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Thursday, Nov 30, 2006

An Evening with Kevin Smith / An Evening with Kevin Smith 2: Evening Harder [Sony - $45.95]


No one ever accused the creator of Clerks of being a mild mannered milquetoast when it comes to expressing his opinion. Infamous for taking on even the most meaningless of personal and professional battles, Kevin Smith clearly enjoys the art of confrontation—and conversation. Proof exists in this magnificent pair of performance pieces culled from his college/lecture tours. Loaded with an amazing amount of dirt dishing (Superman producer Jon Peters, rock star Prince, and director Bryan Singer all fall into his carefully considered sites) as well as some very astute conclusions about the state of film, the over eight hours of material here argues for Smith’s abilities as a potent public speaker, as well as his remarkable ability to connect with people everywhere.  [Amazon]



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Thursday, Nov 30, 2006

Dissecting Death: Secrets of a Medical Examiner by Frederick Zugibe, MD and David L. Carroll [Broadway, July 2006, 256 pages, $14.00]


One look at current bestseller lists around the world and it’s clear: fictional crime procedurals are hot. If you’ve a giftee with an appetite for the grisly, why not hold off on buying him the latest Kathy Reichs or the new season of CSI on DVD and pick up the real thing? Zugibe, chief medical examiner in New York’s Rockland County for 35 years, is somewhat of a doyen in the world of forensic pathology. Via exploration into 10 of his most challenging and eye-opening cases, he tells us why. These are not investigations solvable within hours—some take years. Zugibe’s purpose is not to thrill or exploit, but to involve the reader in just what his job entails: detail, duty, and supreme dedication. It’s hard going, but man is it enthralling. [Amazon]


 


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Thursday, Nov 30, 2006
by Matthew A. Stern

McCallum: The Complete Series [Koch Vision - $59.98]


Stateside, wildly popular forensic dramas like CSI and the Law and Order franchise are fast-paced, glossy affairs even when dealing with the gravest of subjects.  But McCallum, which ran in the UK from 1995-1998, is a grittier yet more thoughtful take on the forensic “whodunit” show; more dependent on building atmosphere and brooding suspense than continuous scenes of kicking down doors and chasing down suspects.  The McCallum: The Complete Series is host to a gamut of bizarre if not unlikely plot twists similar to those found in the Law and Order series, where every murder is more complicated than it seems.  But in each slow-burning episode of McCallum, there is as much existential contemplation as there is action surrounding the untraceable poisonings, murderous widows, and seamless frame-up jobs. [Amazon]


Full PopMatters review


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Thursday, Nov 30, 2006
by Steven Rea [The Philadelphia Inquirer]

Here are some things to look forward to in the coming days at the movies: ancient Mayans, British schoolboys, Broadway hits, a Philadelphia pugilist, adultery and more adultery, a barnyard of talking animals, and a version of the Nativity story as told by the director of the kids-gone-wild melodrama Thirteen.


These are the glory days of cinema, that end-of-the-year blip between the Thanksgiving turkey and the Christmas ham (that would be Sylvester Stallone, in Rocky Balboa) when the studios and their prestige divisions pump out would-be Oscar contenders, and all of a sudden there really are good movies to see.


As for the ancient Mayans, Apocalypto brings a long-gone culture and a dead language to life in mega-violent Mad Mel style, while Darren Aronofsky’s The Fountain flashes back and forth (pretentiously) between ancient Mayan and modern times.


The Brit schoolboys are not of the Harry Potter ilk, but of Alan Bennett’s prize-winning play The History Boys, and of the hunky art-student type Cate Blanchett gets her adulterous mitts on in Notes on a Scandal.


The big Broadway smash Dreamgirls gets movie-ized, the streets of Philadelphia get Sly-ized again, Charlotte’s Web gets Babe-ized (with computer-rendered talking animals voiced by Hollywood stars), and the Joseph-Mary-and-Jesus-in-the-manger story gets brought to life just in time for Christmas, with Whale Rider Oscar-nominee Keisha Castle-Hughes as Mary!


