Since I’m not President, I finally have time to finish writing my book.
Rating: 7 out of 10
Flipping through these pages can be tragic when you read the level of intelligence behind the words and begin to wonder what the world would be like today if Al Gore had served George W. Bush’s two terms in office. Would there be milk chocolate fairies delivering candy and fountain-style root beer floats to children throughout the heartland of America? No, absolutely not. Yet I would wage a healthy amount of money that the U.S.A. would not have been in the geopolitical crapper as it was when George W. Bush finally walked out of those hallowed doors with one of the lowest approval ratings in history. His one-time opponent, Al Gore, tries to explain and extol on the reasons things went so badly off the rails.
The Assault on Reason is written by former Vice President Al Gore and details chapter after chapter the numerous areas where the Bush years, and some of those before, have displayed an incredible and frightening trend replacing science and reason with faith and narrow-mindedness. The government we once knew, the one begun all those years back, has been systematically dismantled, pulling the power from the people as a whole and concentrating it into an increasingly small number of hands. Those chosen few have since done everything in their power to eliminate reason and intellectual debate in favor of religious rhetoric and cowboy posturing in face of any and all opposing evidence. In essence, readers feel the true power of the American people slip further and further away with each turn of the page.
Before even opening the book, it must be noted the context in which these words live. Al Gore lost the Presidential election back in 2000 in one of the most contentious, and in some minds demonstrably corrupted, rulings in history. This man was a single breath away from the oval office and seven years later he writes a book about how terrible a job his former opponent is doing. So it is impossible to view this book without a small sense of bias on the part of the author. Yet, although the book does sometimes fall too far into “political slam-book” territory and reaches a slight whiny tone, Gore checks himself and within a few pages brings it back to a place where he backs up each and every criticism with solid, reasonable and irrefutable facts. In those passages when he cites source after source and charts out the trends which we should be so afraid of, that is when Gore is at his most effective.
The real power of the book is not as a weapon against the Bush-era style of politics and power grabbing, but the entire political system hierarchy and its continued growth away from the general public. Gore points out numerous occasions, pre-Bush, that also helped lead to the dangerous place we are today with so much control centralized into the office of President and not spread out amongst the three co-equal branches of the government as intended by those who set it up all those years ago. Yet, Gore even expands on this to the rest of the planet as well when talking about nuclear proliferation, detailing other nations and how they followed the missteps of the American powerhouse. In one of his most eloquent moments in the book, Gore writes:
“As a world community, we must prove that we are wise enough to control what we have been smart enough to create.”
In my mind, that is the central thesis to his entire argument. His textual intent is to warn us of the danger of nuclear arms being in the hands of people who block out reason in favor of belief, religious or otherwise, but sub-textually I believe the statement also shines lights on the creation of our government. Power should never be wielded only by one man alone; that is the antithesis of our democratic style of government. The balance between the three branches has been slowly ebbing away and the person sitting in the oval office has been the silent beneficiary of it all. Both sides have played their parts in the dismantling of that balance, but the Republicans took more giant steps on that march towards an iron-fist government between 2001-2008 than ever before in history.
What we can learn from this book is how to regain that balance, if you can filter out Gore’s “I wouldn’t have done it that way” tone in various portions. Science, reason and factual proof are slowly making their way back into governing politics, but there is a long way to go and more people who live by that credo need to find their way into the hallowed halls of the capital buildings. I’m not suggesting no one of any faith should be in government, just that they no longer turn a blind eye to anything that doesn’t follow in lockstep with that belief. Important choices should only be made after the most rigorous of debate and unfortunately, as you will see in these pages, our last President was not a huge fan of differing points of view. Even though this was written while Bush was still in office, many of the policies and laws enacted during that time are still in effect and Obama has yet to find the spare time to return some of that balance the government so desperately needs. Let’s help remind him.
The End of the Page Recommendation: A well written and well researched book on the state of our government and the dangerous path it is on. Although not exactly a page turner and it gets randomly embroiled in mudslinging and overly scientific terminology, the final result is still impactful and important.
I promise to do whatever my political party says, in right and in wrong, till death do us part
I can hear it now rumbling in the back closet, rocking back and forth with one broken foot, that same one I’ve been meaning to fix for two hundred years:
The Political Spin Machine
…and it’s going full steam.
