Yes, even Hurley. It seems a little smaller cast than years previous, but I think it’s definitely the strongest.
The fifth and penultimate season of Lost premieres January 21 at 9/8 central. I can’t wait.
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Happy-Go-Millionaire
Hallelujah! It’s Oscar season!
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.
Who wants to be a Slumdog Millionaire? 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.
In conclusion:
Happy-Go-Lucky = YES!
Slumdog Millionaire = no.
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The Sting
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.
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Canopy Glow by Anathallo
One of my favorite albums of the year:
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.
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The War by Ken Burns
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.
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No Direction Home
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.
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Quantum of Solace
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.
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1.21 Gigawatts!?
November 12, 1955.
Know the date?
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.
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My Halloween
My Modern Europe professor offered two points extra credit on the next exam for anyone who wrote a page on their Halloween experience. Well, I needed the extra credit, so here it is.
I must confess that, while I enjoy the perennial American holiday as much as the next Joe Six-Pack, I frequently forget to prepare for the holidays that need to be prepared for. My costume for Halloween, more specifically, never enters my mind until about a few days before. I’m normally told by someone what they’re costume is going to be, which prompts me to wonder the very same thing about myself.
This year was no exception. I didn’t actually begin thinking about my costume until the Tuesday before Halloween Friday. My first ideas were: John McCain, Jesus, Animal from the Muppets, or one of the guys from Flight of the Conchords. Then my sister suggested I go as “Muhna Muhna” from the Muppets simply because I look exactly like him, albeit without the lime green shag carpet sweater. This idea made sense, but I couldn’t pull myself to spring for a shag carpet for just a few hours of use. Some people call it being cheap; I call it being frugal.
So, on Halloween, about ten minutes before I was to meet some friends for our evening outing, I had the idea: I pulled out a plain white t-shirt and drew some primitive coins on the front with a Sharpie. I was, literally, “Change You Can Believe In.” Though I’m an Obama supporter, using his slogan was more sarcastic than sincere. I knew I would be explaining it to everyone all night, but I figured having a “costume” that made me laugh was ultimately most important.
Instead of going to a bar rotting of beer, vomit, and the loss of inhibition, I “trick-or-treated for the homeless” with Cardinals-On-Wheels, the campus commuters group. We canvassed Naperville asking for donations of non-perishable goods that we could donate to the local homeless shelter. We also secured a healthy booty of chocolate and sugary goodness for ourselves. That is, after all, what Halloween is all about.
Afterward we got together and rocked some board games and free food. It was a fun night full of fellowship, booze-free, that I actually remembered the next morning. That isn’t, apparently, what Halloween is all about.
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Gosh! Idiot!
June 11, 2009. It is the first day I will be able to watch Napoleon Dynamite for the first time.
When that movie first came out in 2004, it was hyped up so much by my peers. Everybody recited the lines for about six months and I got really sick of it, as did everyone else eventually. I decided around that time that in order to allow myself the opportunity to enjoy the movie without being affected by the hype, I would wait five years to watch the movie.
Next June will be five years to the day of its theatrical release, so I guess I’ll find out then. I’m looking forward to it.
I’m pretty sure I already know all of the funny lines from it, courtesy of my high school peers. Although, Napoleon Dynamite, I’ve heard, is one of those movies you will either love or hate. Based on what I know about it, I think I’ll enjoy it.
If there is a movie that has been released for a while and has been hyped up way too much, but you haven’t seen it yet, I’d recommend postponing like I did. I know a few people who waited too long to see The Dark Knight and were let down because of the sky-high expectations set by those around them. You will get joshed by your friends for not seeing it, but it will be worth it.
What movies have you put off seeing because of its hype?
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Good Listenin’
It’s been a good two days for me musically. First, I got the debut CD from Carla Bruni, the French First Lady, called Quelqu’un M’a Dit from the library. I can’t understand a word of it, but I love the sexy folk style. Now I just have to find her most recent album.
But what makes me more excited than sexy folk music from France is the fourth album from Copeland called You Are My Sunshine. I got it free in the mail from Tooth & Nail because I write reviews for a college music magazine called Hear Say. I freaking loved Eat, Sleep, Repeat and so far I’m loving this new album. I get to see Copeland on tour along with Lovedrug in a few weeks in downtown Chicago (also for free). Good stuff.
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A Summer Camp Counselor’s Guide To Good Character
Originally published in the North Central Chronicle on October 10, 2008.