The early buzz on Oscars (and Golden Globes) has Peter O’Toole very much in the running for Venus, Will Smith likewise for The Pursuit of “Happyness, Penelope Cruz for Volver, Blanchett and Judi Dench, both for Notes on a Scandal, and Jennifer Hudson and Eddie Murphy, both for Dreamgirls.


Two great Mexican directors, Alfonso Cuaron and Guillermo Del Toro, turn in great, head-spinning cinematic affairs: Cuaron’s Children of Men, a scary parable of ecological, spiritual and physical ruin set in the very near future, and Pan’s Labyrinth (see below).


Whew. We’re already exhausted. Here’s a look at some of the season’s highlights (opening dates might change):


The Nativity Story: Amid all the holiday junk food, this film’s the real deal. Catherine Hardwicke’s human-scaled biblical about Mary (Keisha Castle-Hughes) and Joseph (Oscar Isaac) cuts to the quick of ordinary Nazarenes who rise to their extraordinary destiny as the parents of Jesus. (Opens Friday)
—Carrie Rickey


 


The Nativity Story - Trailer


Apocalypto: There’s trouble in the Mayan temple when warrior Jaguar Paw (Rudy Youngblood), chosen for human sacrifice, flees the kingdom. Set in 15th-century Mexico as the civilization of architects and astronomers was in decline, Mel Gibson’s bloody spectacular (think Braveheart in the Yucatan) boasts an edge-of-your-seat footrace through the rain forest. The first major movie with dialogue in Yucatec. (Dec. 8)
— C.R.


Apocalypto - Trailer


Blood Diamond: Diamond mines get plundered and Leonardo DiCaprio gets an accent (South African) in Edward Zwick’s political thriller about a mercenary (DiCaprio) and a fisherman (Djimon Hounsou) teaming to fight a diamond cartel that’s terrorizing the people of Sierra Leone. Jennifer Connelly plays an American journalist who’s snooping around, and wondering whether to fall in love with the dashing mercenary and his Errol Flynn facial hair. (Dec. 8)
—Steven Rea


Blood Diamond - Trailer


The Holiday: Cameron Diaz as an American with man trouble, and Kate Winslet as a Brit suffering from same. For the holidays they trade domiciles in the hope that a change of scenery will spur a change of heart, a sentiment seconded by the new men in their lives, Jude Law and Jack Black. Written and directed by Nancy Meyers (What Women Want, Something’s Gotta Give). (Dec. 8)
—C.R.


The Holiday - Trailer


Charlotte’s Web: Move over, Babe. E.B. White’s beloved pig tale gets the live action/CGI treatment in this adaptation starring Dakota Fanning as Fern, who saves a piglet, Wilbur, who in turn learns life lessons from a wise spider named Charlotte (voice by Julia Roberts). (Dec. 15)
—C.R.


Charlotte’s Web - Trailer


Eragon: This year’s Lord of the Rings—well, that’s what Twentieth Century Fox is hoping, anyway—is the tale of a Middle Ages farm boy who finds a mystical dragon’s egg, and all the special-effects sword-and-sorcery that ensues. John Malkovich, the beautiful Sienna Guillory, and Blood Diamond‘s Djimon Hounsou costar, with British newcomer Edward Speleers in the title role. (Dec. 15)
—S.R.


Eragon - Trailer


The Pursuit of Happyness: Will Smith portrays the real-life Chris Gardner, homeless single dad, who, as the world crashes around him, clings to the lifelines of fatherhood and a stockbroker trainee program. That’s Will’s real-life son, Jaden, making his film debut as his on-screen son. (Dec. 15)
—C.R.


