Being a kid today has got to be tough. Being a kid with an insatiable creative appetite and a slight case of obsessive compulsive disorder has got to be even tougher. That’s what Phoebe (played by 11-year-old Elle Fanning, Dakota’s younger sister) has to go through in Phoebe in Wonderland, the newest film from director Daniel Barnz.
The film establishes early Phoebe’s unassailable creativity. She’s the Tortured Artist-albeit a kid version-who is alienated from her classmates for being “different” and feels confined by her school’s suppressive methods. She is even put into therapy after her OCD goes a little too far, but again becomes restless within its confines. Her home life isn’t any easier; both parents are writers who, trying to get published, struggle to find time to connect with Phoebe and their other daughter, who becomes jealous of the attention Phoebe gets because of her tendency to lash out.
But then, a mysterious new drama teacher (Patricia Clarkson) is hired at her school and stages a production of Alice in Wonderland. Phoebe, her curiosity peaked by the teacher and the chance of living in the magical world of Wonderland for real, tries out and lands the lead over the other girls whose self entitlement contrasts clearly with Phoebe’s unassuming self confidence.
The drama teacher, rather than simply telling the young thespians what to do, lets them do it for themselves, thereby giving them the power they lack in the classroom. Phoebe thrives in this environment, letting her imagination run wild. She daydreams about dancing with characters from Alice in Wonderland, which eventually gets her into some trouble-the consequences of which lay the groundwork for the rest of the film.
This is Fanning’s first true role (she has played the younger version of her sister in a few movies and had a small part in The Curious Case of Benjamin Button) and she shines brightly in it. Her ability to look adorable while also transmitting a healthy dose of angst usually reserved for teenaged emo kids makes this film work. It doesn’t hurt that there is a strong supporting cast of adults around her: Bill Pullman and Felicity Huffman as the conflicted writer-parents create the environment in which Phoebe stews, and Patricia Clarkson offers the tender maternal love that Phoebe needs.
Phoebe in Wonderland could be a close sibling of Danny Boyle’s whimsical child-driven fable Millions. There are lessons to be learned by both the adults and the children, but it is ultimately the children-especially Phoebe-in this film who know how to live a life worth living; one led by imagination rather than inhibition.
…the most predictable Oscars ever. Every year it seems like the suspense is sucked out of the actual awards ceremony with the months of speculation and campaigning and Oscar ballots. This year, sadly, was even more predicable than previous ones because of the incessant and overrated Slumdog Millionaire cleaned house just as every one predicted it would.
I’ve been bitter since the nominations were announced in January because of the stunning omission of Wall-E from the Best Picture race. Logically, the best reviewed film of the year would at least be in the running for the category that supposedly recognizes the best film of the year. But instead, we’re forced to suffer through preening “issue” movies like Frost/Nixon and The Reader.
No one was talking about those movies this year. Even The Curious Case of Benjamin Button, leading the pack with 13 nominations, was pretty much not a contender for the major awards.
I’ve written about the Academy’s bald-faced bias against animated movies here before, so I won’t wax on about that again. But this year’s Oscar ceremony, despite a great performance by Hugh Jackman, was not fun to watch because I knew that the best film wasn’t there.
Also, they must never do the “5 past nominees talk about this year’s nominees for 15 minutes” thing ever again. I liked having the narrative flow between the awards and such, but trim that dross out next year and the ceremony may actually be done in three hours.
Anyway, I’m so glad Slumdog Millionaire will finally go away. Maybe I’ll watch Wall-E again to cheer me up. Lord knows that robot has more going for him than anything else this year.
Published in the North Central Chronicle on January 30, 2009.
Let me count the ways…
1. You want normal people to like you, but you fail to acknowledge what people like.
In the past, you’ve been excused from this because most of the time the highest grossing film of year wasn’t worthy of awards. But this year is different. The Dark Knight and Wall-E dominated the box office and landed on many top 10 lists. What better combination can there be for awards season? The ratings for the awards ceremony have steadily decline to half the viewers since 1998; giving due props to the high quality popular films would have boosted viewership and proved that Hollywood isn’t always out of touch.
Instead, you’ve acknowledged films that barely anyone except film critics has seen. I know that most of the time, the smaller films are better than the box office winners so they deserve to win awards, but this was the year that broke that pattern. Instead of taking the chance to try something new, you stick with what works but isn’t very exciting.
2. Year after year the studios throw out mediocre Oscar bait like “The Reader” yet you still bite, hook, line, and sinker.
Ricky Gervais was right when told perennial nominee Kate Winslet at the Golden Globes, “I told you; do a Holocaust movie and the awards start coming.” Everybody knows which movies are being made simply because they have at least one ingredient in the magical formula guaranteed to clean up at the Oscars: angst, lots of yelling, Meryl Streep, or the Holocaust.
But I get it: it’s all about politics. The Reader got in because of the legendary influence of Hollywood heavyweight producers Bob and Harvey Weinstein (the same men who helped Shakespeare in Love upset Saving Private Ryan for Best Picture back in 1998). It’s not the quality of the film but the quality of the film’s PR that matters in the end. That is ultimately what is exacerbating the problem with how the Academy Awards are run, but I don’t foresee this changing any time soon.
3. You hate animated movies.
I don’t really know why. Maybe you’re afraid that nominating a film like Wall-E because you feel threatened by anything that doesn’t require overpaid humans to do the work. Or maybe you just don’t understand yet that animation is not a genre but simply another way to tell a story. Whatever the reason, you didn’t do animated films a favor by creating a separate category for them; you’re ghettoizing them. You’re saying animated movies do not equal real movies, even when the best reviewed film of the year is a great romantic science fiction adventure film that happens to be animated.
