Brock Sam-- (ahem) Jack Reacher has Some Novels He'd Like You to Read

As I've complained about before, working has seriously cut into my reading time. Recent high-minded self-improving reading projects, like re-reading "Moby Dick" for instance, are now a thing of the past. All I want to read these days is mindless trash, but it has to be good trash, written by skilled practitioners of the mindless, formula page-turner.

Like Lee Child.

Janet Maslin of The New York Times told me (in a review) that Lee Child's new Jack Reacher novel was fantastic, as were all of Child's 10 previous Jack Reacher novels. Like a good little NYTimes reader, I raced out to the Barnes&Noble and picked up the 10th Jack Reacher novel, "Bad Luck and Trouble," in mass-market paperback, and plowed through it. Good stuff. I had a blast reading about Reacher and his pals running around Los Angeles and Las Vegas, driving up Sunset and Hollywood, killing guys in places I knew. One bad guy meets his end on the Las Vegas strip on that dark, pre-construction no-man's land section of sidewalk that stretches between the low-end Stratosphere side of the strip, and the glitzier Bellagio and MGM Grand side. It's fun knowing exactly where a scene in a book is taking place. And there's just so much killin', and Child makes it so entertaining. After I finished "Bad Luck and Trouble," I read the first novel, then the 2nd, and now I'm into the 3rd. Child writes the pulp, I eat it up. So I think my reading for the foreseeable future is set. Nearly 4 down. Seven to go.

A bit about Jack Reacher. His distinguishing characteristic is that he's "huge" apparently. 6'5" and 22o lbs is "huge" in Lee Child's view. I'm 6'6" and 220 lbs myself, but I'm not sure I really qualify for "huge" the way Lee Child wrote the sentence. In context, "huge" might as well have been "so enormous he could arm-wrestle Hagrid and win." So he's big, and it's kind of fun for me when Child makes some reference to how daily life is slightly different for people who are somewhat taller than the average. Anyway, he's big, but he's also a brilliant detective, and when he finds out who did things he don't like, he likes to deal with the bad guys with his hands, and he's not shy about administering the ultimate sanction. In "Bad Luck and Trouble," for instance, Reacher knocks out two guards and then, while they're lying unconscious, suffocates them to death with his hand over their nose and mouth. Makes good practical sense in the story, the stakes are life and death after all, but there's just something weird about rooting for the hero when he's such a cold-blooded executioner. Maybe I'm just grooving on that frisson between knowing what's intellectually right, and wanting Jack to do what feels right. And in these books, killin' always feels right.

The Jack Reacher novels may be so popular because they pose the eternal question: What would Sherlock Holmes be like if he lived in modern day America, was tall and muscular, looked a bit like Brock Samson from "The Venture Bros.," and liked to commit more murders than he solved?

Well, he would be a bit like Jack Reacher.

I've read a few of the books now so I'm wise to Child's formula but I don't mind it yet. I don't know if I'll get through all 11, but right now they're fun as hell and they're good for those snippets of the day that lend themselves to a quick read -- like the 19 minutes at the fast-food joint of my choice at lunch, for instance, or sitting in line at the 8-minute left turn light on my way home. I was surprised to find how quickly I can knock out a book that way. Anyway, they're definitely worth checking out if you have the time or inclination.

Okay. End of book-related blog post.

Moments from my fast-food eatin' life

A couple recent moments I witnessed standing inside fast food restaurants:

1.) I was in a McDonald's near Hartsfield waiting for my sweet sweet McGriddle order, when a large black man in a button down shirt and slacks came in. He strolled right up to another line. The manager, a no-nonsense black lady with intense eyes and a voice that could clearly get scary when she needed it to, was giving the usual orders to her crew to keep things running. She sees the guy and a small, appreciative smile appears on her face. He smiles back. They talk for a second and then he asks, "Where you from?" but he asks gently, like he knows the answer and it's a sad one. She smiles proudly, resolutely, and says, "New Orleans." He tells her he thought he recognized the accent. "Why you out here?" he asks. He knows the answer to this one too. "Katrina," she says, like she's saying the name of the bitch that evicted everyone out of her neighborhood. They nod and look at each other, murmuring Mm-hmmms, and then he opens his arms to her and they embrace. He was back out the door shortly after that, and she was still smiling to herself until I left.

2.) A couple of days ago, I was at our Kennesaw Wendy's on my half-hour lunch break. I was standing in line, this time waiting to order a sweet sweet Big Bacon Classic meal, when I heard some people entering the little glassed-in airlock-room all fast food restaurants have. As soon as I looked, I saw two men. One wore sunglasses and was talking on his cell phone. The other was wearing a baseball hat. An instant after I first saw him, the guy in the hat slammed face-first into the first plexi-glass panel. The actual door was two panels downs. I saw his nose mash up against the glass and his hat lift up high on his head. I looked away, smiling. And when I looked back, they were both laughing. He'd seen me see him. When he comes in I assure him I didn't see anything. Later, while I'm waiting for the counter crew to populate my tray with Wendy's goodness, he's in line and tells me about another time he walked full-steam into an immovable object, this time a sliding glass door. Apparently it hurt. His nose and forehead were sore, he said, for days after. I listened and smiled good-naturedly, but all the while I was thinking, "I'm not sure I'd be repeating this stuff to people if I were him. People might think I was stupid." Seemed like a nice guy though.

Who Will be the Villain in the 3rd Batman Film? A Question... And an Answer

A post on one of my favorite blogs, WWTDD, reminded me of something I wanted to bring up at the end of my "Dark Knight" post.

British newspaper and shining purveyor of unvarnished truth, the Telegraph UK, recently published a rumor that Christopher Nolan's next film in the Batman saga is called "Gotham," Catwoman plays a large part in the film, and Angelina Jolie is apparently hot to do the part.

This all seems like complete BS to me for a lot of obvious reasons, but it did make me wonder who Nolan's going to use as the villain in the third film. If not Catwoman (and he still could, of course), than who? How would Batman's other comic book nemesi appear in the Christopher Nolan's Batverse? I run down the list in my head, and most of them seem too outlandish to fit into Nolan's Gotham, but he's got to pick somebody, right?

Catwoman's not a bad bet, but she's been done to death, and I'm sure the stink of the Halle Berry disaster is still cloud-thick in the halls of Warner Bros. So probably not her. Riddler? Too much like the Joker. Killer Croc? Probably too sci-fi. Experiments gone wrong is more Marvel's thing anyway. Ra's Al Ghul's been done, though, since he is immortal, he could make a fun return in the 3rd film. But it would have to be a classic Batman villain, right? Someone people have heard of.

At this point, my money's on the Penguin. I feel like an idiot for writing that, but there it is. Where's the one part of Bruce Wayne's life where he hasn't yet been attacked? As Bruce Wayne. (Sure there was the thing in his apartment, but that wasn't about him, that was about Dent.) He's a savvy corporate operator, and a talented executive. And his control of Wayne Enterprises helps keep Batman in business. So what if someone more able and more cunning than Bruce came in and took that all away? A corporate takeover like that would imperil not only Bruce Wayne but Batman as well. Who could even do that, powerful as Bruce is? Only another powerful and savvy tycoon. Like ... the Penguin.

I think he could very easily be adapted into the Gotham of these new Batman films. He wouldn't wear a top hat or have a monocle. And he wouldn't have that weird squawk thing some other actors have done with the Penguin. I imagine him as a kind of Dick Cheney/Kingpin/Lex Luthor amalgam, attacking Batman from all angles, providing Bruce Wayne with his toughest test. Maybe Penguin comes in and thinks there's more money to be made on a crime-ridden Gotham than on a safe and clean Gotham. Or maybe it's the opposite -- he helps make Gotham into a cleaner and safer city a la New York city in the 90s, but uses illegal worse-than-Giuliani-style tactics to make it happen. This, of course, draws a conflicted response from our hero. And since Nolan and Co. like making social and political commentaries, I think it's not too big a stretch to think they'd like to turn their attention to the excesses of corporatism.

I don't know, obviously. I'm just spitballing here. Anyone else got an idea?

"The Dark Knight"

I don't know if I can really be objective about "The Dark Knight," Christopher Nolan's sequel to "Batman Begins."