The Pursuit of Happyness - Trailer


Curse of the Golden Flower: From the director of Hero and House of Flying Daggers comes this Tang Dynasty martial-arts epic, a widescreen, flying-ninjas melodrama with Asian megastars Chow Yun-Fat and Gong Li as an estranged emperor and empress, dealing with clandestine love affairs and coups d’etat. It’s the most expensive film ever made in China, and, by all accounts, one of the most sumptuous. (Dec. 22)
—S.R.


Curse of the Golden Flower - Trailer


Rocky Balboa: It’s not over till it’s over, says the Philly pug (Sylvester Stallone) in this sixth (and reportedly final) installment about the has-been who fights for his right to be a somebody in the ring and, more important, reconnects with his estranged son. (Dec. 22)
—C.R.


Rocky Balboa - Trailer


Volver: Penelope Cruz is a force of nature in Pedro Almodovar’s tragicomedy about mothers, their estranged daughters, and the possibility of reconciliation beyond the grave. Borrowing liberally from the melodramas Mildred Pierce, Bellissima and Two Women, the writer/director has confected a paradoxically original film in which hopelessness and despair are trumped by hope and love. (Dec. 22)
— C.R.


Volver - Trailer


Dreamgirls: Tear down the mountains, yell, scream and shout. You can say what you want, I’m not walking out—on this highly anticipated backstage musical that’s already drawn Oscar buzz. Life imitates art imitates life in the film version of the `80s Broadway show inspired by `60s R&B trio the Supremes, and starring Beyonce Knowles (of the trio Destiny’s Child), Jamie Foxx, Eddie Murphy and Jennifer Hudson. (Dec. 25)
—C.R.


Dreamgirls - Trailer


Notes on a Scandal: Boos and hisses to Fox Searchlight for a trailer that gives away the entire movie, but, still, this psychological thriller based on the Zoe Heller novel What Was She Thinking? Notes on a Scandal looks like a winner. Cate Blanchett plays a London art teacher, married with children, who gets caught in an affair with one of her students. The person who catches her: the school’s headmistress (Judi Dench), who has her own twisted agenda. (Dec. 25)
—S.R.



Notes on a Scandal - Trailer


The Good German: Steven Soderbergh directs his version of a 1940s Hollywood noir, shot in black-and-white, and shot through with old-school studio aesthetics. George Clooney stars as an American journalist in just-after-World War II Berlin who stumbles on a U.S.-Soviet conspiracy involving missing Nazi scientists. Cate Blanchett is an old girlfriend, and Tobey Maguire plays a clean-cut Yank who may not be so clean after all. (Dec. 29)
—S.R.


The Good German - Trailer


Venus: Peter O’Toole stars as an aging British thespian (not unlike Peter O’Toole) who enters into a relationship with a much, much younger woman (Jodie Whittaker). A bittersweet character study that wowed crowds at the Toronto Film Festival (and is on track to gain O’Toole an Oscar nomination), the film has been handily directed by Notting Hill‘s Roger Michell, and brings new twists to the old May-September romance thing. (Jan. 5)
—S.R.


s
Venus - Trailer


Pan’s Labyrinth: Hellboy director Guillermo Del Toro tells the story of a young girl in post-Civil War fascist Spain as she tries to deal with a brutally cruel stepfather, and escapes into a dark, beautiful fantasy world inhabited by fauns, fairies and monsters. Ivana Baquero, 12 during the shoot, gives the kind of kid-actor performance that makes the grown-ups look like fools. (In this case, very dangerous fools.) (Jan. 12)
—S.R.


Pan’s Labyrinth - Trailer


————


© 2006, The Philadelphia Inquirer.


