Film

Christmas Film Focus - 25 December 2007

For 25 December, here are the films in focus:

The Great Debaters [rating: 7]

As a movie, The Great Debaters misses too many possibilities, and harps on too many ancillary issues, to be stellar. It's solid, but that's all.

Sometimes, a movie can be too ambitious. It strives to take on so many heavyweight issues and important causes that it ends up underselling each and every one. The story of all black Wiley College and its historic win over the University of Southern California in a 1935 university debate challenge sounds like the stuff of a surefire inspirational spectacle. There's human interest, compelling characters, hot button historical context, and an attractive "overcoming adversity" angle. Toss in the always dramatic issue of race, and you've paved your way to awards season glory with nothing but the best intentions. read full review...

Other Releases - In Brief

The Water Horse: Legend of the Deep [rating: 6]

When one thinks of wholesome family entertainment, the concept of merging ET with a World War II adventure seems slightly surreal. Yet that's exactly what British author Dick King-Smith did when he created The Water Horse. Using the myth of the Loch Ness monster as a starting point, and borrowing liberally from Spielberg circa little aliens and Empire of the Sun, this slightly convoluted kid's tale wants to be all cute and cuddly as well as realistic to the trials and tribulations facing England during the Nazi Blitz. Director Jay Russell, who worked some kind of middling magic on his previous directorial efforts - My Dog Skip, Tuck Everlasting - seems thrown by the competing plotlines. The tone shifts wildly from "aw shucks" corniness to downright danger as little Angus MacMorrow (an annoying Alex Etel) tries to help Baby Nessie avoid mean military men and ever present capture. Standing along the sidelines, looking concerned, are Ben Chaplin (as a handyman with a past) and Emily Watson (as Mom, the harried housekeeper). The wee ones will probably enjoy the opening acts, but once the creature (nicknamed Crusoe) grows up, the finale filled with depth charges and menace will be way too much.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

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Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

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Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

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A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

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Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

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