The original "Batman," released in the summer of 1989, back when I was an impressionable 12 years old, cemented my lifelong movie habit. Everything about that movie combined to create a cinematic punch to my overlarge adolescent head. I'd always considered becoming Batman a legitimate career choice, but after seeing Michael Keaton stand on the top of that building at the end of the movie with the bat signal blazing in the clouds behind him, I kind of just wanted to be the guy who made others feel the way I was feeling at that moment. So I've got a soft spot for Batman. Two hours of Batman reading "The Great Gatsby" would probably get a thumbs up from me.

That said, if the original "Batman" was a punch to the head, "The Dark Knight" was a hard, teeth-shattering kick to the teeth. This movie kicked my ass and hard. I loved every second of this thing.

And this one's been a long time coming. After 2 highly disappointing misfires and one godawful bomb so bad that it sunk an otherwise talented director's career, 2005's "Batman Begins" was kind of miraculous. It was the Batman movie we'd all imagined but hadn't thought possible: a summer action spectacle that doubled as a studio prestige picture. The budget, the director, the actors -- everything about the project bespoke its seriousness of purpose, (which included making a seriously entertaining movie). But after it was over, I was almost more excited about the possibility of the next film as I was about the movie I'd just seen. If all went well, then a true Batman movie was in the offing. The sequel would involve no obligatory rehashing of the tired Batman origin story. In this potential sequel, the filmmakers could devote all of their energies to create a straight-forward Batman film that could explore all the dark themes and moral complexity hinted at in the first film. It was a lot to hope for, and so I waited to see what Nolan would do with the next installment.

Nolan delivered. "The Dark Knight" is dark, epic, exciting, mesmerizing, and smart.

So I loved the movie, but I admit there were a few things working in my favor. 1.) I saw it in IMAX. 2.) I actually had fairly low expectations for Heath Ledger's performance.

As to 1.) sections of "The Dark Knight" were filmed in IMAX. To my knowledge, this is a first for a theatrical 35MM/IMAX co-release. The bank heist sequence that opens the film, for instance, is shot entirely using IMAX equipment.

[Commence IMAX monologue.] After seeing this film, I now firmly believe that each and every multiplex should begin construction of at least one IMAX theater, with the eventual goal of converting all theaters currently showing films in 35mm to the IMAX format. I know I'm parroting IMAX's CEO here, but IMAX truly is how films should be seen. When a movie that's already brilliant is playing on an 8-story screen, and when that 8-story screen is filled with, variously, sexy Chicago architecture, sweeping helicopter shots of almost completely vertical Hong Kong, or a head to toe view of a man we'll come to know as the Joker waiting on the street corner, a clown mask dangling from one hand, it's like a shot of pure cinematic adrenaline. So, in all honesty, I don't know if this movie would have kicked me in the head so hard if it hadn't been on IMAX (even though I suspect the answer is probably yes). [End of IMAX monologue.]

So that was one thing going in my favor. The other, as I said, was that I didn't think I was going to get blown away by Heath Ledger as the Joker. I thought his performance in "Brokeback Mountain" was overrated--the gravelly, constricted-throat voice he used was so strange that instead of selling me on the character's reality it just made me wonder again and again what Ledger was going for with it. I thought the rapturous response to Ledger's Joker was probably another overreaction, likely heightened by his tragic and untimely death.

Not so. Heath Ledger's performance is everything you've heard. Just like I didn't forget that Heath was playing a part in "Brokeback," I completely forgot Heath was playing a part while I watched him be the Joker. And it is Ledger's Joker, more than any other component of the film, that makes "The Dark Knight" as good as it is, and in my view, it is very very good.

I think "The Dark Knight" is easily the best Batman film made to date, and I also think that, if Nolan signs on for the third (and why wouldn't he with the cash Warner Bros. is going to throw his way?), he could potentially finish this thing off as the brains behind one of the greatest trilogies ever filmed. For the first time in some time, the filmmakers have used the 2nd film of a trilogy as the 2nd act of a larger overarching story, just as "Empire Strikes Back" did so well about 25 years ago. The film ends in a dark place, with Batman locked into this character he's created for longer than he'd hoped, and worse, vulnerable now to both cop and criminal as he works to clean up Gotham.

Here are a few of the specific moments from the movie that I loved:

1.) Batman doing his no-neck swagger to the edge of the parking deck in the Scarecrow sequence, and then later asking Lucius Fox (Morgan Freeman) to make him a costume that will let him turn his head. This has been a "thing" in all the Batman movies to date, and here Nolan addresses it right out in the open, and then incorporates it into the story.

2.) The very awesome William Fichtner shotgunning clowns as a mob-bank manager.

3.) The Joker's off-hand use of a machine pistol to kill the school-bus driver.

4.) The mayor's eyeliner.

5.) The thump of the dead Batman-imposter as he hits the window outside the Mayor's office. Scared the hell out of me.

6.) One of the coolest movie moments in recent memory: Joker's use of a pencil as a murder weapon. Not in recent memory has 5 seconds of film managed to accomplish so much. In one shocking moment, we learn that the Joker a.) likes a good magic trick, b.) really just wants to entertain, and c.) even when surrounded by cold-blooded killers, the Joker is always the most dangerous guy in the room.

7.) The Joker's glare as he backward-kicks his way out of the crime-boss meet.

8.) Christian Bale's one-hand-in-the-pocket GQ-stroll as he walks coolly away from Maggie Gyllenhaal in his penthouse apartment.

9.) Christian Bale's total douchebag entrance into Harvey Dent's fundraiser. This guy's a pro-- there's no limit to how callous and vapid he'll pretend to be just so no one ever thinks he could possibly be Batman. Major dedication.

10.) When the first henchman tries to take off the mask of the unconscious Batman and gets electrocuted, the Joker laughs, kicks his own downed man, does an impersonation of what the guy had looked like getting electrocuted, and then spits on the guy. Freaking brilliant.

11.) Bruce Wayne's quick, no-look disassembly of a bad guy's shotgun.

12.) The way the sound cuts out and the music gets low as the police convoy carrying Harvey Dent to county heads out of police headquarters.

13.) When the lights cut on in the interrogation room and Batman is standing behind the Joker. Also: that entire scene. Also: the fact that I got to see Batman beating the hell out of the Joker in an interrogation room in a movie. How awesome is that?

Obviously, I could go on and on (I know -- I already have), and I'm not even hitting a lot of the obvious stuff (like the entire Singapore sequence, or Joker in a red wig and a goddamn nurse's outfit.) But I know there are some "Dark Knight" doubters out there, and after having read some of their critiques of the film, I have to say that they do have, in a few instances, valid points.

Some of the stuff I wasn't too hot for:
1.) The rooftop ending with the Joker. Seemed to kind of end with a writerly bit of dialogue from the Joker on the nature of their relationship. It was kinda cool, what he said, but maybe a little professorial for a guy who'd just rather get on with it than talk about getting on with it.

2.) Since when are dogs Batman's nemesis? They seemed to be in this movie. On second thought, maybe that's cool because, if there really WAS a crime-fighting Batman-type guy out in the world, sans gun, wearing bulletproof armor and enough moves to put down a knife-wielder in seconds, maybe a hungry rottweiler is the thing most likely to worry you. But then again, attack dogs don't seem to play so great in movies. Too many edits.

3.) Harvey Dent's tortured Two-Face logic. By the end of his scene with Gordon and the wife and kids, I didn't know what the hell Two-Face was after; I doubt he did. Maybe I just didn't believe that a guy that looks like Aaron Eckhart would get that worked up over Maggie Gyllenhaal. Yeah, I guess that's it.

But even these little imperfections didn't much phase me while I was watching the movie. Even when certain moments weren't quite working perfectly, I think Nolan crafted the movie to build in such a way that the forward momentum carried him through those moments.

Bottom line, "The Dark Knight" was a blast, and I walked out of that giant IMAX theater with a Joker-brand smile on my face. I loved "Iron Man," and I liked "Wall-E," but "Dark Knight" has my vote hands down for movie of the summer, and will no doubt be most fun movie of the year. I think it may be too geeky to say this could be the movie of the year -- hopefully something that fits that bill will come out before year's end (I'm hoping "The Road" ends up in the running for that)-- but I doubt I'll have a better time at the movies this year or next, or for quite a while. Probably not until the next Nolan-directed Batman movie comes out.

