Blog: Date Archives

April 2009

Filmwell Update: My “Vexille” Review

I have recently posted my review of Vexille, a CGI anime from Fumihiko Sori (who also directed the sadly overlooked Ping Pong).


A-Ha travels to the “Foot Of The Mountain”

a-ha

When most people think of A-Ha, chances are they immediately think of the video for “Take On Me” and leave it at that. That may have been their only memorable hit here in the States, but they were far from a one-hit wonder. Indeed, I’ve been going through a discovery process myself, and have come to realize the absolute pop genius in tracks like “The Sun Always Shines On T.V.” and “Hunting High And Low”.

All of which is to say that the trio of Morten Harket, Magne Furuholmen, Paul Waaktaar-Savoy are still going strong and have just released a brand new single entitled “Foot Of The Mountain”, which you can listen to right here.


Let’s Go To The Mall

Renae and I just discovered How I Met Your Mother. Yeah, I know we’re a few seasons late to the series, but between Netflix and Blockbuster, we’re making up for lost time as quickly as we can.

There are many things to love about the show, but as of right now, I’d say my three favorite things are:

  1. The show’s willingness to go to all sorts of absurd lengths for laughs, such as this full-length music video for Robin Sparkles (one of the character’s Canadian pop-star alter ego), or the long-term gags and inside references that span seasons.
  2. The absurd humor, pop culture references, and whatnot, don’t ever seem to get in the way of some surprisingly deep and engaging relationships, especially for a sit-com.
  3. The show features some familiar faces from some of our favorite shows of yore, such as Freaks and Geeks, Buffy the Vampire Slayer, and Angel.

Oh, and don’t forget the robot.


Auto-Tuning the News

I love the Donkey Kong shout-out but the Katie Couric segment is the awesomest.


Cannes 2009 Lineup Announced

The lineup for this year’s Cannes Film Festival has just been announced, and once again, it’s a pretty eclectic mix. I’m particularly interested in the new films from Park Chan-Wook (Bak-Jwi) and Johnnie To (Vengeance), which for various reasons, don’t strike me as “typical” material (if there is such a thing) for the festival’s main competition.

It’s also nice to see new titles from Michel Gondry (though noone seems to have any idea what L’epine dans le coeur is about), Bong Joon-Ho (Mother, which looks to be a far cry from The Host), and Pen-Ek Ratanaruang (Nang Mai, his first horror film).

And for the record, I just can’t seem to drum up any enthusiasm for Tarantino’s Inglourious Basterds; I’m a hundred times more interested in Kuki Ningyo, the latest from Hirokazu Kore-Eda.


“Wrong” by Depeche Mode

The music of Depeche Mode, like that of The Cure, is inextricably linked to my youth. As such, I still get a thrill from listening to such albums as Violator, Black Celebration, and Some Great Reward. But I moved on to other bands and other musical genres, and so Depeche Mode’s output throughout the 1990s and early 2000s always flew under my radar.

However, their most recent output has been making me fall in love with the band all over again. 2005’s Playing The Angel had some incredibly strong tracks—if I were to make a mix for that year, it would almost certainly include “Precious”—and “Wrong”—the first single from their newest album, Sounds of the Universe—is a fine track as well.

And it’s matched with a fantastic video. Exquisitely cinematic and disturbing, like some great suspense thriller, it’s a perfect counterpart to the song’s lyrics and mood. The opening seconds pull you in and leave you somewhat confused as to what’s going on, but as it continues, it becomes alarmingly clearer—and you simply can’t turn away for a single second. Not bad for a band that’s almost thirty years old.

Sounds of the Universe comes out today.

 


These Dreams, Part Two

Maybe it was the pepperoni pizza I had for dinner, or the shock from being woken up at 2:30am by the police because our car got sideswiped, but I had some bizarre dreams the other night:

  1. I had become involved in an illegal film ring, and was trying to bring it down from the inside.
  2. I was in a Japanese hospital along with a talking crab and some other anthropomorphized sea creatures.
  3. One of my co-workers announced they were leaving on the same day that I discovered our offices were right next door to EllisLab‘s.
  4. Bill Callahan came to my workplace and led us all in a charismatic worship service.
  5. Hirokazu Kore-Eda was making a film about an inflatable sex doll—played by Bae Du-na—who comes to life.

