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by tjmHolden

31 May 2007


I know that this is a column about travel, but you know from being such faithful readers that voyages of the body, the soul, the mind . . . they all qualify. Still, even by that liberal definitional standard, this entry will be a stretch, since this entry is about journeys of a moral kind. It is a topic that came up recently over here in Japan (where my peripatetic feet generally roost) and I hope you agree it’s worth consideration, at least for a paragraph or three.




If you haven’t heard, a “baby drop box” was put into operation May 10 by a Roman Catholic hospital in Kumamoto. It was designed for unwanted infants however it made the front page of newspapers when a father dropped off a preschool-aged child on the service’s first day.

This abandonment aside, Kumamoto’s so-called “konotori no yurikago” (stork cradle) plan has generated both praise and criticism. Is this an example of social engineering noble and visionary, or of a society dissipated and retrograde? Is this a human community committed to the principle of “no child left behind” or, rather, of any child potentially tossed by the wayside?

 

by Bill Gibron

31 May 2007

Don’t you hate the feeling? That dull, throbbing pain in your cinematic proclivities provided by what can best be described as a popcorn movie hangover. So far, the month of May has given us a trio of tre-quels, and another look at some very British non-zombies. It was the entertainment equivalent of binge drinking. As June begins busting out all over, the theatrical choices are becoming a little less bombastic – and if you’re not already in line to see Judd Apatow’s brilliant Knocked Up, there is something really wrong with you. The pay cable channels, on the other hand, are weeding through the remainder of last year’s lesser offerings. For anyone whose seen the ads, Cinemax and HBO are promising a big fat blockbuster couple of months. Too bad they choose to avoid that approach this week. Similarly, Starz has been on a roll of sorts the last few Saturdays. This time though, the sacrilege hits the fan. We here at SE&L are still going to suggest it, even though it represents the worst of Tinsel Town’s thriller tendencies. You have been warned:

Premiere Pick
The Da Vinci Code

Buried inside Dan Brown’s purposefully provocative premise is actually a pretty strong story idea. After all, the Church has been a notorious secret keeper for eons, and to think it would resort to violence to protect the fact of Jesus’ secular reality is not so incredibly far fetched. But then he had to go and muck it all up by turning the entire tale into one big oversized cryptogram with way too many loose ends and obvious clues. All director Ron Howard did was emphasize the sloppy code busting. In addition, Tom Hanks is horribly miscast, unable to loose his average Joe vibe to play a dorkwad Harvard scholar. Toss in the lack of legitimate surprise (the media had long ruined Brown’s chartbuster hook), some scenes of incredibly ponderous exposition, and you’ve got a massive mainstream hit that plays like a lame History Channel reenactment.  (02 June, Starz, 9PM EST)

Additional Choices
John Tucker Must Die

The teen comedy has suffered significantly over the last few decades. Basically, the kind of material masquerading as coming of age fodder has been usurped by sitcoms and cable cartoon shows. While the premise of this relationship/revenge spoof sounds novel, it ends up derivative and dopey – sort of like your typical high school student, right? No amount of ‘you go girl power’ can save this sloppy satire. (02 June, HBO, 8PM EST)

Accepted

It must be matriculation night over at the HBO/Cinemax studios. When it was released last August, many felt this college jokefest could be a modern day Animal House. It ended up being another unappetizing installment of the overly ironic post-millennial excuse for a laugh-a-thon. While the notion of a student run school for partying is not a new one, the PG-13 rating which reduced every gag to something tepid and tame is. (02 June, Cinemax, 10PM EST)

 

Strangers with Candy

Before her position was usurped by Sarah Silverman, Amy Sedaris was the go-to gal for confrontational wit and wisdom. Perhaps that’s why this big screen makeover of her Comedy Central hit felt so desperate and dated. It was just so 1997. Hyped as the second coming of funny, it flopped so massively at the box office that even die-hard fans couldn’t find a screening. Thanks to endless repeats on cable, they should now have no such viewing problems. Let the reconsideration commence. (02 June, ShowTOO, 10:30PM EST)

