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by Bill Gibron

25 Jul 2007

When one thinks of martial arts, and specifically movies centering around the ancient skill set, the graceful and powerful moves of the actors remain primary in one’s mind. Indeed, as the years have only increased the profile and proficiency of these films, the intricacy of the movement and the visual opulence achieved through same have elevated the genre to a Zen-like zenith. But fans often forget that there’s more to cool kung fu fighting than roundhouse kicks and the touch of death. Indeed, weaponry is as important to a combatant as his or her own discipline. Yet we rarely get to see our champions defined solely by such a talent. Unless you look at period pieces where feudal times demand more swordplay than side sandal action, it stays all swipes and blocks. Thanks to two new DVDs from Magnolia Home Entertainment, however, we can witness a more diverse version of Asian action daring do. In Dynamite Warrior, a well meaning vigilante uses rockets, gunpowder and other forms of explosives to destroy a local despot. In Yo Yo Girl Cop, a favorite Japanese heroine is reinvented, her trusty armored child’s toy ready to wreak some excellent post-modern havoc.

When he was a young monk, Jone Bang Fai saw his family killed by a water buffalo rustler named Sing. Ever since that fateful night, he’s sworn to seek out the criminal and kill him. Fast forward a few years and local Lord Waeng has frittered away his money on a collection of steam-driven tractors. He wants peasants to abandon their beasts of burden and buy his pricey technological marvel. When they refuse, he hires a ruthless band of thieves lead by a crazed cannibal giant to force the issue. A grown Jone, on the other hand, has been doing his own bit of ‘stealing’. He takes herds of missing livestock and returns them to the poor villagers. When Waeng discovers this, he wants the rural Robin Hood stopped. When he learns that Sing plans on reporting his deal with the criminals to government authorities, he also wants the mythic mobster destroyed. When all discover that Sing is blessed with magical powers, it seems like a lost cause. But then Waeng comes up with a plan. He will discover Sing’s weakness (thanks to an old ‘demonic’ friend) and send Jone after him. If the secret won’t stopped him, maybe the hero’s many rockets and bombs will. Seems Jone has mastered the art of gunpowder, and it will take all his skills as a Dynamite Warrior to stop Sing, Waeng, and the evil wizard once and for all.

From its stellar opening sequence to its incredibly accomplished finale, Dynamite Warrior (the Westernized name for Kon fai bin or “Flying Man of Fire”) is a brilliant Thai take on the standard martial arts movie. Featuring a noble hero, a hissable villain, a populace put down and oppressed, and a modicum of magic (both white and black), the sensational saga of vengeance and honor sweeps you up in its epic ideals and never once lets you down. Thanks in part to the visual opulence offered by director Chalerm Wongpim and the imaginative staging of fight choreographer Somjai Junmoontree, what could be a collection of cardboard characters in search of some wire fu histrionics is at times goofy, grandiose and almost giddy in its sense of spectacle. Fans of full fisted, no nonsense kung fu fighting, the kind that’s almost balletic in style and explosive in its force, will probably find this Siamese bump and thump to be a little too tame for their liking. Indeed, most of the time, star Dan Chupong (from Born to Fight fame) is shown in slow motion, knees and elbows attacking an opponent’s shoulders and torso. Indeed, such sequences lack the movie musical feel most devotees seem to enjoy. But buried inside all the arch athletic prowess is a real story of ancient curses, pissed off demons, fey overlords, and one humongous (and hungry) paid assassin.

Wongpim obviously owes a debt to Kung Fu Hustle’s Stephen Chow, especially for how he mixes the cartoonish and the mystical into this narrative. When Jone Bang Fai is chased by two of Nai Hoi Sing’s henchman, one acting as a monkey, the other acting as a tiger, the direction accentuates their otherworldly abilities in brilliant fashion. Similarly, when Sing and his nemesis, the evil Black Wizard, begin their supernatural showdown, the pantomime punches and pratfalls that shouldn’t work actually do. Granted, there is some substandard CGI here, especially whenever our hero has to employ rockets to win the day, but there are also sequences of real resonance, as when we follow Jone Bang Fai during his explosive’s training. With pitch perfect performances that walk the always fine line between reasonable and ridiculous, and a plot that’s heavy on the alchemy and anarchy, Dynamite Warrior may seem like safe chop sockey lite, but it’s a wholesome and hearty trip nonetheless. It’s safe to say that audiences who wouldn’t normally find themselves perusing the martial arts section for a movie night’s viewing would be delighted to stumble across this excellent example of excess. After all, it isn’t everyday that your cinematic champion rides his own makeshift missile to save the day, or requires the menstrual blood of a virgin to aid in his success. It’s the little tweaks like these that make this movie so much fun.

