I usually don’t link to my other blog from here but I just wanted to note the death of one of my favorite cult rockers, Arthur Lee: you can see all that I gushed about the great Love man there. The one thing I’d add is this great MP3 link from the Music for Robots blog—the now-poignant Everybody’s Got to Love.
What do Secret deodorant, Greased Lightning household cleaner, and Game Show Network have in common? All three are eager to sponsor your private and personal secrets online on their websites. BusinessWeek has an item (behind a subscription wall) about this strange trend whereby brands hope to bolster their online communities by inviting people to use their sites as a place to both confess secrets and play voyeur. This nicely collapses the “publicity is personality” movement of MySpace with advertisers growing need to induce audiences into doing measurable activities online in order to get paid. Apparently people are actually doing this—4,500 people at Secret’s site, 10,000 at Greased Lightning. How desperate are these people for attention, even of the anonymous and personally embarrassing variety? Seems this is further proof that people are coming to the conclusion that the only valid form of social recognition available is in tha spotlight of some pseudo-mass-media spectacle—even if your online confession might be seen by no one, the fact that it might be seen by everyone makes it more valid than whispering it to your friend. Elizabeth Woyte, who write the item for BusinessWeek, wonders whether the sponsored confession phenomenon has something to do with the study that revealed that more Americans now report having no close friends. Perhaps it is because of the changing nature of friendship.
Ad-audience measurement is becoming more stringent at precisely the same time that friendship is becoming more open to measurement itself. Coincidence? My thesis is that ad ratings measure influence, and friendship for some has become largely a matter of measuring one’s own impact on others. The two concepts are converging. Friendship is nothing more than a medium for word-of-mouth advertising.
Ever since the mid-‘80s, pay movie channels like Home Box Office, Cinemax and Showtime have offered Saturday Night premieres of first run Hollywood films—or, at the very least, what THEY consider to be first run Hollywood films. Anyway, as part of the Short Ends and Leader Blog. PopMatters will look at these upcoming debuts, as well as point out other notes of cinematic interest available on the network schedule. For the week of 4 August, here is what’s arriving:
Okay, okay, everyone is just plain sick and tired of Angelina and Brad by now. They’re really hot. They’ve had a baby. Blah, blah, blah. While deciphering why the public is so fascinated by this couple, you can experience the film that started their fairy tale freefall into tabloid tenancy. Call it a hyperactive War of the Roses, or an overdone screwball comedy, but this he and she hitman saga is a less than perfect offering that still crackles with enough glittering superstar spark that it almost overcomes many of its missteps. (Premieres Saturday 5 August, 8:00pm EST).
PopMatters review: Click HERE
Gee, another pair of famous faces, another high concept action movie that didn’t really live up to expectations. Godfather of the gauche epic, Michael Bay, may have thought he could fool film fans with his high tech retread of Parts: The Clonus Horror, but by casting the frequently flat Ewen McGregor and Scarlett Johansson, this sterile sci-fi film was guaranteed never to quite take off. Heck, there are worse ways to spend a Saturday night than with a superficial serving of speculative silliness. Besides, no one knows action better than Bay. (Premieres Saturday 5 August, 10:00pm EST).
PopMatters review: Click HERE
Signaling the exact moment when the ‘70s/’80s horror remake revival hit the wall, this rotten retread of John Carpenter’s already nominal scary sea shanty offered proof positive that there is nothing frightening about a murky PG-13 macabre. Directorial lightweight Rupert Wainwright can’t match the level of dread contained in the original, and frequently substitutes shoddy CGI for anything remotely terrifying. Investigate this murky mess at your own risk. (Premieres Saturday 5 August, 9:00pm EST).
