¿Que onda Guero?
It seems that recently, I've had a hankerin' for new music. The same old tracks are just not cutting it any more. So, finally I picked up Beck's new disc, Guero.
In my mind, this is the true follow-up to Odelay. The songs are not as electrified as the 1997 grammy winner, and the tone is less playful, but the added weight lends maturity to the album. I know, maturity from the "Loser" guy. Weird.
Nonetheless, the disc is at once catchy and enthralling. I have listened to little else since I got it. I just can't get enough. I've even carried it from the car, into work and back again at least half a dozen times. There's just something about the combination of Beck's acoustic sensibilities, the Dust Brothers' beats, and both parties blatant disregard for genre or convention that keeps me wanting more.
Okay, call me a dork... I went to the midnight premiere of Episode III last night. I went to the Regency 20: you will never find a more wretched hive of nerds and geekiness.
But anyway, the movie- awesome. It does live up to the hype. My fears were proven baseless, and Lucas pulls off a masterstroke of film and popular culture. As it turns out, even though Episodes I & II were less than, er, stellar, they were necessary, if only to set up this one. I know it seems like madness to do $235,000 worth of movies just to set up another one, but Lucas was never known for his sanity. Regardless, this film would not be able to exist if it were not for the first two. There is too much information that you need to get to here to include in this film.
And what a film: fencing, fighting, torture, revenge, monsters, chases, escapes, true love, miracles... all here. It's action packed, tense, beautiful and, yes, even a little sad. Anakin's fall, while expected, is for different reasons than you might expect. I didn't think that you would be able to follow him in his fall, because you wouldn't be able to relate to his choices- but you can. You can understand every choice, even if you don't always agree with them.
And sure, the special effects are great, but what really brings it home is the score. John Williams really makes this film the bridge between Episodes II & IV, even more so than the visuals. He ties many of the themes from Episodes IV, V & VI into the score, emotionally connecting the film to the beloved ones of 20 years ago.
Basically, if you like films, mythology, literature, sci-fi or even action, go see this movie. If you don't, go back to your cave.
Anticipation Strikes Back
So I've mentioned that anticipation is a key part of the cinema experience for me. Well, this is a good week for it. Next week at this time the Star Wars saga will be complete for all the world to see. And I can't wait.
It wasn't supposed to be like this. I was severely disappointed in Episode I after participating in the ultimate geek ritual, the midnight opening screening. Episode II was better, but I was not expecting to be stoked for numero tres...
Then the reviews started coming in. I should say that I am a sucker for reviews. Not that I need someone to tell me what I should think about a film exactly, but I like that critics waste their time on bad movies, so I don't have to. Anyway, in case you live in a cave (or at least don't religiously track
Rotten Tomatoes), the reviews for Episode III have been very good. They say it holds the magic that the others have promised, but never delivered. They say that it fills in the gaps and ties into Episode IV nicely. They say that it deserves to sit on your shelf with the original films. They say it truly is the one we've been waiting for.
I hope so...
Went to see Crash last night. One word: amazing. This film successfully weaves at least 7 different story lines together into one with grace, the acting is terrific, but the most remarkable thing about it is it's balance.
Paul Haggis (who wrote Million Dollar Baby, and makes his directorial debut here) skillfully balances the different stories in terms of screen time, but also in terms of emotional impact and sympathy for the characters. He also balances many different shades of grey. No character makes all bad choices, and only one seems to make all good ones. But there are many different shades among the 14 or so main characters, some do much better than others, and different viewers will rank the characters (if they are wont to do so) differently.
But possibly the most surprising balancing act, and certainly the most refreshing, is the balance of comedy and drama, of levity and gravitas. A truly great movie can make you laugh out loud and sob out loud in a short period of time, and this film achieves that- and to a very high degree. For example, the Ludacris/Larenz Tate characters will make you laugh one minute, then horrify you the next, only to turn it around to light again.
Some critics have questioned the number of coincidences that drive the story. In my opinion, though, this is used as a storytelling element to demonstrate that we are all connected, and that things we do have unexpected consequences for those we least expect. It is sometimes hard to accept an unrealistic storytelling device in a very realistic story, but if you relax and buy into it, the effect is amazing.
Admittedly, Crash has some flaws. The racial tensions are set-up in a rather heavy-handed way, making the first act seem a little forced. But this blatant approach to the exposition allow more subtle development of these relationships and attitudes. I think its a case of the ends justifying the means.
In short- go check out Crash. You won't be disappointed.
I'm not one who normally watches 60 Minutes, but this past Wednesday, they had a segment entitled "A Good Time For Silly." As it turns out, the segment was about Spamalot, the new
Monty Python and the Holy Grail-inspired,
Eric Idle-penned, all-singing, all-dancing, Broadway silly-fest. The title makes reference to the serious times we live in, and the importance of silly, absurdist humor.
This idea is reinforced by the triumph of
The Hitchhiker's Guide to the Galaxy at the box office this week. It is a smart, silly, quirky adaptation of the classic Douglas Adams book that left me wanting more. And that was a bit of a problem. The movie gave me just enough of the brilliant dialogue and Guide interlude segments to whet my appetite, but there was too much action, effects, and let's face it- plot mixed in to remain completely true to the source material.
Sure, I know (as I knew with
A Series of Unfortunate Events) that a faithful adaptation would tank at the b.o., not to mention would never get greenlit in the first place. But the charm of the original BBC series, the radio series, and even the books was that they were charmingly low-fi. It was as if Douglas and his friends cobbled it together in the garage (which according "Don't Panic" by Neil Gaiman isn't so far from the truth).
I shouldn't bitch. I loved the movie. It
was alot of fun, and it did have quite alot of Douglas's sensibility. Margarathea was amazingly conceived, the Heart of Gold (and it's traveling mechanism) were right on, and Sam Rockwell was electric as Zaphod. So, while I secretly pined for the garage version- I clung to the edge of my seat and enjoyed this one.
Oh yeah- and don't forget to stick around during the credits for my very favorite Guide entry.
It seems that recently, I've had a hankerin' for new music. The same old tracks are just not cutting it any more. So, finally I picked up Beck's new disc, Guero. 
