is cured of her mutant-ness and Magneto leaves her behind? I think the line is something like, "You were beautiful, now look at you." To a nude Rebecca Romijn!! Or, the struggle Rogue goes through when faced with the possibility of a cure. Should she? Shouldn't she? I hated the choice she ended up making, though now, years wiser, I understand it.

How did Charles Xavier (James McAvoy) and Erik Lehnsherr (Michael Fassbender) meet and then how did they come to be foes? (I won't use the term enemy, as I've always felt they still have a great deal of love and respect for one another). When did they become Professor X and Magneto, respectively? When was the school for gifted youngsters established? Why is Charles in a wheel chair? All and more will be answered!

The film starts with our hero's in the 40s- Erik in a Nazi prison camp and Charles in a mansion in upstate New York. It then moves pretty quickly to the 60s and the dawn of the Cuban missle crisis. Mutants are alone, unrecognized, and in hiding. Erik is hunting his old nemesis and war criminal Sebastian Shaw (a devilishly cool Kevin Bacon) and Charles is getting is doctorate in Oxford. Soon, he is enlisted to help CIA operative Moira MacTaggert (Rose Byrne), and believer in the extraordinary, as she hunts for Shaw. Shaw has taken what he learned as the chief medical experiment guy in concentration camps and turned himself into a superhero with the ability to absorb energy. He looks smashing! Joining him on his quest for world domination is Emma Frost (January Jones), Riptide (Alex Gonzalez), and Azazel (an unrecognizable Jason Flemyng). On the side of good, Charles and Erik use a prehistoric version of Cerebro to locate other mutants who may be able to help in their task. Finally, more than half way through the movie, we meet the first class: Mystique (Jennifer Lawrence), Beast (Nicholas Hoult), Angel, not to be confused with the male Angel from "X-3" (Zoe Kravitz), Havok (Lucas Till), Banshee (Caleb Landry Jones), and Darwin (Edi Gathegi). It's nice to see some new faces in the already established movie-verse of X-Men.

Matthew Vaughn has transitioned well from the indie darling "Layer Cake" to more commercial fare like "Kick-Ass" and this film. His attention to character is precisely what this film needed. There is a lot of history (both real and from the comics) to cover, and not getting lost or dragged down and away from the plot could be tricky in less capable hands. I think there were just too many cooks in the kitchen, with four credited screenwriters, not to mention two story by credits. Clearly, someone had a lot of fun writing it but the film would have been better if it didn't try to introduce too much of the school. It should have been called "X-Men: Origins" and saved the "First Class" moniker for a second film when we could really explore the establishment of the school.

There are great performances through out, most notably Fassbender. It's great to see Magneto with a bit more humanity, before it is killed and he begins trying to lead the mutant uprising. Lawrence proves she can handle a blockbuster (good thing what with "The Hunger Games" poised to become the new "Twilight") and Hoult shows just the right edge of nerd and carnivore. The biggest fault in casting is the other women. I'm not sure if Jones is just used to the "Mad Men" school of acting or if she just can't act, but she was never really present and seemed to phone it in. One would think the role of Ice Queen would be perfectly suited to her, but I guess that doesn't work in every dimension of the 60s. Thankfully, it does not distract from the overall film. Byrne is also under utilized, but I disagree with other reviewers that her character was so unbelievable. We must remember, most women at this time were homemakers or secretaries. It is not far fetched that she would be demeaned or objectified in the work place. Of course, the Moira MacTaggert of the comics is a lot more interesting (and not a CIA agent), but what can you do?

I want desperately for this film to do well (knock on wood). I want more sequels! There is so much story to be told, so many characters who still have not had their day, it would be a shame to stop here. Whether you're a card carrying geek like me or just someone looking to have fun at the movies (all without having to check your brain at the door), then this is the must see of the summer.

**** (4 stars)

Millennium Trilogy Resolved

**** (4 stars)

I've been a bit preoccupied with life at the moment, so not a lot of time to sit at home and watch the Netflix collecting dust on top of my VCR/DVD combo. Last night I finally finished "The Girl Who Kicked the Hornet's Nest", the third film in the Millennium trilogy based on the best selling books of the same name. I reviewed the first movie on my older blog, but seem to have skipped the second one all together. Weird. If you haven't seen the movies or read the books you've probably been living in a distopian society that has outlawed all forms of entertainment. If that's the case, than congrats on escaping from the cult and let's get crackin' getting you up to speed.

**There Will Be Spoilers! (But, I'll try to keep them to a minimum)**

In the first film, "The Girl With the Dragon Tattoo", we are introduced to Mikael Blomkvist- rogue journalist and editor of a seemingly boring political magazine. Blomkvist has just served a short prison sentence for slander when he is recruited by a wealthy old man to help solve the disappearance of his granddaughter. Blomkvist's search is too long and tedious to do alone, so he enlists the help of a computer hacker named Lisbeth Salander to help.  Lisbeth is a bit of a genius but the government has kept her under control by declaring her incompetent and locking her up in a mental institution when she was a young girl. What's the angle? Of course everything ends happily but of course that's not true or there would be no need for two other movies.