With the election of Republican wunderkid, Scott Brown, the troops on the right are doing everything they can to convince Democrats across the nation that every progressive and liberal policy currently being proposed now has as much chance of succeeding as Conan O’Brien ever doing a show on NBC again. Yet, let’s take a good close look at what really happened yesterday and see if we can’t find a way to help each party find its way back to some type of ethical center.
By electing Scott Brown, Massachusetts brought the Democratic majority in the Senate down by exactly one. They dropped from 60 to 59 and while many will bemoan the loss of the filibuster proof majority, what they neglect to mention is the filibuster proof majority never really existed because of those Democrats in the Senate referred to as “Blue Dogs”, or more conservative-leaning voters. The squelching of the filibuster happened only once, which was to finally push the Health Care bill out of the Senate, and the reparations the liberal Democrats had to make in order to secure those Blue Dog votes over the filibuster helped to shape a bill that virtually no one is pleased with. So the idea that Scott Brown’s inclusion in the Senate will suddenly destroy the happy-go-lucky hand-holding going on in the left leaning side of the chamber just shows how little the right side actually pays attention to what is going on.
This is nothing more than a scare tactic to frighten the left and encourage the right, but I honestly believe the right has more to fear from Scott Brown than the left. Republicans think his election is a repudiation of Democratic policies and of Obama himself, but in fairness I believe he was chosen more out of frustration of continued record unemployment ratings and a growing disappointment from independents who let themselves believe the Obama hype machine during his campaign. I’m not knocking Obama, I voted for him as well, but people seemed to forget he is just one guy inside a government machine built by money, power and massive special interests. He has made many changes already, in demonstrably record time, but people on Main Street won’t feel the effects of those until much later. The change some people was hoping for was much more than he could ever achieve in such a short amount of time. Remember, his one-year anniversary as President was yesterday!
Scott Brown also comes in claiming he is ushering in a “new type of Republican”, which in other terms means “time for the old guys to move on out.” Let’s see how well that plays out in the polls come mid-term time. Anyone coming in preaching change to the “old way of politics” is a danger to anyone currently sitting, Republican or Democrat.
Now, while watching Mr. Brown gloat over his seemingly amazing win, I can’t say I’m incredibly impressed with him or how he handles himself (check this little moment of pimping out his daughters at his acceptance speech), but I wasn’t all that enchanted by his opponent, Martha Coakley, either. This is where people need to help usher in a real and tangible sense of change. We need to start looking beyond the party name and look at the actual person. As unattainable as it might sound, filled with pretty rhetoric and uplifting oratory, I agree with Obama when he stumps for the goal of bi-partisanship, but I want to take it one step farther. “Bi-partisanship” alludes to the idea of two parties getting along, but what about “tri-partisanship”? Actually, we do have one Independent senator (wave to the nice Internet folks, Mr. Barney Frank of VT). What about “quad-partisanship”? The Tea-Partier’s are about to host their own conference, so who will deny they have a chance to get their own candidate on a ticket and not be forced to list them as Republican? I’m a good distance off from supporting anything currently coming out of the tea-party caucus, but I fully encourage their right to not affiliate with either dominating party. My belief is if we breakdown the powerhouse parties the American populace would be forced to learn more about who they are voting for instead of just checking whether their was an “R” or a “D” next to their name.
An informed populace is an absolute necessity of any great democracy and it’s time that we as members of that populace bore some responsibility for that.
Posted 2 weeks, 4 days ago at 2:26 pm. Add a comment
Somewhere out there, there is a snack shack waiting for me.
Rating: 4 out of 10
One type of movies has recently been building in the nationwide queue, Apocalypse films. We stared in wide-eyed wonder at the destruction imagined in 2012, felt the weight of despair in the bleak future of The Road and even the magical CGI-fueled paradise of Avatar can be classified as apocalyptic since that was the reason for the human expansion to Pandora. This week we bear witness to a little twist, a holy light in the gray darkness of the cold and dusty future, a film that suggests in the aftermath of what is to come you can only truly survive by pure and unadulterated faith. Nothing like a good dose of God to add spice to the end of the world.
The Book of Eli is a moral fable about a man, most commonly referred to as “The Walker”, who sets out on a journey west to find the one and only safe harbor left in the world for the precious book he is carrying. He crosses paths with the worst and the best (but mostly the worst) of what humanity has become in the wake of some type of nuclear holocaust. The extent of his survival skills is impressive, but it pales in comparison to his determination and resolve to reach the destination told to him only a voice in his head. The road gets rougher as he passes through a town where the man in charge knows all too well the power of the book he is carrying and decides to claim it for his own.
