Saturday, March 28, 2009

Monsters vs. Aliens

If this is the brave new world to which 3D is transporting us, stop the merry-go-'round. I want to get off.

Monsters vs. Aliens, one of the 2009 big movies designed to highlight where 3D could transport audiences, is an example of technology run amok. With a slight, light screenplay that required five credited writers, the film tells an unimaginative story about an alien invasion of Earth that is foiled by "monsters." Of course, they're not really monsters. They're just misunderstood. But since they're in the 3D, we're too busy watching whizzing comet fragments fly out of the screen to care about things like plot or character development. It's a good thing, too, because anyone on the lookout for those elements may be a little disappointed. This should not be confused with the vastly superior Monsters Inc.

I'm sure the average five year-old will be enchanted. But the average five year old watches Teletubbies and Sponge Bob Squarepants. The problem with Monsters vs. Aliens is that all those writers didn't think much about potential audience members on the hairy side of puberty. Oh, there are some clever one-liners and the occasional sight gag, but there are too few of those moments to keep the adults from becoming restless. Despite a multitude of opportunities to satirize '50s B-grade science fiction and monster movies, there's only a little of that (veiled references to Attack of the 50 Foot Woman, The Blob, The Creature from the Black Lagoon, and The Fly). Too much would, after all, confuse the five year olds. And why put thought into a script when you can let the computers send something else whizzing at the audience?

Monsters vs. Aliens suffers from the common 3D problems: dim lighting, poor focus in fast-paced action sequences, and too many distractions for the movie to grab the viewer. With Coraline, it looked like things might be going in the right direction, but Monsters vs. Aliens is a major step backward. Last year, the "K" of "Dreamworks SKG" did a dog-and-pony show proselytizing skeptics to join the True Faith of 3D. It's too bad this is all he has to show for it. Had he come armed with something less obviously recycled, his words might not now ring hollow.

Susan Murphy (voice of Reese Witherspoon) is getting ready for her wedding day when a meteor strike complicates her perfect small town domestic existence. A substance contained in the meteor causes her to glow green then grow until she's big enough to be called Ginormica. The government arrives before she can say "I do" and incarcerates her in a prison for monsters, where she makes the acquaintances of other misfits: the blobby B.O.B. (Seth Rogan), the aptly named Dr. Cockroach (Hugh Laurie), and The Missing Link (Will Arnett). Things aren't looking too good for Susan until Gallaxhar (Rainn Wilson) comes calling. His goal has something to do with wiping out humanity and repopulating Earth with his own kind - typical megalomaniac space alien stuff. President Hathaway (Stephen Colbert) decides to let loose the monsters in the hope that they and the aliens will eliminate each other. Meanwhile, all Susan really wants is to be respected for who she is. Sniff sniff.

There was a time when Dreamworks looked like it might be poised to challenge Disney/Pixar for the digital animation throne. That day has long since passed and, as Pixar strives to improve with every new feature, Dreamworks offers us this. Visually, the film is okay, but nothing special, and certainly nothing on par with WALL-E. The idea seems to be that the presence of 3D eliminates the need to invest effort into striving for the highest quality animation. And this is the real danger of 3D - that the "wow" factor becomes so important that other elements are neglected.

This is not a movie. It's an amusement park ride. It's a chance for kids to "ooh" and "ahh" while parents catch a nap. Sure, the film is sweet and harmless but, take away the 3D, and all you're left with is a generic kids' movie, not unlike Madagascar and its sequel (both of which also came from Dreamworks). Monsters vs. Aliens is a gallery of missed opportunities. There are a couple of lame King Kong references, a nod to Star Trek, and a musical echo of Close Encounters, but that's about it. Yet, despite the presence of a War Room and a Buck Turgidson-type (named General W.R. Monger, and voiced by Jack Bauer), there's not a hint of Dr. Strangelove to be found. It's almost as if someone put the setup in place then forgot the punch line.