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Wednesday, Nov 29, 2006

As the end of 2006 rolls around, studios are spiking the usual Tuesday DVD release schedule with several high profile releases. Here are three of the summer’s biggest - if not necessarily best - angling for your attention in the next two weeks:


Superman Returns
In the lexicon of comic book movies, it’s not as good as Sam Raimi’s Spidey series and both Burton and Nolan’s Batman can rest comfortably in their place along the cinematic superhero hall of fame. But Bryan Singer’s Superman Returns is good – damn good. It’s just not great. As a matter of fact, it misses greatness by a margin measured in just a few filmic fractions. Yet these flaws are still large enough to occasionally sidetrack what is, for the most part, a faithful fulfillment of the decades long struggle to bring the Man of Steel back to the screen. Like Hulk, which tended to take itself too seriously for its own good, this latest incarnation of the speeding bullet/bird-plane personage repeatedly dances around decent ideas without ever landing smack dab in the center of them. In addition, Bryan Singer still doesn’t impress me as a director with a future outside a certain style of film (more on this in a moment). However, it is safe to say that with this highly entertaining experience, our undeniable icon to truth, justice and the American way is back with a viable vengeance.


Certainly, Singer makes his mistakes. Using the original films as a guide was an idea goofier than bringing dinosaurs back from the dead, and the constant referencing of those mid-70s blockbusters bogs down the narrative. Several times during the film, one finds themselves wondering what the rumored re-imaginings of the man and his material (Kevin Smith, Brett Ratner, McG, Tim Burton, JJ Abrams) could have come up with. Certainly something more original than giving Superman a son could have been considered for the reintroduction of this classic comic character. While bringing back Lex Luthor worked out well (Kevin Spacey adds a slimy, sinister edge to the role that Gene Hackman failed to find) and the nods to the first film’s origin story are sensational, Returns often feels like the middle act in an already running series. In fact, Singer and his screenwriters spend so much time on those touchy feely parts of the plot (the whole romantic angle with Lois’s new love interest is unexceptional) that they lose a lot of their movie’s direction and drive. Along with the dumb decision to cast Kate Bosworth as the Pulitzer Prize winning (!?!?) journalist (she is simply out of her league here), the emotional side of Superman slows down the spectacle.


What does work, though, are the reasons that movies are made. The airplane sequence is brilliantly realized, a terrific tour de force for the F/X crews as well as a brazen bright spot in Singer’s otherwise sedentary style. Unlike Spielberg or Jackson, this director seems to slack off the minute the main action scenes are over. The sections where Superman saves Metropolis are superb, as is the final confrontation with Luthor. But all the stuff inside the Daily Planet, all the material between Lois and her lover, just sits there without any strength or cinematic sizzle. They seem like rest stops between set pieces. In addition, Singer needed a stronger editorial hand in shaping this story. We meander into time-consuming tangents quite frequently, left with dangling elements (the whole Pulitzer business, the cannibal dog) that never really pay off. Still, the center is solid with Brandon Routh owning the role of Clark Kent/Superman. Though a questionable choice at first, he is incredibly magnetic onscreen, capable of delivering the many sides of the Man of Steel with grace, genuineness, and more than a little wit. This is indeed a very funny film, with lots of clever repartee between characters. Thankfully, the humor doesn’t overpower the heroics, as we are definitely left wanting more – more Routh, more feats of derring-do, more Superman.


Perhaps this is the best way to judge a blockbuster; determining if there’s material worth a second (or third, or fourth) look. The answer is an emphatic “yes”. The Fortress of Solitude sequence is atmospheric and compelling, while Luthor’s ultimate plan is realized in brilliant bit map authenticity. The CGI is never intrusive, the cityscapes of Metropolis are spectacular and Superman’s flying capabilities come across smoother and more valid than in any other super hero movie. It will be interesting to see where the sequel takes us. Like Burton’s first Batman, there are a lot of obvious safeguards in place here, studio-mandated moments that keep the film feeling frequently hemmed in and overly controlled. Perhaps, if it’s successful enough, Warners will turn Singer loose, letting him deliver a definitive take on the subject of Superman without all the nods to fanboy mandates and test audience tendencies. Ranking right up there with the summer’s other entertainment highlights, Superman Returns is one comic book movie that gets it more or less right.