Cut to the second film, "The Girl Who Played With Fire". Blomkvist moves on with life and begins investigating a possible sex-traffic ring. He would be lost without Salander's hacking skills and once again enlists her to help. Unfortunately for her, there is more than meets the eye in this case and she is soon the scape goat for several murders that occur during the investigation. Now on the run, she must rely on Blomkvist for help this time around. These events unfold along with, and sometimes in conjunction with, the story of Salander's painful childhood and years of abuse. It is revealed that her father, whom she tried to kill as a child, is actually behind everything that has happened to her in life and is now the one trying to shut her up forever. Unfortunately for him, she gets there first and tries to kill him again. Blomkvist to the rescue and roll credits.

Now, in the final movie, Salander is clinging to life and about to face trial for the attempted murder of her father. We all know by now what a bad guy he is, but he has deep roots and trusted allies with which to help him. This film is a lot slower than the previous two and that's saying a lot considering the shortest of the trilogy is 129  minutes. The problem isn't necessarily the filmmakers as it is the author. Steig Larsson traumatically died shortly after the first book was published. We know through his long term girlfriend that a forth book was in the works. Would it have continued the story of Blomkvist and Salander? Was is something completely different? We may never know as it is tied up in the malicious court case between her and Larsson's family. [side note: If you're with a Swede, get married. The country does not recognize girl friends or common law wives, and the family can contest the will and estate in such cases. Bummer.]

The book was able to do a better job at explaining the government's connection to Salander's father and herself since it is unrestrained from the confines of time. To shot the book as written would require the film to be almost 8 hours long. The writers did a fine job editing out additional back stories and characters, yet they seem to have forgotten the main ones. How is Blomkvist so smart in the previous films but so dumb in this one? Why would Sweden protect such a nasty individual as Salander's father? The book fixes both of these problems and for that reason, I suggest you read it first. Otherwise, you will be left in the dark about many things that will fill in the holes the movies creates.

It is a bit of a sad conclusion to such a fantastic series, but not so far gone as to warrant massive complaints or calls to avoid it. You should see it. If you've already watched the other two movies, it will be impossible to ignore it. Furthermore, the English language remake is being filmed now and I can already guess there will be more car chases, bare breasts, and swearing than the original. Such a shame.

HANNA-sassian

**** (4.5 stars)

I went to a screening last night and fell in love, almost immediately, with “Hanna”. Every scene is important to building the story of a young girl trained to fight, and fed on revenge for the death of her mother.

Hanna (Saoirse Ronan) and her father (Eric Bana) have lived in the arctic woods since she was a child. In that time, he has expanded her education past the World Books they read nightly, to include hunting, fighting, and survival. All of this is in preparation for the day she decides she is ready to face her nemesis, Marissa Weixler (Cate Blanchett); a CIA operative that killed her mother.

There have been movies before, and I'm sure after, that follow the struggles of a person raised away from society. The introduction of new words, new friends, music, animals, places; but here it never feel like a gimmick. Through the brilliant acting of Saoirse Ronan and great writing, we feel almost as if we're experiencing these things for the first time as well. While on the run, Hanna meets up with a family of British tourists who take her in. These are the first friends and people she has had real, true contact with in her life. It’s heartwarming and heart wrenching at the same time.

There's a bit of a divot in Cate Blanchett's performance, but I'm not sure it's her fault. How do I criticize what I also loved about the movie? That is, it's refusal to fill in the holes and missing pieces of the back story. We know what we need to know to move the story along, no more, no less. Still, I wish I knew more about what motivated her. Why, after all these years is she still stung by the one that got away? Why is she so evil? And, she really is. Blanchett plays her like a Southern mother that spits venom.

Director Joe Wright (“Atonement”, “Pride & Prejudice”) breaks out of his sober shell to create action sequences that rival the Bourne movies. The stylized fight sequences are brutal, though the mix of camera techniques could be distracting to those of us that pay attention to such things. DP Alwin Kuchler (“Morwan Caller”, “Sunshine”) has perfected this style of tight shots that seem to drift down to the audience. We never feel preached too, though we know exactly who is testifying. However, the editing keeps the action tight and on line. It’s violence that acts itself out, but is never gratuitous.

That the Chemical Brothers scored the movie seemed a bit weird to me at first, like a watered down “Tron: Legacy”, but I have to say they did an exceptional job. The music alerts us to the action ahead, but doesn’t over take it (hello Bourne) or foreshadow too greatly.

All in all, I highly recommend this movie to everyone. Go see it!

WWQTW?: Diner

Sorry for the delay. This is my review for January's WWQTW? Movie Club. I started a new job at the new year, and it's taking me a bit longer than I anticipated to get back into the groove of blogging. Oh well, better late than never!