4. You never award people at the right time.
We’ve seen this countless times: an actor or actress or director winning for a film because it was viewed as more of a reward for their body of work rather than an award for that specific performance. Martin Scorsese winning in 2006 for The Departed is an example. Kate Winslet, the youngest actress to get six nominations, will probably win this year for The Reader because voters feel she is owed for having been snubbed before. This practice causes others who actually deserve to win, like Sally Hawkins for Happy-Go-Lucky, to get robbed.
5. For being such a politically liberal town, you get really conservative during award season.
This, too, has a storied history. The so-so Crash won over the heavily favored, gay themed and superior picture Brokeback Mountain in 2005 because it was the safer pick. This year, The Reader, Frost/Nixon, and Slumdog Millionaire — historical or quasi-historical film with obvious messages — are up for the big awards instead of The Dark Knight and Wall-E, two films with powerful political and social commentary that liberals would ordinarily embrace in real life. For being the year for change, Hollywood has failed to change any of their award season habits.
In spite of my complaining, I still appreciate it when the Oscars showcase the art house pictures that don’t make hundreds of millions at the box office. There are a lot of well made films out there that wouldn’t be seen without the buzz that starts at the film festivals and carries them through awards season.
Still, the Academy needs to do a better job of rewarding art when it deserves it. The Reader doesn’t deserve it. In 10 years no one will remember it. Wall-E, however, will live on for a long time. It’s just a matter of whether the Academy wanted to live on with it. Apparently, they didn’t care that much.
I remember just a few things from the Clinton ’90s: Kosovo, Elian Gonzalez, and impeachment mostly. But most of the decade flew by under my radar as I concerned myself with more important things like the world champion Green Bay Packers and what colors I wanted for my braces. It was seventh grade when I finally paid attention to something that adults cared about: the 2000 election.
My social studies teacher, like every other at the time, had us involved with the election. We learned who the candidates were, what the Electoral College was, and how many votes you needed to win. My friend Ryan and I made up nicknames for the candidates: “Gush” and “Bore” were the favorites. We even got to “vote” on Election Day in our very own school-wide election. As my classmates voted I acted like a TV journalist gathering exit polls which I reported to my teacher. Then, I went into the booth and voted for George W. Bush.
It has been a little over eight years since that day. Times have changed and so has my vote; it went for Obama this year. Yet as I watch our 43rd president fade away into the background, I have mixed emotions. Sure, the country has gone to a tame version of hell, but my last eight years of life (my entire adolescence) were never without Bush in the White House. And in that time, I’ve gone through a plethora of feelings about the man.
First was apathy. I remember the 2000 election debacle vividly because my name was in the news every night thanks to those old voters in Dade County who couldn’t manage to push a paper dot hard enough. But once it was decided, I didn’t really care. Even after the terrorist attacks and Bush’s subsequent popularity surge, I was too young for him to make an impact on me.
In the meantime, everything bad happened: Katrina, the Iraq debacle, Guantanamo Bay, the Abu Ghraib scandal, Alberto Gonzales. Then the 2006 midterm elections went for the Democrats and I started to pay attention. I began to lean left. (Living in the ultraliberal Madison, Wis., certainly helped.) I read the Huffington Post and watched Keith Olbermann a lot, relying too heavily on their liberal outrage to dictate my political beliefs.
Their opinion of Bush was becoming mine too: I became increasingly convinced he was a scheming far right hawk hell-bent on jailing all dissenters and propagating through Fox News, all the while fleecing Middle America and laughing while major cities flooded and foreign countries burned. Arianna Huffington and Keith Olbermann continue to think this and said so throughout the 2008 election. It helped get Obama elected and Bush became a lamer duck in the process.
But ever since the election, my righteous anger has settled. I now think Bush is not evil but flawed, a tad misunderstood and, dare I say it, underappreciated. Sure, his “Bring it on” braggadocio and “Mission Accomplished” banner were mistakes. He dropped the ball post-Katrina and did not speak candidly about Iraq and WMD. His No Child Left Behind Act was misguided and his economic policies exacerbated an already growing problem.
Yet, despite all that, I don’t hate him. There was a time when I would have refused to shake his hand if I met him simply because of our differing political views, but I’ve moved on from that. Perhaps it’s pity, seeing him roundly crucified by the left for his mistakes large and small. Perhaps it’s because of our common Christian faith. Perhaps it’s because I’m beginning to get annoyed with liberals.
If I were to meet not George Bush the president but George Bush the father and family man, I think I would really like him. He’s a laid-back straight shooter who probably holds a conversation at a barbeque much better than he does at a press conference. He obviously doesn’t take himself too seriously and can withstand a brutal bombardment of criticism much better than most.
“George Walker Bush is not a stupid or a bad man,” writes Ron Suskind in Esquire. “But in his conduct as president, he behaved stupidly and badly.”
Because he behaved stupidly and badly, Bush will leave with comically low approval ratings. He has said repeatedly that history will hold his unpopular acts in higher regard than they are today. He’s right, to an extent. Presidents Lincoln and Truman made grave and consequential decisions that ended the Civil War and World War II, respectively. Bush is no Lincoln (far from him) but both men stuck to their guns. Bush has always stuck to his guns, no matter what. Even when things got bad, he “stayed the course.” It was simultaneously honorable and maddening.
History in fact will reveal if he was right to do so, but judgments of Bush cannot be written today with a clear head. The old wounds are still fresh and the animosity still potent.
