Letterman

CBS is panicking over the state of The Late Show with David Letterman. They should. It has the lowest ratings it's ever had. And its quality is at its nadir as well.

I only see it once or twice a week, usually by accident. If we watch the news on our local CBS affiliate and wander out of the room for ablutions or chores after the weather, often Letterman begins while we're occupied. I'll stop and watch parts of his show as I pass through the living room. It's far from must-see viewing, though.

Dave's always kind of rubbed me the wrong way, I guess because he seems like someone I would not spend two minutes with in a social setting. He seems mean, self-involved, obnoxious - and even disinterested. Whenever he says something like "Of course, we're saddened to hear of it," he always has to add, "Yep, just sick to death I'm telling ya," to make you question his sincerity. Maybe that's a put-on but if it is he's doing a great acting job.

He has some funny gags, a few good regular routines (but some that he runs into the ground for years), and is actually a better interviewer than Jay Leno but his humor has gotten weaker and odder over the years. One especially appalling development has been the recurring skits portraying announcer Allan Kalter as an evil deviant. I'm no prude (by any means) but they are just too twisted and cheaply vulgar and I have no idea how they get past CBS's censors. I could probably deal with them if they were actually funny. But they're not.

What really befuddles me is how Letterman fills the spaces between those moments with things that don't even rise to the level of inane. He'll spend ten minutes out of an hour repeating a word or gesture accompanied by a drum or organ effect. If he tugs at his tie and clears his throat in an extremely exaggerated manner during the opening intro, he'll do that a dozen times over the course of a show as Paul Shaffer laughs his head off. I just don't get it.

That said, I'd probably still take him over Leno for talk or Conan for humor. But not by much.

DVD - The Bucket List (B)

Starring Jack Nicholson, Morgan Freeman, Sean Hayes, and Beverly Todd.
Written by Justin Zackham.
Directed by Rob Reiner.

PG-13 for language and sexual humor

Buy it

Plot description from the cover:

In THE BUCKET LIST cancer doesn't discriminate in its choice of victims. It's equally eager in its attacks on kindly sage of a mechanic Carter Chambers (Morgan Freeman) and mean-spirited millionaire Edward Cole (Jack Nicholson). When the unlikely pair shares a room at a hospital they learn that they both have less than a year to live as a result of the deadly disease. Inspired by the words of a college professor Carter begins to make a "bucket list" of things he wants to accomplish before he dies. With Edward's limitless funds at their disposal the men embark on an adventure that takes them from Egypt to France to Hong Kong crossing items off their list as death grows closer.

There are enough problems with this picture, both in conception and execution, to prevent me from ever giving it an unconditional recommendation. Many real-life cancer patients find its portrayal of the condition either laughable or offensive. But I think it has just enough redeeming qualities - and messages - to it to make it worthwhile. However, if you find sappy, sentimental moments totally irredeemable, then you should just avoid it altogether.

Final score: B

Trailer:

DVD - Thank You for Smoking (B-)

Starring Aaron Eckhart, William H. Macy, Maria Bello, Katie Holmes (PBA), Sam Elliott, and J. K. Simmons.
Directed by Jason Reitman.

Rated R for pervasive language and for sexual situations

Buy it

Synopsis from the back of the box:

Aaron Eckhart stars as Nick Naylor, a sexy charismatic spin-doctor for Big Tobacco who'll fight to protect America's right to smoke -- even if it kills him -- while still remaining a role model for his 12-year old son. When he incurs the wrath of a senator (William H. Macy) bent on snuffing out cigarettes Nick's powers of "filtering the truth" will be put to the test.

I think the problem many people have with this film is that - unlike most moralizing Hollywood movies - it doesn't take a stand for or against smoking. While I think smoking is disgusting and practically crazy and I've lost count of the people I've known who died from it, I actually found this approach refreshing. It's essentially a cynical, amoral, libertarian satire on the American nanny state, corporate shills, and posturing politicians. In essence it boils down to this message: "Everyone's got a selfish reason for doing what they do and all information is skewed to the interests of the person providing it. Make up your own mind based on that. If you can."

Since I'm neither amoral nor very libertarian I was not thrilled with the main character (His motto: "If you argue correctly, then you're never wrong.") or the way he indoctrinated his son into believing "doing what you do best" is one's highest calling - even if it's for a horrible cause. But his blunt honesty appealed to my cynical side and was often quite amusing.