When one of their secret agents dies in the middle of a crowded crosswalk from a bomb strapped to her body, the Japanese government becomes concerned that another terrorist attack is imminent. They’ve been following a website code named ‘Enola Gay’ (get it?), and have linked it to a local high school. Unfortunately, the case is going nowhere. They need someone to report from the inside. That’s where “K” comes in. Brought back to the East from the streets of New York, she’s blackmailed into assuming the identity of Yo Yo Girl Cop Saki Asamiya, and discovering the truth behind the anarchy inside Seisen Academy. She soon finds that an enigmatic Internet leader named Romeo has the student body preparing for a massive meeting – and one explosive self-destructive protest. And there seems to be a connection to a depressed girl named Tae and a snobby sect dominated by mean bitch Reika Akiyama. Of course, it could all be a smokescreen for something much bigger – and it’s up to our heroine, and her metallic toy – to save the day.

Imagine La Femme Nikita as a delinquent Japanese schoolgirl taken in to do the government’s undercover bidding and you’ve got the basic idea surrounding the immensely popular Sukeban Deka manga series. With a yo-yo as her weapon and a code name of Saki Asamiya, her job is to infiltrate those bastions of Asian bad behavior – the typical high school – and disclose the undesirable/criminal element within. For nearly three decades (with just a sort stint outside the public eye in the late ‘90s), this archetypal avenging character was a popular comic, anime, and film subject. Now, Yo Yo Girl Cop introduces the latest actress incarnation (Aya Matsuura) and hopes to jumpstart the series for a picky, post-millennial crowd. Directed by Battle Royale screenwriter (and sequel director) Kenta Fukasaku, this lively, lurid tale of an academy filled with suicide bombers and the enigmatic computer hacker who may be brainwashing them into an act of mass murder, is a merry mishmash of styles and cinematic references. When our heroine is being interrogated/bribed to partake in the secret project, there is a surreal Saw vibe to the situation and surroundings. Similarly, when Saki prepares to standoff against “Romeo” and his band of hired thugs, it’s like every Hollywood actioner you’ve ever seen given over to the Ginza.


Because of the history here, and the full blown mythological subtext the subject matter incorporates, newcomers to the Deka narrative may be lost at first. Unless you know the character, her first meeting with nasty rival Reika Akiyama will appear rather disconnected and strange. Similarly, only those familiar with the television adaptation of the material will understand the significance of Yuki Saito playing the mother. Still, this is not some kind of unfathomable franchise. J-Horror has introduced us to the clique-oriented nastiness of Eastern education, and the continuing fixation with Hong Kong crime films gives the stunt work a sense of balance and place. It’s odd, though, to see two attractive Japanese pop stars turned actresses going at each other with yo-yos, and the toys seem to be such ineffectual weapons (save for an example with retractable knife blades) that you wonder why they were chosen. Of course, symbolism and iconography has a lot to do with the visual decisions made – school girl innocence, represented by the uniform, technology run amuck as shown by the everpresent cellphones/laptops – yet the elements of friendship and loneliness remain universal. And with the terrorist angle bringing the stories right up to date, whatever old fashioned fantasy fodder these films provided seems distant and lost. An excellent example of breathing life into a creatively idle concept, Yo Yo Girl Cop is a certified cult phenomenon just waiting for international fans to find it. When they do, they won’t be disappointed. 