This summer I worked at a Bible camp for the third straight year. (Don’t worry, we didn’t praise a likeness of George W. Bush like those crazies did in Jesus Camp did.) The theme for the summer was character. We studied the Book of James because each of its five chapters gives clear and direct advice on how to live a life with Christ-like character. I realized that even though Scripture is instruction for Christians, its lessons apply to everyone. The character qualities James lays out, if followed, make Christian teachings relevant to every person, religious or not.
Here are a few things I learned this summer that inform my character and broaden my understanding and appreciation of Jesus and of Christianity. It’s Spark Notes, Jesus-style.
Don’t play favorites. It’s what James, the brother of Jesus, calls the “Royal Law”: love your neighbor as yourself. The Law hammered in the importance of hospitality and loving your neighbors, but James, following Jesus’ lead, extended it further: you should love not only the neighbors you like or those who are well-off, but those who might not deserve love or get it very often.
This lesson relates directly to the parable of the Good Samaritan. Jesus, after telling the story, points out the contradiction of the two religious men who passed by the mugging victim on the road; he says they really didn’t love God if they didn’t help that man in need. The Good Samaritan, however, stopped and helped the man, quite possibly saving his life. This Samaritan, who to the Israelites back then would have been viewed as a second-class citizen, did right by God because he loved his neighbor even though he was considered an enemy. He didn’t play favorites.
The easiest place to play favorites is at home with family. Sibling rivalries and family turmoil can create the deepest divisions between people, but learning to love even the most self-centered or immature family member just as much as the others is the best way to live by the Royal Law.
Watch your mouth. “The tongue is a small part of the body,” writes James, “but it makes great boasts. Consider what a great forest is set on fire by a small spark.” Working with kids reveals just how true this is. In a heated moment, words can fly out uncontrollably and cause all sorts of lasting damage.
But James insists that you can’t build a person up with your words one day and then tear him down the next: “Out of the same mouth come praise and cursing,” he writes. “This should not be. Can both fresh water and salt water flow from the same spring?” If you allow yourself the selfish indulgence of cursing someone out or spreading malicious gossip, you’ve already lost the battle.
Holding your tongue is not easy, but it is simple. When you come upon a situation that inspires in you a creative comeback or pointed slur, don’t say it. Just don’t. Stop, think, then don’t say a word. You may think the other person deserves what was coming to them, but chances are they don’t. If you forgive them and let it go, you win.
Be humble. James quotes a proverb when he writes: “God opposes the proud but gives grace to the humble.” Believing in God isn’t essential when it comes to humility. Sooner or later those who let pride be their guide will meet crash and burn, sometimes painfully. That’s why I love humility. It forces you to acknowledge that sometimes you can’t do things on your own, that you need to come to a place of spiritual, emotional, or physical brokenness before you can build yourself up again even better than before.
Humility is not putting yourself below others; it’s putting others above yourself. Jesus did this well. It’s a little harder, though, for the rest of us to get right. We all kind of suck at it, so there’s always room for improvement. Families are, again, a perfect practice field for this. Be willing to be a humble servant when you visit home: do chores without being asked or give a little sibling a ride somewhere without grumbling. It can be painful sometimes to elevate others above our own swollen egos, but doing so will be rewarding for you and appreciated by others.
Be patient. Along with humility, patience can be the hardest thing to learn and do well. But it is so very important to be patient. James explains: “See how the farmer waits for the land to yield its valuable crop and how patient he is for the autumn and spring rains. You too, be patient and stand firm.” James equates patience with standing firm, enduring hardship for the promise of something good.
In the original Greek, to “stand firm” is sterizo kardia, or “strengthen the heart.” So by persevering through the most obnoxious, maddening, kill-me-now-God moments, you are strengthening your heart and your resolve, allowing yourself more patience for the next time you need it.
I learned this first-hand every day at camp. Answering the same obvious question for the seventeenth time can wear on your very being, but by having patience and being kind in each response, I was strengthening my heart and modeling what good patience looks like. Sometimes I wasn’t very patient and wanted to wring the kids’ necks, but I got better. And that’s all it takes-the willingness to get better.
Let’s be real: this all sounds great, but we’re not saints. It would be much easier to not do these things, honestly. But I challenge you to challenge yourself, to check if your words and your actions are right. Not correct, but right. That’s the kind of reality check we all need.
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It Sure Is, Max!
Late Night with Conan O’Brien is the only late-night talk show I watch consistently. I watch The Daily Show and The Colbert Report for the political satire, but I watch Late Night for the utter wackiness. Besides Triumph the Insult Comic Dog, my favorite reoccurring segment is “Small Talk Moment with Max and Conan.” I laugh every time they do it.
They “discuss” many different topics, but the best part is always the end of the skit when Conan says “It sure is, Max!” will a ridiculous smile and half-laugh and then they exchange dead-pan stares. Now that’s must-see TV.