***** (5 stars)

Last night was our first meeting of the WWQTW? Movie Club. I really thought we needed a comedy a) because we have never had one yet and b) because now was the time for some laughs. What better way to start the new year than on a high? There were lots of yummy treats including hummus, fresh fruit, chips and dip, mint pea crostini (my creations by way of Jamie Oliver), King Cake (god bless Mardi Gras season), peanut butter pie, cookies, and more wine than we knew what to do with. Needless to say, my liver and stomach where very happy, then very sad with me.

This month's movie was Barry Levinson's "Diner" about a group of twenty-somethings in Baltimore during the '50s. The movie introduced the world to the acting talents of: Mickey Rourke, Kevin Bacon, Steve Guttenberg, Paul Reiser, Daniel Stern, Ellen Barkin, and Tim Daly. That's a seriously impressive cast, many of whom hadn't really worked much before. This was also Levinson's first film. He would go on to helm "The Natural", "Good Morning, Vietnam", "Rain Man" (AA- Best Director), "Avalon" (AA nominated), "Sleepers", "Bugsy" (AA nominated), and "Wag the Dog".

Modell (Reiser):  "We all know most marriages depend on a firm grasp of football trivia."

"Diner" is an hilarious movie about becoming an adult, finding love, keeping friends, and just living life. The movie was filmed chronologically for the most part with the diner scenes filmed at the end. Levinson wanted the cast to really feel like friends and many of the best lines were ad libbed as a result. The Popcorn Scene is one of the most famous in the film and has cropped up in pop culture ever since. Rourke bets the guys he can get the dream girl to feel him up at the movies. He takes the bet mostly because he's in a bad way over some gambling losses, but it's also a pretty telling moment for her character. Once in the theater, he unbuttons his pants and puts his penis up through the bottom of the popcorn box. When his date reaches in, she gets the shock of her life and Rourke losses the bet on a technicality. So funny!

Tim (Bacon): "All I did was I parked the car on a nice lonely road, I looked at her, and I said fuck or fight."

"Diner" is one of those movies your parents love because they were living that time and feel nostalgic, but it holds up. Not just since it's release in 1982, but as a movie about the past. Everyone can identify with the problems and humor that each character faces. We all know the cocky guy, the shy guy, the sports nut, the juvenile, the married guy, the funny one, etc. Because we can identify, we fall in love with the characters easily and stay in love even though we ourselves grow up and move from one label to the next. It is a great movie (with equally great soundtrack) that should be on every one's list.

High Tension

***** (5 stars)

Modern France isn't really known for its horror movies. Sure, Polanski turned out some creepy hits in the 70s, but since then it's been pretty hit or miss. According to Netflix, the only foreign horror comes from Italy and Asia. Thankfully, there must be something in the water over there because the rest of Europe is slowing catching the fever. My love for Scandinavian horror has been well documented, so I'm focusing on my first love in the foreign language market- The French. Martyrs, In My Skin, Malefique, Le Pacts des Loups, The Pack, Frontiers, Inside, and others are working to change that perception. Enter "High Tension" (Haute Tension), one of the best horror films I've ever seen period. The seemingly simple story takes an unexpected twist that will remain in your subconscious forever.

Friends Marie (Cécile de France, "Hereafter", "L'auberge espagnole") and Alex (Maïwenn, "The Fifth Element") escape to the family farm to focus on studying for exams. No sooner are they tucked in for the night than a crazed man enters the home and kills the whole family, taking Alex hostage. Now, it is up to Marie to save her friend before the unthinkable happens.

Writer/Director Alexandre Aja has a bit of a hit or miss resume with this, his second feature, the somewhat high point. After its success, he went on to direct "The Hills Have Eyes" remake, "Mirrors" and "Piranha". He also wrote the forgettable "P2". His strong point is certainly style and the ability to overcome budget restraints, but he needs to work on polishing his writing skills and developing projects that will push his career forward. His relationship with writing partner and art director Gregory Levasseur blurs the line between director and crew. Who was in charge of this thing?

While trying desperately not to give anything away, the biggest complaint I've heard about this film is the twist. You either love it or hate it. Personally, I thought it elevated the film past cheap gore and into the psychological realm I enjoy so much. POSSIBLE SPOILER ALERT (roll over to see): You must remember that the story we are originally told is from the mind of Marie. By revisiting the opening scene of her in the hospital at the end, we can see how her mental break shaped the story we saw and are left to wonder what elements are true and what was imagined. Aja hints at this himself in the bonus features when he talks of casting Philippe Nahon as the killer. How would you imagine a serial killer to look like?