Indie Pick
Monty Python’s The Meaning of Life

Before the death of founding member Graham Chapman, the members of Britain’s undeniably brilliant sketch comedy company delivered their final motion picture masterwork – a vignette oriented comic cornucopia on the purpose of existence. While many found the film too fractured and fragmented, it plays today like a strong litany of lessons lifted directly from humanity’s metaphysical playbook. Taking on birth, war, death, and dismemberment, along with a collection of musical numbers that each rival Oliver! in their “I’m All Right Jack” Englishness, the troupe fashioned a seminal work of cinematic comedy that few, if any, could ever dare match. Sadly, it would be their final group effort, but it continues to argue for the talented men’s position as kings of skewering satire. (07 June, Sundance Channel, 7PM EST)

Additional Choices
Kinsey

Overlooked when it arrived in theaters, Bill Condon’s witty exposé remains a work of quiet genius. Well past due for a big screen biopic, the story of America’s preeminent sex researcher was watered down a little for mainstream consumption (meaning a limited glance at the subject’s rumored festishes and bi-sexuality). But the wonderful performances by Liam Neeson and Laura Linney more than compensate.  (02 June, IFC, 9PM EST)

Fried Green Tomatoes

Fannie Flagg was, at one time, the hillbilly Harlequin romancer, a novelist using standard sentimentality of the chick flick as a basis for her country cousin yucks. This story of female empowerment and under-ripe love apples stands as her most popular paean to gals abandoning men in favor of their own overriding womanliness. Thanks to marvelous turns by the entire cast and a nice feel of nostalgia, it remains a well loved lament. (05 June, Sundance Channel, 6:45PM EST)

The Sleeping Dictionary

Before she became a full blown erotic eye candy pin up, Jessica Alba actually attempted to be an actress. Proof is this unusual 2003 drama in which the future male fantasy fodder played the title character, a native girl used by turn of the century British bureaucrats to learn the language and customs of their colonies. While not perfect, it remains a lovely movie overflowing with stunning vistas and fine performances. (05 June, IFC, 10:45PM EST)

Outsider Option
Head

If the Monkees were indeed the exact artistic opposite of the Beatles, then it makes perfect sense that the Prefab Four would create a film diametrically opposed to the Liverpool boys’ own joyful saccharine romps. Head is hard to decipher at first, a social commentary without anything new or significant to say, a work of warped brilliance bathed in a slack self-effacing paradox that wouldn’t be popular for another 25 years. At its heart, thought, it remains a fascinating deconstruction of the entire Monkees myth, from the lighthearted screwball slapstick of their hit TV show to the notorious disposability of their music. It remains a movie so ahead of its time that it’s still waiting for said era to arrive. This is a brave pick for TCM’s Underground, especially when you consider that they’ve been bringing us reruns and bottom of the barrel b-movies for quite a while now. (01 June, TCM Underground, 2AM EST)

Additional Choices
Grand Canyon

Back before he fell from cinematic grace, Lawrence Kasdan delivered this Crash like take on life in early ‘90s Los Angeles, and critics couldn’t’ get enough. While clearly loaded with more social observations than story (the characters here do love their long conversations), the writer/director’s intelligent insights really drive the drama. Add in some pitch perfect performances and you have one of the era’s best. (02 June, Indieplex, 9PM EST)

Satan’s Cheerleaders

Like every great grindhouse classic, this movie has a better title than truth. A Satanic janitor looking for virgin meat to sacrifice gets the local pep squad in Dutch with his fellow Devil devotees. Unfortunately, the jokes on him, in mores ways than one. Featuring a completely out of place Yvonne DeCarlo and a classic John Ireland, the drive-in once delighted in such dementia. Now you can too. (02 June, Drive In Classics, Canada, 9PM EST)

Mean Girls

Quick - when someone says dirty drunken slut, what’s the first two words that come to mind? If you said Lindsay Lohan, you deserve a double martini and a pair of crotchless panties. If, on the other hand, you named anyone else, then you might want to check out the cable channel premiere of the former ingénue’s mainstream comedy hit. There’s enough wit here to almost make you forget a certain actresses antics. ALMOST. (07 June, TNT, 8PM EST)

 

by Jason Gross

31 May 2007

Yes, it’s summer time here in the Western hemisphere so another edition of PSF is out including…

by Amy Depaul and Marco Ursi

31 May 2007

Dear Marco,

Greece or Rome? Jordin or Blake? Star Wars or Lord of the Rings?