The 3D is distracting but, in this case, that's a good thing, because it livens things up. But it also indicates that had Monsters vs. Aliens been a good movie, it would have worked better in 2D. Katzenberg said he wanted to make 3D an integral part of the movie-going experience, but with Monsters vs. Aliens, he has provided one of the most gimmicky 3D movies since the resurgence of the format.
http://www.reelviews.net/
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The Great Buck Howard

A movie review by James Berardinelli
The Great Buck Howard offers John Malkovich an opportunity to do a little mugging for the camera as he plays a character who is, by nature, larger than life. Buck Howard, a fictional representation of The Amazing Kreskin, is part star and part lounge lizard. He's the proverbial legend in his own mind. The genial film, brought to the screen with a certain amount of compassion by director Sean McGinly, who could just as easily have taken the gloves off and made this a nasty, bitter satire, manages to score some telling points about the nature of stardom and how fast Andy Warhol's 15 minutes of fame can pass. Despite the presence of some A-list performers, The Great Buck Howard can't shake the feeling that it's more on the level of made-for-TV than something destined for theatrical greatness. Like its main character, the production rarely seems ready for prime time.


Our initial impression of Buck Howard, as seen through the eyes of the man who will become his personal assistant, Troy Gabel (Colin Hanks), is that he's a major figure in the entertainment industry. It turns out he's a classic has-been. A once-renowned mentalist who frequently appeared on The Tonight Show with Johnny Carson in the '70s, Buck hasn't seen the business end of a camera in decades and is reduced to doing cheesy live shows in front of half-full auditoriums in small towns. Ever the optimist, Buck believes that his big break is "just around the corner." Troy is skeptical, as is Valerie Brennan (Emily Blunt), a local publicist brought in to help amplify Buck's image.

Hollywood is fond of making movies about aging celebrities who are past their "sell by" date. Old generals may fade away, but people used to the spotlight often sacrifice their last shreds of dignity trying to crawl back into it. Like a boxer whose punch-less comebacks are the fodder for countless punch lines, some stars simply can't recognize when it's over. In a way, The Great Buck Howard is about a man making the journey from self-delusion to recognition. And, while many films view this sort of odyssey as a tragic one (consider, for example, Darren Aronofsky's recent The Wrestler), The Great Buck Howard sees it in a gentler light.

McGinly focuses on three key relationships. There's the friction-filled one between Troy and his buttoned-down dad (Tom Hanks). Dad wants Troy to go to law school, but Troy wants to follow his dream of writing, and therein lies the conflict. There's a PG romance between Troy and Valerie. One is tempted to call Valerie a disposable character, but because she's played by Emily Blunt (who can also currently be seen in Sunshine Cleaning) and Blunt can do a lot with a little, the character ends up seeming more substantial than she is. The central relationship is the love/hate thing between Troy and Buck. Troy may never learn how Buck performs his signature magic trick, but he gets to peek behind the curtain and see what makes the man tick, and that's in some ways more intriguing.

As an actor, Colin Hanks doesn't have much gravitas, but the role doesn't require much in that direction. It's unclear whether he'll ever expand to fill his father's shoes; great things were expected for him after Orange County (although I'm not sure why), but they haven't materialized. Nevertheless, Troy appears tailor-made for him. Meanwhile, Malkovich has fun with Buck - this is a part an actor can sink his teeth into. But Buck isn't all big smiles, sunglasses, and gripes about Jay Leno. Malkovich modulates his performance in such a way that we, like Troy, see what's mostly hidden behind the curtain. Tom Hanks heads an idiosyncratic list of cameos: Tom Arnold, Conan O'Brien, Jay Leno, John Stewart, Martha Stewart, George Takei, and Gary Coleman.

If there's a glaring fault with The Great Buck Howard, it's that, although the character may linger in the mind after the end credits roll, the plot quickly evaporates like one of Buck Howard's magic tricks. All that's really left in the end is Malkovich's performance. The themes - how a tabloid-centered culture flocks to the celebrity of the day then discards him when the luster rubs off and how some people sacrifice everything for their job - are potentially rich, but they are soft-peddled here and don't have any staying power. Malkovich's Buck Howard may indeed be "great," but the film is not.

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Sunday, March 15, 2009

Miss March

It's Friday the 13th - Figures. Where's Jason when you need him?