Based on the novel by Christopher Buckley.

Final score: B minus

Trailer:

Cyd Charisse 1922-2008

Cyd Charisse, technically speaking the greatest female dancer in movie history but perhaps the most underappreciated by posterity, has passed at age 86.

Classically trained and touring internationally as a ballerina in her teens, Cyd entered the movies during World War II and proceeded to conquer every style from tango to tap. Her elegant brunette beauty (in an era dominated by Marilyn Monroe look-alikes) and her reserved onscreen persona kept her from becoming a household name like dancer comediennes Ginger Rogers and Rita Hayworth. But dance legends Gene Kelly and Fred Astaire recognized her amazing skills and demanded Cyd play the female lead in their pictures after her breakthrough work in Kelly's 1952 masterpiece Singin' In the Rain. She made five films with Kelly and Astaire altogether, including Brigadoon, The Band Wagon, It's Always Fair Weather, and Silk Stockings. Unfortunately, big Hollywood musicals fell out of style soon after she made it to the top.

Words fail when you're talking about Cyd's dancing (or her legendary legs, insured for a million dollars by MGM), so I'll let the legend speak for herself:

"Flaming Flamenco" (with Ricardo Montalban) from Fiesta, 1947.



"Broadway Melody" Parts 1 and 2 (with Gene Kelly) from Singin' In the Rain, 1952.




"Frankie and Johnny" (with John Brascia and Liliane Montevecchi) from Meet Me In Las Vegas, 1956.



"The Girl Hunt Ballet" (with Fred Astaire) from The Band Wagon, 1957.



"Dancing Doll" from Party Girl, 1958.



I pray Cyd's dancing in heaven today.
.

Book - The Missing Ring (B)

Author: Keith Dunnavant

This book's subtitle is "How Bear Bryant and the 1966 Alabama Crimson Tide Were Denied College Football's Most Elusive Prize." The Tide were the defending back-to-back national champions in 1966. They were ranked first in both polls as the season began. They finished the season undefeated and untied - yet managed to finish third behind Notre Dame and Michigan State, who had played each other to a 10-10 tie in midseason. This book was intended to explore why that took place.

Dunnavant posits two reasons. The first is the most common argument: Notre Dame has been the most popular team in the country since the Jazz Age and routinely places higher in the polls than schools with superior records because they are the darlings of predominantly northern and eastern sportswriters. Irish head coach Ara Parseghian decided to play to preserve the tie against MSU - to sit on the ball with two minutes left to play - rather than fight for the win. His detractors claim this is because he knew they would treated well by the pollsters in spite of the decision. He was right.

The second argument is that the season occured during the height of the civil rights movement and there was a media bias against the still-segregated Crimson Tide team and against the entire state of Alabama, the bastion of Bull Connor and George Wallace. He believes the team fell from first place simply because of politics even before Parseghian's Machiavellian move.

Virtually no one who wears Crimson will argue with the first point. Many who were not alive at the time might not have considered the second but it makes sense given the climate of 1966. All that could have been covered in a book half this size.

But the 'The Missing Ring' also seeks to illustrate why the Alabama team deserved the title, not just why the other two schools didn't. It is filled with wonderful details about the players and coaches who comprised one of the best teams in college football history and the system Paul Bryant used to create it. Each chapter has a theme and spotlights players and games from the 1966 season that exemplify it. Dunnavant does a great job of setting the atmosphere of the times both on campus and in the state of Alabama and paints colorful portraits of many young men who have become mere names in the record books but are still alive to share anecdotes and attitudes.

My only misgivings about this book are Dunnavant's tendency to repeat himself, often verbatim (I lost count of how many times he used the phrase "Bryant used this tactic to great effect in molding a team into champions" - often on facing pages), his often clumsy attempts at foreshadowing, and his unabashed boosterism. I'm aware he's an alum but if he is going to build an effective case that Alabama was robbed of a threepeat he must try to at least feign objectivity. Dunnavant shows no such restraint when he arrives at the conclusion of the book. As he recounts Ara Parseghian's admittedly gutless decision to sit on the ball and trust his team's fortune to the pollsters' sycophantic relationship with Notre Dame, Dunnavant bursts into outright apoplexy, calling Parseghian everything but an Armenian. He sounds more like a blogger than a journalist.