Now we’ve got a new president to love or loathe. Let us learn from the last eight years to separate the man from the mission. Obama, like Bush, is a good man who will have to make tough decisions and live with the consequences forever. If we can discern the policy from the personal, I think we will all have fairer views of the people who take on the toughest job in the world.
George W. Bush may be crossing the finish line with a limp, but at least he finished the race. You’ve got to give him props for that.
Originally published in the North Central Chronicle on January 18, 2009, as part of a series called “Chad Picks Classic Flicks.”
An artist may not set out to create something that changes the world, but he just might do it by mistake. Marc Forster’s 2006 film Stranger Than Fiction is a movie about fate—or “the continuity of life and the inevitability of death” as one of its character puts it—and also the consequences of breaking continuity and challenging inevitability. Stranger Than Fiction subversively wrestles with these complicated ideas while maintaining the guise of a quirky Will Ferrell vehicle. That’s why I think it’s a modern classic.
There are really two stories going on in this movie that are hugely dependent upon each other. The core story is about author Karen Eiffel (Emma Thompson) writing another in a series of acclaimed tragedies, but due to writer’s block she can’t figure out how to kill her main character, Harold Crick.
She has most of the story down though: Harold (Will Ferrell) is an IRS auditor living a painfully rigid and boring life. Everything in Harold’s world is simple, angular, and calculated. He can quickly compute complicated math problems in his head and count everything from the number of strokes he makes while brushing his teeth to the exact distance he is from his apartment. He has one friend that we know of, Dave, and his life is probably just as uninteresting as Harold’s. He follows this path with steadfast discipline until he meets Anna Pascal (Maggie Gyllenhaal), a beautiful bakery owner with a revolutionary’s bent, some unpaid back taxes, and a healthy scorn for the IRS and for Harold.
This is where a glitch in the universe adds a second dimension to the story: Once he meets Anna, Harold begins to hear Eiffel’s omniscient voice narrating his thoughts and actions as she writes them in her novel. First he is confused, then annoyed, and then scared after she says Harold awaits his “imminent death.” These two stories collide in Harold’s world, jarring him out of whack for the first time.
He tries to make sense of the voice in his head, visiting first a psychiatrist who brands him a schizophrenic, then a professor of literature (Dustin Hoffman) who decides that Harold is in fact a character in his own life story, and that he needs to figure out whether he is in a tragedy or a comedy. “In a tragedy, you die,” the professor says. “In a comedy, you get hitched.” Harold then sets off to discover this much, tallying in a notebook moments with Anna that constitute a “tragedy” or a “comedy.”
From there it’s an unlikely courtship where the auditor falls for the audited. The story is not meant to be realistic; rather, it is a fable set in a heightened reality. Filmed in Chicago, the director created that reality by discovering angles and perceptions a skilled photographer would see, rather than a tourist hitting the hot spots. The IRS office, Harold’s apartment, and even the streets themselves are white-washed, sterile, and modern.
Harold’s world is plain and starkly angular, whereas Anna’s is full of curves and colors. Harold gradually starts to stray from his straight and narrow path and finds liberation—this aided by his continuing quest to discover the source of the voice in his head and why he is on a path towards his death.
The screenwriter Zach Helm says the film is ultimately about saving lives. A bold statement, to be sure, but it’s nonetheless true. The story illustrates the need for saving people from the cold grip of uniformity by giving them something to live for. After their first very unpleasant encounter, Harold falls for Anna and she unintentionally saves his life by finally giving him something to live for. Inspired by his new emancipation, he goes to the movies, he buys a guitar, and he wears jeans for probably the first time in his life. He adds color to his life.
However, the angst created by Eiffel’s incessant voice in his head never really goes away, even after his liberation, and so his quest for understanding and peace continues until he discovers Eiffel and meets her face to face. It’s quite the moment.
Watching this movie again reminded me of two other modern classics: Adaptation and The Truman Show. Both are stories set in a heightened reality, with men who are stuck in a groove and have the desire to get out of it but can’t. In the case of Adaptation, it is Nicolas Cage’s character’s self-loathing that prevents his personal liberation; in The Truman Show it is Truman’s own fears of the unknown and also the powerful external forces around him that try to keep him in the status quo.
I realized having watched it many times that Stranger Than Fiction is my favorite kind of movie. It’s funny, it’s touching, but it also makes you think. It’s uplifting and philosophical, artistic and quick-witted. The cast is oddly perfect: Will Ferrell plays Harold with beautiful restraint, and Maggie Gyllenhaal provides power and tenderness when needed. Marc Forster, the director, injects the same unique flair he did in his wonderful 2004 picture Finding Neverland.
It didn’t appear on many top 10 lists in 2006 (though I did name it as one of my favorite films of the 2000s), but I think Stranger Than Fiction will age well because of its timelessness and emotional appeal — that is, if Will Ferrell would stop phoning in such mindless ballyhoo like Semi-Pro. One can only hope.
On his blog LookingCloser.org, Christian film critic Jeffrey Overstreet lays out his reasons why Slumdog Millionaire didn’t tickle his fancy as it has for so many other people.
I was pleased to see that someone shares my sentiments, however unpopular they may be.
Published in the North Central Chronicle on January 9, 2009.
New Year’s Resolutions are like Airborne pills: they don’t really work, but we use them anyway because they make us feel better about the bumpy ride ahead. I’ve never taken Airborne pills, but every January I still resolve to do something different in the New Year-exercise more, eat less fast food, be more loving towards the unlovables like Paris Hilton fans and people who wear Crocs. (I’ve gotten better at the first two, but the last one…ain’t gonna happen.)
