This needs no commentary except that it is going to ROCK!
Download hi-def at Narniaweb.
Tuesday, December 18, 2007
Monday, December 10, 2007
CD - White Christmas (B)
Artist: Martina McBride
Buy it
I'm usually a very savvy buyer when it comes to stealth reissues but I fell for this one hook, line, and wallet while doing my gift shopping at a big box retailer. The complete repackaging, the handful of new tracks that didn't ring any bells (and probably those mesmerizing blue eyes) convinced me to brush aside the little voice that said, "But wasn't her first Christmas album - that we already own - called White Christmas?"
Yes it was. And this is it. Somewhat.
The 1998 tracks have the same liabilities/benefits as they did then. There are no original arrangements and they are virtually straightforward covers of classic versions. But this is good when it comes to singing along with them - no curves are thrown at you. And MM's voice is, of course, insanely beautiful.
The four new tracks produced by Martina herself make some gutsy calls and I like that about them. Her Danny Elfman-esque take on 'Jingle Bells' is funny and just a little creepy and I loved it in spite of myself. She's definitely overheard her kids watching Tim Burton's Charlie and the Chocolate Factory one too many times!
Her time-traveling duet with Dean Martin on 'Baby, It's Cold Outside' is captivating. She has an extremely broad stylistic range and is a terrific mimic. If no one told you the lady's voice was a 21st century superstar you would think it was a Rat Pack-era songstress holding her own with Dino. Brilliant!
It almost makes up for the covert ops. One could blame all that on Martina's label but she is extremely hands-on in the production, design, and marketing of her albums. I've found out she has reissued this album with two extra songs tacked on before but it was with the original artwork. Since she's added 6 songs altogether over the years, why hasn't she just created a new Christmas CD? It would save confusion and animosity (which this reissue is certainly causing, judging by the online comments) and make more money. I understand that RCA wanted a vehicle to put the Dean Martin duet into (and it's working, this is currently just behind Josh Groban's Christmas album on the charts) but I still think this was a misstep.
Final score:
Music - A minus
Marketing - C plus
Buy it
I'm usually a very savvy buyer when it comes to stealth reissues but I fell for this one hook, line, and wallet while doing my gift shopping at a big box retailer. The complete repackaging, the handful of new tracks that didn't ring any bells (and probably those mesmerizing blue eyes) convinced me to brush aside the little voice that said, "But wasn't her first Christmas album - that we already own - called White Christmas?"Yes it was. And this is it. Somewhat.
The 1998 tracks have the same liabilities/benefits as they did then. There are no original arrangements and they are virtually straightforward covers of classic versions. But this is good when it comes to singing along with them - no curves are thrown at you. And MM's voice is, of course, insanely beautiful.
The four new tracks produced by Martina herself make some gutsy calls and I like that about them. Her Danny Elfman-esque take on 'Jingle Bells' is funny and just a little creepy and I loved it in spite of myself. She's definitely overheard her kids watching Tim Burton's Charlie and the Chocolate Factory one too many times!
Her time-traveling duet with Dean Martin on 'Baby, It's Cold Outside' is captivating. She has an extremely broad stylistic range and is a terrific mimic. If no one told you the lady's voice was a 21st century superstar you would think it was a Rat Pack-era songstress holding her own with Dino. Brilliant!
It almost makes up for the covert ops. One could blame all that on Martina's label but she is extremely hands-on in the production, design, and marketing of her albums. I've found out she has reissued this album with two extra songs tacked on before but it was with the original artwork. Since she's added 6 songs altogether over the years, why hasn't she just created a new Christmas CD? It would save confusion and animosity (which this reissue is certainly causing, judging by the online comments) and make more money. I understand that RCA wanted a vehicle to put the Dean Martin duet into (and it's working, this is currently just behind Josh Groban's Christmas album on the charts) but I still think this was a misstep.Final score:
Music - A minus
Marketing - C plus
Tuesday, December 04, 2007
Book - Carry A Big Stick: The Uncommon Heroism of Theodore Roosevelt (B-)
Author: George Grant
Buy it
An insatiable reader of books on TR, I was immediately drawn to Carry a Big Stick by its small size and by its wealth of quotes from the President (something many authors neglect). Grant is unabashedly hero-worshipping here: no negatives are to be found. If one begins "Stick" with this in mind it can be accepted and tolerated.
Though it is clearly colored by Grant's conservative ideology (he tags turn of the 20th century politicians with turn of the 21st century labels - and greatly underrepresents TR's progressive leanings), it does reveal some facts about Roosevelt's religious convictions and church activities - something that is absolutely ignored in most modern biographies of historic figures.
The book is less a chronological account than a quick look by turns at each facet of the multi-talented and constantly moving President. It is adequate as an introduction but is highly selective.
Reprinted in paperback as The Courage and Character of Theodore Roosevelt. Oddly, it's not any cheaper!
Final score: B minus
Wednesday, November 28, 2007
CD/DVD - Greatest Hits Special Edition (A-)
Artist: Amy Grant
Buy it
This compilation was not exactly necessary. Grant's last greatest hits album came out only three years ago. It's primary purpose is as a sampler of the brighter sound of her recently recently reissued, newly remastered back catalog. There are two different versions of this set running around: A straightforward CD version and a CD/DVD Special Edition. This review is of the latter.
I am an Amy completist, so I already own every song and music video on this special edition set. It's difficult for me to judge the strength of the track selection because even though I love them all, there are dozens of favorite songs that aren't on it. That's just going to happen when trying to boil 30 years and 20-odd albums down into 19 songs.
I will say to the new or casual fan who is looking for a greatest hits CD to start their AG collection that this is a pretty good place to start. Her first compilation, The Collection was a good, relatively deep summation of Amy's purely Contemporary Christian period and is a great choice for those who want to focus solely on that era. Greatest Hits 1986-2004 covers her crossover and pop hit periods fairly well.
This CD is an extremely broad sampling of both eras but skews to the lite pop - with better remastered sound quality for current systems. The mix of cheery 70s-style acoustics and string sections with 80s synthesizers and 90s adult pop can be a bit jarring but it's all part of Amy's growth over the decades. My only real gripe is the underrepresentation of her introspective and gut-wrenchingly honest work from Lead Me On and Behind the Eyes, which may be regarded by posterity as her two best albums.
The greatest benefit (for new Amy fans and old) of this 2-disc Special Edition - in my humble opinion - is the nearly half hour of interview footage she provides (Preview). Just sitting on the couch with a mug of coffee, reminiscing and vividly describing the hows and whys of the peaks and valleys of her recording career and her life, Amy demonstrates exactly why she has touched audiences and made devoted fans for three decades. It's nearly impossible not to like such an earthy, gentle person who is openly alloyed with the wonderment and messiness of real life. She's like an ideal next door neighbor that you'd love to sit around and discuss life, love, and faith with. And in some ways we already have because it's all there in her songs.
Monday, November 05, 2007
Golden Compass furor
From Christianity Today:
I feel part of the difference in reaction is that Golden Compasss is targeted primarily at children and parents may see it as an attack on their children's burgeoning spiritual development. And on their parenting efforts. Not being a parent, I suppose I'm not as alarmed. Parental and religious authority is continually questioned and maligned in our current popular entertainment. I can't really see how this is any more egregious. And peddling fear about it is potentially more harmful, in my book, than the movie/books themselves. Fear bred in ignorance will eventually bring about resentment and either cruelty or curiosity. Confronting it, respectfully acknowledging its artistic merit (if there is any), debunking its myths and misconceptions, and - most importantly - admitting where it may have a point is much more productive in the long run. Pull the teeth of the Bumble, to paraphrase Yukon Cornelius.
I would think that a wise and knowledgeable parent would explain the subtle symbolism to children of a certain age. It could be a great opportunity to teach lessons in witnessing to skeptics - and addressing the child's own honest questions about authority and control, actually. Kids will hear all of author Pullman's arguments and stereotypes eventually. Why not take this chance to explain the fallacies in them? Just as with The Da Vinci Code, I'm sure there will be balancing books and guides published to coincide with the movie's release. Parents without much knowledge of philosophy and apologetics could utilize them in preparation.
Also, if we go after this thing with torches and pitchforks, won't we just be proving Pullman's point that we don't trust people to think for themselves?
I had made plans to see The Golden Compass before I knew about any of Pullman's books. It just looked really cool. I may see it yet. I've read Bertrand Russell, so this guy holds no terror for me.
Golden Compasss Under Fire
Just a little over a year ago, a major motion picture hit theaters worldwide carrying a message full of hooey, heresy and borderline blasphemy. But rather than stage boycotts and cry foul, many Christians embraced the film as a "tool" for evangelism and for "engaging" popular culture; one even called it Dan Brown's "gift to the church."
So it was with The Da Vinci Code. Now here comes The Golden Compass, slated to hit theaters in December, and Christians are reacting quite differently. Instead of seeing the film as a tool, opportunity, or gift, some are already calling for a boycott because of the movie's anti-religious elements.
More>>
I feel part of the difference in reaction is that Golden Compasss is targeted primarily at children and parents may see it as an attack on their children's burgeoning spiritual development. And on their parenting efforts. Not being a parent, I suppose I'm not as alarmed. Parental and religious authority is continually questioned and maligned in our current popular entertainment. I can't really see how this is any more egregious. And peddling fear about it is potentially more harmful, in my book, than the movie/books themselves. Fear bred in ignorance will eventually bring about resentment and either cruelty or curiosity. Confronting it, respectfully acknowledging its artistic merit (if there is any), debunking its myths and misconceptions, and - most importantly - admitting where it may have a point is much more productive in the long run. Pull the teeth of the Bumble, to paraphrase Yukon Cornelius.
I would think that a wise and knowledgeable parent would explain the subtle symbolism to children of a certain age. It could be a great opportunity to teach lessons in witnessing to skeptics - and addressing the child's own honest questions about authority and control, actually. Kids will hear all of author Pullman's arguments and stereotypes eventually. Why not take this chance to explain the fallacies in them? Just as with The Da Vinci Code, I'm sure there will be balancing books and guides published to coincide with the movie's release. Parents without much knowledge of philosophy and apologetics could utilize them in preparation.