The casting is impeccable. de France is one of my favorite young actresses in Europe right now. She has the ability to exude both fragility and strength, often in the same breath. Maiween is an actress I am less familiar with but who has an especially difficult scene towards the end that kept my hand clasped over my mouth the whole time. Philippe Nahon is a genius who has starred in over 150 films and TV. His resume reads like a who's who of French cinema. He has worked with everyone! Check him out in "I Stand Alone", "Le Pacts des Loups", and "Calvaire". He plays the killer very close to the chest, with holding any sings of motivation  or insanity. Instead, he is the face of death only- solid, stoic, fucking creepy!

Depending on your tolerance level, "High Tension" will either scare the bejeezus out of you or simple amuse you. My best friend warned that she still has nightmares over the movie and found it difficult to get to sleep after seeing it. Call me intrigued! Unfortunately, I did not have that reaction. Truth be told, this movie served as a palette cleanser after I watched a documentary about animal rights. That was far more disturbing! Still, I appreciated the lack of pretense this movie offered. There was no long story drawn out before the real horror begins. Our heroine Marie is also a pretty smart cookie. Unlike other women in horror films, she doesn't fall down a lot, she doesn't cry in the corner, she doesn't run away. She is smart and methodical. In the moments after the killer has broken in, I was impressed to see how she handled herself and thought,  "That's what I would do!".

The movie is to be seen to be believed, and it should be seen by everyone with the stomach for it!

67th Golden Globes: The Ricky Gervais Show

The downside to having the two days after the Golden Globes off is that I'm slow to the party on my review of everything that happened. That being said, the recovery time was well warranted and welcome!

This may have been the worst year for my predictions in history. I usually average about 90% on the Globes, but this year it was more like 64%. Damned TV shows ruining my average!

We had a great time at my friends house with food galore and lots of cute party touches, like a red carpet into the house and beautiful color ballots. We noshed on guacamole, black bean dip, mini quiche, cheese tray (I'm still dreaming of Drunken Goat), chips, cup cakes, and red velvet cake. Oh, there were some nice looking pigs in a blanket but of course I avoided those. Lots of champagne too!

"Johnny Depp showered! And Robert Pattinson! The world's gone topsy turvey!"- me

The best part of any awards show may be the red carpet. There were a lot of misses in a sea of hits:

The Best:

Seacrest: Did you come by yourself?

Corey Monteith: Yep, by myself.

party goer: Mark it!

side note: "Mark it" is what you yell anytime something unintentionally sounds dirty or perverse.

The Worst:

The Meh:

"I like how that thing under her name is her nickname"- Referring to Nicole Kidman "Rabbit Hole"

Okay, now that that's out of the way let's talk about the actual show.

* I thought Ricky Gervais was hilarious! Way to take the piss on such a big night. While it may have been in poor taste to talk smack about "The Tourist" in front of both its stars, it doesn't make what he said any less true. I also have to agree with Josh Wolf on "Chelsea Lately" regarding Robert Downey Jr calling out Gervais as being mean spirited: You're going to follow that with a list of how you have or would like to bang the list of best actress nominees? It was funny, but not any less controversial. It's time to loosen up Hollywood!

* Bill Nighy + The Science Guy = The President of HFPA

* Robert DeNiro's speech- Is it racist?

* I did pretty well on the movie awards. I loved Natalie Portman's speech. It was the most personal thing I've ever heard her say. We saw her parents for what I believe is the first time and she totally embarrassed her fiance! ("You might recognize him from the movie where they ask him if he would want to sleep with me and he's like, No. Well, he totally does want to sleep with me!") It was cute and unexpected. Annette Bening came off like the pompous ass we believe her to be and Paul Giamatti was funny.I guess this means I have to see "Barney's Vision" now. Crap.

* Melissa Leo may have had the best speech were she references "those few hours we spent in the Maritime Hotel..." with the director, Or, at least I think that was who she was referencing, I didn't write that part down! Grrr! Second best speech of the night goes to Chris Colfer and his dedication of his award to the fans who tell him that "Glee" has helped him in their life and that bullying is never the answer. It was really touching.

* I couldn't believe how wrong I was as far as TV awards! The Globes really strayed from the Emmy's this year. Usually, there is more overlap. I was so excited for "Boardwalk Empire" and Steve Buscemi (totally called it). That show is amazing. Maybe next year Michael Pitt will get some love. I couldn't believe Kathy Sagal won for "Sons of Anarchy"! Not because she isn't brilliant, she is, but because she never wins. In fact, I think this is her first nomination for the show. Go girl! "Glee" beats out "Modern Family" which I probably would have called if I remembered we're talking about the foreign press, and "Carlos" beat everybody for best mini-series. I heard it was good, but I don't get the Sundance Channel and it's fraking long.

* Tent Reznor wins a Golden Globe and becomes the front runner for the Oscar. It's like I've died and gone back to 1998!