The Times they Are A'Changin'

Just another sign that the era of incuriosity and thoughtlessness in the White House is nearly over.

Presumptive Democratic nominee Barack Obama is wrapping up his international tour in London this weekend. After talking to P.M. Gordon Brown, he spoke with the conservative party leader and likely next P.M. of Great Britain David Cameron. Some of their private conversation was caught on tape. Mental midgets, these men are not:

"Do you have a break at all?" asked Cameron.

"I have not," said Obama. "I am going to take a week in August. But I agree with you that somebody, somebody who had worked in the White House who -- not Clinton himself, but somebody who had been close to the process -- said that, should we be successful, that actually the most important thing you need to do is to have big chunks of time during the day when all you're doing is thinking. And the biggest mistake that a lot of these folks make is just feeling as if you have to be -- "

"These guys just chalk your diary up," said Cameron, referring to a packed schedule.

"Right," Obama said. "In 15 minute increments …"

"We call it the dentist's waiting room," Cameron said. "You have to scrap that because you've got to have time."

"And, well, and you start making mistakes," Obama said, "or you lose the big picture. Or you lose a sense of, I think you lose a feel-- "

"Your feeling," interrupted Cameron. "And that is exactly what politics is all about. The judgment you bring to make decisions."

"That's exactly right," Obama said. "And the truth is that we've got a bunch of smart people, I think, who know ten times more than we do about the specifics of the topics. And so if what you're trying to do is micromanage and solve everything then you end up being a dilettante but you have to have enough knowledge to make good judgments about the choices that are presented to you."

A bit different from the private conversations caught on tape of our current President during the general election campaign of 2000. Like, "That's the reporter from the New York Times. A real ass-hole."

"W." Teaser Unveiled

Here's the new teaser trailer for Oliver Stone's "W."

Pretty basic. It introduces each of the major players in the Bush White House as they're played by all the various actors. The make-up is all convincing enough to take us along for the ride, I think, but hearing mostly from James Cromwell in this teaser, I get the impression that none of the actors are going to be doing an "impression" of the people they're portraying. My hunch is that if "W." plays like other excellent presidential biopics have played, the actor's portrayal of the actual historical figure will burn brighter than one's memories of, or imaginings of said people. Happened to me when I saw Hopkins play Nixon; also happened when I saw Paul Giamatti in "John Adams." If Brolin does as well as he's capable playing George W. Bush, the very same could be possible here.

Which is one tall order, because W. is one larger than life ass-hole. At the very least I'm expecting a fun movie.

Harwell Begins (a Blog). Also: A Feat of Filmed Entertainment

It's funny how fast a blog gets stale. When I leave the same post up for, let's say a week, returning to the blog to find the same old post still there elicits two different emotions simultaneously. One: embarrassment. "That's what everyone's been looking at for a week? That old post?! Terrible!" And Two: Surprise. "It's been a whole week since I put that up? I just wrote that!"

Anyway. I'll move on.

Exciting news. Friend of the Blog, Shawn Harwell has gone and got himself a blog. You can visit it here. It's called Holepuncher, which, as titles go, is just about perfect for a blog. At first hearing, it sounds kinda dirty, but when you think about it a bit, it's only a little dirty, but also not dirty. What, after all, could be more wholesome than a 3-hole punch? It's a tricksy title. The blog itself is all about music you'll probably like.

In other news, something momentous happened in the world of film last week. A bit of filmed entertainment about superheroes and super villains held those who saw it enthralled in theaters nationwide. And, as an example of the artistic medium in which it was produced, it's unlikely to be surpassed this year.

Of course I'm referring to the trailer for Zach Snyder's upcoming "Watchmen."

The last time a trailer this brilliant showed up, it was for another Zach Snyder movie, "300." The guy's cornering the market on one of my favorite art forms: the movie trailer. I still think the "Thin Red Line" teaser is probably the best trailer ever filmed (with the teaser for the original "Alien" a respectable second), but this new "Watchmen" trailer is instantly worthy of their company. Damn if Snyder (or the trailer-producing company he employs) doesn't pick the coolest out-of-left-field songs to accompany their pulse-quickening visuals. Last time it was the un-famous Trent Reznor joint, "Just as You Imagined" that served as the soundtrack for ripped Spartans baring their teeth and flexing their pecs. This time it's a latter-day Smashing Pumpkins track entitled "The Beginning is the End is the Beginning" that pounds in the background while certain costumed superheroes are created and others are thrown out of windows. I've listened to the song a few times -- not enough to have memorized the lyrics, but enough times to see how certain lines reflect the story with an uncanny feeling for the tone of the book. Bleak kind of pulses off of the song, but there's an underlying sense of wonder informing some beats in the song that Snyder must have picked up on because he exploits it perfectly, particularly in the scenes featuring the all-powerful (and all-blue) Dr. Manhattan. One thing that's so impressive about the melding of the visuals and music is how Snyder doesn't chop up the song to get what he needs emotionally from the trailer. He uses the best parts of the entire song and doesn't rush through to the "good part" for the big build. He lets the lyrics play, and he cuts the trailer to the song's structure, and it works like gangbusters.

This teaser/trailer promises an extraordinary movie. It looks like Zach Snyder cut a big seam in the soul of the book, crawled inside and directed a film from inside of it for a few months. I've heard that the climax of the book may have suffered some alteration in the transition from page to screen, and if they veer too far from Alan Moore and Dave Gibbon's vision here, then I think they'll be undermining their otherwise heroic efforts to turn an "unfilmable" graphic novel into a movie, but as to some of the other dicier aspects of the book, cinematically-speaking, it seems clear that Snyder's shying away from nothing. There's even a shot of Dr. Manhattan floating above the floor of what looks to be a cafeteria with his own Dr. Manhattan plain for all to see (though slightly obscured by after-effects). Ballsy. (No pun intended.)

And for me, the last image in this trailer promises a Mars sequence in the finished film that should be as transporting and awe-inspiring as it's always been in the "Watchmen" movie that's been playing in my head ever since I finished the book. Everything seems to be turning up roses at the multiplex for fans of comics these days. Hope it keeps up through March of next year.

New York Times: Out of Touch Much?

Finally! Someone sees some benefit to those pesky second homes!

Visit the Set of "The Shining"

For anyone who loves Stanley Kubrick's "The Shining" as much as I do, this is a must-see video.

Here's the lede from the Guardian story:

"Channel 4 has painstakingly recreated the set of Stanley Kubrick horror film The Shining, complete with look-a-likes of the crew and cast members including Shelley Duvall, for a TV ad to promote a More 4 season of the director's films."

The shot, a single tracking shot we used to call "fluid masters" back in film school, is meant to suggest a purposefully-striding Stanley Kubrick visiting all corners of his vast "Shining" set. The shot isn't visually stunning (fluid masters rarely are), but what is astonishing is how much attention to detail the creators of this short film paid to every aspect of the recreation. Even the crew members shown in the famed behind-the-scenes documentary of "The Shining" (filmed by Kubrick's daughter), are represented here with look-alikes. An appearance by a convincing double of Diane Johnson, Kubrick's co-screenwriter on the film, ends the film, right down to the big glasses and loud, wide-collared shirt she wore. After watching it and the good geek-vibes wore off, I wondered what had happened to the painstakingly-created set they'd built. Was it really intended solely for this 30-second shot? Would other stuff shot on that set turn up when Channel 4 aired the movie during the "Stanley Kubrick Season?"

I guess it's goofy to fret about the destruction of movie sets -- they tore down the set for the original "Shining," after all. But in the back of my mind I just marvel at the uses for such a set that are soooo much better than a dumpster.