Also, if we go after this thing with torches and pitchforks, won't we just be proving Pullman's point that we don't trust people to think for themselves?
I had made plans to see The Golden Compass before I knew about any of Pullman's books. It just looked really cool. I may see it yet. I've read Bertrand Russell, so this guy holds no terror for me.
Tuesday, October 23, 2007
Film - The Day of the Killer Tornadoes (B)
Here, in its entirety, is a short documentary film from the Civil Defense Agency that figured very prominently in my childhood. That's primarily because I lived through the Huntsville, Alabama portion of it. The quality of the film is not great (it wasn't even by 1970s standards!) and some of the re-enactments using the acutal participants are unintentionally humorous but the event it records - the 1974 Super Outbreak - was dreadfully serious. 148 tornadoes (the most ever in a single weather event) struck the Ohio and Tennessee River valleys in a single day, killing 330 people.
This next section includes the town of Xenia, Ohio, which was virtuallly erased by an F-5 tornado that day. It concludes with extensive actual footage from the Huntsville area.
The Huntsville material - and the film - concludes here:
More detailed information on the Super Outbreak is available at http://www.publicaffairs.noaa.gov/storms/
This next section includes the town of Xenia, Ohio, which was virtuallly erased by an F-5 tornado that day. It concludes with extensive actual footage from the Huntsville area.
The Huntsville material - and the film - concludes here:
More detailed information on the Super Outbreak is available at http://www.publicaffairs.noaa.gov/storms/
Thursday, September 27, 2007
TV - Bionic Woman premiere (B-)
Starring Michelle Ryan (Okay, I give in. She's a PBA), Miguel Ferrer, Katee Sackhoff
Now that the pilot has come and gone, how good was it?
First of all, it's manic. It essentially crams a two-hour movie into 43 minutes. The main character, Jamie Sommers, is introduced three minutes into the show, cajoles her sister, goes to work, gets proposed to, survives a devastating crash, is fitted with bionic parts, goes berserk, gets sedated, gets loose and is out on the street - all before the episode is half finished! It never stays in one place or on one emotion more than fifteen seconds.
Jamie spends about ten seconds (I timed it) dealing with the emotional impact of being turned into a cyborg without her consent - then goes back to tending bar. There's also a very serious, life-changing conversation between Jamie and her fiance during a car ride in the opening act that is obviously edited down to the bare bones. All reaction shots and pauses are cut out. It gives you the information you need and moves on. The editor is like Joe Friday with ADD. At any rate, it gives extremely short shrift to the characters.
Apart from that, I thought it still had great potential. Seriously! It has very high production values, good special effects (some very good), and passable acting by most parties. Michelle Ryan (Sommers) holds her own and does some good stunt work, all while keeping her American accent consistent. Keep in mind she's only 23. A pretty scary villain (the prototype bionic woman, who's gone mad) and a good fight sequence with her didn't hurt either. In fact, if they can spread the tension in that scene over more of the show, it could be very interesting indeed.
One thing that bothered me about that battle was a glaring violation of the "Show, don't tell" rule of drama. You should show actions that illustrate the characters' motives, not have them announcing their motives to each other outright. Give the audience credit. In this case the villain, Sara Corvus (played impeccably by scene-stealer Katee Sackhoff), comes right out and says she's gradually replacing her humanity with bionics because "I'm cutting away all the parts of me that are weak." Well, there goes a year's worth of symbolism down the tubes. I'm surprised Jamie didn't respond, "I have abandonment issues. So there!"
I realize it's an action show and they don't want it to get bogged down like Heroes did for a few months last year but I hope that once the audience is hooked the writers will slow down long enough to let these characters breathe. Give them some real back-story beyond having the bullet-point version read by someone in a suit (which is how we find out about most of Jamie's life!)
Watch it yourself at NBC.com.
Final score: B minus
Tuesday, September 11, 2007
Preview - The War (A+)
If you know much about me, you know I take documentary film fairly seriously. I plan to take this one very seriously.
Director and producer Ken Burns is the gold standard for documentary filmmaking for innumerable reasons. But the greatest, I believe, is his ability to blend the overtly empathetic and endlessly analytical halves of his nature and his approach to history into a balanced whole. It's the reason I admire him (and "admire" is a word I rarely use).
Burns has taken a departure in making this 14-hour film, one that has created much anticipation. The War uses only firsthand participants as interview subjects. There are no professional talking heads, no historians providing Monday morning quarterbacking, and no celebrity generals on-screen. Burns says, "You either had to be fighting in the war or waiting for someone you loved to come home from the war to make it into this film."
Much as he followed the lives of several "regular" people in his The Civil War and sprinkled the film with quotes from their memoirs, Burns here picked four cities from four corners of the U.S. in which to find common folk and highlights the telling of the war with their perspectives. It should be fascinating to see how a handful of American GIs and their loved ones - from Mobile, AL; Luverne, MN; Westbury, CT; and Sacramento, CA - touched every aspect and theater of the war, both at home and afar.
The team behind this film distilled thousands of hours of footage into this product. Most of it has never been seen before. Some of it was kept hidden because it was considered too frightening and graphic in those times and because it didn't portray flawless American prosecution of the fighting. But it conveys a reality that does more to honor the memories of the combatants than any sanitized movie from the 1940s ever did. Virtually all the veterans in this project say that, finally, someone's "got it right."
Here is a half-hour preview/behind-the-scenes featurette from PBS.
Just the concept of the project strikes a chord in me and I've gotten a bit emotional at the thought of it.
Please make every effort to watch The War beginning Sunday, September 23 and ending Tuesday, October 2 on all PBS stations. If you can't make it that week, most markets will be running it again beginning October 3.
Here is the Alabama Public Television schedule for The War.
Director and producer Ken Burns is the gold standard for documentary filmmaking for innumerable reasons. But the greatest, I believe, is his ability to blend the overtly empathetic and endlessly analytical halves of his nature and his approach to history into a balanced whole. It's the reason I admire him (and "admire" is a word I rarely use).
Burns has taken a departure in making this 14-hour film, one that has created much anticipation. The War uses only firsthand participants as interview subjects. There are no professional talking heads, no historians providing Monday morning quarterbacking, and no celebrity generals on-screen. Burns says, "You either had to be fighting in the war or waiting for someone you loved to come home from the war to make it into this film."
Much as he followed the lives of several "regular" people in his The Civil War and sprinkled the film with quotes from their memoirs, Burns here picked four cities from four corners of the U.S. in which to find common folk and highlights the telling of the war with their perspectives. It should be fascinating to see how a handful of American GIs and their loved ones - from Mobile, AL; Luverne, MN; Westbury, CT; and Sacramento, CA - touched every aspect and theater of the war, both at home and afar.
The team behind this film distilled thousands of hours of footage into this product. Most of it has never been seen before. Some of it was kept hidden because it was considered too frightening and graphic in those times and because it didn't portray flawless American prosecution of the fighting. But it conveys a reality that does more to honor the memories of the combatants than any sanitized movie from the 1940s ever did. Virtually all the veterans in this project say that, finally, someone's "got it right."
Here is a half-hour preview/behind-the-scenes featurette from PBS.
Just the concept of the project strikes a chord in me and I've gotten a bit emotional at the thought of it.
Please make every effort to watch The War beginning Sunday, September 23 and ending Tuesday, October 2 on all PBS stations. If you can't make it that week, most markets will be running it again beginning October 3.
Here is the Alabama Public Television schedule for The War.
Tuesday, September 04, 2007
DVD - Friday Night Lights: Season 1 (A-)
Starring Kyle Chandler, Connie Britton (PBA), Gaius Charles, Zach Gilford, Minka Kelly, Taylor Kitsch, Adrianne Palicki, Scott Porter, Aimee Teegarden
Arguably the best drama on network television. Why are you not watching it? It was - thankfully - renewed for a second season and will actually air on Friday nights this year beginning October 5.
That wasn't an automatic decision: Friday Night Lights has languished in its timeslot. To its credit, NBC really believes in this show. So much so that it has released this complete season DVD set at the unheard of price of $19.99 - with a money-back guarantee if you don't like it. They really want the word to spread and keep it afloat. I do, too.
Many fans of the show admit that they initially avoided it because they thought it was only about football. But it's not about football. It's about life. It's about high school anxieties, high-pressure jobs, modern-day parenting, the fragility of trust, preserving a marriage, conflicting priorities, sexual morality, physical disabilities, dysfunctional families, reaching out to the children of dysfunctional families and a million other things that pull us all in multiple directions at once. As in life, each time a character recovers from one blow another comes right behind it. Fortunately, things are balanced - as in life - with a healthy dash of perspective and humor.
Some parents will object to the fact that most of the older players are sexually active and drink frequently. Realistically, most junior and senior jocks ARE sexually active and drinking frequently. One kid is depicted as an alcoholic but the rest seem to suffer no consequences from their drinking. Sexually, there is no depiction of the act but there is some before and after imagery. There are plenty of emotional and relational consequences to their "hook-ups." And there are some frank, impassioned, positively-portrayed parental stands made on the subject. Of course, that doesn't mean the kids always listen. Here, mother Tami Taylor (Connie Britton) confronts her daughter Julie (Aimee Teegarden) after spotting her boyfriend buying "protection" at the drugstore.
Britton was robbed of an Emmy nomination this year. Just so you know.
On quality points alone, I'd give this series a full-fledged A. But there is one element that bothers me. Two junior students (one guy and one gal, both the troubled black sheep of the show) have dalliances with adults. Neither story has a happy ending but they are not treated as particularly worse than any other liaison, either. It is not addressed on the show but technically it could all be legal since 17 is the age of consent in Texas. The actors playing the teens are 26 and 24, FYI. But it is still rather creepy.
Final score: A minus
Arguably the best drama on network television. Why are you not watching it? It was - thankfully - renewed for a second season and will actually air on Friday nights this year beginning October 5.
That wasn't an automatic decision: Friday Night Lights has languished in its timeslot. To its credit, NBC really believes in this show. So much so that it has released this complete season DVD set at the unheard of price of $19.99 - with a money-back guarantee if you don't like it. They really want the word to spread and keep it afloat. I do, too.