So you see, there is an element beyond fisticuffs when it comes to Asian action. Certainly, the skill and stamina required to forge a believable mano-y-mano match up with nothing more than your own physicality is worth celebrating and mythologizing. But just like the unusual individual who ends up the master of the Flying Guillotine, or the drunken old coot who turns out to be an expert at wielding a samurai sword with exquisite ability, a weapon remains a legitimate – and sometimes, legendary – foundation for fighting. Dynamite Warrior and Yo Yo Girl Cop are perfect illustrations of this kind of inventive kung fu fun. They stick to formulas founded on decades of good vs. evil combat, but tweak the particulars toward ideas outside the standard stuntman on stuntman showdown. As they broaden the horizons of the genre, they continuously harken back to the basics that made the cinematic category great in the first place. Meshing old with the new, classic with the creative, both movies argue for the effectiveness, and the energy, in the martial arts medium. Just when you think you’ve seen it all, films like these disprove that adage. No matter the tradition, these excellent releases make it all seem brand new.

by Jason Gross

25 Jul 2007

Yet another great advice column popped up at the Addison Road blog for bands that are just starting out.  First and foremost: “Change your mindset. Once you’ve recorded the album and rehearsed the band, you’re no longer an artist, your full-time career is now marketing and sales. Congratulations - you’re now a small business owner!”  Also using MySpace, iTunes, blogs and podcasts to your advantage.  Of course, they don’t also mention if you do follow all these rules that it will still be a tough slog but hey, you just heard it here, right?

by Daniel Ferm

25 Jul 2007

Quite possibly the greatest animated show of all time, The Simpsons has become one of the most popular shows on television. Starting in 1989, The Simpsons began with strong writing and clever storylines, attracting a large audience and becoming one of FOX’s first hits. Unfortunately, as time has passed, the show has declined in quality, losing its once great edge. The Simpsons Movie premieres Friday, July 27, and judging from the trailer, The Simpsons has sunk even lower to a point of no return.

Remember the good times:

Not these:

by Bill Gibron

24 Jul 2007

After the big screen musical went the way of other motion picture dinosaurs (around the time of Sidney Lumet’s The Wiz), critics started complaining that the only viable source of cinematic song and dance left was animated kid films. With Disney inserting tunes into everything they could, and fiscally minded mimics (Fox, Warner Brothers) following suit, the only place to find legitimate Broadway style show biz was in the soundtrack of cartoon cavalcade. Of course, the House of Mouse saved face, bringing in real life tunesmiths like Howard Ashman, Alan Menken, and Tim Rice to reinvent the genre. But now, a few decades removed, it seems like the fantasy format of characters vocalizing their inner feelings has, again, gone the way of the do-do. In fact, Pixar (Mickey’s latest production partner) has consistently avoided the crooning creature ideal. So where does that leave the pen and ink production? By the look of the selections in this second installment of SE&L”s Surround Sound, it appears the genre is tired and treading water. Two of the three highlighted choices this time represent the most routine – and in one case, shameless – substitute for actual artistic accomplishment available. And then once again, it’s the stellar CGI of one company’s amiable aesthetic that wins out over everyone else.

The Simpsons Movie [rating: 6]

By now, most fans know the sad and confusing fact that neither Danny Elfman (who concocted the series’ signature theme) nor Alf Clausen (the man behind the music for 17 years) are involved with the sonic situation in the new Simpsons Movie. Instead, that Tinsel Town tunesmith Hans Zimmer was pegged to provide an aural backdrop to the big screen adventures of Homer, Marge, Bart, Lisa, and Maggie. An Oscar winner (for The Lion King) and five time nominee, there is nothing inherently wrong with said choice. The German born composer has been on a summer blockbuster role as of late, having worked on the last two Pirates of the Caribbean films as well as Batman Begins and The Da Vinci Code. But like asking an outsider to partake in a massive and extremely insular family reunion, Zimmer arrives unfamiliar with the ways of America’s favorite family. As a result, he turns in a decent, if derivative score that owes as much to the men he replaces as it does anything remotely original. It’s tough to get a handle on just what doesn’t work – especially in light of the music’s inherent quality and sparkle. But it’s clear that, without the context of the film around it and the specific sequences illustrating its tone, the auditory concepts here just don’t gel. Instead, they end up resembling disconnected sketches, ideas never coming together under a common theme or mood.

