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+
Tuesday, May 29, 2007
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
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