It’s hard to resist comparing two obvious rivals, and Internet-based publications Salon and Slate are no exception. To be fair, these two online magazines are close cousins, both offering a mix of politics, culture, the arts and some blogging. In addition, they both feature lively writing that goes heavy on the irony. But Salon is the better magazine.

by Bill Gibron

30 May 2007

Sometimes, a monster merely happens. You can argue all the FBI profile material, and trace a killer’s lineage back to days vivisecting his (or on rare occasions, her) pets, but the truth is that evil doesn’t necessarily need a clinical explanation. If we are to believe the dogma and the organized ritualization of same, it is a constant within our ethical purview, and battles constantly with good for domination over our soul. So do we really need to clarify why bad things happen, or why individuals forsake morality for something more mean-spirited and sinister – even when the entity in question is a maniacal medico who likes to cannibalize his victims with some fava beans and a nice Chianti?

Hannibal Lecter, especially as personified by actor Anthony Hopkins in three separate films – The Silence of the Lambs, Hannibal, and Red Dragon – remains a stalwart cinematic sicko, a fiend formed out of everyone’s own internal horror hierarchy and imagination. Some see him as horror humanized. Others tend to treat him like the granddaddy of death, the far more eloquent bunkmate of figures as fiendish as Jason Voorhees, Freddy Krueger. He doesn’t demand elucidation – he readily infers his foulness. So what’s the best way to destroy said demon, to undermine his already potent noxious nature? Why, give him a rationale for being so repugnant, that’s how. And that’s exactly what Hannibal Rising does.

While not the worst prequel ever made, this might just be the most pointless. It draws on luxuriant imagery and old world charms to try and defend the insane actions of a future madman. It provides excuses instead of scares, psychological underpinnings where a couple of good gore sequences would have sufficed. Unlike the previous pieces in the Lecter legacy, Rising isn’t really about police procedure or burrowing into the mind of a serial killer. No, this is your standard revenge flick, Michael Myers and his growing slice and dice dementia moved half a world away and several decades into the past. Here, we meet the mighty Lecter clan, wealthy Lithuanian land owners who are naturally caught up in the middle of the Nazi/Russian flare-ups of late World War II. Hoping to avoid the fate of many of their fellow countrymen (including several singled-out Jews), the entire clan flees to the country. There, a pre-pubescent Hannibal and his beloved younger sister Mischa can become instant orphans and take turns starving.

The narrative catalyst that will come to guide the rest of the storyline – and by inference, the rest of our psycho’s despondent life – arrives in the pretense of some jaundiced German sympathizers led by the god-awful, grotesque Grutas (a barely recognizable Rhys Ifans). Along with his four flunkies, this misguided mercenary has been changing allegiance and looting the countryside, all in a desperate attempt to stay alive. When they see the Lecter little ones, they automatically think ‘bargaining chips’. But as the war drags on, and rotten potatoes and scrapbook leather become scarce, little Hannibal and his precocious sibling start looking like lunch. Before you can say “pre-schooler soup’s on!”, an atrocity occurs, and our title terror is left to die in the woods. Thankfully, he is rescued and sent to a Russian orphanage. The rest, as they say, is half-baked history.