Interested parties could ship parts of it to the hotel in Oregon where they shot the exteriors of the Overlook, making the hotel into a "Shining" museum, which would of course become a mecca for movie nerds all over the world. Or some enterprising Grogg-types could ship it to a fledgling film school. How much more hyped would we would be-matriculators have been if, in addition to a really loud screening of the T-Rec scene from "Jurassic Park," we'd also gotten to tour a recreated "Shining" set. And then they'd said, "Your first projects will all be filmed here." Old NCSA SoF would have had to bat film wannabes away with sticks.

Anyway, check it out. It's good stuff.

Hints of Impending Hilarity

The Smoking Gun has a report up from the "set" of the new Sasha Baron Cohen movie starring his "gay, Austrian journalist" character, Bruno.

It already sounds hilarious:

"Cohen and his confederates organized cage fighting programs on consecutive days in Texarkana and Fort Smith. Both cards ended with two male grapplers (one was identified as "Straight Dave" and wore camouflage) tearing each other's clothes off and, while in underwear, kissing down their opponent's chest. This man-on-man action triggered Fort Smith fans to throw chairs and beer at the ring, according to one cop present at the city's Convention Center."

I'm not a huge fan of Cohen's methods, and sometime I think they undercut his humor, but when it works, it works brilliantly. This sounds promising.

"The Day the Earth Stood Still" Teaser

The teaser for the remake of "The Day the Earth Stood Still" is up. What do you think?

I like the almost over-the-top nerdiness of the guy administering the lie-detector test, I like seeing Kathy Bates acting in stuff that's not totally beneath her ("Waterboy" is a good example), and I like the guy telling Jennifer Connelly, "Don't be afraid," as though he's talking as much to himself as to her. But I'm not sold on Keanu Reeves playing an alien. Isn't he too much identified with his other iconic and not terribly-demanding film roles to believably play a scary alien? Particularly one as relatively well-known as Klaatu? (So well-known, so embedded in the zeitgeist that I lifted the name for my own book when I needed an other-worldly-sounding name! And I haven't even seen the original movie! Something else to change.) Something seems off about this thing. As it is a teaser, it's meant to give only enough information to raise questions in the viewer's head they'll want to learn the answers to on opening weekend. But does it do even that? I'm kind of thinking not so much.

Does the teaser do anything for those who've seen the original movie? Are the big, sweeping CG shots of what look like highly-corrosive dust-storms of particular interest because they're alluded to in the original, but never shown? I'll withhold judgment until I see the full trailer, but color me unenthused by this.

Back from Charleston and a Question Regarding "Hancock"

Hello all. Hope everyone had a great 4th of July weekend.

The wife and I are back from our weekend stay in Charleston, South Carolina. We watched fireworks (shot off the deck of the USS Yorktown), ate shrimp (at the touristy and so-so Bubba Gump Shrimp Co.), bought books (at Charleston's sole used bookstore, the very charming Blue Bicycle Books), and ate amazing seafood (courtesy of Hyman's Seafood). Yeah, mostly we ate. What of it? We walked, drove, read and ate, but it was fun and felt like just what I needed to face another month at work.

I read in the short time I've been back that the new Will Smith movie, "Hancock" did crazy business over the holiday weekend, earning $107 million over the 5 and 1/2 days since it opened. According to Nikke Finke's article, the reviews were only 33% positive and the "buzz" only "so-so" -- so why the massive total? I heard the studio was shooting some very last minute reshoots after some worrisome test screenings and there was some serious fretting amongst executives that this was just not a very good movie, but I guess none of that trickled down to audiences.

Is it just Will Smith that packs him in? Is Will Smith the last movie star? Meaning is he the only guy or gal left who can pack them in and make serious cash for a studio no matter what movie he's opening? It sure seems like it. So was it the premise that brought everyone out? Was it the generally good weather and nothing much else to do on a hot holiday weekend? Or was it just Will Smith? I have to ask these critical questions because I like to blog about movies, and I haven't actually seen one in the theater for a record 2 weeks. I still haven't checked out "Wall-E," "Wanted," or even "Iron Man" for a second time, which I'd kind of wanted to do. Damn you job that demands the not-explicitly-asked-for-but-just-kind-of-understood-that-everyone-works-overtime overtime! I'm hoping to get to the theater sometime this week -- if I do, I'll say something about it right here. Stay ... signed on?

Happy Fourth of July

Happy Independence Day! If all goes according to plan, I'll be watching fireworks up in lovely Charleston, South Carolina tonight after having eaten a bunch of seafood and buying a ridiculous number of books I'll never have time to read. Should be fun. I hope everyone has a great weekend.

A Frozen Moment Post-Clinching, Pre-Shifting

I meant to post up about this, but forgot about it till now.

This is a really cool shot from the Detroit Free Press of the Obama rally where Al Gore officially endorsed Barack Obama for president. I'm actually as impressed by the coolness of the 360 degree aspect as by the hugeness of the crowd. I was a little disappointed that Al Gore waited until his endorsement would have no actual impact to endorse Barack, but better late than never.

Brolin's Bush Looks Scary

Um, is this one of the scariest photos ever taken, or is it just me? Why exactly does Josh Brolin's head look so enormous in this shot? It's almost like the thing Mike Myers did in the trailers I saw for "The Love Guru" where Myers put his own massive head on a kid's body for a flashback. Just weird.

In the article Brolin and Stone talk about how fairly their film treats our duly selected president. Brolin says that had the screenplay been what he expected it to be, a "far-left hammering of the president," as he puts it, then he wouldn't have done it. I think it's good that the movie won't be that. If done well, a fair and generally honest treatment of W. won't spend 2 hours showing what a despicable person George W. Bush is, but rather how his life's experiences drove him to seek the highest office in the land, but also shaped him into a person almost entirely unsuited to it. This is another one I'm looking forward to.

Questions

Obama's the nominee. Hillary wrapped up her campaign, made nice, gave a totally adequate concession speech, and then threw her full weight behind Obama's candidacy at a rally.

In the last couple of weeks, though, Obama's started to make some moves to the center that have been somewhat worrisome to his more progressive supporters.

1.) While he's always seemed somewhat ambivalent about NAFTA, he always skewed his rhetoric towards opposing it. Now his rhetoric has shifted so that he doesn't really see what the big deal about NAFTA is.

2.) In years past he appeared to support the right of cities to ban handgun ownership, but after the Supreme Court affirmed the right of the citizen to bear arms last week, Obama's come out in support of the decision.

3.) In Illinois, he was part of the commission that halted Illinois's capital punishment regime. Last week when the Supreme Court decided that any crime that does not result in death does not warrant the death penalty (the crime at issue being child rape), Obama came out in opposition to the decision, saying the State should have the right to execute child rapists.

4.) Before, he said he'd filibuster any bill that contained a provision for immunity from prosecution for the telecommunications companies complicit in the government's illegal wiretapping program. Now, he has come out in support of a compromise bill that contains exactly that immunity.

5.) Before he didn't wear that goddamn flag lapel pin because he knew it was cheap, meaningless, and stupid. When someone's running for office, particularly for the highest office in the land, isn't that person's "patriotism" beyond reproach? Has anyone who's ever been accused of not being patriotic enough during an election season actually not loved their country? And who gets to define patriotism? Republicans? Obama showed all of that political silly season stupidity the door. Except ... As you can see in his photo from the cover of Rolling Stone, he's started to wear the flag pin regularly.

My question is this: how much of these shifts are necessary to win the general election, and how much do these shifts to the center dilute his powerful brand?

For myself, the places Obama has shifted to don't bother me much. NAFTA's never been much of an issue for me. I'd have to read about 5 dry economics books to understand half of what people are arguing about, and I'm not interested enough in the issue to do that. I also supported the Supreme Court's decision to decriminalize posession of firearms in one's own home, so Obama's new position is pretty much in line with my own. As for the capital punishment decision the Supreme Court handed down last week, I agreed with it, but I understand that as political theater, it's probably better for a candidate to come down on the side of killing child rapists than to oppose it, no matter their governmental philosophy. But the telecom immunity shift does bother me -- I think we need to know as much as we can about this illegal breach of citizen privacy and now Obama's said, in effect, that no, we don't. And the flag pin, well, that's just disappointing.

The cumulative effect of all this shifting is that I don't feel confident I know where Obama stands on any given issue anymore. On the flip side, I no longer doubt that he has the steely resolve required to win and to govern a divided nation. He's no Jimmy Carter, no McGovern. He's more like JFK. Thoughtful, liberal, but ruthless.