Let’s start out with the nice things first, cause that is just the polite thing to do. As you can see from the picture above, there was a clear choice in visual tone to bring about this monochromatic, muted color palette to the world after the war. There was some incredibly stark imagery and compelling wide shots of our main traveler trekking across sheer emptiness and ruined wastelands. I was quietly pleased with that portion of the film, and only that portion, until I was reminded by the ending credits that this cross between Mad Max and The Road was directed by Albert and Allen Hughes, otherwise known as The Hughes Brothers. Looking back at their last film, From Hell, I suddenly put together all the pieces. The Book of Eli succeeded and suffered in the exact same way.
The Hughes Brothers have developed a style of powerful visuals and interesting color schemes, but they seem to forget about the rest of the recipe. The story lingers on in a menacingly slow fashion, broken up by frantic acts of violence, but a real ebb and flow is never truly achieved. Also, I will hold back all inclinations to what the third act twist is, but just know it left me extremely disappointed. I stand by the idea that films win or lose their audiences in the last five minutes and I was not only lost, but banging my head against the wall in order to develop short term amnesia. There were a good handful of ways the story could have ended, but they went with honestly the worst of the bunch.
In terms of acting, I actually thought Denzel Washington had a few really impressive scenes and it was nice to see him a little bit outside of the cocky, tough guy role that he was pigeonholed into over the last decade (like Man on Fire, Inside Man and his oscar-winning turn in Training Day.) Mila Kunis also stepped up for most of the film, yet I lost her when she started to become the rough and tumble chick again. She has a self-assuredness and confidence to her which works really well, but once she starts packing heat and sliding into some femme fatale position (ala Max Payne) she ends up a caricature instead of a character. Lastly there is Gary Oldman, who really has been playing parts like this for years. It’s not his best work by far, but even with that said, he still commands attention when on screen. His performance ended up making me imagine he was playing his same character from Leon, just many, many years older.
The End of the Page Recommendation: Honestly, I love religiously themed movies, especially if someone involved is carrying a crazy sharp machete, but this felt heavy-handed and preachy. A vain attempt was made at the end to balance that out, but it failed to remove the weight left by the previous hours. If you can get a copy of the actual 35mm film, find some of the really pretty shots, blow them up into posters and just be happy with that.
Posted 2 weeks, 5 days ago at 7:06 pm. Add a comment
For most guys out there are a few words which automatically generates excitement-filled jitters: football, swimsuit issue and ninjas. Pick any single word out of that group and you have an instant “guy flick”, so Ninja Assassin was primed and ready to dominate the male viewing market for the holiday season. The star on the Christmas tree was momentarily replaced by the four-pointed Shuriken of the black-masked killers of old. In situations like this, it’s best to open your presents very, very carefully. They might be sharp.
Ninja Assassin is the story of Raizo, a young man who was stolen from his family as a child and raised as a highly trained assassin for one of the notorious “Nine Clans.” Hardened by vicious training sessions and continued psychological abuse, Raizo grew to be the best of the best, but when he is pushed too far by his master, Raizo chooses to not only break from the clan, but dedicate the remainder of his life to killing the man who trained him.
Adding to the anticipation of this martial arts showcase was a few key people, both in front of and behind the screen. Donning the visage of the prodigal ninja son is Rain, a major Korean pop-star who sold out one of his first U.S. performances in New York so fast that they added another night and he was joined on stage by such American hip-hop powerhouses as P. Diddy, Jojo and Omarion. He was named one of Time Magazine’s Most Influential People back in 2006 and labeled “the face of pop globalism”. No matter what the box office numbers are here in the U.S., you can guarantee this will bring in barrels of foreign market money. This was not his first foray into American movie-making; that would be last year’s box-office disappointment, Speed Racer, where he played Taejo Togokahn. That might not have given him the most auspicious beginning, but he gained the appreciation of producer Joel Silver and directing wonder-duo Andy and Larry Wachowski. The Matrix-trio saw something in Rain and decided he needed a starring vehicle to properly introduce him to the world outside of Asia.