It’s clear that Elfman and Clausen were Zimmer’s main inspiration. Several of the tracks here - “Trapped Like Carrots”, “What’s an Epiphany?”, “Thank You Boob Lady” – are nothing more than extended symphonic tweaks tagged to variations on the main Simpsons’ theme. While the notes aren’t always in the exact same place, you can instantly recognize the series sassy trademark each and every time. In other instances, elements that Clausen excels at (stylistic mimicry, sonic stereotyping) are also attempted by Zimmer. Yet the results, like the ersatz spy jazz of “Release the Hounds” or the Busby Berkley gone batty of “Bart’s Doodle” have a less pointed, satiric quality. Still, there are moments of ambient excellence throughout – “You Doomed Us All…Again” is a massive musical statement that goes from delicate to demonstrative with perfect action/adventure vibe, as do “…Lead, Not to Read” and “World’s Fattest Fertilizer Salesman”. We also experience a weird kind of Aaron Copeland hoedown déjà vu during “Why Does Everything I Whip Leave Me?”, the track resembling that famous beef council commercial rewritten and inverted. The score can get syrupy at times, and when Zimmer is stuck for inspiration, her reverts back to Elfman, or a joke from the film (in this case, the overblown choral version of “Spider Pig”) to save the day.  Like any new writer or artist coming to The Simpsons, fitting in is half the battle. Zimmer more or less succeeds, but not without an awkward adjustment period.

Ratatouille [rating: 9]

Unlike the Simpons score, there is a solid synchronicity between Michael Giacchino and his remarkable work for Pixar’s latest animated pearl, Ratatouille. Almost every cue contained on this 24 track collection reminds one of the amazing adventures of the rat Remy and his desire to be a great Parisian chef. The composer – a long time JJ Abrams associate, having worked on Lost, Alias and Mission Impossible III – is no stranger to the animation/family film game. He helped Brad Bird’s other 3D masterwork, The Incredibles, roar to sonic life and put the aural polish to several Muppet titles. Here, Giacchino had quite a massive musical mountain to climb. Dealing with a modern France filtered through the city’s noted old world charm and aura, the score for Ratatouille needed to be instantly recognizable while incorporating as much of the cosmopolitan European flair the narrative needed as possible. It’s a balancing act that he manages brilliantly, turning this score into a reference heavy collection of waltzes, tangos, slow groove jazz, and ‘50s/’60s metropolitan cool motifs. When combined with the other odd inclusions – random Hawaiian guitar and harmonica –, the idiosyncratic ethnic choices (gypsy?), and the occasional callbacks to his own Mediterranean culture, Giancchino delivers a delightful aural stew, perfectly seasoned and ready to consume.

With some tracks lasting less than a minute, and others pushing close to ten, the Ratatouille score has a very traditional flavor and feel. There are snippets of big band swing and the typical sidetracks you’d find in a foreign set storyline. As this is France, wandering accordion and saccharine string trills are mandatory, and Giancchino doesn’t shy away from them. Yet he also tries to anthropomorphize the soundtrack, tossing in aural allusions to mice, a chaotic kitchen, or a robust city street. This is a composer who understands the inherent ingredient a good musical backdrop needs in order to stand on its own – a fully realized ‘personality’, one easily identifiable and separate from the movie itself. In addition, all throughout the collection of tracks – “Souped Up”, “Remy Drives a Linguini”, and “Kiss and Vinegar” for example – we find ourselves swept away into an ephemeral world where one’s imagination starts painting in the particulars.  Like the movie it supports, the Ratatouille soundtrack melds classic and contemporary ideas into something that should be routine and familiar – an animated movie – into a stunning work of art.

What’s Cooking? Songs Inspired by Disney’s/Pixar’s Ratatouille [rating: 4]

Leave it to the House of Mouse to find a way to dull this Pixar production’s decided twinkle. Presented as a collection of songs ‘inspired’ by the film, but really nothing more than an excuse to make more merchandising oriented cash, What’s Cooking? utilizes the theme of food as a way of tying together 12 mindlessly mundane tunes. Most are originals from composer/conductor Fred Mollin and his Blue Sea Band, while others are corny covers. Sounding like something you’d experience in one of Uncle Walt’s theme parks, the slick overproduced feel of this collection is kind of creepy. You can hear every over-earnest nod to minority music styles in this hodgepodge of jumping jive and swamp boogie slink. It’s supposed to be toe tapping and finger snapping, but it ends up soul sapping most of the time. Like the recipes included in the liner notes (for fabulously perfunctory dishes like “Oven-Baked French Fries” and “Eiffel Tower Cookie Sundaes”) this is broad, unimaginative pap barely capable of providing true aesthetic sustenance. While there may be a few fans out there who see this release as a way of extending their Ratatouille pleasure – or cynically, introducing their impressionable children to the world of musical diversity – there’s nothing here that demands attention or approval. This is the kind of listening experience available every morning as part of TLC’s family programming. All that’s missing are Raffi and someone dressed up like a monkey.