Though I still think Obama's a fantastic politician and one of the best candidates I've had the chance to vote for, I am a little worried that his recent shifts to the center and to the center-right aren't over, and that in his zeal to win over independents he's going to alienate his base and end up being the president we all knew Hillary would have been: just another poll-driven centrist. I hope I look back on this post in a few months and laugh at how alarmist and knee-jerk I was. All I can do is continue to watch and hope.

Blog Update and My Current Art-Crush: "Sweeney Todd"

Man was that book post getting old. You'd think I shut this blog down it was up there so long.

As you all know I've been working at a 9-5 job for the first time in 3 years. It's actually an 8:30 to 6:30-7 job, but who's counting hours? When I wasn't working I really had no excuse not to post up a little something every day or every other day. But now it's gotten to be a legitimately difficult thing to find time to do. With my former oceans of spare time, I was able to read a shitload of books, blog, and even write a little. Now that those oceans of spare time have drained to puddles, I have to be more discriminating as to how I spend my time.

But I am quite hesitant to shut this thing down. I've gotten twice as much out of it as I've put into it, and I'm loathe to abandon a venue where I can have discussions about movies, politics and whatever else with my friends and random websurfers who've stumbled over it. So, it may seem shut down from time to time, and a time may be coming when I'll just have to level with myself that blogging is one of those things that has to go by the wayside for a while, but today's not that day. It's Sunday, it's prime writing time and I feel like procrastinating. So it's blogging time.

So here's one thing that's been going on:

1.) Me and the wife went to Atlanta's famed Fox theater some weeks back to see the latest staging of Stephen Sondheim's musical, "Sweeney Todd." I'd seen the movie late last year and thought it was a mixed bag. I thought the visuals were stunning, but overall it kind of bored me. I was excited to see the musical live, but, as with the movie, I was left unmoved and a little bored with the show itself. But then those goddamn songs wouldn't get out of my head. Tired of hearing annoying snippets sound again and again in my head while at work, I bought the original cast recording from the Broadway production.

Now I kind of love it. I've been listening to it a lot. The story, the interpretation, the songs, the whole deal. All the excesses of musical theater that have always bothered me, the homely melodies, the undemanding singing, the overcooked acting, all seem to work in "Sweeney Todd"'s favor. Maybe because the musical's plot is more operatic than most, having everything be a bit overdone kind of makes sense. Or maybe because a story about a barber who slits throats and puts the corpses into meat pies for hungry Londoners makes up for a lot of the usual musical goofiness. Now I want to know the entire story of Sweeney Todd. How and where it originated, how it developed from a novel to a play to musical, how the idea to reinterpret the story occurred to Stephen Sondheim, what were its influences, what did he see going on in the world when he was writing it that pushed him to make it so dark and pessimistic?

I scanned a bit of the "book" that started it all at Borders the other day, and found that it originated in the 19th century and was originally published as a serial in 4 parts. Most of the hallmarks of the story were present in its original incarnation (the 2nd story barbershop, the pie shop below, the trick barber's chair, the cannibalism) but there must be some mystery as to its author because the cover made no mention of the writer, only a compiling editor. I could have bought the book and answered some of these questions for myself, but the edition looked like a novelization of the screenplay (even though it wasn't), complete with movie poster cover, and I couldn't bear to mar my shelves with such an ugly book. Maybe I'll look for a more respectable edition on eBay.

One last thing: While looking for a good "Sweeney Todd" image to use, I stumbled on this, a full list of all productions of Sondheim's musical complete with full casts over the years. In the first production on the list, Angela Lansbury played Ms. Lovett. Weird, huh?

Mmm, books.

This guy likes him some books. I'm not as compulsive as he is (I don't have 5 copies of anything, for instance), but I can't help but admire his collection, as pictured here. I like how unfussy it is. No clear, library-style book covers on anything. Just books. But a lot to read. That's actually one of the least cool things about working again: my reading time has been mercilessly reduced. Now that "Lost" is over, maybe I can catch up a little. (BTW, wasn't that an excellent season finale?) Well, I've got to get some reading in before I hit the hay. I'm into a new thriller called "Child 44." So far, very good, and one of the most frightening books set in an oppressive, totalitarian-governed country since "1984." If you've got some extra bucks and some time, pick it up, check it out.

Some Early "Hobbit" Movie News

Back when it was news, I was disappointed to learn Peter Jackson would forego the chance to direct both "The Hobbbit" (and a second, as-of-yet untitled film that will connect "The Hobbit" and LOTR), and opt instead to produce a Guillermo Del Toro-directed version of Tolkein's children's story. Sigh.

Now Guillermo's not bad. He directed the more-than-decent "Hellboy," as well as the critically-lauded (but way overrated) "Pan's Labyrinth," so odds are he's not going to mess this thing up. But as a film geek and "LOTR" fanboy, you can't help but wish Jackson would return to the director's chair to give all five movies a kind of directorial consistency. If it ain't broke and all that. Anyway. It is what it is, and though Jackson's sitting this one out, I'm definitely interested to see the Guillermo and WETA come up with.

To that end, Guillermo and Peter Jackson recently did a webchat where they answered 20 questions from readers about the upcoming production. Some of the questions are from fans who aren't well-versed in the ins and outs of filmmaking (like the fan who asked Guillermo and Jackson, before a word of script has been written, if there would be an extended version of the movies a la LOTR), but there are some interesting tidbits about who's returning, how the creative team's going to work, and when we might expect these movies to hit theaters. But in light of the high phony-quotient in "Indiana Jones and the Kingdom of the Crystal Skull," I thought this exchange was interesting:

WetaHost	20 - Will you be doing less location shooting this time because your set builders, digital effects teams etc have become so proficient?
Peter Jackson	Middle-earth is location, with very few structures really. It's a natural countryside and that's where a lot of shooting will take place.
Guillermo del Toro	Location will be favored and real set construction.
Guillermo del Toro	I love REAL set construction and think that sets are very important part of the storytelling and scope of a film...

Real people doing actual things in real places. How novel. So that's heartening. But this is not a near-term thing by any stretch. Here's what they said about their schedule for production:

Dear Jesslyn - at this point in time the plan is to write for the rest of this year and start early conceptual designs. 2009 will be dedicated to pre-production on both movies and 2010 will be the year we shoot both films back to back. Post productin follows one film at a time with The Hobbit being released Dec 2011, and F2 release Dec 2012. That is the schedule in about as much detail as we have ourselves at the moment.

So about 3 years before we can buy a ticket to the first one, and 4 before the second. Jackson and New Line took their time with LOTR, so the fact they're taking it slow with these two new movies is encouraging.

Sad News

Sydney Pollack died Monday at the age of 73.

Besides being an excellent director, he was, to my mind, a better actor. Every line he delivered, every gesture he made on-screen was interesting, considered and natural. His scene in the billiard room with Tom Cruise in Kubrick's last movie "Eyes Wide Shut," for instance, was one of the best things about that movie; he felt so grounded and real in that scene that Tom Cruise came off insubstantial, lost and actorly. Pollack had been busy of late, or so it has seemed watching him turn up on TV (as the disgraced surgeon in the last season of "The Sopranos"), and in the movies. Just last year he showed up as the tough, workaholic corporate lawyer in "Michael Clayton," delivering fantastic lines while making them seem as though he'd just thought of them. And there wasn't one second in that movie where he came off like a guy in his 70's (or his 60's for that matter), so news of his death (and his age!) comes as something of a shock.

Update: Here's a short and sweet look back at Pollack's career by the excellent A.O. Scott.

Bush Movie Casting is Now Complete

A big casting decision was announced recently by the producers of Oliver Stone's upcoming Bush biopic probably, but I don't think definitely, entitled "Bush." Shotgun-wielding Dick "Darth Vader" Cheney (seen below)
















will be played by 70's-era throwback Richard Dreyfuss (seen below)
















And in case you missed Entertainment Weekly's exclusive first look at Josh Brolin in his George W. get up (which includes W's distinctive lost/pissy expression and makeup), take a look:



















Not too bad. Looks a tad on the skeletal side though. Having seen and been unimpressed by Oliver Stone's recent efforts (didn't see "World Trade Center" though. How was that? Didn't look too good.), I'm not sure there's cause to be hopeful about this movie, particularly since it's being crashed through production so people can see the movie before the election, but I feel like if any formerly-great film director's due for a comeback (even of the one-movie variety), it's Stone.