This year, for the sake of accountability, I’m making public each resolution I have for 2009, because you can tell your diary everything you plan on doing, but your diary won’t tell you all those Krispy Kremes have made you fall off the fat wagon again. That’s what friends and casual acquaintances are for.
Resolution #1: Stop complaining about Kaufman.
I know, I know. Kaufman’s food tends to…well, underperform. I’d love for the marinara sauce to not taste like lemon juice, or for the eggs to be in solid form, but it does, and they aren’t. Big deal. I don’t want to drop the whole “There are starving children in Africa” argument, but there are starving children in Africa.We all know exactly how good or how bad the food in Kaufman is, so we don’t need to keep telling each other. It’s like inmates telling each other they’re in prison. What’s the point?
Resolution #2: Stop complaining about the campus bikes.
While there is never a %$^&!@& campus bike when it’s $@^#$!& needed, there is no use in complaining incessantly about something I have no control over. I’ll just have to make do walking the three blocks to class. I’m sure it will be fine.
Resolution #3: Listen to Will Smith more.
While on the promotional tour for his film “Seven Pounds,” Will Smith doled out some really good life advice: read and run every day. Doing so will stimulate the mind and the body and make you feel like you’ve accomplished something, even on a cruel, dreary, why-do-I-live-in-the-Midwest January day. It’s easy to get the reading part out of the way when classes are in session, but the running part will take some motivation. Check out the treadmills in the Merner workout room or join a pack of cross country runners on a winding trek through the neighborhood. I’m sure they won’t mind.
Resolution #4: Criticize the new president.
Now that he’s elected, it’s okay to admit: Obama got a pass from the media. It helped that he was telegenic and not a Republican, but he snuck in without being bullied as much as Clinton or Palin were. But now that he’s going to be the guy in charge, we can’t let up on him just because he’s inexperienced or because of his skin color. There will be scandals and missteps and flat-out lies, so don’t be surprised if Mr. Cool is not the savior of the world as your Obamanic friends would have you believe. He is officially The Man now, and we ought to stick it to him as we have faithfully to Bush over the last eight years.
Resolution #5: Never trust the economy.
Sure, it will bounce back eventually, but this Armageddon of ’08 has shown me that my mattress is just about the safest place I can put money these days. My brain has about a 10-second threshold for economic matters, so when people say that the sub-prime mortgage whosey-whatsey and the dividends on the market investments yadda yadda yadda will recover, I could care less. From now on, my money will be in two places: my checking account and Noodles & Co. That’s an investment I can rely upon.
Resolution #6: Never trust governors.
2008 gave us the double whammy of Eliot “Emperors Club VIP” Spitzer and Rod “I Don’t Understand What A Wiretap Is” Blagojevich. Both men have sexual pun-worthy last names, they both have hair issues, and they both are really, really stupid. I mean really stupid. But while Blagojevich’s dealings were dirty, at least he didn’t drag his wife to the press conference like Spitzer did. So far, Jim Doyle, the governor of my home state of Wisconsin, has been in the clear, but I’m just waiting for the day when we learn he’s one-upped both Spitzer and Blagojevich by giving an open Senate seat to a prostitute named Cherry he slept with in the capitol building. That, my friends, would make my year.
Resolution #7: Stop saying “awesome.”
I don’t know who started this, but it needs to stop. “Awesome” has become the word people will associate with this decade, like “rad” of the ’90s, “groovy” of the ’70s, and “flapper” of the ’20s. I’m not saying this decade was awesome-after all, the ’90s were anything but radical-I’m just saying the word needs to stay in this decade. There are plenty of great synonyms, like “stupendous” and “fantabulous.” That last one isn’t really a word, but it’s better than awesome.
By far the boldest movie of the year. The wordless first half-hour is delectably good and a bit subversive too. The plot sags once the robots leave Earth, but it remains a beauty to behold. I was surprised at how emotionally invested I was in those cute little robots. It’s certainly a better love story than anything I’ve seen humans try to pull off in a long time.
2. Happy-Go-Lucky
Sally Hawkins plays Poppy, an indelibly optimistic teacher who finds the good in everything around her-her stolen bicycle, her siblings’ rivalry, and even her racist driving instructor. She talks a mile a minute but it’s never overbearing and she’s always funny. This purely happy indie makes the perfect antidote for the depressing year we’ve had.
3. Man on Wire
What a thrill it was to watch this movie. A documentary about French acrobat Philippe Petit’s 1974 high-wire walk between the two towers of the World Trade Center, Man on Wire shows through dramatic reenactments how Petit and his crew snuck to the top of the towers and accomplished a daring feat unlike any other. It gave me something good to think about whenever I see pictures of the Twin Towers.
4. In Bruges
Colin Farrell and Brendan Gleeson play two hit men sent to the scenic Belgian city of Bruges to hide out after a murder. Farrell’s character hates Bruges, while Gleeson’s loves it. They’re the funniest hit men since Pulp Fiction. The movie blends humor, action, and tragedy perfectly. No one saw this February release when it came out, but you have to see it now.
5. Rachel Getting Married
A good ol’ dysfunctional family flick. Anne Hathaway plays Kym, a narcissistic addict who leaves rehab for the weekend to attend her sister’s wedding. Tensions rise to the surface as old wounds within the family are ripped open. The film honestly and perfectly shows the love/hate dynamic that binds every family together, for better or for worse.
6. Shotgun Stories
Roger Ebert recommended this unknown indie about two sets of half-brothers engage in a deadly civil war in rural Arkansas after their common father dies. The father’s first family, the one he abandoned, takes their hate for their father out on his other sons, and vice versa. It’s a quietly menacing yet ultimately uplifting story that rings true.