Oh wait, turns out #5 is real.


So there’s this other G.I. Joe movie coming out

I’m sure you’ve seen the trailers and advertisements for the Stephen Sommers-directed G.I. Joe move that comes out this August. But there’s another G.I. Joe movie coming out, and frankly, I’m more excited about this one. Entitled G.I. Joe: Resolute, it’s a PG-13 cartoon airing on Adult Swim is supposed to be a grittier, more realistic and adult version of the classic cartoon (for example, some characters will actually die). And how’s this for geek cred? It’s written by Warren Ellis (Transmetropolitan).

Ellis knew nothing about G.I. Joe when he signed on to write the project. Which meant that he had no attachments, no nostalgia to deal with, but instead, could bring a fresh new view to the title and the characters. Or, as he puts it:

So my brief was to produce a non-tiny-child-oriented GI JOE. Which necessitated reading just a toxic amount of research, leading me to birth an odd, lumpy, normal-for-Norfolk-looking hybrid of the comic and the cartoon. The idea was, as I understand it, that bringing in a writer with absolutely no nostalgia for the property would give them the tone they were looking for. I think they were happy when I presented them with the initial list of characters I was going to just kill. And then the list of things I was going to blow up.

G.I. Joe: Resolute will initially appear online as 5-minute segments and a 10-minute finale, but the entire thing will air on Adult Swim on April 25, 2009. I’ve included two video clips below. The first is the official Adult Swim teaser/trailer and the second is promo shown at the San Diego Comic Convention. I prefer the second video, if only because it’s full of Snake Eyes bad-ass-itude.

As far as 80s nostalgia goes, I think it’s safe to say that I’m more excited about this than I am about the other G.I. Joe movie and Transformers 2 combined.


Flickerings travels to “New New Europe”, Imaginarium gains superpowers

Flickerings—the film festival component of the annual Cornerstone Festival—has just announced its 2009 theme—“The New New Europe”—and schedule.

The fall of the Berlin Wall—the joy, the promise—seems so long ago, on the far side of another divide between dreams of the Old Europe and an abruptly digitized and globalized new one. East vs. West gives way to North vs. South as immigrants from former colonies pour into open societies. Our Featured Screenings program revisits Krzysztof Kieslowski’s post-Cold War reclamation of European values as a basis for a new Europe—while films in our “New New Europe” section signal the rise of a truly reconfigured West. A third track moves along another North-South axis to find common themes in an informal trilogy of faith, religiosity, and community.

Among the films that will be screened will be Michael Winterbottom’s In This World, Krzysztof Kieslowski’s Three Colors trilogy, Car Dreyer’s Ordet, and Gabriel Axel’s Babette’s Feast. You can see the full Flickerings schedule here.

Meanwhile, the Imaginarium—Flickerings’ more cult and underground-oriented sister festival—will be taking a look at superheroes this year.

For our 2009 program, the Imaginarium @cornerstonefestival considers SUPERNESS, weighing our hunger for EXTRA-ORDINARY powers against both the Incarnation’s vindication of the ORDINARY (and the Gospel’s bias for the weak, broken, least and last) and our deep longing for Truth and Justice (if not necessarily the American Way). Humanity’s insatiable longings for the INFINITE birth endless hero myths that spellbind us with inklings of grandeur or delusions of same. What is our Secret Identity? (Magical or Muggle?) Where is our real home (Kansas or Oz)? Our evening film program is “Heroic Fantasies” - exploring the whole range of meanings or “fantasy:” lies, delusions, madness and faith. Closing night spotlights that anno mirabilis of the Studio Era on its 70th anniversary — 1939: with newsreels, cartoons and a sing-a-long Wizard of Oz (come dressed as your favorite character).

Films screened will include Woody Allen’s The Purple Rose of Cairo, Matthew Ogens’ Confessions of a Superhero, Mabrouk El Mechri’s JCVD (which I recently reviewed over at Filmwell), and Hal Haberman and Jeremy Passmore’s Special. You can see the full Imaginarium schedule here.