* "The Social Network" beats out "Inception" and I feel horribly for Christopher Nolan. Always the bridesmaid, never the bride. It's like it's 1995 all over again. Facebook= "Forrest Gump" and "Inception" = "Pulp Fiction". This was one of the toughest yeas in the Best Picture Drama category. Still, I feel the best movie should be the one you are still thinking about, still talking about, want to see again and again. I really liked "The Social Network", but I don't need to see it again right now. I'd like to watch the special features maybe. "Inception", however, is a film I couldn't wait to see again, to talk to my friends about, to watch the bonus features. It took over my mind for several weeks. It has haunted me.

What did you think about the Golden Globes?

Aaah! Zombies!!

**** (4.5 stars)

AKA "Wasting Away" is one of the best zombie/horror/comedy movies I have seen in a long time. The perfect blend of blood, brains, catchy one-liners, and decent plot really set this movie apart. I would love to have a mini-movie marathon with this, "Shaun of the Dead" and "Grindhouse: Planet Terror". It would be epic!

New Year's was an interesting occasion this year and thankfully I had this movie to get the party started. A planned cab strike meant ample time for a movie while waiting. I mean, what's a girl to do but watch a zombie movie and drink a bottle of champagne (with a little help of course)?

Matthew and Sean Kohnen suffer no loss of the imagination; just when you thought it was impossible to attack the zombie genre from a new angle. You have the typical (a group of 20-something hang abouts) with the unusual (they're all zombies). "Aaah Zombies" asks the question, "What's it really like to be a zombie?"

Tim (Michael Grant Terry, TVs "Bones") works at the local bowling alley with dreams of middle management. He's in love with his co-worker and best friend Cindy (Betsy Beutler, TVs "Scrubs" after it went downhill) but is afraid to tell her. His polar opposite and other best friend Mike (Matthew Davis, TVs "The Vampire Diaries") is loud, crude, funny, and self proclaimed ladies man. His ex, Vanessa (Julianna Robinson) dreams of becoming a lawyer and leaving all the juvenile antics behind. Meanwhile, on a secret government base (there's always one of those), a tragic science experiment results in the patients becoming zombies and they must dump the chemical compound and quick. In a twist of fate, one of the barrels rolls off the truck and is mistaken for a beer keg at the bowling alley. Best idea ever- Beer flavored ice cream. Unfortunately, the beer is actually poison and everyone dies and becomes a zombie. After they've scarfed the dessert, the picture turns from black and white to color and our gang of misfits is on their way. Everything they seem appears normal, though slightly sped up. What the world actually sees, and in black and white no less, is a group of raving slacker zombies. Problem is, they don't think they're the ones infected and they must find a cure for all their friends and family. With the help of Nick Steel (Colby French, the man's been in everything!), retired military, they begin to battle the 'dark" forces at play. Oh, and it's seriously funny.

All I kept thinking was, "I hope we get to see what these jokers look like when they think they're being cool and romantic. I want to see some zombie kissing!" Cut to black and white and what they think is a friendly wave or passionate kiss is actually awkward and a bit disgusting.

I find myself not wanting to say too much about this film. Not that there's much to give away or that you won't predict much of it, you will; instead I feel like it should be experienced with the same trepidation that I felt watching it. After "Mad Cowgirl" was an utter disappointment, I prayed that this movie would not let me down and ruin the start of my New Years Eve celebrations. I never really wondered before if zombies had thoughts, I just assumed they didn't, or if they could be anything more than mindless wanderers out for brains.

"Aaah! Zombies!!" is yet another great example of what low budget film making can and should be. I can't wait to see what's next.

PS- I find it's best, when speaking to someone about this movie, to really use the exclamation points in the title to their fullest effect: Aaah! ZOMBIES!! Really shout that last bit out.

It's a Mad, Mad, World

* (1 star)

I’m not sure where to start. I’ve been thinking about this review for two days now. “Mad Cowgirl” may be one of the worst movies I have ever seen. I would have given this zero stars if that was something I would do, but; I don’t. The lowest rating is 1 and that’s what “Mad Cowgirl” gets. It is not a “question movie”- You cannot ask the screen a question expecting any kind of answer. I assure you, there are none. Instead, you can only make statements such as: “I have no idea what is going on”, “I thought this would be funny”, “If she is actually having sex with her brother, granted it’s James Duval, I will vomit”, and “I just vomited”.

There doesn’t seem to be any real story here, just a director trying very hard to be subversive about ten years too late. I could have forgiven it more had it not been a poor attempt to, what?; impress Gregg Araki? Casting a bunch of actor’s that have worked with him does not make your movie more interesting. That’s not how it’s done! Gregory Hatanaka is making movies for himself and his friends (I assume they like them as they all seem to be working on this picture), that should have stayed in the comfort of their L.A. squat.