From the minute we meet Gaspard Ulliel as the adolescent Lecter, we start to sense where the rest of this tale will be taking us. In his adult years, our villain is portrayed as an intellectualized façade housing an animalistic viciousness. As he’s eating the meat off another human’s cheek, he’s simultaneously rationalizing and relishing it. Here, Ulliel is given a different task all together. He is supposed to be youth corrupted by circumstances, naiveté obliterated by the horrors one human can inflict on another. As he escapes his institutionalized captivity, he leaves the orphanage bully scarred and scared. When he arrives in France (to hook up with his Samurai loving Japanese Aunt – don’t ask), he embraces chivalry to a fatal fault. All the while, our actor resembles a reject from an Armani ad, high cheekbones and chiseled jawline making him the most sinister supermodel on the planet.

Up until this time, we’ve been patient with Hannibal Rising. We’ve accepted the overlong warfare footage (expanded, if only a little, on the new Unrated DVD released by Genius Productions) and snickered ever so slightly at all the feudal Asian claptrap. Gong Li is wasted as Hannibal’s arch relative. Frequently dispossessed of her only means of support or shelter, she still manages to act and dress like a character carved out of Memoirs of a Geisha. There is supposed to be some connection to her sword and sandal traditions and Hannibal’s eventual descent into death dealing, but we never see it. Perhaps it was something that screenwriter (and novel author) Thomas Harris left for readers to discover. The final piece of the puzzle is a shot of sodium pentothal. It helps our troubled anti-hero find some clarity, and before you know it, he’s traipsing around Europe exacting retribution on the men who made Mischa-bobs out of his kin.

It’s too bad that we’ve stopped caring. You see, the inherent problem with Hannibal Rising is not its exterior make-up. Ms. Li aside, the performances are fine, and Ulliel is diabolical and dapper. We don’t even mind the war criminal crusading police officer, or the less than effective henchmen who surround Ifan’s indelible antagonist. In fact, if we didn’t realize that this entire narrative is building up to the creation of that master of corrupt quid pro quo, this would be a well made, period horror film with lots of atmosphere and some effective moments of dread. We’d even forgive the last act’s sudden shift into slasher film territory, Hannibal creating cleverer and cleverer ways to exact his wounded revenge. But the prequel specter hangs heavy over this entire production, leaving one feeling disoriented and angry. Two plus two does not equal four in Hannibal Rising. No, this is a movie that wants to question the existence of addition before even getting down to the brass tacks of finding said sum.

Indeed, the two concepts of Hannibal just don’t gel. The cold blooding killing is there, as is the unhealthy appetite for corporeal foodstuffs, but when you view this newest version of the character alongside the one well established over the last two decades, it’s like seeing a bad Turkish knockoff. There’s a basic recognizability, but the pieces aren’t quite fitting together. Forget the attempted nods to Hopkins characterization – this Lecter is light years away from his eventual self. In fact, one could easily argue that this entire film is merely the opening salvo in a series of Hannibal prequels where we learn – over time and many body parts – how a cruel kid from Lithuania turned into the bane of Will Graham and Clarice Starling’s existence. It’s not that Hannibal Rising lacks justification. It’s more that these descriptions just aren’t good enough. Lecter is larger than life, a freakish combination of dozens of other famous mass murderers filtered through one man’s incredibly inventive mind. But here, Harris is resorting to tabloid basics. As a result, we spend most of the time wondering when young Hannibal will stop sulking and start carving up his hamsters.

Showing the same deftness for period flare as he did in Girl with a Pearl Earring, director Peter Webber acquits himself quite well. He doesn’t understand the first elements of suspense or thriller pacing, but he can offer up a nicely evocative abandoned cottage. He does rely a little too heavily on chaos-creating montages and quick cuts meant to hide most of the hideousness, but he delivers the dramatics with practical aplomb. It’s a shame then that he’s left holding the Lecter mythos bag. Had this been any other lunatic, Webber would be welcomed as the newest member in the macabre makers fan club. As it stands, he sits lording over the shattered remains of a once viable film franchise. At least he has a co-conspirator. Thomas Harris was thought of as the gold standard of horror literature. But thanks to this unappealing prequel, he’s now a sell-out shill. And that’s more terrifying than anything present in Hannibal Rising

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