"Indiana Jones and the Kingdom of the Crystal Skull" Reviewed

Here's a sign of how diminished my former film-school era enthusiasm for movies has become: I didn't even know the new Indiana Jones movie came out this week. All along I'd been thinking it comes out next week. Sure, I'd fully planned to see it when it came out on the 28th, but knowing stuff like that is a big part of being a true-blue movie nerd. When I received an IM from the wife yesterday saying it was already out, and then another IM listing the day's show times at our local AMC, I found myself wondering when precisely had I become the middle-aged guy who doesn't know about the movies playing at the multiplex. If that doesn't quite describe me yet, give me another year or so and it'll describe me to a goddamn T.

Anyway, I was unexpectedly but happily able to see "Indiana Jones and the Kingdom of the Crystal Skull" tonight at my usual place for filmed entertainment exhibition, and I have some thoughts I'd like to get down while they're still fresh in my head.

And yeah, this is going to be one of those reviews that's going to deal in spoilers (and be long and annoying), so to those who have not yet been exposed to the wonders of "The Crystal Skull", please read no further until you've seen the movie. The come back so you, too, can be bored and annoyed by my review.

[SPOILERS BELOW!]







Ok. It's just us.

Right now I'm struggling to decide if "Crystal Skull" is the third or fourth best Indiana Jones movie. (Fourth best would, of course, make it the worst.) Right when I think I'm about to make a decision on that score (like just now, when I was thinking it was definitely the worst), some other piece of evidence comes to mind that makes me reconsider (like Short Round and the Prince's voodoo fight in the caves beneath the palace). So for now the jury's out, but I know "Crystal Skull" doesn't lay a glove on "Last Crusade", and I know it's not in the same ballpark as "Raiders."

I think "Crystal Skull"'s biggest problem was that it was trying too hard. Perhaps with the expectations this movie was carrying, it was impossible for two ambitious, reputation-minded guys like Spielberg and, ahem, Lucas, to chill out and make an Indiana Jones movie. Instead they attempted to outdo everything they'd done before with these movies and, in so doing, created something that feels forced and obligatory. There are definitely great things about this movie, but I think some of its excesses really brought it down to where I'm not sure I'd recommend this movie.

Worst thing about the movie: Shia LaBeouf as Tarzan. Ouch. When I saw this awfulness happening right in front of my eyes, one word came to mind: "Lucas." I'll move right past the whole everything-Lucas-touches-turns-to-shit argument which I think, at this point, we could all take a pretty good hack at, and get right to why I think it is that everything Lucas touches turns to shit. It's because he misremembers his own films, and why they work. To him, the first three Star Wars films were intended for little kids who liked the space-age whiz-bang and the funny costumes; the only reason those cute little Ewoks weren't running around eating Happy Meals and singing Barney songs through all three movies wasn't because that would have been stupid, but because it just didn't occur to him. Of course the "Star Wars" films were appealing on levels beyond the comprehension of a 3-year old, but Lucas won't have any of it. He's said as much. So when he makes "Phantom Menace," he puts Jar Jar in there because he figures since these Star Wars movies are really just bedtime stories for sleepy toddlers, and those fussy tykes will probably demand an awful character with a funny voice who does "funny" things to keep them happy, he better accommodate them. And so it was with Indiana Jones. He remembers "Raiders" as a laff-a-minute parody of the goofy serials he grew up with, broad comedy in other words, and so a basket chase through the streets of Cairo, and a tossed-off murder of a scimitar-wielding Arab, and an improbable truck hijacking were all just part of this goofy rogue archaeologist gag he'd come up with. Of course, no one else saw it like that, but this is Lucas we're talking about, and it's his opinions that matter, not yours, you stupid moviegoing public you. Which brings us to Shia LaBeouf swinging through the jungle on vines in the most recent Indiana Jones movie. This moment doesn't fit in at all with any of the three preceding movies, but it sure fits in with Lucas's deeply flawed memory of those movies. If the Indiana Jones movies are broad comedy designed to be palatable to kids, then Shia swinging from vine to vine accompanied by a bunch of monkeys who've inexplicably become his allies COMPLETELY fits the preceding trilogy. I can imagine Lucas during preproduction, arguing over the script with Koepp and Spielberg, and whenever the Tarzan sequence came up for possible excision, it was Lucas standing ready to defend it, probably threatening to pull the plug on the whole thing if they took it out. He'd done it before (ask Frank Darabont). Of course, all of this is supposition, but it fits with what Lucas has said and how he operates. And after "Phantom Menace," why wouldn't you lay the worst thing in a Lucas-co-produced movie at his doorstep? Now, if I wanted to be charitable (which I'm on no mood to be), I'd say that there was always a childlike sense of adventure permeating all of the Indiana Jones movies, and that often Spielberg and Co. skirted the line between escapist action and goofy parody, and with this movie they simply crossed it for the first time. But again: not feeling charitable. Lucas did it.

Another failing of this movie is how fake a lot of it felt. Though it's probably not true, I'd guess about %50-%60 of this film was done on a sound stage. The entire Amazon multi-car, multi-truck sequence was done on a stage (or looked that way thanks to Kaminski's spotty, over-lit cinematography), the campfire sequence was done on a stage (the one that ends with the quicksand), and well, what wasn't done on a soundstage again? Some of the motorcycle stuff I guess? Even the stuff where it looks like they're outside, around and on top of the Mayan temple, was clearly just some elaborate CGI work. I'm sure the stunts were real enough, but when you stage elaborate stunts performed on a green-screen stage, and then add in the CGI cartoon around the stuntmen later, you've drained their movements of authenticity because the context of those actions and movements (their physical surroundings) are clearly phony. For instance, when Shia was balancing between two vehicles going down a bumpy jungle road getting his crotch smacked with jungle fauna, was there any tension or fear for that character's well-being? Contrast that with the stuntman who used a rope to inch himself along the bottom of a truck while being dragged in "Raiders". Sure, the stuntguy was in a shallow trench and the truck was going 10 miles an hour or so, but that movie illusion was all done in-camera and on-location. As was most of that damn thing, and that's part of why it's so great and holds up so well. Why can't our filmmakers be inventive in that way again, instead of just throwing scripts at CGI companies and saying, "Make!"?

I was also underwhelmed by the dialogue. This is more of a minor quibble compared to some of the other stuff, but I thought that in a lot of instances Koepp had set himself up to give Indiana a great line and opted instead for a merely serviceable one. Compare the wit and comedy of "Last Crusade" with this movie, and you'll see my point. In "Last Crusade" Ilsa asks Indy while they're in the catacombs, "Are you sure that's the Ark of the Covenant?" Indy answers, the picture of modesty, "Pretty sure." It played like gangbusters in the theater. Big laughs. And that was just one of many ("No ticket!"). Aside from the snake bit (which I'll get to in a second) nothing really sticks out as being terribly funny in "Crystal Skull" for me. With all the money they spent on CGI, you think they could have thrown $40K to a comedy writer to punch up some of those lines.

But before I go too far down this gloomy track, let me say what I did like. I liked the opening (though I did not understand or particularly like the prairie dog thing. What was that about? Lucas again?). I liked the sequence in the warehouse (a great idea to bring the story back there -- it's one of those places that kind of exists in the popular culture outside of the Indiana Jones movies now). I liked the rocket-car ride. I loved the nuclear test sequence. When the countdown suddenly begins with just 1 minute until detonation, it was the only time I was actually in suspense about how the character was possibly going to get himself out of the situation. His escape was implausible sure, but it was still pretty damn awesome, and the truth is I would have swallowed whatever implausibility necessary just so they could get that incredible shot of the still-firey mushroom cloud churning upward with Indiana Jones in the mid-ground looking on. My favorite single image in a movie in a long long time.