In terms of performance and dedication, Rain brings it. Tremendous action skills, peak physical condition and a boyish charm help Rain succeed in certain areas of this flick, but unfortunately the story foundation underneath him was not incredibly well-formed. In essence, the scenes were flimsy chain links connecting one action scene to the next. As much as I enjoyed the slicing and dicing, I had to bite my tongue during the arduous dialogue-driven plot points. Sometimes we don’t need plot or story to keep the interest alive, but the flashy quick pace of the action scenes only served to make those moments where someone wasn’t being separated from their limbs that much slower.
Also, a continual annoyance throughout the film was the CGI blood effects. It was overly bright red and liquidy, even bordering on cartoonish. It continually detracted from the intended coolness of this razor sharp ninja extravaganza. I’m not sure why they chose this method for pretend bloodletting, but whatever the reason was it failed to hold up the dark and deadly mood. On the other hand, from the get go various enemies of our quiet and brooding hero find themselves sliced into two, three or possibly more pieces. The dismemberment allowed for some much-needed chuckles, keeping the dark visuals of the flick from making things too serious.
The End of the Page Recommendation: Ninja Assassin has the action-flick chops, but the silly looking blood effects and flimsy story fail to help link the action scenes together into anything memorable. Popcorn fun, but the only thing I really came out hoping for is that Rain finds himself a better script for his next time out.
Yes, this is the only facial expression I have. Why do you ask?
Rating: 2 out of 10
At the screaming and preening delight of tweens across the nation, the second installment of the uber-popular Twilight franchise hit the screens at midnight Thursday and proceeded to break numerous first-day records. Leaving Dark Knight in the dust, New Moon separated tween parents from the money in their wallets at a rate of $72 million dollars in the first 24 hours. It slipped a little bit in the weekend total and five-day gross, so in the end Dark Knight and a few other choice films still rank higher, but Summit Entertainment and Twilight fans alike know their precious franchise is very much alive and cemented in cinema futures for the next few years.
For those who might not already know, New Moon takes the love story between Edward and Bella and drops in the ever-so-popular third wheel, Jacob. Edward bails from the gray and rainy world of Forks because he believes he will only end up hurting Bella more and in his absence Jacob grows to be more than just the nice kid form the reservation. She allows him to drag her up from the depression Edward left her in and finds herself caught even more now in the middle of not just a battle for the hearts of two men, but two monsters as Jacob reveals he too is more than meets the eye.
Let me just tell you all up front that after seeing the first Twilight film and finding it to be fairly abysmal, I borrowed all four books from a co-worker and read them over the period of a week. My reason for doing this was I wanted to know if all the blame for the movie’s faults could be laid upon the shoulders of Catherine Hardwicke and her newly famous cast, but I came to realize that not all of it was hers to bear. That shared responsibility continues in this new chapter as the reins got taken over by Chris Weitz, who last graced the screen helming the CGI-cluster bomb The Golden Compass (another example of shared blame between director and source material). So to be fair, the volume of issues there are in this film are not with the movie alone, but with the source material it is born from.
My main and most pounding issue with New Moon is the length. There is no reason for nearly two-and-a-half hours of this. If you cut out even half of the strained dramatic pauses in every piece of dialogue, this could possibly make the cut as a one-hour TV special. Not a single person in the film seems to be able to finish a sentence without stopping and staring at something or someone, forcing unnecessary importance on what they are about to say next. Again, this is inherent in the books, although in that medium, you as the reader can just choose to read faster (which admittedly, these are incredibly fast reads). In the darkness of the movie theater you are trapped, glued by the increasing price of the movie ticket you bought to get in, to stay there and suffer through page after page of visual ellipses.
Secondly, when I was finished with the books I actually had hope for this movie because I felt it was the most enjoyable of the books. The relationship that grows between Bella and Jacob is actually the only relationship in the entire series that you get to witness blossom and actually believe in. Bella and Edward seem to fall hopelessly and endlessly in love with each other from first glance and they spend the next two-thousand pages trying to prove it to each other, but as a reader and audience member we don’t get to really witness that journey. It all feels too heavy without any foundation. Unfortunately, after only one pleasing montage of Bella and Jacob, the super-buff best friend spends the rest of the movie taking on every boring and melodramatic trait of his vampire nemesis. Long stares, brooding glances into the distance, gruff sighs between each and every word. Be still my beating…oh wait, it is still, aw crap, this movie put me in a coma.
Lastly, without dragging this out too long, New Moon actually increases one of the main problems from the first chapter; Bella is not a likable character, not in the least. Without being able to root for her, we can’t honestly route for either of the pseudo-men fighting for her affections. She mopes, whines and is overall gloomy from front to back in this film and she gives you nothing to attach to in order to want her to be happy.