Once again, it looks like Mike Hertenstein and Co. have done a bang up job with putting together a list of films that is bound to be as thought-provoking as it will be accessible and enjoyable. Suffice to say, I’m immensely jealous of those of you who will be making it out to Bushnell this year.


Some thoughts on the “Battlestar Galactica” series finale

Renae and I were in Japan when “Daybreak, Part II”—the final two hours of Battlestar Galactica—aired, but thank God for DVRs. Once we returned, still reeling from jet lag and a one-year-old who wouldn’t go to sleep until 4am, we hunkered down on the couch in our PJs to wrap up one of our favorite TV shows in recent memory.

We had deliberately avoided any spoilers, though it was inevitable that we’d hear some rumblings in the blogosphere about the finale, and to our dismay, most of them were negative. Seems a lot of folks really hated the finale. We, on the other hand, found it a fairly satisfying way to wrap up the Galactica’s long, hard journey. But rather than bore you with some long, in-depth analysis—which has already been done a million other places, and besides, I’m like a month late with this as it is—here’s a list of what we liked and didn’t like about the finale.

Note: I’m going to try and avoid spoilers as much as possible, in the odd chance that some of you haven’t seen the finale, but it has been a month, so I’m not going to be too careful. Consider yourself warned.

First, what we liked:

  • While I certainly love my sci-fi cerebral and philosophical, I also like watching spaceships getting blowed up real good, and the first hour was full of great combat and action. And I enjoyed how the characters’ evolution was reflected in their roles in the climactic battle.
  • The conclusion to Anders’ arc, which struck me as a very fitting end. And bonus points for the musical ode to the original series in Anders’ final scenes.
  • Tory having to deal with the wages of her sins.
  • Baltar coming full circle. His tearful breakdown at returning to, and being satisfied with, his roots was perhaps my favorite scene in the finale, and is certainly one of my favorite scenes in the entire series.
  • The flash-forward at the very end, which in hindsight, didn’t bug me nearly as much as I thought it would, and which also provided some final and interesting commentary on human nature.
  • The revelation of who Lee Adama appointed President of the Twelve Colonies made me chuckle, if only because I liked that particular character so much.
  • Laura Roslin’s final words to Dr. Cottle was the finale’s finest bit of dialog.

And what we didn’t care for so much:

  • For a series that delved so deeply into ambiguity, that reveled in the grit and grime so much, the ending did feel a little too neat and tidy. As odd as this sounds, I found myself wishing there’d been a little cloud to the silver lining that made up so much of the finale—it would’ve felt a little truer to the overall spirit of the series, I think.
  • On a related note, I wish the finale had had more tragedy. But maybe that’s my melancholy side shining through—and I can’t really begrudge the creators wanting to give the characters some relief after all of the hell that they’d gone through.
  • While I enjoyed the conclusions to several characters’ stories, there were other conclusions that left me going “Huh, that’s it?” The most obvious example would be Starbuck, whose conclusion was pretty shallow. At the risk of sounding hypocritical, this was a case where I didn’t want more ambiguity, but rather, something a little more concrete.
  • I was also disappointed by Cavil’s final actions and his character’s conclusion. It seemed a little incongruous with what we’d learned of and heard from him in previous episodes, particularly his vehement hatred of humans, the “Final Five” Cylons, and God.
  • As much as I enjoyed the series’ incorporation and exploration of religion, Baltar’s final speech about the nature of God was lame, lame, lame.
  • I really wish that less time had been spent in flashbacks—a good deal of which felt superfluous, providing unnecessary revelations about the characters—and more time had been spent blowing up spaceships, weaving in a little more tragedy, and/or raising just a few more questions other than “What happened to Starbuck?”.
  • I’m also a little disappointed that my prediction that Adama would go out in a blaze of glory by taking the Galactica on a suicide run into the Cylon hordes didn’t come true.

Perhaps, in a few years, we’ll sit down and watch the entire series on DVD in one fell swoop. It’ll be interesting then to see if/how the finale really wraps things up. But until then, I’m perfectly content with saying that Battlestar Galactica went out on a decent note.



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Jason Morehead

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