7. The Dark Knight
A blockbuster that actually earned its acclaim. Heath Ledger certainly deserves at least an Oscar nod for his role-the best villain in a long time. Repeated viewings revealed the film’s biggest flaw; without the Joker, The Dark Knight would be pretty standard superhero movie fare. Nevertheless, it’s a thrill to watch.
8. Tell No One
A great French thriller about a man who goes on the run after being wrongly accused of his wife’s murder. Simply yet beautifully shot, it seems like any other standard spy movie until the twist-fest of an ending, when things unfold little by little with new reveals one after another. But what won me was the incredible amount of heart and love underneath it all.
9. Encounters at the End of the World
A religious experience. The famed enigmatic German director Werner Herzog tops his last documentary (2005’s Grizzly Man) with this meditative look at Antarctica and the stories of those who brave the elements down South, from the iceberg geologists to the pinniped seals. It’s a beautiful and haunting ode to the great unknown.
10. Milk
Sean Penn plays Harvey Milk, the first openly gay man elected to office in America in 1970s San Francisco. While it follows similar guidelines for the standard biopic, Milk is enthralling, educational, and very moving. It’s also very topical, with California having recently passed a ban on gay marriage. Sean Penn is deservedly bound for another Oscar nod.
Worst of the Year: Indiana Jones and the Kingdom of the Crystal Skull
Remember when Indiana Jones and his crew were on the quest for the skulls and they were balancing on that gigantic plate in an underground cave? That scene was ripped-off from National Treasure: Book of Secrets. When you’re stealing from a movie that stole its entire style from the original Indiana Jones movies, you’ve got a problem. Add that to the laughable jungle chase scene and ridiculous “it was aliens!” ending and you’re left with a hideous shell of a movie.
Most Underrated Film: W.
While it didn’t make the impact Oliver Stone wish it had, W. manages to make some sense out of our soon-to-be-ex-President; his Oedipal complex, conversion to Christianity, and rational for going to war are all treated fairly and make Dubya a sympathetic character. The political junkie in me loved the parts about his presidency, but I also liked seeing an idea of what it was like growing up beneath the daunting shadow of his father. Here’s hoping for a sequel.
Most Overrated Film: Slumdog Millionaire
In Mumbai, India, a boy from the slums grows up and goes on the Indian version of Who Wants to Be a Millionaire. The film tells his life story through each of the questions he answers. I grew tired of that stagey and predictable framing device early on, and the film’s inexcusable glamorization of the Mumbai slums just wrecked this one for me. Speaking of predictable: guy chases childhood sweetheart? Please.
Guilty Pleasure: Miss Pettigrew Lives for a Day
A pleasant early-in-the-year surprise. I loved the 1930s sets, costumes, and music. Amy Adams shines in any role she takes. The first 20 minutes-a rapid-fire slapstick comedy scenario-were highly engaging. The rest of the movie slows down and falls into a GreatGatsby groove, but it ends up with great depth and heart. Hopefully it will at least pick up a few nominations for costumes and set design, though it definitely deserves more.
There was a lot of music released in 2008. I didn’t listen to most of it because I was too busy listening to the following albums to listen to much of anything else. I don’t expect to see any of these albums honored at the Grammys, but I still love them like my own hypothetical children. So here are the five albums that had me rapt in 2008.
1. You Are My Sunshine by Copeland
I didn’t think Copeland could top their 2006 release Eat, Sleep, Repeat—one of my all-time favorites—but sure enough, with a change of labels and general disposition, they drop You Are My Sunshine, their sunniest project yet. It’s rife with glorious choruses, delectable pop rock invention, though-provoking lyrics and angelic falsetto from lead singer/guitarist/pianist Aaron Marsh. Marsh has iterated that the band has no agenda for their music other than art. In this, they pass with flying colors. Standout track: “On the Safest Ledge”
2. Canopy Glow by Anathallo
This Chicago-based octet has been making music for awhile now, but Canopy Glow is their crowning achievement. It’s a Monet in musical form-full of nuance and lush color with a huge canvas of tools in use from the concert bass drum to hand bells. It’s also much more focused than previous works; no track runs longer than six minutes and, in spite of unconventional song structures and jarring time signatures, the album as a whole is far more accessible. The complex storytelling and musical technique leaves much to be discovered in Canopy Glow. Standout track: “All the First Pages”
3. Volume One by She & Him
Normally, I’d say stay the hell away from a CD made by an actress or non-musical celebrity (case in point: Paris Hilton). But for Volume One, Elf actress Zooey Deschanel teams up with alt-folk rocker M. Ward and actually creates something good. Something really good, actually. Deschanel’s voice, nasally but sexy, is the cornerstone of this folksy album—a mixture of sultry ballads, string-fueled anthems, and straight-up bubblegum pop. It’s pop music with gravitas and I’m loving every minute of it. Standout track: “Sentimental Heart”
4. Viva la Vida or Death and All His Friends by Coldplay
I know I’m just another hitchhiker on the “Coldplay is good now!” bandwagon that revved up after the release of their latest album Viva La Vida or Death and All His Friends, but I can’t help it; it’s just a great album from what was once a tolerable band. I like it when bands who get stuck in a boring funk decide to spice things up and take some chances—Chris Martin and Co. have done just that and have a beautiful epic to show for it. The title track may have been overplayed on the radio, but it’s still the best track of the year, hands down. Standout track: “Viva la Vida”
5. That Lucky Old Sun by Brian Wilson
For a long time I appreciated the Beach Boys just as much as the other guy, but it wasn’t until I dug into Brian Wilson’s solo stuff when I realized his musical genius. There isn’t a better melody writer out there than Wilson, and his newest album That Lucky Old Sun gives a familiar yet welcome taste of classic surf rock in the form of a narrative ode to his native southern California. This album will fit snugly beside the immortal Beach Boys tracks of old, but it still deserves its own love. Standout track: “Live Let Live”
Honorable Mentions:
Harps and Angels by Randy Newman; Stop Heartbeat by The Foxglove Hunt; Be OK by Ingrid Michaelson
Today is the day, the only day of the year, when I watch It’s A Wonderful Life. Watching the classic Christmas movie with a bowl of popcorn and a crackling fire on Christmas Eve has become perhaps the longest tradition with my family. Another tradition, getting up at 5 a.m. on Christmas morning and waiting for our parents to wake up, luckily has died out now that we’re all grown. But I suspect watching George Bailey on his “red letter day” will never get old.