In terms of the acting, it’s patently unfair to critique these people on performances largely hobbled by the books themselves. Kristen Stewart, Robert Pattinson and Taylor Lautner are all suffering from what I politely refer to as “The Star Wars Prequel Phenomenon.” After those movies, hordes of people walked around tearing apart Natalie Portman, Hayden Christensen, Ewen McGregor and Liam Neeson, but true movie fans knew all along that their horrid performances were not accurate representations of their actual ability. It’s just what happens when talented people are stuck in untalented movies. Kristen was redeeming in Adventureland, Robert got amazing reviews for Little Ashes and Taylor, well, he might not have a ton to his credit yet, but he’s the only one who actually seems to have the ability to shine at all in this franchise, so I expect big things from him once the caskets are finally snapped shut here. Even the addition of an acting prodigy like Dakota Fanning didn’t raise the bar even an inch (although to be fair, she gets approximately four minutes of screen time in this chapter; she’ll be much more featured in the ones to come). The reality of the situation is hidden just beneath the surface during a particular scene where Bella and Edward are in class together and everyone is watching Romeo and Juliet. This is high school melodrama, this is uber-heightened puppy love built up beyond all possible boundaries and while that works for classic stories like Romeo and Juliet, New Moon and it’s associated books fail completely to even dip their sparkly-toed feet into such hallowed waters.
The End of the Page Recommendation: Obviously Twilight fanatics don’t need to read a review to figure out whether or not to see this, but for the rest of the reading audience, if you haven’t read the books, this is not going to bring you anything but confusion as to why it’s making such ridiculous money.
Posted 2 months, 1 week ago at 8:00 am. 2 comments
Who over there keeps requesting songs from “The Wiz”? Seriously, for the last time, that costume was itchy and I’m not doing it.
Rating: 6 out of 10
Sitting in the screening room, nearly breathless with anticipation, I waited for the lights to drop, the camera to roll and the music of the legendary “King of Pop” to fill the room. With that singular focus in mind, this concert film-cum-documentary fit the bill like a shiny sequined glove. Yet when you look beyond the harmonies and continually catchy beats, This is It fails to really capture much more and didn’t deliver the true experience many people are likely to be hoping for in terms of Michael Jackson’s final words.
This is It chronicles the final rehearsals for Michael’s massive and seemingly impressive last tour. If the level of performance and showmanship hinted at throughout the film was any indication of what the actual full concert experience would have been like, Mr. Jackson would have certainly cemented his place (if there was still any real doubt) as one of the best entertainers of all time. From a 3D movie experience built into “Thriller” to the iconographic dance routines brought back once more in “Beat It”, “The Way You Make Me Feel” and other #1 hit songs, the concert was set to amaze audiences with flashes of the new with blasts from the past.
The main downside of the project is that the footage, according to the opening preface, was commissioned by Michael for his personal archives. This was never really meant for widescreen audiences and in that respect wasn’t shot that way. It is tossed together as a montage of Michael’s greatest hits with a few CGI cutaways showing what things would have looked like if he had made it to the opening night of the tour. What is lacking from this is a real sense of who Michael was. On screen he is detailed as a generous, but strict perfectionist and loved and respected by everyone on the project alongside him, yet there is really no sense of what this tour meant to him and what it was like to get back on the stage again after so many years in relative seclusion. Again, that is not the fault of the director as much as it is a integral problem with why the footage was even shot in the first place.
There is a certain nagging voice in the mass consciousness wondering what the actual reason was for putting the movie together in the first place. Was this to give Michael’s fans one last look into what the King’s final bow would have looked like? Was this an attempt by the tour promoter to recoup some of the millions spent in preparation for this incredibly expensive spectacle? Was it pressure from Joe Jackson, Michael’s father, in an effort to keep himself viable in an industry he is largely shut out of? It’s hard to dig through the statements and actions on all sides and figure out the truth because they are all saying something different, but either way, the film itself proved two things: First, Michael was a consummate performer who at the amazing age of fifty could still move and sing and was prepared to deliver one hell of a final tour, and second, we will never truly know who he was underneath the shine and sparkles.
The End of the Page Recommendation: If you are one of the millions who enjoyed his music, this is entertaining just to hear those songs one more time from the man himself. Yet if you are looking for a deeper look beyond the legend and into the real person, this remains unfulfilling and nothing more than a concert film.