In order to see Miss March, which was not screened for critics, I spent 90 minutes trapped in a multiplex auditorium on the day it opened. For about the first half-hour, I tried to be optimistic, thinking things certainly had to get better. For the next 30 minutes, I prayed that the projector would break. For the balance of the movie, I felt like crying out, "Please God, just let it end!" There were a total of ten people in the theater, and all of them stayed until it was over. I know why I didn't leave, but I can't figure out what was wrong with the other nine. Maybe there's a masochist convention in town?

This is bad. Not bad in a way that it might be fun to see when inebriated. Bad in a way from which only death provides immunity. Forget waterboarding - just show Guantanamo detainees Miss March and they'll say anything. Or maybe pair it with The Hottie and the Nottie, although that would be considered cruel and unusual punishment. Even though it's only March, I'm prepared to go out on a limb and declare this the worst movie of the year. (It helps that Friedberg & Seltzer don't have any 2009 releases scheduled, although I'm sure Uwe Boll has a title or two in the pipeline.) If something worse arrives in theaters between now and December, I don't want to experience it. I can only take one of these a year.

Miss March wants to be a sex comedy, a road trip movie, and a romantic comedy all rolled into one. I was going to describe it as Rip Van Winkle meets the '80s hit song "Centerfold" until I realized what a monumental insult that would be to Washington Irving and the J. Geils Band. The film introduces us to Eugene Bell (Zach Cregger) and Tucker Cleigh (Trevor Moore) as kids, then catches up to them on prom night. Eugene, a staunch advocate of abstinence, is about to lose his virginity to his girlfriend of 30 months, Cindi (Raquel Alessi). He's nervous, drinks too much, falls down a flight of stairs and ends up in a coma for the next four years. When he awakens, he discovers that his father has abandoned him and his girlfriend is a Playboy centerfold. Only Tucker has stuck around. So, to claim Eugene's lost love and escape a scrape with some firemen that Tucker finds himself in, they head west toward the Playboy Mansion.

Zach Cregger and Trevor Moore (of the TV show The Whitest Kids U Know) are wearing three hats here - directors, writers, and stars - possibly because no one else wanted to be associated with this production. The biggest name in the cast is Hugh Hefner, and this is a sad comedown for him. I know his magazine hasn't been relevant in about a quarter century, but is he so hard-up for publicity that he feels it necessary to lend his support to something this abysmal? I didn't like The House Bunny, but I could understand why he would be involved. Even all the ass-kissing Cregger and Moore do isn't worth the humiliation of being associated with Miss March.

For a movie that's purported to be a sex comedy, there's not much in the way of sex or nudity. And, even though the lead actress is supposedly a centerfold, she keeps her clothes on at all times. There's not even a digitally created image of her naked. Then again, Cregger and Moore could have put a nude woman in every frame and it wouldn't have saved Miss March. The humor is divided into three categories: profanity-related, having to do with bodily fluids, and a tedious, often-repeated line about a hip-hop artist whose name is Horsedick.MPEG. It's as if the screenwriters are eight years old and, having just discovered the word "fuck," they want to use it as much as possible and think its mere utterance is hilarious. For variety, they toss in stuff like an explosion of diarrhea in all of its graphic glory and a Playmate savoring the sweet nectar of dog pee. And those are the tasteful bits.

While Eugene is merely one-dimensional and boring, Tucker is a vile individual. During a scene when a fireman is about to behead Tucker, I was rooting the would-be executioner on. For some unknown reason, the filmmakers expect us to like this misogynist pig, as if we're intended to ignore personality defects like causing his girlfriend to go into an epileptic seizure then stabbing her in the face with a fork. This guy would be perfect for a horror movie. I'd be the first one cheering when Jason or Freddy or Michael drilled a spike through his eye. Sadly, none of these things happen here.

Miss March isn't only inept from a storytelling perspective, it's technically primitive. Camera angles are unsophisticated, recalling Kevin Smith in his early days; shots are poorly framed; transitions are awkward; and the lack of budget frequently calls attention to itself. Most bad films at least look competent, but this is a member of the rare group that looks like the shit that it is. At least it was in focus, although I'm not sure that can be considered a benefit. The experience might have been less traumatic had everything been blurry. My plea to Hollywood: exile Cregger and Moore to the same bleak oblivion where Tom Green, Carrot Top, and Pauley Shore reside.