Many fans of the show admit that they initially avoided it because they thought it was only about football. But it's not about football. It's about life. It's about high school anxieties, high-pressure jobs, modern-day parenting, the fragility of trust, preserving a marriage, conflicting priorities, sexual morality, physical disabilities, dysfunctional families, reaching out to the children of dysfunctional families and a million other things that pull us all in multiple directions at once. As in life, each time a character recovers from one blow another comes right behind it. Fortunately, things are balanced - as in life - with a healthy dash of perspective and humor.
Some parents will object to the fact that most of the older players are sexually active and drink frequently. Realistically, most junior and senior jocks ARE sexually active and drinking frequently. One kid is depicted as an alcoholic but the rest seem to suffer no consequences from their drinking. Sexually, there is no depiction of the act but there is some before and after imagery. There are plenty of emotional and relational consequences to their "hook-ups." And there are some frank, impassioned, positively-portrayed parental stands made on the subject. Of course, that doesn't mean the kids always listen. Here, mother Tami Taylor (Connie Britton) confronts her daughter Julie (Aimee Teegarden) after spotting her boyfriend buying "protection" at the drugstore.
Britton was robbed of an Emmy nomination this year. Just so you know.
On quality points alone, I'd give this series a full-fledged A. But there is one element that bothers me. Two junior students (one guy and one gal, both the troubled black sheep of the show) have dalliances with adults. Neither story has a happy ending but they are not treated as particularly worse than any other liaison, either. It is not addressed on the show but technically it could all be legal since 17 is the age of consent in Texas. The actors playing the teens are 26 and 24, FYI. But it is still rather creepy.
Final score: A minus
Wednesday, August 15, 2007
Advertising - The Trunk Monkey (A-)
Ad campaign for a car dealership chain in Oregon. Cold, a bit violent, but funny as all get out.
Compilation video:
Final score: A minus
Compilation video:
Final score: A minus
Friday, August 10, 2007
News - 'Bionic Woman' sister recast, healed
Just read an article on the change of actresses and abilities for the role of Becca Sommers on Bionic Woman. She's no longer played by Mae Whitman and she's no longer deaf.
I am not happy about this, for two reasons.
First, could it be any more obvious that they are trying to up the hottie factor? They dropped a short, average-sized, cute-but-punk actress and replaced her with petite, pretty, former tween pop singer Lucy Hale.
And how many beautiful women do they need? Can't anyone on TV be simply average? Michelle Ryan (Jamie Sommers) is very pretty. She's also, in Hollywood parlance, "voluptuous." This means she actually looks like she eats three squares a day and fills out a C naturally. Is that their problem? A little insurance against people who find the bionic woman "fat"?
Secondly (and most egregiously), they took away Becca's deafness. They say it doesn't serve the plot anymore. Since when does deafness have to be a plot device?!?! Is Jamie Sommers' skin color a plot device? Can't she just have a deaf sister and know sign language without it being a special thing? Could they not just communicate that way and nothing be made of it? And if they felt compelled to have it be utilitarian, fine. Make Jamie insist that her bosses give her sister bionic hearing. Have her sister argue with her about the identity aspects of it. Just Google cochlear implants' divisive effect on the deaf community and you've got material for a month. It was not rocket science to think of that. Took me three seconds.
I am SO disappointed about this move. I was looking forward to seeing a disabled character with depth, who wasn't played as a saint and had a giant chip on her shoulder that wasn't related to her disability. Not gonna happen now.
I'll watch Bionic Woman for all the other reasons I said I wanted to earlier: Female empowerment; promising lead actress; great fight scene potential. But I'll be more skeptical about it. They'll have to impress me to keep me coming back. And Lucy Hale had be better be good.
Friday, August 03, 2007
Preview - Back to You (B-)
Starring Kelsey Grammer, Patricia Heaton (PBA)
Back to You features two of the best actors in TV history in a show produced by the creators of the most award-winning comedy of all time. How can it go wrong? It's hard to tell from the available clips (laid end to end here with a few gaps) but I have some notes to share after you watch them:
Heaton comes off fairly well here because she's not automatically likeable and she's in an office setting in a suit. This puts some healthy perceptual distance between her and Debra Barone. But Grammer may be cursed with Frasier Crane till the day he dies. Everything is lose/lose. Put him in a suit and he looks like Frasier. Put him in anything else and he looks like Frasier trying to be a regular guy. The hard edge he's shooting for here is often reminiscent of the voice and posture Frasier would assume when he was trying to impress Marty's pals. Still, Grammer has the skill to make us buy Chuck in time, so I'll give him a chance to pull it off.
The supporting cast is looking shaky at best. The nerd has a cliched appeal but the invisible guy is truly invisible. He has all the presence of an empty cereal box. Hopefully this is impression comes merely from the brief time he has in these clips.
The writing is average in spots, above average in others. I like the falcon line!
All in all, it has some potential and a great pedigree. We'll see if it's allowed to find its footing.
Final preview score: B minus
Back to You features two of the best actors in TV history in a show produced by the creators of the most award-winning comedy of all time. How can it go wrong? It's hard to tell from the available clips (laid end to end here with a few gaps) but I have some notes to share after you watch them:
Heaton comes off fairly well here because she's not automatically likeable and she's in an office setting in a suit. This puts some healthy perceptual distance between her and Debra Barone. But Grammer may be cursed with Frasier Crane till the day he dies. Everything is lose/lose. Put him in a suit and he looks like Frasier. Put him in anything else and he looks like Frasier trying to be a regular guy. The hard edge he's shooting for here is often reminiscent of the voice and posture Frasier would assume when he was trying to impress Marty's pals. Still, Grammer has the skill to make us buy Chuck in time, so I'll give him a chance to pull it off.
The supporting cast is looking shaky at best. The nerd has a cliched appeal but the invisible guy is truly invisible. He has all the presence of an empty cereal box. Hopefully this is impression comes merely from the brief time he has in these clips.
The writing is average in spots, above average in others. I like the falcon line!
All in all, it has some potential and a great pedigree. We'll see if it's allowed to find its footing.
Final preview score: B minus
Thursday, August 02, 2007
CD - Time Again ... Live (B+)
Artist: Amy Grant
Buy it
And the kids wonder why she's still a dominant force in Christian music, even though she hasn't had a number one pop hit in years. Well, Grant has a back catalog of 200-plus quality, honest, lived-in songs and a charming and lovably unadorned "Ideal Friend" public persona that no other CCM artist can touch. And she's always been a formidable vocal stylist. That's why.
As others have noted, her singing and songwriting abilities were frequently overlooked because of her unmatched popularity and her looks. But time has proven her impressively capable in both arenas. In fact, some of her lyrics are revealed as prescient and are even more powerful as she (actually, we) go through midlife. Her voice? Possibly the easiest to listen to for extended periods that I've ever heard. Historically gentle and flawed but packed with emotional precision. Sandi Patti may have been the premiere Christian vocalist in the 1980s but Amy Grant was the impassioned voice of everyone's hopes and doubts.
Appearing in the same city (but not the same venue!) where she gave her first professional concert 29 years ago, Grant is light years removed from that gawky, whispery teenaged girl hiding behind a guitar on a Fort Worth stage in 1978. Still sweet and self-effacing, she's an accomplished musician and a confident entertainer joyfully leading a band instead of being instructed by one. [Side note: Yes. We're that old.]
A word of caution: If you're fixated on being able to sing along note-for-note with these classic songs, you may be in for a disappointment with this 17-song live set. Not only have the arrangements and instrumentation of her older synth-pop tunes been altered for a casual stripped-down feel but Amy is more experimental in her phrasing these days. If you appreciate the Frank Sinatra/Willie Nelson school of reinterpretation with each performance, you'll love this set. If you're interested in a perfectly recreated nostalgia session, not so much.
The constraints of the single-CD format cause some of Amy's trademark just-folks banter and pindrop-quiet stories of the superior DVD presentation to be lost. The cheerful stage presence that masks some of her vocal missteps isn't there to help her, either. A few very good songs are left out. I'd recommend getting the DVD, too, if you can afford both. But this is a good audio version for the car and iPod.
Final score: B plus
Wednesday, August 01, 2007
Preview - Bionic Woman 2007 (A-)
Starring Michelle Ryan, Miguel Ferrer, Katee Sackhoff
I plan to preview a few shows from the upcoming TV season that I find interesting. So here's the first one. Be forewarned: This is a really extensive trailer that's essentially a 5-minute distillation of the pilot movie. So if you don't want the episode spoiled, skip past the clip!
This re-imagination of one of my favorite childhood shows, The Bionic Woman, looks pretty cool. It certainly has greatness potential. With what little I can see, Michelle Ryan seems to be doing a commendable job so far with a role that has tons of 1970s-pop-culture-icon baggage. The "realness" upgrades could easily trip her up in writing that makes her merely another angsty superchick but I truly hope this doesn't happen. And her American accent is darn good. Most Brits play it safe with a flat, generic accent but she's doing a regional one! I can't quite figure out which, though.
Sadly, solo female action heroes almost never bring in huge numbers on the big or small screen, regardless of the quality of the material. Buffy The Vampire Slayer, though it was popular for a WB show and a huge critical success, routinely came in the bottom 50 in the Nielsens. Alias (which struggled for all of its five years on a major network) opened with two of the best seasons of any show ever then fell into a funk of ratings-desperate plotting and schedule changes and limped to a closure that would not have been afforded most other shows. I'm afraid the same gender bias may hurt this show's chances as well. And that' what it is. Bias. If I took the same show with the same writing and production and reversed the genders, it'd be an instant hit. Please send our young women a better message than this. It's shameful.
NBC is either extremely confident about Bionic Woman or is taking a huge gamble, hoping it and the superhero-related Heroes will boost their ailing flagship network. It may perform better on a niche channel, though. We'll see.
Final trailer score: A minus
I plan to preview a few shows from the upcoming TV season that I find interesting. So here's the first one. Be forewarned: This is a really extensive trailer that's essentially a 5-minute distillation of the pilot movie. So if you don't want the episode spoiled, skip past the clip!