I’m not one known for reposting videos, except the expected movie trailers, but due to my own personal attachments to the current discussion over Health Care and the similar nature of Keith Olbermann’s situation with one I only so recently had to endure, I felt this eloquent and heartfelt speech he gave last night on his show is one that should be heard and spread far and wide.
I know you’re the new guy and all, but seriously, do you have any idea what’s going on in this story?
Rating: 6 out of 10
Animation for many years in this country has been relegated to the realm of children’s movies and that fact has happily and successfully been pushed forward by Disney, Dreamworks and the reigning king of cartoons, Pixar. I have nothing against any of these companies in terms of the style of animated movies they create; many of them are personal favorites of mine (I’m looking at you, Finding Nemo), but it’s very rare to find an animated film created solely for the more mature audience. Japan has been doing this for decades with their Anime industry (although they admittedly push this fact beyond my point by stretching into the actual adult or porn industry). These movies tell more dramatic stories, harbor a darker tone and don’t always end up filled with shiny, happy people (or fish, aliens, ogres, whatever the case may be). There are stories that can be told in truly amazing fashion through the art of animation and I yearn for the time when the American market opens itself up to those opportunities. Loading all that responsibility onto the shoulders of one film is surely too much, but I believe each one that lands on the streets of Hollywood helps pave the way for the next one, so let’s take a look at the next brick in that road.
9 is a post-apocalyptic tale about man versus machine. Artificial intelligence has once again turned against its creator and gone rogue, forcing an all out war between humans and machines, except this time humans got the short end of the stick. The only chance the human race has left rests in the cloth-made hands of nine small dolls, created by an inventor with skills in dark magics and then infused with pieces of his own soul. Each one has its own personality and the whole group must find a way to work together to rid this dead world of the mechanical scourge.
Directed and written by Shane Acker, 9 is a beautiful example of the power of animation. Sprawling landscapes mixed with devastating futuristic imagery makes for an impressive visual delight. Unfortunately, to live up to the dramatic power of the animation, it needed to be backed up by the strength and coherence of the story and that is where Shane fell quite short. Post-apocalyptic stories are nothing new, stretching from Mad Max to Wall-E (yes, it actually qualifies), but 9 brought a new twist to the “world left behind” because it was now seen and acted upon only through the eyes of small living puppets. The initial idea showed great promise, but the execution failed to live up to it.
Right from the beginning, the main character, who is named 9 for the number on his back, runs an illogically rapid pace from waking up in a completely new world to full understanding of his surroundings and making wild decisions affecting the entire group he finds himself with. He stumbles around nearly blind to the consequences of his actions, but he does it earnestly and with conviction so we are supposed to root for him. Unfortunately, you just end up feeling like he is chaos in a small cloth sack. Other characters, such as 1 (the power hungry leader) and 8 (the oafish brute), are also somewhat hard to get behind, even when they try to mean well. On the up side, 3 and 4 (twin catalogers) and 7 (the female rogue adventurer) are quite interesting and come along just at the right time to pick the movie up from the doldrums. As for the remaining puppets,2 (the curious inventor), 5 (the one-eyed underling) and 6 (the partially crazy artist), they were all done well, but not given enough to do in order to fully draw in the audience.
One obvious way to notice the particular failings in this film is how long it feels despite being so incredibly short (it only clocks in at 72 minutes). Some of that feeling comes from the twisting, jumping and seemingly unconnected leaps of faith the logic makes throughout the film. If the road of understanding breaks underneath the feet of the viewer, they have to spend all the more time finding their way across.
The End of the Page recommendation: If you’re a fan of animation, try to see this in the theater, since it really does deserve to be viewed in the best fashion, but for those not in tune with the world of more adult-themed animated films, I’m sure there is a new episode of CSI: Anytown USA on somewhere.
Posted 4 months, 2 weeks ago at 10:47 am. Add a comment
“Didn’t you kill tons of Nazi’s and go crazy in your last film?”
“Yep, I’ve got what film people refer to as “range”.”
