Film

Friday Film Focus - 14 December 2007

For the weekend beginning 14 December, here are the films in focus:

I Am Legend [rating: 6]

I Am Legend is a depressing experience. For everything it gets right, dozens of things go horribly, horribly wrong

Richard Matheson should have never written his now classic genre novel I Am Legend. Over the four decades since its release, great names in horror (Vincent Price) and mainstream cinema (Charleton Heston) have tried to bring the book to life. In the case of the Italian made The Last Man on Earth, Price had to deal with poor production values and budgetary concerns. And Heston's Omega Man tried too hard to be faithful to both the creature community as well as standard '70s speculation. Now comes Will Smith, Mr. Summer Blockbuster, trying to establish a new seasonal shilling post with his winter waste of an adaptation. Scribbled by that talentless hack Akiva Goldsman and directed with little flair for the epic by Constantine's Francis Lawrence, what wants to be a potent post-apocalyptic shocker ends up as bereft of energy as the deserted New York streets depicted. read full review...

Margot at the Wedding [rating: 7]

Busy, overdrawn, and working much too hard to get to its less than impressive point, Margot at the Wedding is entertainment as inference.

To steal a line from one Homer J. Simpson, familial dysfunction is the Washington Generals of the independent film genre. When writers and directors want to work outside the parameters of the mainstream, they typically use their own autobiographical angst to portray parents as insensitive louts, brothers and sisters as distant and depressed, and their own immediate relatives as messed up, maudlin burdens. From their perspective, there is no such thing as a happy brood. Instead, every clan is a craven collection of psychosis just waiting for an event to well up and erupt. In the case of Noah Baumbach, it's a marriage that causes the commotion. Unfortunately, what happens in the days since the arrival of Margot at the Wedding add up to very little that's believable or enjoyable. read full review...

Alvin and the Chipmunks [rating: 2]

Alvin and the Chipmunks is, what we call in the profession, a "-less" film. This means it's point-less, joy-less, soul-less, and worth-less.

When one reviews the history of pop culture fads and phenomenon, the unlikely popularity of Ross Bagdasarian, Sr. (aka 'Dave Seville') and his studio experiment known as The Chipmunks remains a certified oddity. By speeding up the tape during the recording of an otherwise silly tune (1958's "The Witch Doctor") the struggling songwriter came up with a gimmick that wowed a pre-Beatlemania public. Using the woodland creatures as a hook, he crafted the hilarious holiday classic "The Chipmunk Song (Christmas Don't Be Late)". From then on, the imaginary trio took on all subjects, from '60s pop to '90s urban country. When Bagdasarian died in 1972, his son carried on the family legacy. After numerous cartoon incarnations, Fox is finally releasing a 'live action' version of the squeaky voiced combo. Based on the results, daddy should come back and haunt his misguided progeny ASAP. read full review...

Look [rating: 7]

Like Short Cuts absent Altman's metaphysical heft, Look is an oddly compelling little film.

There is no such thing as privacy. Stop kidding yourself. From the moment you leave the house to the second you step back in your supposedly secure abode, the world's many Big Brothers are constantly watching you. There are cameras on street corners, lenses trained on you as you drive, fill up, or pay your daily tolls. Once at work, bosses monitor your computer, gauging Internet access for abuses and reading email to gain a managerial advantage. In the mall, every fitting room is monitored, every store a shoplifting prevention zone with more manpower than on a military base. Even our leisure is a source of surveillance, marketers and advertisers buying credit histories and charge plate purchases info as a means of making informed demographic decisions. Yet as writer/director Adam Rifkin points out in his intriguing new film Look, life goes on - and we seem oblivious to the fact that someone is constantly watching. read full review...

The Singing Revolution [rating: 7]

Though it proposes to discuss how music made all the difference in Estonia's fight for independence, The Singing Revolution is actually more focused on the behind the scenes wheeling and dealing that helped determine the end of Russian influence in the Baltic region.

The fall of the Berlin Wall. The break up of the Soviet Union. The independence of the many former Communist satellites. To Western eyes, these were events that were never going to happen in their lifetime…or even their children's lifetime. Yet with the introduction of glasnost and perestroika by then Russian leader Mikhail Gorbachev, the openness and tolerance presented as part of the new policy led many dissidents to test the limits of their ruling regimes. What makes the case of Estonia's fight for independence so unusual is that it wasn't based in acts of overt defiance. Instead, they relied on history, tradition, and a rich musical heritage to start their own Singing Revolution - and once it began, there was nothing any army could do to stop it. read full review...

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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