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All Animated Films Are Not Created Equal
Originally published in the North Central Chronicle in October 2008.
Are all movies created equal? The Academy of Motion Picture Arts and Sciences (AMPAS) doesn’t think so. With the creation of the Best Animated Feature category at the Academy Awards, animated movies that deserve to be nominated for Best Picture are unfairly pigeon-holed into this marginalized category.
Only one animated movie has ever been nominated for Best Picture. It was Beauty and the Beast in 1991. Though the AMPAS rules don’t prevent a film to be nominated for both categories, the chances of an animated movie being nominated for Best Picture are greatly reduced because of the animated feature category.
Take last year’s Ratatouille for example. It was one of the best reviewed films of 2007. It currently has a 95% certified fresh rating at Rotten Tomatoes, which is better than There Will Be Blood. So why wasn’t it nominated for Best Picture? Because an animated movie aimed at kids does not meet the same high-brow expectations as art-house flicks like There Will Be Blood and No Country for Old Men and so Disney would never try to lobby for a Best Picture nod, even if every member of the Academy loved it.
That’s understandable, I guess, but the real problem is how animated movies as a whole are regarded. Critics and audiences as well as the Academy ooh and ahh over the good ones but never even think Best Picture is in the cards. The Pixar animation studio has put out an unprecedented string of commercial and critical hits since Toy Story in 1995, its first feature film. Three of their films have won the Best Animated Feature award, deservedly so. But the fact that such acclaimed work does not get a fair shot at the biggest possible award for filmmaking shows an implicit condescension and under-appreciation for the animated genre in general.
Brad Bird, director of The Incredibles and Ratatouille, put it bluntly: “People keep saying, ‘The animation genre.’ It’s not a genre! A Western is a genre; animation is an art form, and it can do any genre.” Using animation is simply one way of telling a story. To box it in as a separate entity is to belittle the work writers and animators do to create an entire fictional world from scratch in order to tell a story.
And animated movies may not just be for kids. Look at last year’s Persepolis or Beowulf or the Japanese films Howl’s Moving Castle and Spirited Away. Even the more commercial Shrek and all of the Pixar movies appeal to young adults and parents because of the subtle (and not so subtle) pop culture references. I love Ratatouille and the other Pixar movies not just for their artistic shimmer and sly wit, but for their solid storytelling. That, above all, should be the litmus test for Best Picture nominees, which is how Beauty and the Beast earned a nod a decade and a half ago.
The animated feature category may do a good service by acknowledging excellence in that medium, but it does harm by allowing poor movies to be nominated. Because there are only so many feature-length animated films that wouldn’t embarrass the Academy by being nominated (I’m looking at you, Space Chimps), movies that don’t deserve the recognition sneak in beneath the far superior works. Shark Tale and Ice Age have been nominated, as well as Happy Feet, which won unjustly in 2006. The Academy needs to fill the void somehow, so they have to nominate non-Pixar movies to try to make the category relevant.
Film should serve the story. It shouldn’t matter if the film is computer-generated. The stories in Ratatouille and Toy Story 2, another animated film that got short-changed, deserve the recognition that lesser live-action movies often times receive. Pixar’s latest, WALL-E, will no doubt receive the same treatment as its predecessors, even though it was the most daring and exquisite film of the year. It will win Best Animated Feature, but it’s not just that. The level of praise it has garnered from critics and audiences is bested only by The Dark Knight which already has a better chance of scoring on Oscar night because it stars real human beings.
The best films of the year should be recognized as such. Period. Hollywood politics get in the way of this too often, which is how lesser pictures win. But because I’m not an Academy member, I can only sit back and hope the best of best get a shot at the big prize. One can only hope.
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You Are My Sunshine…
I just realized that I’ve written a bunch of posts in the last week or so. Oh, well. I guess there’s a lot to discuss.
Like this: Copeland will be releasing a new album! On October 14! It’s called You Are My Sunshine. It seems like I’ve been waiting for a long time for their follow-up to one of my all-time favorite records, Eat, Sleep, Repeat.
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I Never Really Processed 9/11…
It’s good to see The Office back again. Here are my favorite parts of the season 5 premiere (possible spoilers ahead!):
–Another classic Psychopath Jan moment: Jan: “Remember last week when that girl went missing? Guess whose candles they used for the vigil.” Kevin: “Yeah, thank God they found her.” Jan: “They found her?”
–When Holly discovers Kevin is not mentally-challenged is a classic painfully awkward Office moment. Angela’s response was hilarious too.
–Andy’s four non-refundable deposits on wedding locations, one of which is Epcot.