This re-imagination of one of my favorite childhood shows, The Bionic Woman, looks pretty cool. It certainly has greatness potential. With what little I can see, Michelle Ryan seems to be doing a commendable job so far with a role that has tons of 1970s-pop-culture-icon baggage. The "realness" upgrades could easily trip her up in writing that makes her merely another angsty superchick but I truly hope this doesn't happen. And her American accent is darn good. Most Brits play it safe with a flat, generic accent but she's doing a regional one! I can't quite figure out which, though.
Sadly, solo female action heroes almost never bring in huge numbers on the big or small screen, regardless of the quality of the material. Buffy The Vampire Slayer, though it was popular for a WB show and a huge critical success, routinely came in the bottom 50 in the Nielsens. Alias (which struggled for all of its five years on a major network) opened with two of the best seasons of any show ever then fell into a funk of ratings-desperate plotting and schedule changes and limped to a closure that would not have been afforded most other shows. I'm afraid the same gender bias may hurt this show's chances as well. And that' what it is. Bias. If I took the same show with the same writing and production and reversed the genders, it'd be an instant hit. Please send our young women a better message than this. It's shameful.
NBC is either extremely confident about Bionic Woman or is taking a huge gamble, hoping it and the superhero-related Heroes will boost their ailing flagship network. It may perform better on a niche channel, though. We'll see.
Final trailer score: A minus
Tuesday, July 17, 2007
DVD - Mr. Smith Goes to Washington (A+)
Starring Jean Arthur, James Stewart, Claude Rains, Edward Arnold, and Thomas Mitchell
Screenplay by Sidney Buchman based on a story by Lewis Foster
Directed by Frank Capra
This is my favorite film of all time. I watch it every election eve.
It paints a surprisingly frank picture of the ugly nature of politics and begs for just one honest man to make a difference. James Stewart is flawless and absolutely irreplacable as that man - Jeff Smith. The stellar Capra stable of players from Jean Arthur to Edward Arnold to H. B. Warner are pitch perfect. But my special favorite may in fact be Claude Rains, who plays an honest man gone bad with such conflict and realism that he makes a potentially cartoon "villain" feel all the more palpably plausible. This is why "Mr. Smith" may be the ne plus ultra of idealistic films but it is not unrealistic. And I have yet to see any film sustain a half hour that matches this film's third act - the filibuster - in intensity and exaltation.
It's interesting to see how many amateur reviews reveal the film as a Rorschach test for viewers' political leanings. One sees it as taking a stand against the liberal Democrats in power at the time, another as raising an alarm against Republican business interests controlling corrupt politicians. That's funny, because I always thought the film was FOR something, that it was a monument to the American ideals of truth, justice, equality, and the common good - regardless of party.
One more thing: It disheartens me to hear comments about how "cheesy" this film is and how all the manners and idioms of 1939 make it unwatchable. I think these folks are incapable of appreciating any culture but their own. They would probably go to Spain and make fun of people that speak Spanish. Even though it's set in the US, this movie takes place in a different culture: Depression-era America. Back then, people knew when you were "full of hooey" and called you a "crackpot" to let you know it. That may sound funny to some today but our current slang will probably sound even worse in 70 years.
Final score: A+
Screenplay by Sidney Buchman based on a story by Lewis Foster
Directed by Frank Capra
This is my favorite film of all time. I watch it every election eve.
It paints a surprisingly frank picture of the ugly nature of politics and begs for just one honest man to make a difference. James Stewart is flawless and absolutely irreplacable as that man - Jeff Smith. The stellar Capra stable of players from Jean Arthur to Edward Arnold to H. B. Warner are pitch perfect. But my special favorite may in fact be Claude Rains, who plays an honest man gone bad with such conflict and realism that he makes a potentially cartoon "villain" feel all the more palpably plausible. This is why "Mr. Smith" may be the ne plus ultra of idealistic films but it is not unrealistic. And I have yet to see any film sustain a half hour that matches this film's third act - the filibuster - in intensity and exaltation.
It's interesting to see how many amateur reviews reveal the film as a Rorschach test for viewers' political leanings. One sees it as taking a stand against the liberal Democrats in power at the time, another as raising an alarm against Republican business interests controlling corrupt politicians. That's funny, because I always thought the film was FOR something, that it was a monument to the American ideals of truth, justice, equality, and the common good - regardless of party.
One more thing: It disheartens me to hear comments about how "cheesy" this film is and how all the manners and idioms of 1939 make it unwatchable. I think these folks are incapable of appreciating any culture but their own. They would probably go to Spain and make fun of people that speak Spanish. Even though it's set in the US, this movie takes place in a different culture: Depression-era America. Back then, people knew when you were "full of hooey" and called you a "crackpot" to let you know it. That may sound funny to some today but our current slang will probably sound even worse in 70 years.
Final score: A+
Book - Robert E. Lee: A Biography (A-)
Author: Emory M. Thomas
Thomas is ambitious but ultimately correct in proclaiming his compelling Lee biography a post-revisionist portrait. He attempts (with admirable success) to balance his respect for Lee's character and ability (without Douglas Freeman's blatant worship and apocryphal stories) with honest accounts of his faults and contradictions (minus the carping of Connelly's 'The Marble Man' and Nolan's 'Lee Considered'). In the process, Thomas has captured as much as any writer is able the humanness of Lee.
I was struck throughout the book by events and words that mirror my own aspirations and failures. I think the highest praise I can offer Thomas's book is that this avid Lee fan and Civil War buff felt like he had met Robert E. Lee for the first time.
Final score: A-
Thomas is ambitious but ultimately correct in proclaiming his compelling Lee biography a post-revisionist portrait. He attempts (with admirable success) to balance his respect for Lee's character and ability (without Douglas Freeman's blatant worship and apocryphal stories) with honest accounts of his faults and contradictions (minus the carping of Connelly's 'The Marble Man' and Nolan's 'Lee Considered'). In the process, Thomas has captured as much as any writer is able the humanness of Lee.
I was struck throughout the book by events and words that mirror my own aspirations and failures. I think the highest praise I can offer Thomas's book is that this avid Lee fan and Civil War buff felt like he had met Robert E. Lee for the first time.
Final score: A-
Book - Blue Like Jazz (B+)
Author: Donald Miller
Though I don't see eye-to-eye with Don Miller on everything, I can't help but like the guy. He is so candid about his thought life, his doubts, his shortcomings, his vices, and his all-around goofiness that he's like a favorite cousin you find both cool and amusingly befuddling.
Miller's self-deprecating wit, his conversational style, and his arms-length relationship with his evangelical background are his trademarks. Most of the chapters in "Jazz" are about mini-epiphanies he's had along his spiritual journey. You feel like he's hanging out with you at dusk, sitting on the hood of a car, swapping life stories and wondering about why crap works the way it does. It's like he circles around things in life until it dawns on him that - even though its representatives are often lame and its concepts seem outdated - Christian spirirtuality actually had the answers he was looking for.
Even though he tries to maintain a fairly liberal and liberated life, deep down he's fairly orthodox in his beliefs. He just doesn't dress them up in 19th century traditions, rules and regulations, and both fear- and comfort-based judgmentalism.
Take it out for a spin.
Final score: B+
Though I don't see eye-to-eye with Don Miller on everything, I can't help but like the guy. He is so candid about his thought life, his doubts, his shortcomings, his vices, and his all-around goofiness that he's like a favorite cousin you find both cool and amusingly befuddling.
Miller's self-deprecating wit, his conversational style, and his arms-length relationship with his evangelical background are his trademarks. Most of the chapters in "Jazz" are about mini-epiphanies he's had along his spiritual journey. You feel like he's hanging out with you at dusk, sitting on the hood of a car, swapping life stories and wondering about why crap works the way it does. It's like he circles around things in life until it dawns on him that - even though its representatives are often lame and its concepts seem outdated - Christian spirirtuality actually had the answers he was looking for.
Even though he tries to maintain a fairly liberal and liberated life, deep down he's fairly orthodox in his beliefs. He just doesn't dress them up in 19th century traditions, rules and regulations, and both fear- and comfort-based judgmentalism.
Take it out for a spin.
Final score: B+
Sunday, July 08, 2007
DVD - Little Miss Sunshine (B+)
Starring Greg Kinnear, Toni Collette, Steve Carrell, Abigail Breslin, Paul Dano, and Alan Arkin
Written by Michael Arndt
Directed by Jonathan Dayton and Valerie Faris
R for pervasive profanity, drug use, adult subject matter
Buy it
Up front: If you don't like quirky indie films, or if you believe the perfect family is even remotely attainable in this lifetime, you'll hate this.
The biggest strike against this movie is its hype. Nothing can live up to the expectations Fox Searchlight has set Little Miss Sunshine up with. It is not a crazy, non-stop laugh riot but rather a whimsical, persistent little movie that often charms its way into your heart and drops a huge lesson in your lap - before falling apart at the end.
The finale was a unusual idea (and turned the inappropriateness of the Jon Benet circuit on its head) but flirted with pervish-ness in itself. And it sort of devolved into an overlong, indulgent mess when everyone pitched in.
Still, it's a thinker. And I like thinkers.
Final score: B plus
Written by Michael Arndt
Directed by Jonathan Dayton and Valerie Faris
R for pervasive profanity, drug use, adult subject matter
Buy it
Up front: If you don't like quirky indie films, or if you believe the perfect family is even remotely attainable in this lifetime, you'll hate this.
The biggest strike against this movie is its hype. Nothing can live up to the expectations Fox Searchlight has set Little Miss Sunshine up with. It is not a crazy, non-stop laugh riot but rather a whimsical, persistent little movie that often charms its way into your heart and drops a huge lesson in your lap - before falling apart at the end.
The finale was a unusual idea (and turned the inappropriateness of the Jon Benet circuit on its head) but flirted with pervish-ness in itself. And it sort of devolved into an overlong, indulgent mess when everyone pitched in.
Still, it's a thinker. And I like thinkers.
Final score: B plus
Friday, July 06, 2007
DVD - The Best of Janet Paschal (A-)
I'm not a huge fan of the genre but I have a genuine appreciation for Southern Gospel, not least because of my childhood exposure to it. Well, in my limited experience, one of the greatest vocalists ever across any style is Janet Paschal. She has been a favorite of mine since the early 1980s when she toured with tenor John Starnes in Jimmy Swaggart's band. Within a few years she went entirely solo and soon became (and remains) a fixture in uberproducer Bill Gaither's series of video specials. This DVD is a collection of Paschal's most popular moments from those shows over the past two decades.