Pirates of the Carribean
There is more of everything in the new Pirates of the Caribbean movie: more spectacle; more exotic locales; more convoluted story contrivances. Anyone who thought the first film was teeming with plot and particulars will find their narrative tolerances tweaked toward overload by this sensational sequel. Between the introduction of two new villains, the addition of a new “quest” and the held-over elements from the first good-natured go round, there’s nary a moment of breathing room in this wonderfully effective popcorn entertainment. Granted, the POTC movies aren’t out to make grand statements about loyalty, the sea, or the shrinking sense of the world. Instead, they merely want to amuse, to provide 150 minutes of escapist fun in their swordplay, slapstick, and sensational special effects. George Lucas and his dire digital space operas be damned – Gore Verbinski and his capable cast of eye candy actors are on course to deliver the landlubber version of what the Star Wars series originally promised it would be.


After the living dead skeletal pirates of the first film, Dead Man’s Chest had its wildly imaginative work cut out for it. After all, those undead outlaws were incredibly inventive and handled with stellar CGI flare. Amazingly enough, the sequel delivers, rendering head horror Davy Jones and his scallywag band of buccaneers as remarkable combinations of sea creatures and humans. From half-man hammerheads to cutthroats with crustaceans crafted to their faces, the overall look of the movie’s fiends is simply remarkable. Jones himself is a squid-festooned dandy with huge lobster claws and an excess of tentacles that makes Geoffrey Rush’s Captain Barbossa look like a minor league monster by comparison. Equally unsettling is Naomie Harris as voodoo priestess Tia Dalma. Eyes accented with harrowing contacts, and smiling through a mouth of vile, blackened teeth, her otherworldly turn is terrific. In fact, all the actors acquit themselves admirably, expanding on their original roles to add subtle shading to what are, basically, creative cartoon characters.


Aside from the spectacle, Johnny Depp deserves a great deal of credit for turning Capt. Jack Sparrow into a fully rounded rascal. In the first film, the accent and demeanor mask a truly conflicted individual. Now, with an entire performance under his belt, Depp loosens up, making Jack a scoundrel as lost in his sea-faring situation as Jones or Barboosa. It will be interesting to see where he takes Sparrow in the final film, tentatively entitled At World’s End. There is so much this incredible actor can do with this dapper delight that every scene becomes a breathless anticipation of something special. And, as always, Depp doesn’t disappoint. In fact, it’s safe to say that this long time industry eccentric has probably found the breakout series that will change the very scope of his future career. Unlike Ewan McGregor, or the horrid Hayden Christensen from Lucas’s lamentable sequels, Depp’s Sparrow will be seen as a stepping stone, not an infamous coffin nail, in his bankable big screen persona. Even as he continues to choose daring, difficult films, newfound fans will support him. Sparrow is that kind of indelible icon.


Additional praise must also go to Gore Verbinski, proving that he has a directorial mantle similar to that of Peter Jackson’s – at least when it comes to handling the multi-faceted epic. Juggling several different storylines at once, Verbinski always seems to find the linking material to keep us engaged and intrigued. He is also becoming an expert at big canvas set piece action. The opening escape from a cannibal island is amazing, and the finale, featuring a huge rotating water wheel and a full fledged onslaught by Davy Jones’ beasties is unbelievable in its scale and effectiveness. There are dozens of equally memorable moments strewn throughout – the arrival of the Flying Dutchman, as well as an equally unbelievable dive into the briny deep – and the computer-generated Kraken instills fear and foreboding with its vividly rendered CGI size. It’s rare today when a movie can make people immediately want to see it again. Dead Man’s Chest demands multiple viewings. It’s truly one of the season’s cinematic highlights.