I also laughed very very hard at the quicksand sequence when Shia comes to the rescue with his ... implement. It was a perfect moment, and threw back to the earlier films in an honest, almost touching way. At that point the filmmakers finally allowed the audience to acknowledge that we all really kind of know this guy -- and if we know any one thing about him, it's that he hates snakes. The movie could have used more moments like that.

As for the aliens, I didn't mind them that much. They don't really fit into the Indiana Jones universe (or at least I didn't think they did), but now that they're there, I suppose visitors from outer space are no less supernatural than face-melting spirits in a religiously-significant gold box or evil shamans with the power to extract beating hearts without killing. But by the end of it, the 13 bethroned aliens, the inter-dimensional portal, the swirling boulders, it all seemed a bit much. I mean, I kind of liked all of its over-the-topness. The execution was a bit off is all.

Shia LaBeouf. He didn't bother me as much as I thought he would, but he didn't do anything for me either. After his giggle-inducing entrance, it's a wonder he seemed credible in any of his scenes, which he does. I get that his character is a vulnerable guy putting on a show of toughness but who's really actually tough like his dad, but I never really bought that. He just seems like a wiry actor kid to me. Underlying everything I just thought that if Shia LeBeouf is this generation's answer to Harrison Ford, we're in for some years of not-so-great movies. Man, do I sound old.

Also: why did Indy keep his double-crossing British sidekick around all the time? Even after he'd proved himself truly disloyal, Indy still risks his skin to save him. It was like all the British sidekick had to do was punch a Russian on the jeep and Indy was reappraising him and deciding he's loyal to him after all. It just seemed kind of lazy.

Bottomline: the directors and producers in charge of $100 million+ budget films need to take Industrial Light & Magic off of speed dial, and start taking moving pictures of real people doing actual things in real places. "Indiana Jones and the Kingdom of the Crystal Skull" would have been a nice place to start, but what's past is past. No more of this "Speed Racer" photo-realistic cartoon stuff. For the $100K Steve spent on the 5-second shot of whatever-the-hell in CGI, he could have gotten 3 10-second shots of real people doing actual things in real places. Say what you want about Michael Bay (and I can say plenty), he understands that the real deal carries a lot of weight on film, and the audience can feel that. Which is why he goes out of his way to stage real people doing real things in real places. Dare Is say Spielberg could learn something from ... Michael Bay? No, I guess I don't dare.

Anyway, that's all I've got for now. I'm interested to hear your comments. That is if anyone still reads this thing, bad as I've been with updates of late.

I hope everyone enjoys their Memorial Day weekends.

Could It Finally Be... Over?

Barack Obama won North Carolina by about 15 points last night, and lost Indiana by 2. Tim Russert said last night that Obama was now "the nominee." Stephanopolous said to expect superdelegates to start coming over to Obama "5 and 6 at a time." Hillary supporter George McGovern has already called on her to drop out, and according to HuffingtonPost, Clinton campaign officials expect more supporters to do the same soon.

Could it be the end? Could Hillary be seeing, finally, the writing on the wall?

I sure hope so. Bad campaign managers and an overall desperation has turned Hillary from a polished and decent-seeming general election candidate into a say-anything-to-win panderer trying to make less cagey Democratic voters think she's one of them. It hasn't been pretty or dignified. And now in the face of defeat in the wake of NC and IN, her people are out there on conference calls with reporters saying "We are a nation of 50 states." Meaning a.) she's going to take her fight to be president as far as she can on the basis that, somehow, the people of Florida and Michigan were "disenfranchised," and b.) reclaiming her good name isn't her priority quite yet. Trying to steal delegates from Florida and Michigan, states who broke the rules fair and square, is a weak justification to continue this fight for the nomination, but, then again, she's never actually said why she's running for president. She ought to be president, well ... well just because.

Anyway, Hillary can still, of course, redeem herself. The loser of this contest will, I believe, have much more to do with a Democratic victory than the winner because the loser will be the one most responsible for uniting the party once this process is over. If she can manage true graciousness in defeat, she'll go a long way in repairing the damage she's done to her once formidable reputation. and because I think she still cares about the Clinton "brand," once she steps aside, I expect her to get behind Barack as hard as she's been trying to beat him.

Spoiler Free, Opinion-Free Post-Screening "Iron Man" Comment

Stay through all of the credits.

Fred Simmons Clip

More Fred Simmons action. Very funny stuff.

This from Aintitcool's Moriarty regarding"Foot Fist Way":

"I can’t believe this one’s about to hit theaters finally. I’ve been singing its praises for a while now, and I think after you see it, you’ll understand why. I’m not alone in loving it, of course. It seems like every professionally funny person I know loves this. I haven’t seen this kind of genuine word-of-mouth buzz about something in the comedy world since maybe the British OFFICE."

A lot to live up to, but definitely funny enough to live up to the hype.

New York Times Gives "Iron Man" Some Love

The New York Times calls "Iron Man" "an unusually good superhero picture" that's "good in unusual ways."

Things are looking up and up. I've already got tickets for the 7:45 show tomorrow night --- I don't expect to be disappointed.

Incredible Hulk Trailer Is Up

The new full Hulk trailer's up.

I don't dislike what I'm seeing here, but nothing in this new trailer makes it obvious why we needed this Hulk reboot. It doesn't tweak any nostalgia I have for the TV show (aside from those three notes they snuck in at the end), there isn't any interesting visual stylistic flourishes going on, and judging from the animation quality of the Norton-Hulk, CG hasn't really gotten good enough in the last four years to make CG Hulk look like anything other than a semi photo-realistic cartoon. So I'm interested to see this movie, but not really excited. What I hope is going on is this: a trailer for a big expensive summer movie has to get the 12-year olds into the theaters. So that trailer has to emphasize the monsters, the helicopters, and Hummers blowing up in a park. But if the script, which Norton was deeply involved in, is actually really good, then it's quality might not be readily apparent in a trailer meant to show just action action action. So could still be great. But William Hurt looks and sounds very cool, and I'm happy to see Tim Roth back in a big movie, so color me hopeful.

(Did anyone else think the giant action scene in the park just looked like an obvious cost-cutting measure? I can think of less interesting places to blow stuff up in a movie --- oh wait. No I can't.)

Iron Man, Jeremiah Wright and South Korean Freaks with Harvard Fetishes

It's been a while, so here's some Inanities catch-up:













1.) I am completely hyped for "Iron Man." Like total DragonCon-nerd kind of excitement. I'm listening to Audioslave's "Cochise" and Sabbath's "Iron Man" all the time because they're in the trailer. Recently I picked up some "Iron Man" comics, just to see what was up with Tony Stark these days in the Marvel Universe (turns out he's now the director of S.H.I.E.L.D.. Fellow nerds will understand immediately the implications of that statement.) All this hype and anticipation is, of course, entirely manufactured by Marvel Comics (who financed the movie all by theyselves), and a week after it's out I'll have forgotten all about Tony Stark and will be looking ahead to the cinematic exploits of Banner, Jones and Wayne later in the hot months, but until Friday, "Iron Man" is looking to be a very big deal. (Also, Aintitcool's Harry Knowles and Moriarty both raved about the movie after they saw an early screening. Things are looking up for this thing not to suck.)

2.) Reverend Wright is bringing me way down. His very public, very unapologetic, very impolitic appearance yesterday at the National Press Club was all about him, I think, no matter what he says he was doing with regards to defending "the black church." Listening to snippets of his press conference on NPR on the drive home yesterday, I could hear how much fun he was having up behind the lectern fielding questions. He backed down from nothing, and only helped Obama once when he confirmed Obama's claim that Obama had not been present for Wright's most incendiary sermons. But besides that, Wright was busy plunging a chef's knife into Obama's side over and over again, defending his 9/11 comments and reaffirming his belief that the US government invented AIDS to wipe out the black race.