–Ryan is back. I can’t say I ever liked Ryan as a character. I realize he’s supposed to be sort of unlikeable, but whatever. The fact that he now has a list of people who wronged him, and how he “never really processed 9/11” is hilarious though.
–Phyllis is now the head of the Party Planning Committee. And the best line of the episode belonged to her: “I wonder what people like about me. Probably my jugs.”
–Pam is an RA! Rockin’ sockin’. I love Jim got kicked out because Pam had to deal with roommate issues. So true.
–Toby just can’t catch a break. Apparently what happened to Toby actually happened to one of the Office writers.
–Is it just me, or is there some conflict brewing between Jim and Pam? Their phone conversation that eventually switched to instant messanger had a smack of disappointment from Pam. Who knows. We have a whole season ahead of us.
Also, I totally predicted after last season’s finale that Jim would propose in the first episode, or at least within the first two. Called it.
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A profile of Korn’s Brian Welch
Originally published in the NCC Chronicle on September 26, 2008.
Brian “Head” Welch might be the most unlikely person to have become a Christian. He was a drug addict, a member of a popular heavy metal band, and is covered in tattoos.
But in 2005, Welch, the former bassist of the heavy rock band Korn, became a born-again Christian and left his band and his lifestyle behind for good. He wrote a memoir and recorded a solo album—both are titled Save Me From Myself—and hit the road on a signing tour. He stopped by WONC last Sunday and gave an on-air interview for Mission Rock, the Christian alternative radio show here at North Central, to promote the album and shed light on his most unlikely life story.
Welch explained how he got to writing the book in the first place.
“I really didn’t want to do it at first because I’m a musician,” he said. “But I felt like if I shared my life and all my struggles and my deep secrets and just poured out my soul, it would help me and help someone who is reading it.”
But writing about such personal information seemed to make things all the more difficult.
“It was a struggle. As I was writing, I was like, ‘I don’t want to do this,’ because there are a few things in my life, like beating my wife, that my daughter is going to read about one day. But I knew that it had to be real.”
Welch explained what brought him and his former band mates together and how that connection manifested itself through their music.
“We all felt connected in some way. Most of us share the same sort of pain when we were kids. The pain of being rejected, the pain of being picked on, the pain of not understand a father’s love for us. Everyone had similar issues with their dads when they were kids. It was a pain a lot of our fans would share later on.”
With the band, he said, they found an outlet for their emotions.
“It felt good to be angry,” he said.
The events Welch chronicles in his book are eye-opening. His troubled childhood, his addiction to alcohol and methamphetamines, and his struggles with depression eventually began to wear away at his soul and cause severe inner turmoil.
He writes in the book: “There was a battle between my brain and my soul where I wasn’t sure who I was going to let win. It was almost like God and the devil were fighting over my soul. Like it was a spiritual fight for my life and it was up to me to make the final choice.”
When Welch decided to leave the band in 2005, there was a brief falling-out period between him and the other members of Korn. Since then, though, their relationships have improved.
“It’s healing. They’re my friends. They say I can come back any time. That’s pretty cool for them to say. I wish the best for them and they wish the best for me. They just want me to be alive and happy.”
Welch has turned away from his troubled past and blazes a new trail in the Christian music industry, using his life story to get across a message of redemption and hope. He made a music video for “Flush,” the single off the new album. The song, he says, is about flushing away all of the junk in your life and starting fresh.
But the video, which features some gruesome content and sensuality, has taken aback some in the Christian industry. Welch remains defiant.
“Lighten up!” he says to those who question his work. “Look at the Bible. If they made it into a real movie, it would be rated worse than ‘R.’ There’s incest, rape, violence throughout the whole thing. And look at Jesus in the Bible. He went around saying all kinds of crazy stuff. You know, ‘Eat my flesh and drink my blood.’ It’s like a metal song, really.”
Asked about the reaction from fans of his former band about his new music and spirituality, Welch said he hasn’t dealt with any backlash personally. But when he is asked about it by someone who is apprehensive, he simply tells them to read the book and listen to the album.
“After listening to the album, most of the people say, ‘I didn’t know what to expect, but I didn’t expect this.’”
As for his future, Welch has an idea of what he would like to accomplish with his music and with his new ministry directed towards troubled kids.
“I would like to tour eventually, if the doors open for the music and it’s meant to be. I have a lot more music. I can’t wait to do another album.”
Above all, Welch remains humbled and grateful for a second chance at life. He believes he has found his calling in making music with a message, even if the means by which he gets that message out offends some people.
“I’m not called to be a Sunday school teacher. I’m called to share my testimony and help wake people up.”
Brian Welch’s debut album Save Me From Myself is in stores now.