Paschal has always been a much better performer live than she is in the studio. The audience and the opportunity to physically embody the song for them energize her in ways that a sound-proofed room could never do. And at the half-century mark, she still has the broadest smile and her eyes still have the brightest sparkle I've ever seen onstage.
Between songs, Gaither and Pashcal discuss her feelings for each song and they share memories of the Homecoming tours. Gaither reiterates her reputation as a perpetually positive and thoughtful person and she giggles in response. In an understated moment, Janet also recounts her recent battle with breast cancer and her tortuous rounds of intensive chemotherapy. She has been cancer-free for a year or so and is now touring again.
Here, in a low-quality version of a highlight from the early '90s, Janet floors George Younce, Jessy Dixon, Vestal Goodman and a host of other Gospel legends with a gotta-shout, gotta-dance rendition of "Born Again". If this don't light your fire, your wood's wet!
In this clip, she acts as worship leader to the Homecoming team and ends in a moving duet with gospel pioneer Vestal Goodman.
If I have any complaint, it's that the second half of the disc contains virtually no uptempo numbers and this breaks up the rhythm of the package.
Final score: A minus
Saturday, June 09, 2007
TV - Drumming Fun
Three of my favorite things: Cheap Trick's Bun E. Carlos, a cute brunette (aka, Torry Castellano of The Donnas, who's usually blonde), and good drumming.
Hey, I was told honesty was the best policy!
Hey, I was told honesty was the best policy!
Tuesday, May 29, 2007
Movie - Spider-Man 3 (C+)
Starring Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, Bryce Dallas Howard
Directed by Sam Raimi
PG-13 for intense action violence, adult themes, profanity
I had such low expectations going into this movie that it had nowhere to go but up in my book. I am a firm believer in comic book movies having only one villain - two at the most if it's handled exceptionally well. Beyond that the story always becomes a muddled mess with no character development and therefore no emotional stakes in the outcomes of the battles. The multiple villain approach helped kill the Batman franchise in the 1990s and it comes perilously close to killing this one. It has four: The Sandman, Venom, the New Goblin, and a symbiotic goo from space that makes Spidey evil.
But what really killed the Batman series was campiness - and it rears its ugly head in full force right smack in the middle of Spider-Man 3. Director Sam Raimi flirted with silliness in Spider-Man 2, when he built a Peter Parker montage around B.J. Thomas' "Raindrops Keep Fallin' on My Head", replete with a goofy freeze-frame finish that reeked of 70s TV shows. But the rest of the film shook that bit of misjudgment off as though it were just a momentary in-joke. This time around, Raimi indulges in a protracted sequence of events over several scenes that becomes more and more incredible and painful to watch as it goes on.
In this story, Parker is gradually transformed into a mean-spirited jerk by an alien life-form that has attached itself to him and feeds off his negative emotions. As this progresses, Parker becomes more selfish, narcissistic, and sadistic. It starts off with a believably uncomfortable callousness towards his girlfriend Mary Jane and a vengeful, murderous battle with Sandman.
But it immediately veers off into the ridiculous, starting with an extreme makeover of expensive European suits and an Adolf Hitler haircut (no lie), proceeding to Parker jive-walking down the street winking at women who are openly disgusted with him - all set to funky music rejected from a blaxploitation film. This goes on for some time. Then he blows off a one-ended phone conversation with exaggerated, cliche-riddled preening (and more winking) for a gawky girl. Then he goes to a nightclub and commandeers the piano, dances on the bar with super-powered computer-generated swings and flips right out of The Mask, and the crowd goes wild. Well, the crowd in the nightclub did. The crowd in the theater said, and I quote, "Boy, that was lame," and "This is getting stupid," and "That sucked." My wife had covered her eyes. She couldn't watch it anymore.
The rest of the movie was a B flirting with a B minus. But that sequence yanked it down to a
Final score: C+
Directed by Sam Raimi
PG-13 for intense action violence, adult themes, profanity
I had such low expectations going into this movie that it had nowhere to go but up in my book. I am a firm believer in comic book movies having only one villain - two at the most if it's handled exceptionally well. Beyond that the story always becomes a muddled mess with no character development and therefore no emotional stakes in the outcomes of the battles. The multiple villain approach helped kill the Batman franchise in the 1990s and it comes perilously close to killing this one. It has four: The Sandman, Venom, the New Goblin, and a symbiotic goo from space that makes Spidey evil.
But what really killed the Batman series was campiness - and it rears its ugly head in full force right smack in the middle of Spider-Man 3. Director Sam Raimi flirted with silliness in Spider-Man 2, when he built a Peter Parker montage around B.J. Thomas' "Raindrops Keep Fallin' on My Head", replete with a goofy freeze-frame finish that reeked of 70s TV shows. But the rest of the film shook that bit of misjudgment off as though it were just a momentary in-joke. This time around, Raimi indulges in a protracted sequence of events over several scenes that becomes more and more incredible and painful to watch as it goes on.
In this story, Parker is gradually transformed into a mean-spirited jerk by an alien life-form that has attached itself to him and feeds off his negative emotions. As this progresses, Parker becomes more selfish, narcissistic, and sadistic. It starts off with a believably uncomfortable callousness towards his girlfriend Mary Jane and a vengeful, murderous battle with Sandman.
But it immediately veers off into the ridiculous, starting with an extreme makeover of expensive European suits and an Adolf Hitler haircut (no lie), proceeding to Parker jive-walking down the street winking at women who are openly disgusted with him - all set to funky music rejected from a blaxploitation film. This goes on for some time. Then he blows off a one-ended phone conversation with exaggerated, cliche-riddled preening (and more winking) for a gawky girl. Then he goes to a nightclub and commandeers the piano, dances on the bar with super-powered computer-generated swings and flips right out of The Mask, and the crowd goes wild. Well, the crowd in the nightclub did. The crowd in the theater said, and I quote, "Boy, that was lame," and "This is getting stupid," and "That sucked." My wife had covered her eyes. She couldn't watch it anymore.
The rest of the movie was a B flirting with a B minus. But that sequence yanked it down to a
Final score: C+
Thursday, May 03, 2007
TV - Goodbye, Girls
After several months of coquettish avoidance, the CW network and the creative team behind the show have finally announced what has been obvious to the entire world for a painfully long time: Gilmore Girls will be no more after this season's finale.
Easily one of the ten best series of this century, the show has been in decline for the better part of 18 months due (in no small part) to the abrupt departure of its original creator, Amy Sherman Palladino. I don't mind them stopping before it gets too ugly. But it will be sorely, sorely missed.
The rapid-fire dialogue - fortified with seemingly limitless literary and pop culture references and rare, razor-sharp wit and sarcasm modeled after 1930s screwball comedies - gets all the glory and it IS what hooked us. But the loving yet hard-fought relationships between the slightly off-center characters also kept us coming back.
Gilmore Girls had something for everyone. There was just enough teen angst for the high school girls who hung on every twist and turn in young Rory's love life. The literate (e.g., namechecking Dorothy Parker and Robert Benchley) and nostalgic (70s and 80s references in every episode) quips and the confrontations between single mom Lorelai and her judgmental, controlling mother kept adults in stitches week after week.
Special kudos to actress Lauren Graham (PBA), who anchored the show both in humor and in drama and set the pace for all the other actors in delivering an hour's worth of dialogue in 43 minutes week after week. NO ONE else could ever be Lorelai Gilmore.
Here's a first season sampler. In less than two minutes they reference Mutual of Omaha's Wild Kingdom, Noah, Shaft, Charlie Brown specials, Richard Simmons, Barbara Hutton, the Menendez murders, The Waltons, Wonder Woman's invisible plane, gauchos, Flashdance, Annie Oakley, Elsa Klensch, Bob Barker, Oscar Levant, Howard Cosell, Mary Poppins tunes, Emily Post, the Iran-Contra scandal, Fawn Hall, Judy Blume, 50s monster movie titles, Nietzsche, Dawson's Creek, and The Odd Couple:
The Gilmore girls - Lorelai, Rory, and Emily - were a breath of fresh air for seven years. May their Friday night dinners go on forever!
Series Final Score:
Season 1 - A
Seasons 2 & 3 - A plus
Seasons 4 & 5 - A
Season 6 - B
Season 7 - B minus
Easily one of the ten best series of this century, the show has been in decline for the better part of 18 months due (in no small part) to the abrupt departure of its original creator, Amy Sherman Palladino. I don't mind them stopping before it gets too ugly. But it will be sorely, sorely missed.
The rapid-fire dialogue - fortified with seemingly limitless literary and pop culture references and rare, razor-sharp wit and sarcasm modeled after 1930s screwball comedies - gets all the glory and it IS what hooked us. But the loving yet hard-fought relationships between the slightly off-center characters also kept us coming back.
Gilmore Girls had something for everyone. There was just enough teen angst for the high school girls who hung on every twist and turn in young Rory's love life. The literate (e.g., namechecking Dorothy Parker and Robert Benchley) and nostalgic (70s and 80s references in every episode) quips and the confrontations between single mom Lorelai and her judgmental, controlling mother kept adults in stitches week after week.
Special kudos to actress Lauren Graham (PBA), who anchored the show both in humor and in drama and set the pace for all the other actors in delivering an hour's worth of dialogue in 43 minutes week after week. NO ONE else could ever be Lorelai Gilmore.
Here's a first season sampler. In less than two minutes they reference Mutual of Omaha's Wild Kingdom, Noah, Shaft, Charlie Brown specials, Richard Simmons, Barbara Hutton, the Menendez murders, The Waltons, Wonder Woman's invisible plane, gauchos, Flashdance, Annie Oakley, Elsa Klensch, Bob Barker, Oscar Levant, Howard Cosell, Mary Poppins tunes, Emily Post, the Iran-Contra scandal, Fawn Hall, Judy Blume, 50s monster movie titles, Nietzsche, Dawson's Creek, and The Odd Couple:
The Gilmore girls - Lorelai, Rory, and Emily - were a breath of fresh air for seven years. May their Friday night dinners go on forever!