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Britney Spears - Womanizer lyrics

Lyrics to Womanizer :
Superstar
Where you from, how's it going?
I know you
Gotta clue, what youre doing?
You can play brand new to all the other chicks out here
But I know what you are, what you are, baby

Look at you
Gettin' more than just re-up
Baby, you
Got all the puppets with their strings up
Fakin' like a good one, but I call 'em like I see 'em
I know what you are, what you are, baby

Womanizer
Woman-Womanizer
You're a womanizer
Oh Womanizer
Oh You're a Womanizer Baby
You, You You Are
You, You You Are
Womanizer, Womanizer, Womanizer

Boy don't try to front I (I) know just (just) what you are (are are)
Boy don't try to front I (I) know just (just) what you are (are are)

You Got Me Goin'
You're Oh-So Charmin'
But I can't do it
U Womanizer

Boy don't try to front I (I) know just (just) what you are (are are)
Boy don't try to front I (I) know just (just) what you are (are are)

You Say I'm Crazy
I got Your Crazy
You're nothing but
A Womanizer

Daddy-O
You got the swagger of champion
Too bad for you
Just can't find the right companion
I guess when you have one too many, makes it hard
It could be easy
Who you are, that's who you are, baby

Lollipop
Must mistake me you're a sucker
To think that I
Would be a victim not another
Say it, play it how you wanna
But no way I'm ever gonna fall for you, never you, baby

Womanizer
Woman-Womanizer
You're a womanizer
Oh Womanizer
Oh You're a Womanizer Baby
You, You You Are
You, You You Are
Womanizer, Womanizer, Womanizer

Boy don't try to front I (I) know just (just) what you are (are are)
Boy don't try to front I (I) know just (just) what you are (are are)

You Got Me Goin'
You're Oh-So Charmin'
But I can't do it
U Womanizer

Boy don't try to front I (I) know just (just) what you are (are are)
Boy don't try to front I (I) know just (just) what you are (are are)

You Say I'm Crazy
I got Your Crazy
You're nothing but
A Womanizer

Maybe if we both lived in different worlds
(Womanizer Womanizer Womanizer Womanizer)
It would be all good, and maybe I could be ya girl
But I can't 'cause we don't
You...

Womanizer
Woman-Womanizer
You're a womanizer
Oh Womanizer
Oh You're a Womanizer Baby
You, You You Are
You, You You Are
Womanizer, Womanizer, Womanizer

Boy don't try to front I (I) know just (just) what you are (are are)
Boy don't try to front I (I) know just (just) what you are (are are)

You Got Me Goin'
You're Oh-So Charmin'
But I can't do it
U Womanizer

Boy don't try to front I (I) know just (just) what you are (are are)
Boy don't try to front I (I) know just (just) what you are (are are)

You Say I'm Crazy
I got Your Crazy
You're nothing but
A Womanizer

Boy don't try to front I (I) know just (just) what you are (are are)
Boy don't try to front I (I) know just (just) what you are (are are)

Womanizer
Woman-Womanizer
You're a womanizer
Oh Womanizer
Oh You're a Womanizer Baby

(Thanks to Kat for these lyrics)
[ Womanizer Lyrics on http://www.lyricsmania.com/ ]
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Another Cinderella Story



Tell Me Something I Don't Know (Selena Gomez)
New Classic (Drew Seeley, Selena Gomez)
Hurry Up & Save Me (Tiffany Giardina)
Just That Girl (Drew Seeley)
Bang A Drum (Selena Gomez)
1st Class Girl (Marcus Paulk, Drew Seeley)
Hold 4 You (Jane Lynch)
Valentine's Dance Tango (The Twins)
No Average Angel (Tiffany Giardina)
Don't Be Shy (Small Change, Lil’ Jj And Chani)
X-plain It To My Heart (Drew Seeley)
New Classic (Drew Seeley, Selena Gomez)
Another Cinderella Story (Score Suite)