Miami Vice
Miami Vice is an expressionist crime drama. Writer/director Michael Mann purposely moves a million light years away from the fashion and artifice of his infamous ‘80s zeitgeist to deliver a movie with many of its details missing. This is not necessarily a bad thing – as a visualist, he is more than capable of allowing his images to paint in the particulars. But when you are working from a premise that involves undercover drug deals, back stabbing middlemen, random white supremacists, and the mingling of personal and professional feelings, little things like never properly introducing the rest of the Vice squadron do come back to haunt you – especially when you are relying on them to bolster much of the last act’s action. Beautiful to look at and difficult to embrace, this is a movie of moments, not of overall narrative force. The brand new versions of Crockett and Tubbs are acceptable – Foxx is all super serious, while Farrell puts on his oiliest wise ass persona. They may be nothing more than icons in a film loaded with such symbolic cues, but we gladly accept their ‘by the book’ bravado and believe them as the ‘70s throwback super cops that they are – nothing more or less.


Once again employing the fascinating film/digital aesthetic that he used in Collateral, Mann’s version of Vice is like Heat without the interesting middle act. That previous look at life on both sides of the law had Al Pacino, Val Kilmer and Robert De Niro to bolster its occasional lapses. Our leads here are flashy fluff compared to that titanic trio. Still, Mann manages to make it work – sort of. The nightclub set up, which is never explained in relationship to the rest of the film, gets us started with an atmospheric bang. Suggesting more than showing, the first few deaths are designed to peak our interest (a pair of legs in a pool of blood, a spray of gore along a busy Broward county highway) while the last 45 minutes offers the kind of suspense ridden double crossing denouement we’ve come to expect from the genre. Even the grue is cranked up a couple of notches as limbs are blown off and heads become riddled with holes as bullets blaze in an expertly helmed firefight. Thankfully, these surrounding elements are strong enough to save the sloppy, unexceptional center. Gong Li, trying out her English (and not always succeeding), is an attractive love interest for Crockett, but she’s not very engaging. We want more than steely business sense and the ability to make cow eyes at decidedly unctuous Farrell. When they’re together onscreen, the result is sluggishness, not sparks.


During these dull interludes, Mann really pours on the visual poetry. There are several sensational sequences where a lone speedboat blazes toward a seemingly endless horizon. We are also entranced by an amazing aerial shot of a gorgeous South American waterfall, which reveals itself as part of a high ranking cartel overlord’s backyard. It’s not difficult to get swept up in the epic elements of Miami Vice, since Mann lingers on them, hoping that they help us understand the vastness of the international drug trade. But this means something has to suffer, and in this case, it’s the characters. There is honestly not a single three dimensional personality in the entire picture. Foxx is so stodgily even-keeled that when a fellow officer is mortally wounded, his sudden concern seems completely out of place. Farrell also turns up the mixed emotion waterworks when he has to make one of those clichéd sacrifices that all lawmen in his cinematic position are required to do. Yet neither scene connects with us. Even with aspects of life and death at play, we are sadly detached from the personal side of this story.


In fact, Miami Vice is much more interesting in its approach to the crime thriller than in its desire to dig deep into the world of illegal drugs. The unbelievable influx of technology – cell phones, GPS, laptops, tracking devices - makes for an initially disorienting experience. When an FBI official asks Crockett how they can discuss such delicate issues over an open, non-secure line, he bluntly blurts back “this is how I got the information, so let’s deal with it.” Indeed, the ready access to information worldwide makes the undercover element all the more intriguing. With smugglers able to immediately access your (phony) dossier from anywhere on the planet, Crockett and Tubbs always seem moments away from being discovered. Yet even this can’t make the movie a kinetic actioner or a simmering neo-noir. Instead, Michael Mann appears to be retrofitting the routine of cop dramas past into a sci-fi space of rap video level luxury and post-modern machismo. While it may occasionally have you thinking of another South Florida cinematic spree featuring a Cuban exile, a mountain of coke, his sister complex and a mega-weapon known as his “li’l friend”, Miami Vice is no Scarface. It’s more serious, and less sensational. Too bad it’s not as entertaining.


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