You know you’re doing something right when you piss off both sides of the political spectrum. Kudos to Obama for not being afraid to ignore the yelps of progressive hell bent on revenge post-Bush.
As for Warren himself, I have no opinion. Obviously it’s nice that he chooses to promote an agenda that isn’t solely based on gay marriage and abortion. One can only hope that the broader evangelical community will expand theirs too.
I finally went on the most important pilgrimage a history buff must go on: to Springfield, IL, for the loads of Lincoln lore there.
First, I went with my dad to the Old State Capitol where Lincoln worked as a state legislator. Though mostly recreated, the building smacked of authenticity.
But the biggest and best place to be in Springfield is the Abraham Lincoln Presidential Library & Museum. Packed to the brim with memorabilia, the museum had a traveling exhibit of campaign gear from presidential elections past. The exhibit also displayed one of the three cameras used in the Kennedy-Nixon debate of 1960.
Next, a recreation of Lincoln’s early life locales: his log cabin home, the general store he owned for a bit, and the law offices in Springfield. My favorite part, however, was the walk-through of his White House years, where we saw Mary Todd’s dresses, a tableau of the famed “team of rivals” in the Cabinet room debating the Emancipation Proclamation, and finally the assassination at Ford’s Theater. Outside of that section was more memorabilia: locks of Lincoln’s hair, personal letters, and one of his three trademarked stove pipe hats which had two worn spots on the brim from when he would tip his hat to passersby.
I repeat: I saw Lincoln’s stove pipe hat.
Later we visited the Lincoln home. We walked where the man walked and touched the same banister. I know I’m nearing idol-worship here, but I appreciate the man more having been through his life a little bit. We also visited the Lincoln tomb, which was very solemn and reverant experience.
I’ve started reading Doris Kearns Goodwin’s Team of Rivals. I’ve been meaning to get to it for a while, but now I actually have some motivation to delve further into the man’s life, having now been through it (albeit superficially).
With Lincoln’s 200th birthday coming up in February 2009, I’d highly recommend checking out Springfield, if only for a day. Make sure to get to the museum and the Lincoln home. They far exceed the worth of the drive.
I guess seeing Rachel Getting Married was technically my first dive into this year’s plethora of Oscar bait, but tonight I dove down further by seeing Happy-Go-Lucky and Slumdog Millionaire, two small films that are getting a lot of buzz and landing on some critics’ Best of 2008 lists. Naturally, I have to see them for myself. My pre-viewing expectations were altered after seeing the two — one for the better and one for worse.
First, Happy-Go-Lucky. A British film, it’s about a 30-year-old woman named Poppy who is a naturally happy and bubbly person. I thought this would come off as irritating, but it does not at all. She is hilarious in dealing with the cynics and party-poopers that surround her. But she’s not delusional or masking a secret depression; she’s genuinely positive about everything. I think that’s a nice antidote to the hugely depressing times we’re living in.
The second film in my double-feature adventure was Slumdog Millionaire, the British film about an Indian boy who grows up in the slums of Bombay and makes it on to the Indian equivalent of Who Wants to be a Millionaire? It’s a cool concept: each question on the game show recalls a memory from the boy’s past, centering around his thieving life as a young boy or his life-long crush.
The movie is getting a lot of good press, but I don’t think it fully lives up to the hype. The director Danny Boyle (Trainspotting, 28 Days Later) creates a hyperstylized look and feel that helps keep the energy up, but ultimately doesn’t sync with the setting of the trash-filled slums of Bombay. It is a love story that is central to this movie, but it feels more manufactured than genuine. I’d still recommend that you see it, but not that it get any major awards.
Originally published in the North Central Chronicle in October 2008 as part of a series called “Chad Picks Classic Flicks.”
Welcome back to “Chad Picks Classic Flicks.” I was catching up on more recent films over the summer but I’m excited to start a new year of discovering the new in films of old. This year’s first installment examines the 1973 flick The Sting in honor of the death of its star-screen legend and cool customer Paul Newman. Newman stars along with Robert Redford as two Depression-era grafters in Joliet, Illinois, who team up to con a ruthless mob boss.
The Sting starts by doing what every crime caper seems to do by showing the main characters pull a small but clever job, just to set the stage and show us they’re good at what they do. And they are good at what they do. Johnny Hooker (Redford) and his friends scam others partly out of desperation and partly because they enjoy it. They’re like the crew from the “Ocean” movies; they don’t know, or want to know, a life without a gamble and the risk of high reward.
Especially Hooker. He is so anxious to gamble the money he conned from another hapless bystander that he blows it all on a rigged game of craps. His elder and wiser partner-in-crime Luther calls him on it: “You’re a con man and you blew it like a pimp!” With Hooker on the run from a crooked cop, he finds Henry Gondorff (Newman) to enlist in a big con per Luther’s advice. Hooker finds Gondorff snoozing between his bed and the wall after a long night drinking. When Gondorff is sober, Hooker convinces him to try a big con on a big-time mobster.