Series Final Score:
Season 1 - A
Seasons 2 & 3 - A plus
Seasons 4 & 5 - A
Season 6 - B
Season 7 - B minus
Thursday, March 29, 2007
DVD - Christy: The Complete Series (A)
Starring Kellie Martin, Tyne Daly, Randall Batinkoff, Stewart Finlay-McLennan, Tess Harper
Buy it
Synopsis: Based on the bestseller by Catherine Marshall, Christy tells the story of an idealistic nineteen year old who leaves the comforts of her city home to teach school in an impoverished Appalachian community in 1912.
Upon viewing this series again for the first time in more than a decade, I was reminded anew of how much I deeply loved and respected it and how bitterly disappointed I was that it was cancelled after one season. I had forgotten just how much I missed it.
On its surface, 'Christy' looked like a simple attempt by CBS to recreate the alchemy of its hugely successful hit 'Dr. Quinn: Medicine Woman,' with frontier family drama, a benevolent-fish-out-of-water heroine, and a dash of romance. But it ended up being a great deal more than that. It took those elements and added two other critical ingredients. One is well-worn in television storytelling, the other treated like the third rail of commercial TV.
The series was extremely conscientious about treating the denizens of the fictional mountain community of Cutter Gap with respect and dignity even as it showed the negative side of their almost feral life. Christy Huddleston was constantly learning not to condescend to them, even though many of their ways were not only backward but patently self-destructive, even deadly. She consistently learned as much from them as they did from her.
Most surprisingly, the series addressed religion in an adult manner, making it an organic part of the story rather than a theme to visit every so often. Christy teaches school to the mountain children as part of her service as a Christian missionary. She and the other missionaries speak of God as a matter of course and discuss their faith in honest, practical terms. They have faults and address them inconsistently but determinedly. The agnostic local doctor frequently confronts them with questions (some honest, some not) about their beliefs and motives and they respond honestly, sometimes learning more about themselves and their faith in the process, and frequently give the doctor something to chew on as well. And unlike most television Christians, they discover the error of preachiness without recanting the truth they were preaching. This balanced, faith-with-boots-on approach was bracingly refreshing and downright exciting in 1994. Recent attempts to 'humanize' religious characters by essentially making them act like agnostics (Aaron Sorkin, take note) get it all wrong. 'Christy' got it as close to right as I've seen yet.
Enough praise cannot be heaped on the then-19-year-old Kellie Martin, who carried the series with the aplomb of someone twice her age. She makes Christy not only adorable but admirable. And Tyne Daly, who won another Emmy for this role, is a constant treat.
My only qualms with this release echo everyone else's. Double-sided discs are a huge no-no. Handling them with care is always problematic. The low resolution necessary to fit them on so few discs is not too evident on a conventional 25" TV but is downright depressing on a larger set or a computer screen. There are no extras. The discs deserve a C+ at best
Still, take this prize of a series any way you can get it. It's a fantastic find. Just be warned it ended on a cliffhanger that was, sadly, never resolved (except in an inferior TV movie with a different cast).
Final score: A
Sunday, March 11, 2007
DVD - Celtic Woman: A New Journey, Live at Slane Castle (A-)
Featuring Chloe Agnew, Orla Fallon, Lisa Kelly (PBA), Meav Ni Mhaolchatha, Mairead Nesbitt, Hayley Westenra
Buy it
Ever since they began conquering the world a couple years back (or at least the part of it that watches PBS) the Irish vocal troupe Celtic Woman has owned the top spot of the Billboard World chart, with each disc knocked off only by their own projects. This concert will only further entrench them in that position.
Even with those breakout CD sales, the core of their success has lain in their concert presentation. The CDs have been like talismans that invoke the concert experience and keep it fresh until you have time to sit and watch it again. But the stage is where they truly rule.
The first video, recorded at Dublin's Helix Theatre, was beautiful, ethereal, and occasionally almost spiritual. But "A New Journey" adds one more element: Fun! Only fiddler Mairead Nesbitt did any real moving and shaking in the original. The vocalists were - apart from gracefully walking up and down ramps - fairly static. This actually lent itself to the otherworldly quality of the show but also subtracted color from the ladies' personalities.
Well, they are alive and in living color in this show filmed outdoors at famed Slane Castle. The greatest benefit goes, hands down, to singer Lisa Kelly. More than the other vocalists, who hearken primarily from classical and traditional roots, Kelly's background is predominantly in musical theater. Her skills in dramatic presentation, audience connection, and dance are unleashed here and she absolutely relishes it. And Nesbitt? Her already energetic presentation takes off into the utterly dynamic.
This shift is apparent in all the performances. Meav Ni Mhaolchatha, only months removed from maternity leave, seems to find a whole new level of characterization and assurance and it suits her. And the addition of the nearly operatic Hayley Westenra gooses everyone's vocal game up another notch.
If I have a nit to pick on the concert, it would be that the setlist frontloads much of the new material and leaves you with repeats from the first video toward the end.
Something else I'm mulling: The crowd reaction shots that punctuated the PBS version are largely gone in this home video edition. That gives more uninterrupted screen time for the attractive ladies but it takes away some of the emotional energy generated by the visibly captivated and moved audience. As an example, here's the charming Lisa Kelly's performance of "Caledonia" from the PBS edition:
On the DVD. I sort of miss the people.
Overall, however, the concert video scores a solid A.
The extras are thin. There's a well-done "Making Of" featurette that explores the logistics of pulling off this massive production outdoors. But it contains little on the show's stars. And that's it, folks! Unlike the Helix DVD, there are no individual interviews with the ladies here. I'd give the extras a B at best.
Total DVD score: A minus
Buy it
Ever since they began conquering the world a couple years back (or at least the part of it that watches PBS) the Irish vocal troupe Celtic Woman has owned the top spot of the Billboard World chart, with each disc knocked off only by their own projects. This concert will only further entrench them in that position.
Even with those breakout CD sales, the core of their success has lain in their concert presentation. The CDs have been like talismans that invoke the concert experience and keep it fresh until you have time to sit and watch it again. But the stage is where they truly rule.
The first video, recorded at Dublin's Helix Theatre, was beautiful, ethereal, and occasionally almost spiritual. But "A New Journey" adds one more element: Fun! Only fiddler Mairead Nesbitt did any real moving and shaking in the original. The vocalists were - apart from gracefully walking up and down ramps - fairly static. This actually lent itself to the otherworldly quality of the show but also subtracted color from the ladies' personalities.
Well, they are alive and in living color in this show filmed outdoors at famed Slane Castle. The greatest benefit goes, hands down, to singer Lisa Kelly. More than the other vocalists, who hearken primarily from classical and traditional roots, Kelly's background is predominantly in musical theater. Her skills in dramatic presentation, audience connection, and dance are unleashed here and she absolutely relishes it. And Nesbitt? Her already energetic presentation takes off into the utterly dynamic.
This shift is apparent in all the performances. Meav Ni Mhaolchatha, only months removed from maternity leave, seems to find a whole new level of characterization and assurance and it suits her. And the addition of the nearly operatic Hayley Westenra gooses everyone's vocal game up another notch.
If I have a nit to pick on the concert, it would be that the setlist frontloads much of the new material and leaves you with repeats from the first video toward the end.
Something else I'm mulling: The crowd reaction shots that punctuated the PBS version are largely gone in this home video edition. That gives more uninterrupted screen time for the attractive ladies but it takes away some of the emotional energy generated by the visibly captivated and moved audience. As an example, here's the charming Lisa Kelly's performance of "Caledonia" from the PBS edition:
On the DVD. I sort of miss the people.
Overall, however, the concert video scores a solid A.
The extras are thin. There's a well-done "Making Of" featurette that explores the logistics of pulling off this massive production outdoors. But it contains little on the show's stars. And that's it, folks! Unlike the Helix DVD, there are no individual interviews with the ladies here. I'd give the extras a B at best.
Total DVD score: A minus
Thursday, March 08, 2007
Web - Yahoo! Avatars
Yahoo! has a new feature that allows you to create a cartoon avatar of yourself for your online identity as a Yahoo! user. It can be as wild or as close to real life as you want, using all types of clothing and hairstyles and myriad backgrounds. Here's an approximation of the real me:
It's limited in some ways but it's pretty fun to play with. Beats a photo in my case.
It's limited in some ways but it's pretty fun to play with. Beats a photo in my case.
Thursday, February 01, 2007
CD - Postcards (A-)
Artist: Cindy Morgan
Producer: Wayne Kirkpatrick
Buy it
Perhaps the most underrated singer/songwriter in CCM's postmodern era, Cindy Morgan is still as strong an artist as ever. Although she's a fifteen-year, nine-album veteran in an industry with an average life-expectancy of fifteen months and one album, Morgan is not merely a survivor. She has matured and improved, experimented and learned, and never stopped taking risks.
Her clear, strong voice and cover girl looks had the label stuffing her into the Dance/Pop Diva mold on her debut CD - but her true colors shone through even then. The haunting, worshipful, self-penned piano ballad at its close ("How Could I Ask for More") marked her as a sonic and lyrical force to be reckoned with. That talented young woman has become a truly unique voice in the world of Christian music and Postcards shows how.
After a five year break between albums (Morgan became a mom again after her last), Postcards is a breath of fresh air. In addition to her piano-driven center, Morgan here tries her hand at roots music and semi-industrial pop to largely successful effect.
And she continues to grow lyrically. On 'Enough' she really takes on a confrontational edge worthy of classic troublemaker Steve Taylor. And then there's the jaw-dropping honesty of "Mother," which is a cry to Morgan's own mother over the recent breakdown of their relationship. It is a heartstopper. The urgency of approaching middle age really strips off the nonsense in one's life - and it sure show on this album.
This is certainly among her best albums and improves with successive listens.
Final score: A minus
Producer: Wayne Kirkpatrick
Buy it
Perhaps the most underrated singer/songwriter in CCM's postmodern era, Cindy Morgan is still as strong an artist as ever. Although she's a fifteen-year, nine-album veteran in an industry with an average life-expectancy of fifteen months and one album, Morgan is not merely a survivor. She has matured and improved, experimented and learned, and never stopped taking risks.