Here goes on the plot. The movie opens with a 70s style public service announcement about the dangers of mad cow disease and how your vegetarian starter kit is available in the lobby after the film. Totally funny and a good idea for midnight showings. Unfortunately, this movie is so bad that dream will never become reality. Therese (Sarah Lassez), a meat inspector, flits through life providing shoddy health code inspections and having a lot of sex with strangers and her "true love" Pastor Dylan (Walter Koenig, Chekov in the “Star Trek” movies). Gross. Her brother, Thierry (Duval), manages a meat processing plant that is severely tainted. Don’t worry, she just shakes her head at him and accepts the free meat he gives her. Later, Therese learns she has some sort of brain disease and she begins to go a bit crazy. No one seems to notice though, even when she stars to believe she is the real life incarnation of her favorite kung fu star, Cindy the Girl with the Thunderbolt Kick, and begins killing people/defeating the 12 Tigers.

The problem is, this is never really explained. We assume Therese is crazy long before she gets the diagnosis. There are about 5 different languages going on here, and Therese seemingly understands them all. Her doctor speaks to her in Sinhala (Sri Lankan dialect); she speaks French to her mother, English to everyone else, with a bit of Spanish thrown in for good measure. The poorly written script is filled out with bible quotes instead of dialog that might move the story along. Therese seems to have a fetish for the divine and not only has sex with her boyfriend while listening to his sermons, but also seeks out a Catholic priest to corrupt and have sex with during a double feature of porn and kung fu in a seedy movie theatre. Is she doing any of these things or only hallucinating? Do we at any point care? By the time she starts killing people, I was bored out of my gourd.

“Mad Cowgirl” throws everything but the kitchen sink into it- oral sex, raw meat, exposed breasts, incest, blood, kung fu, 70s porn, televangelism, paranoia, corruption, religion, morals. An actual kitchen sink would have been a welcome dose of humor! If this were a student film, I may have been able to over look much of the junk thrown in. It is shot primarily in super close up and most scenes contain little more than the actress staring off into space. Oh, so indie! Why there needed to be three cinematographers is beyond me.

What must the script have looked like? I really want to know what the actor’s read and if it made sense to them or sounded like a good idea at the time. Lassez has been kept busy, mostly in small indie/art films (“Nowhere”, “Lo”). It’s kind of a shame as she’s not a bad actress per se. Perhaps she needs to go back to TV. Duval is one of my favorite actors but sometimes I don’t understand his choices. He must be friends with Hatanaka as well. I mean, he’s the younger Keanu Reeves (and I mean that in the best possible way)! Like Keanu circa “My Own Private Idaho”. Please James, please don’t do any more movies like this.

The only good thing about “Mad Cowgirl”? The line, “I love you more when you’re gone”.

I’ve turned off very few films and the only reason I didn’t turn this one off was you dear reader. I just kept hoping it would get funny, even unintentionally so, or that something would be explained. I don’t mean in a hold-my-hand-and-tell-me-the-meaning-of-life kind of way, but anything would have been much appreciated.

I loved one of the reviews for this movie on Netflix. “The graphic designer that made the cover of this movie look cool can go fly a kite!” To that I say, "Here here!"

They Say You've Got True Grit

***** (5 stars)

I'm not sure the Cohen brothers could do wrong if they tried. Sure, they had a bit of a bobble in the early 2000s with "Intolerable Cruelty" and "The Man Who Wasn't There", but it seemed more for them to prove to themselves whether or not they could step outside their comfort zone. They could not. Since their first film "Blood Simple", I have been a fan, and with their latest effort, they tackle the classic Western and a classic film at that.

"True Grit" is based more on the book by Charles Portis than the 1978 John Wayne classic (the only Oscar win for the actor). It tells the story of Mattie Ross (newcomer Hailee Steinfeld), a precocious 14-year old set on avenging the death of her father at the hands of infamous criminal and dim wit Tom Chaney (Josh Brolin). To aid in her quest, she hires washed up drunkard Reuben "Rooster" Cogburn (Jeff Bridges), a U.S. Marshal with the titular aplomb. Wandering in and out of the hunt is Texas Ranger LaBoeuf (pronounced LaBeef) who's been tracking Chancey through several states, played by the impressively moustachioed Matt Damon. Through Mattie's determination and hard will, and Rooster's knowledge of the underworld of Arkansas, the two will embark on a treacherous and often funny adventure towards revenge and redemption.

The film is a casting agents wet dream. Steinfeld is a revelation. I may use that word too often, but her performance is really something to see. She is truly deserving of her SAG nomination and in any other year would have surely garnered a Golden Globe nod as well. How someone so young (she was 14 when shooting the picture) could deliver a performance that is so confident and assured amidst Titans of the industry is impressive. That she does it with humour as well left me gobsmacked.

Jeff Bridges is competing against himself this weekend (see my review of "Tron:Legacy" here). He channels his inner Dude (a figure in many ways most resembling him in the real world) and infuses his Rooster with a sense of humour about himself and an inner desire to do good even though he would rather be drinking and sleeping. The verbal tet-a-tete's between him and Damon are some of the best acting scenes in recent memory. He is at the top of his game and stands a chance of becoming the 4th male to win back to back acting Oscars (Spencer Tracy, Jason Robards, and Tom Hanks before him). He missed out on the Globe, but they can be a fickle bunch. Perhaps they didn't like that this was a remake of sorts. Who knows! I'm keeping my fingers crossed he gets nominated.