Rating: 4 out of 10
Anytime you step into the world of “based on true events” or choosing to fictionalize a story set inside a real life moment in time, you had better be ready to defend your choices. Real life moments mean real people lived them, maybe not the exact ones being portrayed on screen, but close facsimiles and they love nothing more than relating how many details you got wrong when trying to recreate the feelings and nostalgia from way back when. A great number of movies that fall into this category are saved by the sheer amount of years between now and then, thereby eliminating their detractors, but choosing anything that took place from the 1920s onward and you will likely find someone spinning a tale in direct opposition to your own. And how can you dismiss it? They were there! The danger gets exponentially bigger when you choose something the size of Woodstock, where over one-and-a-half million people descended on this small town to bear witness to the musical representation of peace, love and the new generation in America. It was something parents screamed and railed to keep their kids from going to, yet those kids grew up to tell and retell their own children about why they went and the magic they experienced at one of the greatest music festivals of all time. Many movies have tried to capture the emotional content of Woodstock and no one seemed primed to do it better than the master of mood and emotion, Ang Lee.
Taking Woodstock tells a small story inside of an extremely large moment. Elliot Tiber is the dutiful son, living in the big city, but sending all his money home to his parents and their dilapidated motel. Year after year he returns in the summer to help bring in the meager amount of tourist business, but this particular summer, while on the verge of bankruptcy, Elliot hears of a music festival in desperate need of a location to land. On the run from town after town of narrow minded and fearful locals, the hippie festival known as Woodstock needed a new home and Elliot saw a flower-powered flashlight dancing at the end of his lifelong tunnel.
Ang Lee said in an interview he wanted to tell this story because he was tired and drained by the emotionally heavy subjects he tackled in his recent films, like Brokeback Mountain and Lust, Caution. Lee wanted something happy, full of hope and felt the need to remind us how over a million people came together in overwhelmingly terrible conditions and lived together for three days without a single instance of violence reported. There was an aura over the crowd, a group connection which connected and combined the hearts and minds of those in attendance. Yet he made very clear that this was not a documentary about the music, since those have been done before. This was solely about the people and the effect the concert had on them.
With that intention in mind Lee pulled together a wide swatch of personal storylines, beginning with Tiber, but radiating outwards to include his parents, the locals, old semi-acquaintances from his youth, a politically radical theatre troupe living in his barn, and just to top it all off, a cross dressing ex-marine-cum-personal security officer. Many, but not all, of these were intensely interesting characters and situations, but Lee’s failure was trying to include all in one film. Any of these alone could have been enough to give breadth and emotional focus to Woodstock and the effect it had on that one person, but all together it dragged the film down and created a tangled web of people with no real conclusion or specific journey.
[Minor SPOILER below. And even though it sounds major, it plays out as minor]
In one example where Lee made things overcomplicated is with the main character, Elliot Tiber, where he not only had to deal with his parents odd personalities, their failing motel and the overwhelming stress brought on by trying to host Woodstock, it turns out he was also trying to hide his homosexuality. Something as large as this should have been explored more and brought to the forefront of who Tiber was, but it ended up just another unfinished element in an increasingly congested landscape of characters.
[SPOILER over. Continue reading unafraid.]
With the issues inherent in the script, I found it hard for the actors to really reach their full potential inside these roles. Demetri Martin, someone I think is single-handedly pushing the forefront of comedy, gave a decent performance, resting comfortably in his inherent awkwardness, but he didn’t grow with the character and failed to end the movie a believably stronger person than when he began. Emile Hirsch, one of the strongest actors in his age range, also portrayed a nice mixture of pain and longing from the vantage point of someone only recently returning from the Vietnam war. Unfortunately he also suffered from never truly being explored and remained only a tertiary character on the sidelines of the story. The one person able to actually break through the haze of character cross-pollination was Liev Schreiber, who actually got one of the most odd and at first seemingly insignificant characters in the film, Vilma, the cross dressing ex-marine. Schreiber became the voice of reason, the old wise man/woman inside this drug-induced wonderland of freaks and flower children. He also seemed to pull through because he was the only person who had a real sense of self and a solid belief in what they wanted out of life. Understandably you can’t have the main character like that because there would be no drama, no conflict, no confusion, but it was a welcome relief to have at least one person on a clear path through the wilderness of the Sixties.
The last thing I want to mention is Elliot’s parents: An old world couple which originally played nicely against his modern-sixties lifestyle in the big city and the commonplace fear of the oncoming hippie generation. While the father gets a small arc and gains some much needed perspective on the world, the mother not only fails to learn any type of lesson throughout the film, but remains an irredeemably negative influence on Elliot. Both actors, Henry Goodman (dad) and Imelda Staunton (mom), play their parts quite well, but the failure to allow them to amount to anything holds back any true appreciation.