Mostly what Wright did yesterday was deepen the suspicion that many working-class white voters already have (a group Obama's apparently had trouble connecting with) that despite Obama's inclusive, hopeful rhetoric, Obama is an African-American of the Sharpton/Jackson/Wright mold, an angry black activist in other words, and if president, would not have their interests at heart, would in fact be working against their interests. That is, of course, a myth, but Wright helped yesterday to perpetuate it, and from a cursory viewing of all of this one can reasonably assume Wright may be attempting to sabotage Obama's bid for the White House. I can't even begin to understand why Wright would do that, but the evidence is plain. Is Obama going to be able to get out from under this guy?

3.) Who but freaks get into Harvard anymore? I read this article from the Times the other day about elite South Korean prep schools that focus like laser beams on getting their students into America's Ivy League schools. Fifteen-hour school days. Parents who scold their kids when they come home with a 98 on a test. Sixty-seven of your classmates ace the math section of the SAT. Here's a day in the life of a student at an elite S. Korean prep school:

"She rises at 6 a.m. and heads for her school bus at 6:50. Arriving at Daewon, she grabs a broom to help classmates clean her classroom. Between 8 and noon, she hears Korean instructors teach supply and demand in economics, Korean soils in geography and classical poets in Korean literature.

At lunch she joins other raucous students, all, like her, wearing blue blazers, in a chow line serving beans and rice, fried dumpling and pickled turnip, which she eats with girlfriends. Boys, who sit elsewhere, wolf their food and race to a dirt lot for a 10-minute pickup soccer game before afternoon classes.

Kim Hyun-kyung joins other girls at a hallway sink to brush her teeth before reporting to French literature, French culture and English grammar classes, taught by Korean instructors. At 3:20, her English language classes begin....

...Evening study hall begins at 7:45. She piles up textbooks on an adjoining desk, where they glare at her like a to-do list. Classmates sling backpacks over seats, prop a window open and start cramming. Three hours later, the floor is littered with empty juice cartons and water bottles. One girl has nodded out, head on desk. At 10:50 a tone sounds, and Ms. Kim heads for a bus that will wend its way through Seoul’s towering high-rise canyons to her home, south of the Han River.

“I feel proud that I’ve endured another day,” she said."

I'm not sure this is a snapshot of a future America where everyone is working in the service-industry because absolutely everything else has been outsourced to frighteningly-driven kids like this, but it may be a glimpse into how much work we may soon have to ask our kids to do just to stay competitive with the other 6.3 billion people in the world. And all that work won't be to stay ahead of the world and improve our quality of life, all that work will be just to keep our heads above water.

Hulk Smash

When Norton said he was keeping the film more in line with the tv show than with the comic, I don't think he was kidding. Ang burned me bad with the Bana/Ang Lee Hulk, but this looks like it could actually be pretty good.

Chris Matthews is Endearing

This is what I read during my lunch break today. Great article. I've always been a fan of Chris Matthews. One day he'll say something that makes my head explode with indignation, and then the next he'll say something that I totally agree with, (and I like this because I don't usually like things that challenge my assumptions). If you've ever seen his show, you probably already have a good sense of who he is, or so this article asserts. What you see is what you get with this guy. He's a loudmouth and sometimes he has to cram his foot in there. Like the time he saw Tipper Gore on-screen while he was anchoring MSNBC's coverage of the opening of the WWII Memorial and said, his admiration evident in his voice, "She's a good-looking woman." And then, immediately after, "I shouldn't have said that." Or those times he references, seemingly apropo of nothing, a scene from an old movie (like "Lawrence of Arabia" for example), never caring how long it takes to set up the scene, tie it to current events and finally make his obscure point. He doesn't seem to self-censor, and he clearly loves his job more than any political wonk on the beat. That's worthy of admiration. So to find out that he doesn't get much respect from his peers, is kind of surprising.

"Tim — as in Russert, the inquisitive jackhammer host of “Meet the Press” — is a particular obsession of Matthews’s. Matthews craves Russert’s approval like that of an older brother. He is often solicitous. On the morning of the Cleveland debate, Matthews was standing in the lobby of the Ritz when Russert walked through, straight from a workout, wearing a sweat-drenched Buffalo Bills sweatshirt, long shorts and black rubber-soled shoes with tube socks. “Here he is; here he is, the man,” Matthews said to Russert, who smiled and chatted for a few minutes before returning to his room. (An MSNBC spokesman, Jeremy Gaines, tried, after the fact, to declare Russert’s outfit “off the record.”)

Matthews has berated Russert to several people at NBC and has told friends and associates that Russert is like John F. Kennedy while he is more like Richard Nixon. Kennedy was the golden boy while Nixon was the scrapper for whom nothing came easily. It’s an imperfect comparison, certainly (Matthews is Irish Catholic, for starters, and Russert is not charismatic by any classic Kennedyesque definition), but it does offer a glimpse into how Matthews perceives himself, especially in relation to Russert. It’s also worth noting that Nixon was obsessed with Kennedy, and Kennedy could be dismissive and disparaging of Nixon."

And this:

"According to people at NBC, Matthews has not been shy in voicing his resentment of Olbermann. Nor, according to network sources, has Olbermann bothered to hide his low regard for Matthews, although when I spoke to him, Olbermann denied any personal animosity toward Matthews and told me that he appreciates his “John Madden-like enthusiasm for politics.”

The article goes on to say that with Matthews' contract is running out, some at NBC are thinking of letting him go and putting David Gregory in his place. This mystifies me. If MSNBC is in a hurry to promote pure unadulterated boring, then they definitely should replace Chris with David Gregory, the Wolf Blitzer of NBC News. But no one I know is looking for a better source for boring, so maybe that doesn't make much sense.

I don't know if Matthews is worth $5 million a year (which is how much he makes currently), but no one can say he doesn't work for it. Most weekday mornings he's up at 7am to give "his take" to viewers on "Morning Joe," MSNBC's morning talk-show, and later he does his evening Hardball shows, and then he also has his weekly "The Chris Matthews Show" which airs Sunday. The guy works. Gregory? Other than a couple run-ins with the White House press secretary, and a faux-pas or two on the unwatchable Today show, I can't remember a single interesting thing Gregory's said, or an interesting story he's reported. I kinda doubt he has. Good-looking and mediocre is preferable to unpredictable and entertaining, I guess.

Anyway, the article's great (and long! And in this case that's a good thing!), and you ought to give a bit of it a read.

And finally, click here for some "Pineapple Express" poster action. Good stuff.

Obama and the New US Foreign Policy

Former TalkingPointsMemo writer Spencer Ackerman wrote an article called "The Obama Doctrine" for "The American Spectator" magazine. In that piece, Ackerman interviews some of Obama's foreign policy advisors like Samantha Power, (she of the "Hillary is a monster" comment), and Anthony Lake, (Clinton's old national security advisor), to get a sense of how an Obama administration would approach international relations. In plain language these advisors explain how an Obama presidency could truly mark a new beginning in how we deal with the rest of the world.

"What's typically neglected in these arguments [about the efficacy of Bush's stated policy of "spreading democracy" to the exclusion of all other concerns] is the simple insight that democracy does not fill stomachs, alleviate malaria, or protect neighborhoods from marauding bands of militiamen. Democracy, in other words, is valuable to people insofar as it allows them first to meet their basic needs. It is much harder to provide that sense of dignity than to hold an election in Baghdad or Gaza and declare oneself shocked when illiberal forces triumph. "Look at why the baddies win these elections," Power says. "It's because [populations are] living in climates of fear." U.S. policy, she continues, should be "about meeting people where they're at. Their fears of going hungry, or of the thug on the street. That's the swamp that needs draining. If we're to compete with extremism, we have to be able to provide these things that we're not [providing]."

This is why, Obama's advisers argue, national security depends in large part on dignity promotion. Without it, the U.S. will never be able to destroy al-Qaeda. Extremists will forever be able to demagogue conditions of misery, making continued U.S. involvement in asymmetric warfare an increasingly counterproductive exercise -- because killing one terrorist creates five more in his place. "It's about attacking pools of potential terrorism around the globe," Gration says. "Look at Africa, with 900 million people, half of whom are under 18. I'm concerned that unless you start creating jobs and livelihoods we will have real big problems on our hands in ten to fifteen years.""

It's a totally different way of looking at things. I think if Obama's elected President, we'll have seen the last of the market-tested sloganeering that passed for foreign policy debate these last 7 and a half years.