PopMatters review: Click HERE
Six months out and people are still clamoring over this surprise Oscar victor. Did it really deserve the Best Picture trophy? Was there something political (or anti-agenda based) in its victory over a certain cowboy drama? Who actually produced this thing, and will they ever see a residual check for the efforts? If you are unfamiliar with Paul Haggis’s interlocking take on racism in America and its seemingly universal effects, perhaps it’s time to pay it a visit and consider its value – not just as an award winner, but as an overall social statement as well. (Saturday 5 August, 7pm EST)
PopMatters review: Click HERE
Leave it to the classic film channel to find novel ways of constantly recycling its catalog of amazing Tinsel Town artifacts. In August, the station will salute several celebrated names from Hollywood’s Golden Age upward, using each day long promotion as an excuse to screen several offerings from the specific star’s catalog. A few of the highlights for the week of 4 August to 11 August are:
One of the few true icons of the studio system silver screen, Bogie gets his well deserving due when TCM airs the following films (all times EST):
6:00am: The Racket Busters (1938)
7:15am: The Petrified Forest (1936)
8:45am: Angels with Dirty Faces (1938)
10:30am: Action in the North Atlantic (1943)
12:45am: High Sierra (1941)
2:30pm: The Maltese Falcon (1941)
4:15pm: To Have and Have Not (1944)
6:00pm: The Big Sleep (1946)
8:00pm: Treasure of the Sierra Madre (1948)
10:15pm: Across the Pacific (1942)
12:00am: Knock on Any Door (1949)
2:00am: They Drive By Night (1940)
4:00pm: All Through the Night (1942)
Moving up to the post-modern Method generation of actors, the quiet intensity of Duvall’s onscreen counterparts is on full display in this set of career-defining films (all times EST):
6:00am: Tomorrow (1972)
8:00am: To Kill a Mockingbird (1962)
10:15am:Captain Newman, .M.D. (1964)
12:30pm: Tender Mercies (1983)
2:15pm: Countdown (1968)
4:00pm: The Outfit (1973)
6:00pm: The Conversation (1974)
8:00pm: The Godfather (1972)
11:00pm: The Godfather Part II (1974)
2:30am: THX 1138 (1971)
4:15am: Lawman (1971)
Another one of those rare Hollywood symbols, this stubborn individualist left behind a oeuvre overflowing with amazing work, many of which TCM will air as a tribute to her talent, and tenacity (all times EST):
6:00am: Katherine Hepburn: All About Me (1993)
7:15am: Little Women (1933)
9:15am: Quality Street (1937)
10:45pm: Stage Door (1937)
12:30pm: Bringing Up Baby (1938)
2:15pm: The Philadelphia Story (1940)
4:15pm: Woman of the Year (1942)
6:15pm: Adam’s Rib (1949)
8:00pm: The African Queen (1951)
10:00pm: Rooster Cogburn (1975)
12:00am: Long Day’s Journey Into Night (1962)
3:00am: Spitfire (1934)
4:30am: Christopher Strong (1933)
What makes Clerks II one of the best movies of the summer? Is it the focus on interspecies erotica? The discussions centering on body parts that aren’t necessarily supposed to be combined? Maybe it’s the mindless debate over which is better—Star Wars or Lord of the Rings—or the pop culture poetry of hearing the Go-Bots referred to as the “K-Mart of Transformers”. Whatever the rationale, writer/director Kevin Smith has done the impossible: he stayed true to his original black and white opus from 1991, while successfully arguing for the value of sequels. It turns what could have been bothersome into pure cinematic bliss.
You don’t have to be a member of the filmmaker’s fanboy View Askew universe to appreciate the many insular intricacies present. Smith has always been known for his clever, cutting scripts, but elements like emotion and context occasionally escape his grasp. With this return to Randall and Dante’s slacker domain, replete with familiar faces (Jay and Silent Bob) and wonderful new additions (Trevor Fehrman’s fantastic Elias, Rosario Dawson’s dynamic Becky) Smith discovers new layers to explore. He acknowledges the passing of time, allowing what seemed like a reasonable lifestyle choice a decade ago to now come across as lazy and aimless. By using throwback musical moments (the Jackson Five’s “ABC”, The Smashing Pumpkins “1979”) to underscore his viewpoint, he even manages to move us.
Some may say that every Kevin Smith movie is the same. Take a few dozen of his obsessions, mix them with a heaping helping of foul language, and stir in some scatological silliness just to spice things up, and there you have it. Unfortunately, such a simplistic description doesn’t even begin to address Clerks II’s many significant joys. Before it gets bumped out of theaters, treat yourself to one of the best collections of dirty diatribes you’ll even overhear. The art of conversation may indeed be dying, but with Kevin Smith around, there’s hope for the verbal life skill yet.