Damon comes off with the kind of chutzpah that first attracted us to him in "Good Will Hunting". He is the underdog amongst underdogs. Whether being bested by a young girl and a drunken old man or the criminal that is constantly alluding him, he has a strong determination to see this quest through and collect the reward he has been chasing for months. We aren't sure if we are supposed to like LaBoeuf or if he is a sort of anti-villain; someone to get in the way of Mattie's ultimate goal. Through his actions, we find that he is a man of honor and true grit as well.

In the final showdown between good and evil, Chancy has met up with a gang of petty criminals and thieves led by Lucky Ned Pepper (a hardly recognizable Barry Pepper). [side note: Where the heck has Barry Pepper been and what is up with directors making attractive men so much less so?] It is a moment that is both climactic and reserved. The point is not in the action but in what said action sequences represent. It is a defining moment for each character. 

Long time collaborator Roger Deakins brings together both the expanse of unsettled early America and the intimacy between characters with his cinematography. Can we get this guy an Oscar for Pete's sake?!

I was weary about this movie, the original being one of my favorite Westerns of all time; but in the ever capable hands of the Cohen brothers it is a thing of beauty. My father remarked that it is much more in keeping with the novel than the earlier film. I haven't read the book but I will take his word on it. What is evident is that this movie stands alone and outside comparison with the Wayne version. They are almost different entities and are completely different films. I hope this movie does well and we can usher back an age of the Western, the undoubtedly American genre of film that I thought "3:10 to Yuma" would have done in 2007. Of course, that was also a remake so maybe the point is we need new Westerns. Someone call Clint Eastwood and tell him to quit making his political films and get back to business!

The Legacy Continues

**** (4 stars)

I so rarely get to sit down and type out my review immediatly following the movie, but I am today. Please bare with me and keep that in mind if some of this doesn't make a lot of sense. I'm just too excited to wait!

The original "Tron" was a massive failure. Still, on video and at countless midnight showings across the country it is considered a forgotten gem, a camp classic for the ages. Now, almost 30 years later it is getting a reboot in the form of a continuation story. "Tron: Legacy" picks up almost where the original left off. After getting sucked into his own computer program, Kevin Flynn (Jeff Bridges) sends a message through the ethos to his son Sam (Garrett Hedlund). Soon, Sam finds himself trapped in the grid amidst an ancient battle between Flynn's alter ego Clu and his father. With the help of Quorra (Olivia Wilde), another program and Flynn's protege, they must rescue Flynn and return home before Clu can cross over and reek havoc on Earth.

The first thing that hits you while watching "Legacy" is the look. Gone are the fuzzy, almost pastel lights and sound stages. Here is a whole world created with the magic of CG and the technology unavailable in the early 80s. This is a movie that was screaming for a remake! Thank you Hollywood. Bridges plays both his current aged self and the ageless Clu, ssimilar to "The Curious Case of Benjamin Button", and the FX team must have crossed themselves since they had access to footage of Bridges from the original movie. While in the grid universe, this copy and paste technique works wonderfully. Everything has that slick, wet look and the light suits and weapons cast a similar glow to all the actors. It is truly amazing. However, a brief scene in the beginning of the film was misguided. It totally removed me from the story to see a shiny, happy Bridges talking to his young son. Oh well, we can't win all the time.

Kevin Ishioka ("Avatar", "Chronicles of Riddick") does an amazing job with the art direction of the film. Usually, talking at length about how good a film looks would be the kiss of death, but "Legacy" relies on the sets, the FX, the costumes, to bring this world to life. If we don't buy it, it's just "Tron: Redux". I can't say enough about how great and consuming the overall look of the film was. The 3D was also pretty good. It wasn't campy or trying to hard. It just gave depth to the computer world and breathed life into it. If 3D was used this consciously in every movie, maybe I wouldn't have such a huge problem with it.

This new "Tron" also has a nice script by Edward Kitsis and Adam Horowitz (the writers/producers of "Lost" TV series, "Birds of Prey"). They seamlessly weaved in the recap of the first movie without making it seem like an afterthought. Quorra has some really nice lines and the relationships between all the characters is well developed. If there is a weak point, it's in James Haygood's editing. At 129 minutes, it's just a tad too long. Some scenes seem like they were thrown in last second (or more realistically, after a bad screening). During a lovely conversation between reunited father and son, we jump cut to Clu in his lair for the ubiquitous and meaningless "I'm gonna get you Kevin Flynn" moment, then jump back to the dinner table conversation. What was the point? We know he's out to get him. That's what they're talking about at the table! I wish more movies could leave a bit to the audience to imagine (great case in point- the sparse "Black Swan"). It could have been much tighter. The score by techno-legends Daft Punk is very good though a bit overwhelming in places. It's as if the director and editor didn't know what to do so they just layered a loud piece of music over the scene. It's not really Joseph Kosinski's fault, or really anything to blame. Far worse has occurred in other director's first films and I'm sure he will have a long career if he wants it.