From there the movie unfolds like a play neatly divided into four acts: the Set-Up, the Hook, the Tale, and the Sting. Each act even has its own title card. If you see The Sting after seeing a lot of modern crime flicks like Matchstick Men and Ocean’s Eleven it will seem predictable. But the truth is to the contrary. Modern-day crime capers owe their existence to the ingenuity of movies like The Sting. The story moves along so fluidly, adding the twists and covers required for a decent crime movie, that the audience doesn’t feel cheated with any new revelation.
But you don’t have to worry about being out of the loop until the very last scene like you are in some mystery films. The Sting lets us know about the con, but doesn’t give out details, so we can watch the bad guys squirm. Once the con is laid out, we can just sit back and enjoy. And enjoyable it is. For winning seven Academy Awards in 1973 (which by all accounts was a light year for film) including Best Picture, The Sting is a lightweight fare. Newman especially seems to just be enjoying himself. He has a few scenes playing drunk which will make you smile.
The mood changes throughout; sometimes there is tragedy, suspense, or drama, but underneath it all there is always comedy. And most of the time it’s not laugh-out-loud. It’s like the entire movie is a joke but the joke-teller never smiles. The merry-go-round in the indoor amusement park Gondorff lives in does all the laughing; when it’s turned on it disguises the fact that the amusement park doubles as a tavern and a brothel.
In many ways, The Sting is the unofficial sequel to the equally funny and thrilling 1969 flick Butch Cassidy and the Sundance Kid. Both movies share the same leading men, playing similar characters, and director (George Roy Hill) and pull off the same light-mixed-with-heavy dynamic that so many movies today try to duplicate. The characters in both films are criminals, but criminals we want to be friends with.
This wouldn’t be possible without Newman and Redford as the leads. With Newman’s trademark blue eyes and devilish smile and Redford’s con-man good looks, we believe them in their roles and root for them too. Even when the movie runs flat—a rare occurrence—we never give up on it simply because it’s so entertaining. Entertaining like the soundtrack, anchored by Scott Joplin’s “The Entertainer” and other ragtime songs like it. The upbeat music screams irony when it plays over scenes with such bleak surroundings.
The Sting isn’t on any of the American Film Institute Top 100 lists; no matter, it’s still fun, and good. You don’t see that combination too often these days. That’s why, sometimes, you have to dip into the past. There is plenty to see. The Sting is one of many golden oldies sitting on the shelf at Blockbuster that deserve much more attention than the underwhelming bunch of movies in theaters now are getting, so rent it now and give it some love.
Over the last eight years they have been making music together, Anathallo’s sound has evolved slowly and subtly. Starting in 2001 with Luminous Luminescence in the Atlas Position and continuing with A Holiday at the Sea two years later, the band had adopted an almost avant garde twist to their orchestral indie flare. This trend continued with the Japanese folklore-centered Floating World in 2006. But in Canopy Glow, the band’s latest endeavor, their happy asymmetry has been slightly smoothed out in favor of a more streamlined yet still wholly original sound.
Still, the Anathallo touch remains strong in Canopy Glow. They follow the hypnotic opening track “Noni’s Field” with “Italo,” one of many tracks in which the dual male/female vocals from Matt Joynt and Erica Froman and the exceptional drumming lead the way. Other highlights include the flighty “John J. Audubon” and “Northern Lights,” which is a perfect example of art imitating life; the aurora borealis comes to life in this song’s droning glow.
The tone throughout Canopy Glow is relatively more somber than their previous works, especially Joynt’s vocals. The Chicago-based octet uses the piano and guitar in a much more traditional way than they have in the past, mixing a funky piano riff into the steady groove of “All the Same Pages.” It’s like they’re running for president: moving to the center while still holding on to some radical roots. In the end, though, it’s still the same Anathallo-the perfect mix of quirk, catchiness, and a whole lot of talent.
I’m still working my way through it, but I’ve already come to appreciate Ken Burns’ seven-part 2007 miniseries The War.
Burns explains in the making-of feature that he wanted to show the war not through historians but through average citizens, men and women and children from every corner of the country who endured the front lines abroad or did their part at home. He focuses on four towns—one in California, Minnesota, Alabama, and Connecticut—and uses interviews with the veterans and their families from those towns to make the enormous scope of World War II more intimate.
It’s a great historical record of the American involvement, delving deep into topics that are not often discussed like Japanese internment and the segregation of minorities in the Army. Burns employs his trademark use of photos, footage, and interviews in each scene. Some photos we’ve seen before, but most are new and show us a different view of what has become a very familiar war.
Norah Jones’ “American Anthem,” the series’ theme, is very good, though not as good as the theme for Burns’ The Civil War, called “Ashokan Farewell.” And while I really love David McCullough’s narration in The Civil War, actor Keith David’s here has quickly grown on me.
So if you have 15 hours to spare one these days, fill them with The War.
Just watched Martin Scorsese’s 2005 documentary No Direction Home about Bob Dylan and I loved it. A great, detailed history of the moment and the man.
I must admit that I have not really gotten into Dylan that much until recently. I have a few of his records on vinyl—Blonde on Blonde is definitely my favorite so far—but now I’m inspired to dig deeper into his work as well as that of his main inspiration, Woody Guthrie.
My growing love of folk music was also boosted by this film. I’m fascinated by folk music’s impact on the 1950s and 60s culture, Dylan being a big part of that impact.