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Race to Witch Mountain

Race to Witch Mountain is the latest Disney "made for kids only" effort. It takes all the usual Disney hooks - cute children, a likeable protagonist, lame action and lamer jokes, some special effects, poker-faced bad guys, and an animal - and throws them into a story that makes no sense whatsoever. So, while children will be entertained by the flashy eye candy and pointless running around, adults will be obsessed with determining how such a nonsensical script could get made into a movie without at least a little more polishing. One supposes Disney is hoping to cash in on the inevitable nostalgia factor associated with the name "Witch Mountain." But, although this is technically a remake of the 1975 feature, Escape to Witch Mountain (which was subsequently re-done in 1995 as a made-for-TV production), it's mostly a different movie. While a few of the basic building blocks for the story remain, that's where similarities between Race and Escape end.

Sara (AnnaSophia Robb) and Seth (Alexander Ludwig) are the Wonder Twins - two aliens who end up in the back of a cab driven by Jack Bruno (Dwayne "The Rock" Johnson). She can read thoughts (maybe not such a good thing in Las Vegas) and perform levitation tricks. He can transmute matter. They are apparently not very good drivers because they have managed to crash land their spaceship on Earth. Now, it's in the hands of Dick Cheney's disciples, led by Man in Black Hat Henry Burke (Ciaran Hinds), who needs the kids to complete his collection of alien artifacts. Sara and Seth, having completed their hush-hush mission, want to go home. Despite their seemingly limitless powers, however, they need Jack to drive them around. And, even though Sara can disable cars with a flick of her wrist, she seems content to let them chase the cab through the desert outside of Las Vegas. Maybe she thinks it's fun. Eventually, when Jack's knowledge of things extraterrestrial proves to be limited, he confides in astrophysicist Alex Friedmen (Carla Gugino), who is more than happy to help out a couple of blonde-haired, blue-eyed ETs.

The more powerful the filmmakers decide to make the kids, the less sense the entire movie makes. To quote Kirk from Star Trek V (admittedly, not the most quotable of movies, unless you're into "Row Row Row Your Boat"): "Why does God need a starship?" Or, as it applies here, why do these kids need The Rock? Simply because AnnaSophia Robb (as talented an actress as she may be - see A Bridge to Terabithia) and Alexander Ludwig aren't going to sell many tickets. The Rock meanwhile, has decided to abandon Schwarzenegger mayhem in favor of something kinder, gentler, and more boring. But, as charismatic as Dwayne Johnson may be (and he has a ton of screen presence), there's no logical reason for him to be in this movie.

The movie has not been made for post-pubescent viewers in mind. With productions like this, it's possible for children to get caught up in the moment without really caring why something is happening. Race to Witch Mountain isn't intended for families to enjoy together. It's made so that the children can capture 98 minutes of candy-light sweetness while their parents are tortured for not electing to treat their offspring to something more intelligent. The Rock keeps the film from becoming unwatchable, but there's only so much he can do. The experience of sitting through Race to Witch Mountain is more numbing than painful. One can consider the picture to be cinematic novocaine.

For those who care about such things, the twins from the 1975 Escape to Witch Mountain (Kim Richards and Ike Eisenmann) have small parts. He's the small town sheriff who faces off against Ciaran Hinds' agents and she's the blonde waitress who aids the new kids escape. If nothing else, their presence shows a little reverence for the past. Of course, it would have been more reverential if Disney had let Witch Mountain lie buried. This is not a story that cries out to be remade every 15-20 years. And, while the special effects and acting are getting better, the story isn't. Too bad this won't be the last time I'll say this for a Disney motion picture. No one is as adept as the Magic Kingdom when it comes to recycling. But the green they're looking for has nothing to do with conservation.

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Wednesday, March 11, 2009

The Travelling Band - Desolate Icicle

The Travelling Band brings to town their new single 'Desolate Icicle’ on a floating cloud, sprinkling glitter on the non-believers of beautiful folk-rock. The song is three minutes of loveliness, a jingling and heart-warming tribute to wash away those mid-winter blues.

With a touch of Travis and The Coral, and a splash of The Shins, these Glastonbury award winners know how to deliver blissful happiness in way of a song. Sounding faintly like Fleet Foxes, Desolate Icicle is a friendly record to savour and enjoy.
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