The action scenes and fights are really fun to watch, especially the grid battle between teams of light cycles. I nominate David Leitch ("300", "Fight Club") for a Stuntman Award. His coordination of the films stunts is great and we never give the stuntmen and coordinator enough credit. Applause!! My buddy who went with me and I both agreed that the sound was off the charts! How nice to see a movie that finds that perfect pitch of quiet and loud. A certain Oscar contender.

If it is possible to love Olivia Wilde more, it is after seeing this movie. I never watched "The O.C.", but I really liked her in "Alpha Dog", the short lived "The Black Donnelly's", and she was certainly the best thing about "Turistas". "House" also picked up once she was cast as 13. In "Legacy", she gets to play something totally different- a girl. Not someone tough and jaded or guarded, but a strong young woman who finds humor in the smallest places. I highly recommend reading the interview she gave to /film where she talks about fleshing out the character and the importance that she not be just another pretty face (which she certainly is). I just loved her!

Bridges is best when it's actually him acting and not his CGI morphed face on another actor's body, but that's a bit to be expected. Hedlund (the upcoming "Country Strong", "Eragon") does a fine though somewhat flat job as Sam. He is at his best when acting opposite Wilde and in the more tender moments between himself and Bridges. I'm certainly curious to see more from him, though am reserving love or hate for later.

If you have any interest in seeing "Tron: Legacy", you must see it in the theatre and I recommend in 3D.

PS- Someone get me a light cycle!!

The Kids Are Alright

**** (4.5 stars)

I love Lisa Cholodenko's style of writing and directing. It sounds like how real people talk to one another and looks like real life. That is not to say it's boring in any way, it isn't, only to say she is a truly talented director. “High Art” and “Laurel Canon” are two fantastic, and very different, films. Why is it that female directors only seem to make one movie every 5-10 years but Ben Stiller keeps cranking out the crap? Get on it ladies!

“The Kids Are All Right” (nominated for multiple Golden Globe, Spirit, and SAG awards) tells the story of a married couple Nic and Jules (Annette Beining and Julianne Moore) during the last summer before their daughter goes off to college. Now that she’s 18, Joanie (Mia Wasikowska, “Alice in Wonderland”) can finally petition to find out who is the donor daddy to her and her half brother Laser. Said daddy turns out to be beatnik-y Paul (Mark Ruffalo) who personifies our ideas about Los Angeles. He owns an all local restaurant and farms his own organic produce. He rides a motorcycle and likes fine wine. He’s a stud. The ménage-a-trois that results between the adults is at times heartbreaking and funny.

Cholodenko recognizes the differences in this family ("Joanie has two mommies"), but keeps it focused on the bigger picture of family as opposed to making it cliché. Nic is a bit overbearing and seems to love her wine more than she does her partner at times. Jules is the free spirit, kept at home to raise the kids, she starts and stops businesses with the whimsy most of us pick out an outfit. Together they are ying and yang, and that’s why it works. Feeling alone and frustrated with the everyday familiarity that comes with a long-term relationship, Jules steps outside the marriage in an attempt to save it.

The big surprise for me here was the kids. Wasikowska didn't impress me much in "Alice in Wonderland", but she has that perfect 70s vibe that's all the rage these days. Even under all the long hair she wears as a mask over her face, her pixie like innocence is staggering. She’s happy with what is and doesn’t want to rock the boat. Her brother, on the other hand, is at the age when a male figure would be welcome and he pushes his sister to explore their more true identity. Hutcherson looks so familiar to me but I realized I've never really seen any of his films (“Zathura”, “Bridge over Terabitha”). It's mostly kiddie stuff. In this film, he gets to grow up and find his voice. The look of excitement on his face on the way to meet their donor, the deep seeded pain when he realizes his family is falling apart; are signs of burgeoning genius. I hope he sticks with the more adult fare.

In her now traditional style, the film doesn’t so much end as she simply stops filming. We don’t know what happened before the movie started, so why should we know what happens in the end? This is a family still growing, still learning, still recovering. It is a wonderful movie and still my pick for Best Comedy at the Golden Globes.

[side note: Attention ladies with an unhealthy addiction to "America's Next Top Model". (Of course you're only watching it to make fun of Tyra. We believe you. You may recognize the hostess at Paul's restaurant as YaYa from cycle 3, the snobby runner-up. Well, we get to see a whole lot of her in this movie. FYI.]

[side side note: Have you seen the trailer for the latest remake of "Jane Eyre"? It looks fantastic. I loved the Zefirelli film with Charlotte Gainsbourg, but the book made me want to kill myself. I'm holding out hope for Wasikowska now that I know she can act. Throw in Michael Fassbender and I'm sold!]