Either way, I’d highly recommend the documentary if you love music, history, or America. Or all of the above as I do.
Not as good as Casino Royale. It was still quite enjoyable, though. I like the director Marc Forster’s style. Previously he directed Stranger Than Fiction, Finding Neverland, and Monster’s Ball. He’s got quite the range.
I find that Roger Ebert’s criticism of the film is accurate, though I don’t hate it as much as he does. I agree that it was a little too much like the Bourne movies, and the plot was its weakest part. Quantum‘s predecessor was successful because it didn’t overload the audience with too many quick-cut chase scenes and Michael Bay-level suspension of belief. I also think the Bond girl(s) in Quantum were inferior to Vesper Lynd in Royale. The Bolivian woman had a back story fit for a soap opera (and delivered it like a soap opera star would too), though that doesn’t take away the from the emotional punch that comes out of the events surrounding the climax.
Still, I think Quantum works because it resolved Bond’s emotional storyline (“Bond” and “emotional” in the same sentence? Yes, and here’s why.) I look forward to the next one simply to see if it ends up becoming another standard self-contained Bond film. I wouldn’t mind if they kept up the thread they started with Casino Royale regarding Bond’s motivation for revenge and the continual molding of his character’s sometimes wild and sometimes humorous way about things.
Whatever gripes I have about the plot and the action scenes don’t overshadow my continued love of (and borderline man-crush on) Daniel Craig as Bond. He is so right for the role. I look forward to seeing him better the part for years to come.
Hill Valley, California. The Clock Tower. Struck by lightning. At 10:04 p.m.
53 years today.
Oh, yeah.
In honor of this historic day in the BTTF world, here is an appreciation I wrote for the school paper:
If I were asked to name what I think are the greatest films of all time, I might throw out a few high-brow titles like Rear Window or Casablanca or Taxi Driver. But if I had to name my favorite film, one that makes me love movies and makes me love being alive, it would be Back to the Future.
A silly overstatement, right? Not in the least. I first saw Back to the Future in middle school. Since then it has become my comfort movie. Everyone has one. Everyone has a movie they watch because it reminds them of their childhood or makes them feel happy. My sister watches Seven Brides for Seven Brothers because it got her through the grieving process after our grandma died. I watch Back to the Future because, like all those classic Disney movies, it reminds me of the goodness of my youth. Plus, it is simply a good movie.
You don’t realize it the first few times you watch it, but Back to the Future is an incredibly well-written movie. There are so many subtle things you don’t notice until you reach the BTTF-nerd status as I have. For instance, the mall is named “Twin Pines Mall” in the beginning. Then, after Marty, played by Michael J. Fox, comes back from the future, it is named “Lone Pine Mall.” This is because he ran over one of the two pine trees in Mr. Peabody’s front yard. (Remember when I mentioned the nerd status? I wasn’t kidding.)
The writing, especially the dialogue, is exceptionally smart, given that the movie was a big-budget blockbuster when it was released in 1985. The Doc Brown character, played by Christopher Lloyd, has many of the funniest one-liners as the eccentric scientist from the 1950s. He wonders what Marty’s strange suit is and Marty tells him it’s a radiation suit. He responds, “A radiation suit? Of course! Because of all the fallout from the atomic wars.” Later, Marty says his catchphrase “This is heavy” again and Doc wonders why: “There’s that word again: ‘heavy.’ Why are things so heavy in the future? Is there a problem with the earth’s gravitational pull?”
The acting, as well, is spot-on. But did you know that Michael J. Fox was not originally cast as Marty? Eric Stoltz, who played the drug dealer in Pulp Fiction, was cast first and even filmed a few scenes, but the director Robert Zemeckis fired him (thank God) once Fox found room in his filming schedule for his popular sitcom “Family Ties.” Christopher Lloyd as Doc and Crispin Glover as George McFly were perfectly peculiar in their roles and Tom Wilson as Biff Tannen created one of the all-time greatest movie bullies.
But any movie can have clever writing and good casting. What makes me love it so? Honestly, I don’t know. The original music score is wildly fun and the 1950s sets are great bits of nostalgia, but they are just parts of the whole. It just has that X-factor that won’t let me forget how much I love to sit in a darkened room and watch a story unfold. This particular story just happens to zip around the space-time continuum with a slightly insecure, “Johnny B. Goode”-playing teenager and his lovably loquacious scientist friend.
If I can’t explain why I love the Back to the Future trilogy so much, I can simply show you. In addition to the posters from all three movies hanging on my wall, I have three different DeLorean die-cast, 1:18 scale model cars (one from each movie) and a pen and a key chain I bought from Universal Studios after taking the now-defunct BTTF ride. Yet my nerdness runs deeper: I also have a copy of the letter Marty writes to Doc which I made myself in junior high pinned to my bulletin board at home. Yeah, that’s right.
But the most amazing experience I’ve had with Back to the Future had nothing to do with the movie. When I was in eighth grade, my dad met a guy who owned a real DeLorean and asked him to dress up like Doc Brown, crazy wig and all, and cruise down my street and into my driveway. He leaped out of the car and yelled, “Chad, you’ve got to come back with me! Back to the future!” I jumped in the car and we drove around the city like crazy time-travelers. It was an otherworldly experience. (I now realize I never thanked my dad for. Thanks, Dad!)
To me, Back to the Future represents the incredible power of cinema. I feel like I take in the world through my senses when I watch it. I know that sounds crazy, but I can’t describe it any other way. I know that every one of us has a book or a movie or a song that has an invisible hold on our hearts and souls. Mine just happens to rock along to “Power of Love” by Huey Lewis and the News. I wouldn’t have it any other way.