There were plenty of people to quote if he wanted to include the labels gutless, cynical, cowardly, and shameful. Instead, he uses them himself. I kept wanting to reach through the book and grab Keith by the collar: "Don't do it! Hold off! Show some class. Let the facts speak for themselves. It'll just look like sour grapes if you go this route." But alas, the deed was done. It's like he had driven the ball the length of the field and into the edzone and then ruined it all with a penalty in the final seconds that negated the winning touchdown.

This was the only blemish on an otherwise fascinating book on Crimson Tide football history. I still recommend it, however, for the excellent player profiles.

Final score: B

Film - The Chronicles of Narnia: Prince Caspian (B-)

Starring William Moseley, Anna Popplewell, Skandar Keynes, Georgie Henley, Ben Barnes, Peter Dinklage, Eddie Izzard, Liam Neeson.
Written by Stephen McFeely.
Directed by Andrew Adamson.

PG for epic battle action and violence

Having enjoyed the first Narnia film, The Lion, the Witch, and the Wardrobe, I had eagerly awaited Prince Caspian. Being a huge fan of author C. S. Lewis, I had the same trepidation I'd had with the first installment over the filmmakers' faithfulness to the original material.

Well, the book had maybe one fight in it and one battle. This movie has about a hundred fights and a half dozen battles. I don't think a single solitary scene went by in which someone didn't either draw a weapon or hit someone or both. It has little or no blood in it but the body count is as great or greater than that in Braveheart. Even the swashbuckling mouse, Reepicheep, cracks jokes then kills his opponents by cutting their throats. The kids in the audience are busy chuckling during the slashing bit, though, so I suppose it's all good. A decapitation replete with rolling head in another scene, however, offers no such distractions.

I've got no trouble with all this on the face of it. It's a sword and sorcery war movie, essentially. Soldiers die in these things. But this movie is marketed primarily to children and Disney and the MPAA are blatantly gaming the ratings system by not assigning this a PG-13 - blood or no blood.

DVD - 27 Dresses (C+)

Starring Katherine Heigl (PBA), James Marsden, Malin Akerman, Edward Burns, Judy Greer, Melora Hardin (PBA).
Written by Aline Brosh McKenna.
Directed by Anne Fletcher.

PG-13 for language and sexuality

Buy it

Plot description from the cover:

From the screenwriter of The Devil Wears Prada, 27 DRESSES centers on Jane (Emmy winner Katherine Heigl), an idealistic, romantic and completely selfless woman -- a perennial bridesmaid whose own happy ending is nowhere in sight. But when younger sister Tess captures the heart of Jane's boss - with whom she is secretly in love - Jane begins to reexamine her "always-a-bridesmaid..." lifestyle. Jane has always been good at taking care of others, but not so much in looking after herself. Her entire life has been about making people happy - and she has a closet full of 27 bridesmaid dresses to prove it. One memorable evening, Jane manages to shuttle between wedding receptions in Manhattan and Brooklyn, a feat witnessed by Kevin (James Marsden), a newspaper reporter who realizes that a story about this wedding junkie is his ticket off the newspaper's bridal beat. Jane finds Kevin's cynicism counter to everything she holds dear - namely weddings, and the two lock horns. Further complicating Jane's once perfectly-ordered life is the arrival of younger sister Tess (Malin Akerman). Tess immediately captures the heart of Jane's boss, George (Edward Burns). Tess enlists her always-accommodating sister to plan yet another wedding - Tess and George's - but Jane's feelings for him lead to shocking revelations - and maybe the beginning of a new life.

This is a by-the-numbers rom-com confection sprinkled with nothing but charming, good-looking, talented actors. No new ground is broken. In fact, (except for an openly vindictive moment for Heigl's character) the existing ground is paved over with a thick layer of sugary glaze and cordoned off with "Do Not Touch" signs.

But that's okay. There's no pretension of aspiration to high art or even to a cursory correlation with reality here. Just lightweight disposable entertainment. And it does that well. I'm just not sure that's worth an hour and forty-five minutes of my life.

Final score: C plus

Trailer: