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by Bill Gibron

28 Feb 2008

The trend towards “adult” fairytales has got to stop. In the last few months alone, we’ve had the stale saccharine slop of August Rush, the sword and snooze dullness of Stardust, and the one step from stupid Water Horse: Legend of the Deep. The notion of juxtaposing the whimsical against the mature is not a new one. Terry Gilliam and Tim Burton practically wrote the rulebook on such cinema. But the current movement in such storytelling seems to push the extremes of both dynamics. When the material is serious, it’s downright dark and frequently disturbing. And when it’s fanciful, it’s like potent, pixie stick laced candy floss. Now comes Penelope, a self-esteem allegory masquerading as Cinderella with a snout. Sadly, instead of exploring the far reaches of the subgenre, it sinks directly into the maudlin middle.

Plagued by a bizarre family curse, little Penelope Wilhern is born with a pig’s features - muzzle, ears, slightly porcine chin. According to legend, only the love of one of her own - read: a rich blueblood - can break the spell. So, ever since her teens, Mother Wilhern has been trying to marry her off. Unfortunately, all the men who see her run screaming. One even takes his story to the press, and the resulting scandal embarrasses his wealthy father. Desperate to clear his name, he hires a paparazzi with a connection to the Wilhern clan to help. Their plan? Find a down on his luck aristocrat to woo Penelope, and when the time is right, snap her photo. As luck would have it, gambling addicted Max is willing to help. But when he learns that their target is a wonderful girl, not some horrible monster, his cooperation becomes questionable.

Resembling the kind of tale Aesop might spin after one too many vats of homemade ouzo, Penelope plods along on a desire to endear. All it really does is infuriate. This is the kind of movie that believes pitching all its performances somewhere between cartoonish and caterwauling results in a sense of reverie. When undersized actor Peter Dinklage is the best thing about your otherwise overwrought parable, something is wrong with this motion picture. While it’s not bad in a Larry the Cable Guy, remade J-Horror film kind of fashion, first time filmmaker Mark Palansky underachieves in a spectacular manner. Clearly devoid of the creative vision that sparks real movie magicians to their level of imagination, he merely lets the marginal script by Everyone Loves Raymond staff writer Leslie Caveny sink them both.

The first major flaw in this film is Penelope herself. As played by Ricci, she’s a sensible gal with a great personality, pretty eyes, and a slightly swinish nose. There is no attempt to make her ugly - either in façade or philosophy. She’s an unfortunate innocent who has used her malady to see beneath the surface of most everyone she meets. Yet in any Beauty and the Beast story, we need a monster - if not literally, figuratively. Penelope‘s narrative instead goes for standard villainy: a photographer with a grudge; a madwoman of Chaillot mother; a wealthy moron who believes our heroine to be a horror; a dour and dense father. Max is not a good guy so much as a welcome relief from all the mustache-twirling treachery.

It doesn’t help that Catherine O’Hara (as one hideous harpy of a mom) and Simon Woods (as the stunned suitor) use over the top as a benchmark for further acting histrionics. Both are so arch and mannered that you’re not sure whether to slap them…or slap them. Of course, a fairy tale isn’t a bastion of subtlety, but why allow a couple of stars to subvert everything you’re doing. It’s clear what Penelope could have been whenever Dinklage, Ricci, or James McAvoy’s Max is onscreen. They bring a kind of realism to this material that makes it palatable. Without their presence, we are stuck in a situation where nothing seems valid. It’s just fakery on top of fabrication. Sadly, some of the acting makes it even more counterfeit.

Palansky’s direction also doesn’t help. Clearly inspired by the work George Miller did on Babe: Pig in the City, the novice draws a multicultural, intercontinental portrait of Penelope’s world. The metropolis she lives in resembles several urban centers, while characters speak in a combination of accents (mainly between British and American). This contrasting conceit, probably used to keep the material ethereal and timeless, grows tedious after a while. Fairytales need some kind of foundation - a firm mythos, if you will - to keep the allusions sound. Without it, we begin to get lost, or worse, ask questions that don’t pertain to the narrative or the characters. Aside from clear factual fallacies (how, exactly, does one’s carotid artery end up in their nose?) and a lame denouement, the lack of such an underpinning really ruins this film.

Yet Penelope is not a complete disaster. There is a nice chemistry between Ricci and McAvoy, and the second act appearance of producer Reese Witherspoon as a disgruntled courier who befriends our heroine offers some funny moments. And there are times when the earnest quality of Penelope’s dream to be normal touches our own sense of self. But this is not the quirky feel goof farce the marketing would have you believe, nor is it a shockingly original take on the standard ‘once upon a time’ material. Instead, Penelope is as mixed as the motives of the entire Wilhern family. On the one side are a failed father and a shrill mom. On the other is their darling daughter and her optimistic worldview. Somewhere in the middle lies this lox of a movie.


by PopMatters Staff

28 Feb 2008

Radical Chic [MP3]

Mostly Untitled [MP3]

Chatham County Line
Birmingham Jail [MP3] (from IV releasing 4 March)

Great Northern
Telling Lies [MP3] (from Sleepie Eepie EP releasing 18 March)

The Photon Band
Thinkin’ Boutchoo [MP3]

American Music Club
All Lost Souls Welcome You to San Francisco [MP3]

The Ruby Suns
Tane Mahuta [Video]

Beach House
Heart of Chambers [Video]

by Jason Gross

28 Feb 2008

Naughty, naughty but are you really surprised?  I mean, they started the lawsuits on the artists’ behaves so why should they share in on the money they’ve squeezed outta people?  See this NY Post story for more details.

by Bill Gibron

27 Feb 2008

After their profitable partnership dissolved, after their once amicable relationship started to fray (in part thanks to lawsuits, misunderstanding, and miscommunication), director Herschell Gordon Lewis and producer David F. Friedman were desperate to prove they could go it alone. Both knew that the exploitation game was still the most important genre in all of cinema. It was where the medium was truly testing the limits of its aesthetic. It was also where the easy money was. A little gore, some T&A, and a fine living could be made. Before coming back together to make Blood Feast 2 in 2001, both men made several sensational pictures. Unfortunately, when the time comes to write their bios, the same THREE films take front and center.

Yet there are many amazing movies as part of this duo’s individual oeuvres that get unfairly overlooked. While few have had the impact of Blood Feast, Two Thousand Maniacs, and Color Me Blood Red, they definitely deserve an equal amount of attention (and in the case of Color, much more so). Consider this list as a beginner’s guide so to speak, a starting off point for a further perusal of the considered works of two exploitation giants. While they are not the only names among the founding members of the genre, Herschell Gordon Lewis and David F. Friedman are truly artists among the raincoat rabble. Our overview starts from the production end of things:

From David F. Friedman

The Defilers 1965

The first true “roughie”, an exploitation subgenre that focused on violence as much as sex, this craven bit of carnality remains Friedman’s confirmation he could hack it without Lewis. Two spoiled men kidnap a gal and make her their perverted plaything. Unrelenting in its brutality and corporeal cruelty.

A Smell of Honey, A Swallow of Brine 1966

Friedman discovery Stacey Walker is the only reason to watch this otherwise routine ‘bad girl gets her eventual comeuppance’ drama. She primps and preens across the black and white screen, her Baby Doll like innocence swamped in gallons of sleazoid slime. Everything else is by the book and routine.

She Freak 1967

Using his status as an actual carnival owner to reimagine Tod Browning’s Freaks, Friedman digs up a deliciously seamy look at love and betrayal on the Midway. Much of the story stays the same, but with late ‘60s sexuality taking over, we get a healthy dose of dementia.

The Erotic Adventures of Zorro 1972

There’s much more than swashbuckling in this scandalous take on the Hispanic hero. Featuring the unflappable Bob Cresse as a corrupt officer, and a bevy of California beauties, this is the kind of softcore sex spoof that Friedman fell into late in his career. It stands as one of his best.

Johnny Firecloud 1975

In light of the success of Tom Laughlin’s Billy Jack character, Friedman found his own way to celebrate growing Native American awareness. The result was this action packed tale of bigotry, bravery, and the most irredeemable white people ever. Jack may have started the war, but this amazing artifact ended it.

From Herschell Gordon Lewis

Blast Off Girls 1967

Like A Hard Day’s Night gone gangrenous, Lewis lifts the lid off of rock and roll corruption and finds a talentless bunch of wannabe musicians and a cameo by Colonel Harlan Sanders? Let’s face it - any film with a character named Boogie Baker (who everyone pronounces “boo-gee”) has more moxie than most.

The Gore Gore Girls 1972

Strippers are being slaughtered and it’s up to a fey private dick to figure out whodunit. Featuring classic moments including the ground hamburger butt (complete with salt and pepper), the plain and chocolate milk giving nipples, and gratuitous Henny Youngman. It’s enough to make you scream…with deranged delight!

The Gruesome Twosome 1967

The local wig shop needs inventory, and guess who supplies the samples? Why, it’s the girls from the nearby college campus. Another in Lewis’ hilarious string of gore comedies, this one note nasty is far funnier than frightening. Even the blood is a little less festive than before.

How to Make a Doll 1968

Hoping to trade on the growing promiscuity of the sexual revolution, the Godfather of Gore decided to go robot. When a nerdy scientist realizes he’ll never get a real girl, he decides to build one. The results are like an outtake from Rowan and Martin’s Laugh-In…only crazier.

Jimmy the Boy Wonder 1966

A rare non-exploitation spin for Lewis, this heartwarming family film has a horrid child actor in the lead, the producer’s wife as the singing female star, and enough sloppy psychedelic missteps to give the wee ones nightmares. The story centers on a boy who can stop time. He should have halted it before production began.

Just For the Hell of It 1968

Juvenile delinquents run ramshackle over a small Florida town, wrecking all kinds of ‘baby into garbage can’ havoc along the way. Really nothing more than a series of smash and grab set pieces supplemented by droning dialogue about all things antisocial, this stands as one of Lewis’ most unhinged efforts.

She-Devils on Wheels 1968

Female biker babes, riding hard and partying harder - that’s the premise to one of the ‘60s greatest grindhouse classics. The scene where the gals pick over the male members for their evening’s pleasure is a glorious goof on the long running battle of the sexes. In fact the whole narrative is one long feminism/chauvinism chopper tirade.

Something Weird 1967

Hoping to do something with LSD and ESP, Lewis lumbered into a crackpot combination of witchcraft, psychics, and supernatural possession. Toss in some acid, and the title speaks for itself. It stands as a benchmark in the director’s solo work, an ‘anything for a dollar’ drive that saw him finally returning to terror. 

The Wizard of Gore 1970

Montag is a magician whose splatter show acts somehow come to life hours after the performance. Unlike his later horror comedies, Lewis takes this material very seriously, and the resulting grue is quite disturbing. While Ray Sager’s sprayed gray hair is rather unconvincing, the rest of the film is unrelenting in its desire to disturb.

Year of the Yahoo 1972

An election time favorite, this outsider view of the political process is as vital today as it was 35 years ago, perhaps even more so. A country bumpkin singer is tricked into running for the Senate by a group of corrupt campaign chiefs. Oddly enough, his rube hick humility strikes a chord with the public.

by PopMatters Staff

27 Feb 2008

The Red Stick Ramblers
Made in the Shade [Video]

Here’s to Made in the Shade, a foot-tappin’, energetic standout by the Red Stick Ramblers. Midway through the opening title track, lead vocalist Linzay Young confirms what you already know—you are in a place where Texas swing, Cajun music, and N’awlins jazz mix and mingle (“it comes from Opelousas / and it’s made in the shade”). When he adds that “chances are / my back pocket’s got a little thirst aid”, you have no doubt that beverage is white lightnin’. The Red Stick Ramblers offer you a drink and tug you onto the dance floor.—Mark W. Adams

Nick Lowe
I Love My Label [MP3]

Violence, Diamonds [MP3]

On the Lam (Copy remix) [MP3]

Astrid Williamson
I Am the Boy for You [MP3]

Beat of the Double [MP3]

The Teenagers
Starlett Johansson [MP3]

//Mixed media

Country Fried Rock: Drivin' N' Cryin' to Be Inducted into the Georgia Music Hall of Fame

// Sound Affects

""If Drivin' N' Cryin' sounded as good in the '80s as we do now, we could have been as big as Cinderella." -- Kevn Kinney

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