The End of the Page recommendation: I still remain a fan of Ang Lee and feel he is a master at creating mood and environment, but here he proves that those elements become moot without a compelling and satisfying story to pull it all together. For those looking for a feel-good movie about the effects of a generation of music, try Almost Famous or Velvet Goldmine.
Lesson One: Stop trying to pull the lever on the cover. It’s not going to happen.
Rating: 9 out of 10
There are certain voices out there, particular tones and rhythms floating through the stacks at your local bookstore. Original, unique and challenging writers who take their stories to new levels each and every time they grace the page. Voices like these are few and far between and we are lucky to be talking about one of them right now. Neil Strauss whispered his way into popular culture inside the words and stories of others, specifically those who were already enjoying massive levels of celebrity. He co-wrote biographies for Dave Navarro, Motley Crue, Jenna Jameson and Marilyn Manson, bringing his talent as a wordsmith to the lives of the edgy and fringe in our society. Then he decided to sink himself into the vacuous and vapid world of the pick-up artist in his next best seller, The Game. While trying to extricate himself from the superficial and shallow lands of the Los Angeles bar scene, something happened which not only changed his life, but the lives of every person on the planet: 9/11. After the fall of the twin towers, Neil began to realize that the society we all rely on is far more fragile than we want to realize. That thought burrowed deep into his psyche and dragged him onto a new path, one that led him not only to his ability to survive in a time of crisis, but also to a realization about how he fits into the world around him.
Emergency is a nearly herculean effort to imagine all the complications that would arise from the collapse of society and then how to survive through each and every one of them. Strauss goes on a bender of classes and in-person instructions about survival techniques, hunting, urban tactics and even quick-draw pistol training. Each new skill enabled him to take another step towards complete autonomy in the case of a social and financial meltdown. Along the way he also tries to share this newly acquired knowledge with his girlfriend, which proved in some cases to be harder than the course itself.
The book slips and slides between funny and frightening, bringing chaos and comedy together in a style only Strauss can supply. He details each step he takes along the way, from learning how to kill, skin and cook a goat himself to how long it really takes to lease an apartment and become a dual citizen in another country. Yet, what good is it to be a dual citizen if the airports are all shut down and you can’t get to your foreign villa? Strauss covers that too when he learns how to fly a personal helicopter. Sure, it can be argued that most people who read this book will not have the same resources Strauss does and that will severely impede their efforts to follow in his intensely prepared footsteps, but there is a treasure trove of knowledge in this book which can be easily applied in your everyday life (like the simple fact that if your water is shut off, the water in the tank on the back of your toilet is actually clean and drinkable). Underneath the sarcasm and self-deprecating humor of Strauss, he actually relates a number of incredibly valuable lessons between these pages. One passage worth looking into is where he details running his urban survival test and being interrupted in a men’s bathroom while dressed in drag. Trust me, there is incredibly intelligent logic behind the situation. Over and over Strauss proves that little things can become intensely important in times of crisis and it behooves all of us to learn at least some of them, if not all.
One thing that also draws me back to Strauss again and again is he really takes these journeys. These are not just research books with cold and empty facts filling the pages. Each lesson is one painted and colored through his experience of starting out a semi-vain and technologically-needy Los Angeles writer and ending up an everyday survivalist and part-time medical disaster volunteer. His original intention was to avoid death when the shit eventually hits the fan, but what he gained was a universal appreciation for life and the necessary skills for preserving it.
Recommendation: For a frank look at how fragile the web we’ve woven for ourselves really is, dig in. For those who break out into a cold sweat just turning on the news or browsing Web M.D., you might want to keep browsing the bookshelves. Try a cookbook specializing in chocolate.
Posted 5 months, 1 week ago at 11:21 am. 2 comments
Since I’m not President, I finally have time to finish writing my book.
This Benihana is officially closed for business. 
Yes, this is the only facial expression I have. Why do you ask?
Who over there keeps requesting songs from “The Wiz”? Seriously, for the last time, that costume was itchy and I’m not doing it.
I know you’re the new guy and all, but seriously, do you have any idea what’s going on in this story?
“Didn’t you kill tons of Nazi’s and go crazy in your last film?”
Lesson One: Stop trying to pull the lever on the cover. It’s not going to happen. 
DandyID
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