Her clear, strong voice and cover girl looks had the label stuffing her into the Dance/Pop Diva mold on her debut CD - but her true colors shone through even then. The haunting, worshipful, self-penned piano ballad at its close ("How Could I Ask for More") marked her as a sonic and lyrical force to be reckoned with. That talented young woman has become a truly unique voice in the world of Christian music and Postcards shows how.
After a five year break between albums (Morgan became a mom again after her last), Postcards is a breath of fresh air. In addition to her piano-driven center, Morgan here tries her hand at roots music and semi-industrial pop to largely successful effect.
And she continues to grow lyrically. On 'Enough' she really takes on a confrontational edge worthy of classic troublemaker Steve Taylor. And then there's the jaw-dropping honesty of "Mother," which is a cry to Morgan's own mother over the recent breakdown of their relationship. It is a heartstopper. The urgency of approaching middle age really strips off the nonsense in one's life - and it sure show on this album.
This is certainly among her best albums and improves with successive listens.
Final score: A minus
Tuesday, January 30, 2007
DVD - The Devil Wears Prada (B–)
Starring Meryl Streep, Anne Hathaway (PBA), Emily Blunt, Stanley Tucci, Adrian Grenier
Directed by David Frankel
PG-13 for some sensuality, adult themes, profanity
Buy it
To begin with, this film is billed as a "wicked" comedy but I found no laughs in it. Maybe two or three mild chuckles. All the telegraphed moments that were intended to be comedy were glaringly unoriginal. Virtually every demeaning thing Meryl Streep's character does to Anne Hathaway's has been done in at least two dozen movies in the past 25 years. Only the specifics have been updated. This one simply has the world's greatest actress doing them.
Hathaway was cast because she's not only talented but also gorgeous and not emaciated. She is instantly likeable. Adrian Grenier is bland window-dressing as Hathaway's love interest. Chronic upstager Stanley Tucci is an actor I often can't appreciate but his under-the-top, small doses here keep him from being a liability. Streep is ... Streep! Her deft touch and perfect subtlety keep her absurd character in the realm of possibility. My biggest complaint is that her character's unsubtle hair is distractingly reminiscent of Glenn Close's Cruella Deville in Disney's "101 Dalmatians."
The entertaining and engaging parts primarily involve life lessons from the moral ambiguity that rears it head for Hathaway's character. However its lessons are contradictory and all over the map. Much of it is trite and all of it could have been done in a decent LifeTime movie but Streep and Hathaway bring it a level difficult to find on TV. And Hathaway's Andy ends up in a pretty questionable "happy ending" that belies her independence.
The film tries it hand at subtle apologetics for the high fashion industry. Even though I didn't buy it, a few of them were food for thought. And it's neat to hear Streep wrap attitude around the word "cerulean."
Final score: B minus
Directed by David Frankel
PG-13 for some sensuality, adult themes, profanity
Buy it
To begin with, this film is billed as a "wicked" comedy but I found no laughs in it. Maybe two or three mild chuckles. All the telegraphed moments that were intended to be comedy were glaringly unoriginal. Virtually every demeaning thing Meryl Streep's character does to Anne Hathaway's has been done in at least two dozen movies in the past 25 years. Only the specifics have been updated. This one simply has the world's greatest actress doing them.
Hathaway was cast because she's not only talented but also gorgeous and not emaciated. She is instantly likeable. Adrian Grenier is bland window-dressing as Hathaway's love interest. Chronic upstager Stanley Tucci is an actor I often can't appreciate but his under-the-top, small doses here keep him from being a liability. Streep is ... Streep! Her deft touch and perfect subtlety keep her absurd character in the realm of possibility. My biggest complaint is that her character's unsubtle hair is distractingly reminiscent of Glenn Close's Cruella Deville in Disney's "101 Dalmatians."
The entertaining and engaging parts primarily involve life lessons from the moral ambiguity that rears it head for Hathaway's character. However its lessons are contradictory and all over the map. Much of it is trite and all of it could have been done in a decent LifeTime movie but Streep and Hathaway bring it a level difficult to find on TV. And Hathaway's Andy ends up in a pretty questionable "happy ending" that belies her independence.
The film tries it hand at subtle apologetics for the high fashion industry. Even though I didn't buy it, a few of them were food for thought. And it's neat to hear Streep wrap attitude around the word "cerulean."
Final score: B minus
DVD - Click (D and B–)
Starring Adam Sandler, Kate Beckinsale (PBA), Christopher Walken, Henry Winkler
Directed by Frank Coraci
PG-13 for crude, scatalogical, and arrested sexual humor, profanity, child profanity, and drug references
Buy it
Full disclosure: I cannot stand Adam Sandler. He is the black hole of humor. Any idea remotely resembling funny that approaches his vicinity is sucked down into neverending annhilation at the hands of fart gags, monotonous rhyming, and nicknames for male parts.
Moving on ...
A harried workaholic Michael Newman (Adam Sandler) doesn't have time for his wife (Kate Beckinsale) and children not if he's to impress his ungrateful boss and earn a well-deserved promotion. So when he meets Morty (Christopher Walken) a loopy sales clerk he gets the answer to his prayers: a magical remote that allows him to bypass life's little distractions. But as Michael gleefully mutes skips and scans past his family and his friends the remote gradually takes over his life and begins to program him.
You'll notice I've given it two grades. That's because it's like two different movies spliced together.
The first movie is like a live-action Disney flick written by the Farrelly Brothers. The acting, plot, dialogue, music, and direction - even the photography - mimic stuff pitched to a 8-year-old's level. But it's packed with a fratboy's sense of humor. Farts, bimbos, and humping dogs rejoice.
The second movie is like a protracted 'Twilight Zone' episode ... written by the Farrelly Brothers. The upside of this segment is that it actually begins to explore the metaphor that Sandler's universal remote represents. As Sandler rockets through the second half of his life, it takes an emotional and visual dark downward spiral into regret and pathos that may actually read your mail and jerk a tear or two. The downside is that there isn't enough character development in the first movie to earn the tears this second movie wants to jerk out of you. It has to rely solely on the viewer projecting him/herself onto the screen, which means only part of the audience will get it.
Though Oscar-nominated, the aging and fatsuit make-up work created by the legendary Rick Baker is excellent but not quite up to his past work. And Kate Beckinsale seems to age at half the rate of everyone else. But those are quibbles.
There is a moment that I particularly appreciate, even though it takes you out of the film. Christopher Walken's character states the first comment most people have upon seeing the trailer: How in the heck did a schlub like Sandler end up married to a raving beauty like Beckinsale?
Final score: First part, D. Second, B minus
Directed by Frank Coraci
PG-13 for crude, scatalogical, and arrested sexual humor, profanity, child profanity, and drug references
Buy it
Full disclosure: I cannot stand Adam Sandler. He is the black hole of humor. Any idea remotely resembling funny that approaches his vicinity is sucked down into neverending annhilation at the hands of fart gags, monotonous rhyming, and nicknames for male parts.
Moving on ...
A harried workaholic Michael Newman (Adam Sandler) doesn't have time for his wife (Kate Beckinsale) and children not if he's to impress his ungrateful boss and earn a well-deserved promotion. So when he meets Morty (Christopher Walken) a loopy sales clerk he gets the answer to his prayers: a magical remote that allows him to bypass life's little distractions. But as Michael gleefully mutes skips and scans past his family and his friends the remote gradually takes over his life and begins to program him.
You'll notice I've given it two grades. That's because it's like two different movies spliced together.
The first movie is like a live-action Disney flick written by the Farrelly Brothers. The acting, plot, dialogue, music, and direction - even the photography - mimic stuff pitched to a 8-year-old's level. But it's packed with a fratboy's sense of humor. Farts, bimbos, and humping dogs rejoice.
The second movie is like a protracted 'Twilight Zone' episode ... written by the Farrelly Brothers. The upside of this segment is that it actually begins to explore the metaphor that Sandler's universal remote represents. As Sandler rockets through the second half of his life, it takes an emotional and visual dark downward spiral into regret and pathos that may actually read your mail and jerk a tear or two. The downside is that there isn't enough character development in the first movie to earn the tears this second movie wants to jerk out of you. It has to rely solely on the viewer projecting him/herself onto the screen, which means only part of the audience will get it.
Though Oscar-nominated, the aging and fatsuit make-up work created by the legendary Rick Baker is excellent but not quite up to his past work. And Kate Beckinsale seems to age at half the rate of everyone else. But those are quibbles.
There is a moment that I particularly appreciate, even though it takes you out of the film. Christopher Walken's character states the first comment most people have upon seeing the trailer: How in the heck did a schlub like Sandler end up married to a raving beauty like Beckinsale?
Final score: First part, D. Second, B minus
DVD - The Second Chance (B)
Starring jeff obafemi carr, Michael W. Smith
Directed by Steve Taylor
PG-13 for language and violence
Buy it
Let me get this out of the way: I do not automatically give all Christian movies an A merely to "give them support." As the leader of my church's drama ministry I believe we are responsible to pursue and promote excellence in the arts. Poor craftsmanship implies poor effort and lacks credibility. Trust me, the makers of this film feel the same way.
When I saw this was a film by Steve Taylor, I knew I had to see this movie.
When I heard singer Michael W. Smith was in the lead role, I wasn't so sure I wanted to see this movie.
Well, I was pleased with much of it, challenged as a Christian by parts of it, and disappointed with lots of it. As with his cutting edge music, Taylor pushed some buttons that definitely needed to be pushed (punched and smashed, too) about the marketing mentality within the church, the social laziness we ignore, the racial ignorance we tolerate (on both sides), and the flawless facade we try to project. As for the occasional swearing the pastor does, that's just real life. Preachers are fallible. Alert the media!
As for Smitty, all I can say is, "He obviously worked very hard on this and there were times when he was very effective." That's nicer than saying, "Don't quit your day job." And more honest, really. He didn't stink at it. But I doubt he'll ever be on Martin Scorsese's speed dial.
jeff obafemi carr (the lowercase thing is his idea) is pretty darn good, though. Hope to see him again.