Complete with fake applause and crowd noise that will continue throughout the entire 36 minute running time, What’s Cooking? starts off with “Cheese Please”, a goofball jaunt that uses rhyming as its reason to exist. We are supposed to get a kick out of the various culinary quips, but the whole song smacks of a rejected Madison Avenue dairy jingle. Next is a classic track, “Saturday Night Fish Fry”, and with its blaring horns and thumping bass, it’s a perfect illustration of what this compendium strives to be. For a while, the call and response nature of the tune is infectious. But soon, all the goodwill garnered by this anthology is destroyed by a doping rap remix/remake of the Gerardo hit (huh???) “Rico Suave”. Entitled “Taco Grande”, this soggy sonic satire makes you want to grab something and destroy your CD player. Even when followed by the safe and superficial beats of “Pizza, Pizza, Pizza”, and “One Meatball”, the stench of such a sloppy selection lingers. Luckily, the classic clip of “Save the Bones for Henry Jones” (one of the oddest swing numbers ever) and the Louis Prima penned “Banana Split for My Baby” almost save the day. Without the original artists providing the performance however, the rescue is only half realized. Indeed, most of What’s Cooking? could be considered a semi-success. Of course, this also means that it’s mostly a failure as well.

by Rob Horning

24 Jul 2007

Jon Elster’s Sour Grapes: Studies in the Subversion of Rationality brings together a number of my favorite topics, all of which I tend to see as connected to consumerism: the importance of the public sphere, the problem of trying to will authenticity or naturalness (the sprezzatura conundrum), the ways in which collective and individual rationality are at odds, limitations of Pareto efficiency—i.e. the argument that optimal rational equilibrium is achieved only when no one can be made better off without making any other individual worse off—and the possibility of altruism. Consumerism sets forth a set of values that hinge on a blindness to these issues; it thrives on a ideological belief—easily disproved—that there is no society, only individuals and their preferences, that can be sated in the market through goods, independent of the actions of others. After all, even our consumerist desires are dependent to a degree on what other people want, or have wanted, or will want. What’s available depends on what others want and are willing to produce and sell. The value of things to us often depends on how others view them, and how scarce they are due to how much others covet them. And then there are status goods and positional goods, which can only be valued in terms of excluding others from having or using them—things like beach-front property and limited-edition luxury goods and artworks. We are not in total control of what we want and whether we can have it, and this undermines any simplistic assessment of what our rational behavior should be in such terms. Rather, our desires are always affected by the sort of decisionmaking processes studied by game theory—if they want that, then I should want this, unless they know I know they want that in which case I should want this and not that. And so on. And such strategizing makes us hopelessly self-conscious, and by some standards, inauthentic, at one remove from what we are brought to regard as our “natural” desires. Consumerism exploits this problem—offering to return us to our naturalness through a fantasy evoked by heavily-advertised goods while exacerbating the inauthenticity that comes with a feeling that we are calculating our identity. COnsumer products seem to provide us a signalling language to express real selves, but our real selves don’t speak that language, and are actually byproducts of other activities—perhaps of being lost in what productivity gurus like Mihaly Csikszentmihalyi call flow.

In other words, consumerism chooses us to consciously, rationally, plan out what we desire as a means to achieving a better sense of who we are and how we want to live. This very act of willing makes the goal—selfhood—impossible. Elster cites Hegel’s Phenomenology of Spirit on this point: “Desire and the self-certainty obtained in its gratification are conditioned by the object, for self-certainty comes from superseding this other: in order that this supersession can take place, there must be this other.” The process of desiring is central to the self, not what is desired—consumerism tends to make us confused on that point and we wonder why the objects alone continue to disappoint us, or satisfy us only temporarily, or leave us fundamentally unfulfilled. Once we set out to pin our nature down, it eludes us, becomes contrived, feels wanting. At this point, the machinery of the consumer society intervenes to remedy that lack, reinforcing the faulty premise that conditioned it.

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