The great, glaring weakness of 'Second Chance' is in the retreaded plots: Plot A: A small, faithful inner city church is financially strapped and the administrative board plans to shut it down if its fortunes don't turn around, so the congregation rallies to save it. Plot B: A rebellious, successful son is resistant about taking over the reins of a church from his kindly old father, the senior pastor who is beloved by everyone. Heard either of those plots before? Sure, in just about every story about a church that you've ever seen from 'The Preacher's Wife', 'Sister Act,' and 'The Gospel' to dozens of episodes of 'Highway to Heaven' and 'Touched by An Angel.' Is there no other story out there?
I really feel Taylor missed an opportunity by not trying for a more original story to tell, one that the average person could identify with. And hadn't seen before. But this is still a good first effort by Steve.
Final score: B
Directed by Steve Taylor
PG-13 for language and violence
Buy it
Let me get this out of the way: I do not automatically give all Christian movies an A merely to "give them support." As the leader of my church's drama ministry I believe we are responsible to pursue and promote excellence in the arts. Poor craftsmanship implies poor effort and lacks credibility. Trust me, the makers of this film feel the same way.
When I saw this was a film by Steve Taylor, I knew I had to see this movie.
When I heard singer Michael W. Smith was in the lead role, I wasn't so sure I wanted to see this movie.
Well, I was pleased with much of it, challenged as a Christian by parts of it, and disappointed with lots of it. As with his cutting edge music, Taylor pushed some buttons that definitely needed to be pushed (punched and smashed, too) about the marketing mentality within the church, the social laziness we ignore, the racial ignorance we tolerate (on both sides), and the flawless facade we try to project. As for the occasional swearing the pastor does, that's just real life. Preachers are fallible. Alert the media!
As for Smitty, all I can say is, "He obviously worked very hard on this and there were times when he was very effective." That's nicer than saying, "Don't quit your day job." And more honest, really. He didn't stink at it. But I doubt he'll ever be on Martin Scorsese's speed dial.
jeff obafemi carr (the lowercase thing is his idea) is pretty darn good, though. Hope to see him again.
The great, glaring weakness of 'Second Chance' is in the retreaded plots: Plot A: A small, faithful inner city church is financially strapped and the administrative board plans to shut it down if its fortunes don't turn around, so the congregation rallies to save it. Plot B: A rebellious, successful son is resistant about taking over the reins of a church from his kindly old father, the senior pastor who is beloved by everyone. Heard either of those plots before? Sure, in just about every story about a church that you've ever seen from 'The Preacher's Wife', 'Sister Act,' and 'The Gospel' to dozens of episodes of 'Highway to Heaven' and 'Touched by An Angel.' Is there no other story out there?
I really feel Taylor missed an opportunity by not trying for a more original story to tell, one that the average person could identify with. And hadn't seen before. But this is still a good first effort by Steve.
Final score: B
DVD - Junebug (B+)
Starring Embeth Davidtz, Alessandro Nivolo, Amy Adams (PBA), Celia Weston, Ben McKenzie
Written and Directed by Phil Morrison
R for sexual content, explicit paintings, and language
Buy it
While this film is sometimes uneven in its pacing and priorities and often quirky and crude simply for its own sake, on the whole it was well worth the investment of time and effort to watch it. It was certainly one of the better films of 2005 and, as has been stated many times here, Amy Adams' Best Supporting Actress nomination was richly deserved. In fact, she was flat-out robbed in not winning.
If you've ever spent an unexpectedly protracted time in a family member's home (where every routine is backward to yours, personal tensions are kept just out of your sight with varying degrees of success, politeness has different definitions and contexts, and even the sounds and smells are foreign) the stylistic approach of 'Junebug' will give you a nearly claustrophobic sense of deja vu.
Some of the themes presented here are well-worn: "All regional cultures have good and bad in them," "Do you really know the people closest to you?" "Dysfunction is a distorted mask worn by thwarted attempts at showing love," and "Why doesn't anyone say what they're really feeling?" But the realism with which it is occasionally portrayed in 'Junebug' hits awfully close to home.
Amy Adams walked an extremely fine line with amazing ability here. The relentlessly dogged positivity and adorability of her character was designed to be comic, admirable, tragic, and unwittingly profound but could easily have veered into an unbelievably cartoony pathos. Judging from the clips of Adams' audition, she had just the right touch mapped out from day one. I can't imagine anyone else playing her this perfectly. My test for her performance was, "Is this realistic? Have I actually met people like her?" I have.
I am an 8th generation Southerner. Some Southerners see Adams' character as a stereotype. Is she? She could be interpreted as one. If you see her as just a dumb, sweet hick, then she is a stereotype to you. But I saw a voraciously curious, idealistic, restless, compassionate young woman who felt absolutely trapped in a home that didn't reward such things and who adapted the only way she knew how - gathering obscure knowledge like manna and always holding out hope, no matter the evidence to the contrary. She was inundated with negativity from every angle, every day and you could see her mentally trying to ignore the gunk thrown on her rose-colored glasses at the beginning of each sentence she spoke. I thought it was terribly true to life.
Final score: B plus
Written and Directed by Phil Morrison
R for sexual content, explicit paintings, and language
Buy it
While this film is sometimes uneven in its pacing and priorities and often quirky and crude simply for its own sake, on the whole it was well worth the investment of time and effort to watch it. It was certainly one of the better films of 2005 and, as has been stated many times here, Amy Adams' Best Supporting Actress nomination was richly deserved. In fact, she was flat-out robbed in not winning.
If you've ever spent an unexpectedly protracted time in a family member's home (where every routine is backward to yours, personal tensions are kept just out of your sight with varying degrees of success, politeness has different definitions and contexts, and even the sounds and smells are foreign) the stylistic approach of 'Junebug' will give you a nearly claustrophobic sense of deja vu.
Some of the themes presented here are well-worn: "All regional cultures have good and bad in them," "Do you really know the people closest to you?" "Dysfunction is a distorted mask worn by thwarted attempts at showing love," and "Why doesn't anyone say what they're really feeling?" But the realism with which it is occasionally portrayed in 'Junebug' hits awfully close to home.
Amy Adams walked an extremely fine line with amazing ability here. The relentlessly dogged positivity and adorability of her character was designed to be comic, admirable, tragic, and unwittingly profound but could easily have veered into an unbelievably cartoony pathos. Judging from the clips of Adams' audition, she had just the right touch mapped out from day one. I can't imagine anyone else playing her this perfectly. My test for her performance was, "Is this realistic? Have I actually met people like her?" I have.
I am an 8th generation Southerner. Some Southerners see Adams' character as a stereotype. Is she? She could be interpreted as one. If you see her as just a dumb, sweet hick, then she is a stereotype to you. But I saw a voraciously curious, idealistic, restless, compassionate young woman who felt absolutely trapped in a home that didn't reward such things and who adapted the only way she knew how - gathering obscure knowledge like manna and always holding out hope, no matter the evidence to the contrary. She was inundated with negativity from every angle, every day and you could see her mentally trying to ignore the gunk thrown on her rose-colored glasses at the beginning of each sentence she spoke. I thought it was terribly true to life.
Final score: B plus
Thursday, January 25, 2007
Book - Bono In Conversation (A–)
Bono In Conversation
Author: Mischka Assayas
Buy it
A pleasant surprise. I was afraid this book-length interview would turn into a self-congratulatory rambling session with a sycophantic journalist. However, Assayas keeps after Bono with tough and interesting questions and Bono responds in kind. The singer seems - by and large - candid and frequently insightful about his life and art. He holds back on some things, which is his prerogative, and can get on tangents about his great passion of the moment (Africa) but ultimately I found him an honest, fascinating, intelligent, and admirable fellow. I couldn't put it down.
Especially refreshing (and amusing) is the chapter devoted to Bono's theology ("Add Eternity to That"). As an Irishman, he has a penchant for dropping a few swear words into the discussion and that may be off-putting to some Christians. But he clearly points to Christ's sacrifice on the cross and God's grace as his only hope of salvation. He argues aut Deus aut homo malus with Assayas. You don't hear that from too many rock stars.
Final score: A minus
Author: Mischka Assayas
Buy it
A pleasant surprise. I was afraid this book-length interview would turn into a self-congratulatory rambling session with a sycophantic journalist. However, Assayas keeps after Bono with tough and interesting questions and Bono responds in kind. The singer seems - by and large - candid and frequently insightful about his life and art. He holds back on some things, which is his prerogative, and can get on tangents about his great passion of the moment (Africa) but ultimately I found him an honest, fascinating, intelligent, and admirable fellow. I couldn't put it down.
Especially refreshing (and amusing) is the chapter devoted to Bono's theology ("Add Eternity to That"). As an Irishman, he has a penchant for dropping a few swear words into the discussion and that may be off-putting to some Christians. But he clearly points to Christ's sacrifice on the cross and God's grace as his only hope of salvation. He argues aut Deus aut homo malus with Assayas. You don't hear that from too many rock stars.
Final score: A minus
PBAs
I've been told this is necessary, so...
PBA is an acronym I've created to assist you in interpreting my reviews. A PBA is a "Phone Book Actress." This is an actress whom I would happily watch read the phone book for two hours, let alone perform in a real film or show. This can be either about looks or talent. Usually (but not always) both.
I will place the acronym in parentheses after the performer's name in the cast list. I try to be objective but please feel free to take reviews featuring PBAs with however much salt you deem appropriate.
Current list in alphabetical order (Subject to change):
PBA is an acronym I've created to assist you in interpreting my reviews. A PBA is a "Phone Book Actress." This is an actress whom I would happily watch read the phone book for two hours, let alone perform in a real film or show. This can be either about looks or talent. Usually (but not always) both.
I will place the acronym in parentheses after the performer's name in the cast list. I try to be objective but please feel free to take reviews featuring PBAs with however much salt you deem appropriate.
Current list in alphabetical order (Subject to change):
Amy Adams
Connie Britton
Kristin Davis
Dana Delany
Erica Durance
Tina Fey
Jennifer Garner
Lauren Graham
Melora Hardin
Anne Hathaway
Katherine Heigl
Katie Holmes
Ashley Judd
Diane Lane
Laura Linney
Rachel McAdams
Aubrey Plaza
Natalie Portman
Gabrielle Union
Sela Ward
Kate Winslet
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