I know! I promised a dependable schedule, and then I ran off and ditched you again.
But I'm back! With a review, and wise enough not to promise something regular until my life settles down that I have a routine of my own that ensures I will be a well-rested, fairly-adjusted individual before I make oaths of updates.
That said, let's get down to business. Before I get into anything, I want to explain myself:
I grew up listening to the Rolling stones but it took me until my first two years of college to discover Neil Young, Talking Heads, The Band, "The Last Waltz," and "Stop Making Sense." (Much to the annoyance of friends and roommates.) When "Heart of Gold" was released, I went to see it the first week. I was one of the youngest people in the audience. That felt good in a strange way. Long story long, these are some bands I love, and concert films/rockumentaries I found (and, in some cases, fell in love with) as a result.
I am hesitant to review Martin Scorcese's "Shine A Light." Partly because, I missed a lot of the beginning.
I did, however, get to see the concert portion, which was enough to make me want to add the subtitle, "Mick Jagger Doesn't Think You Saw Enough of Him Yet."
When you make a concert film, you choose what the audience sees. So, thank you, Marty, for taking us backstage with the quirky insight to Mick the Diva (Wow, who knew. Yawn.) and kooky Keith Richards (okay, I found this charming, but I'm a sucker for all things Keith). But once this show starts, Mr. Socrcese, please show me something new. How many times have the Rolling Stones been captured performing on film? Everyone in this audience knows Mick Jagger and how he moves, and it's awesome, don't get me wrong. And thank you for showing Keith some love, but I'm pretty sure I saw more of Ron Wood in that last movie you had with him, and Charlie Watts is damn near invisible. And that's just the actual nuclear band everyone knows as the Rolling Stones!
I consider their touring band to be absolute essential, and I think I saw more of them on that HBO "Forty Licks" special in 2003 than I did in "Shine A Light." I'll grant that Scorcese didn't have any of the campy "Look-Ma-I-Just-Learned-Photoshop" filtered transitions found in the HBO special, "Shine A Light" had more than enough shots of other cameras, closeups of Mick doing what Mick does best, and (I'm almost confident in this one) the same shot of Keith leaning on Ronnie.
Please, Mr. Scorcese. Jonathan Demme studied "The Last Waltz" to make his first concert film - are you going to tell me you learned nothing from "Stop Making Sense," or even "Heart of Gold?" I could go on for hours listing my grievances as to why I feel like this film failed to match up to "Stop Making Sense," and, perhaps I will if the mood strikes. But the way I'm carrying on I make it sound like I could have done a better job standing among the crowd with my old Sony Whateveritis from when I was in high school. I don't mean this at all. And I also think that the Rolling Stones gave a killer performance. I just wish I saw more of it.
So, let's go through the highlights so I feel less like a shrieking harpy, especially because this was worth the price of admission.
I mean for one, when are you ever going to have more affordable seats to see the Stones? (I recommend going to IMAX, but get there in time to get a good seat.)
The be all and end all best part of the film is "You Got the Silver." Maybe it's because Scorcese focusing on one single thing (in this case, Keith), isn't making you wonder what's going on offscreen. It's just Ron Wood playing and Keith's singing and his mumbling, pacing, smoking, his way through underscores everything I love about that song. I checked several times on YouTube in hopes that someone pirated it so I could watch those three and half minutes again.
The special guests were great, too. Jack White was enjoyable through "Lovin Cup," and the interplay between the Stones and Buddy Guy during "Champagne and Reefer" was an appropriate dose of "Waltz" nostalgia. And fine, I'll fess up, I kind of like Aguilera in "Live With Me." It's one of my favorite tracks from my favorite Stones album, and she did right by it, for the most part. Also, for one brief shining moment I didn't mind Scorcese going away from the music -- the close shots of her stillettos mimicking the fast back and forth of Jagger's feet was a perfect slice -- what you'd want to see at the concert, if only you could.
And I think that's what pushes me into that category of every other person who's reviewed this film saying, "It's great, but 'Stop Making Sense' will always be better." In both "Heart of Gold" and the Talking Heads film, Demme allows the viewer to feel like they're at the concert. He goes to the most interesting thing on the stage, which isn't always Neil Young or David Byrne. At the arrival of a new sound, he'll take you to the source. So, instead of spending your time watching Mick Jagger and wondering where those vocals/that brass was coming from or if it was Ronnie or Keith who just played that solo, you get to see the broom at the start of "Harvest Moon," (in fact, I think, through the whole song), or Chris Franz's drumming through "Thank You For Sending Me An Angel," or Bernie Worrell over the keyboards at the start of "Burning Down the House."
As I said before, the Stones give a solid performance, and we all know that we'll never again be able to see them for the low low price of $16 a ticket. And even less for IMAX.
One final thing: Mick Jagger's attempt to join in the hoots during (the calmer, gentler, edited) "Sympathy for the Devil" have now made Neil Young's Jamaican "Cortez the Killer" (see: "Rust Never Sleeps," another brilliant concert) and rotoscoped nose mere footnotes in the lexicon of Embarrassing Performances in a Concert Film.
That same night I also finally saw "loudQUIETloud: A Film About the Pixies." I may review this tomorrow, if at all. Thanks for checking back, guys.
Monday, April 14, 2008
Sunday, March 2, 2008
Oh God! Where have I been?
Hey guys, remember me?
So it says that my last post was on September 11, and quite a few things have happened. The WGA went on strike and reached an agreement with the AMPTP, I (twice) felt the cold sting of unemployment, wrestled if I shouldn't just pack up my things and go back home, but most importantly, every movie nominated for Best Picture by the Academy Awards was released.
And No Country For Old Men won. Hurray!
Also during that time I did get to the movies. Sydney White was a little better than I thought, Across the Universe made me think about redacting my prereview about every time I thought about not updating the site, Sweeney Todd went above and beyond my anticipations and at the back of my mind I'm wondering if it's still playing anywhere nearby.
As for the nominated films, I'll give as brief as possible. I saw Atonement in a theatre filled with people laughing - I was one of them. Juno underwhelmed me, and how it got Best Original Screenplay continues to elude me. (Nothing against Ms. Cody, I enjoyed the film, enjoyed her speech and her article in EW, but really? That was the best thing all year? Really?) Both There Will Be Blood and No Country left me speechless and took me hours to get them out of my system. And I think someone may have to explain Michael Clayton to me. Yes, I understand the story, but, for whatever reason, I never connected. I understand these reviews are unsatisfying. The next film I see I am resolved to take notes because...
THE QUARTHOUSE IS OPEN AGAIN.
I will be updating on Sunday evenings. Every Sunday. If I miss a trip to the pictures that week, I'll review one of my favorites, so hold onto your hats.
Or I'll bitch about one of my projects. Anyway, prepare ye the way of the Quarthouse, I'm back. Brace yourselves.
So it says that my last post was on September 11, and quite a few things have happened. The WGA went on strike and reached an agreement with the AMPTP, I (twice) felt the cold sting of unemployment, wrestled if I shouldn't just pack up my things and go back home, but most importantly, every movie nominated for Best Picture by the Academy Awards was released.
And No Country For Old Men won. Hurray!
Also during that time I did get to the movies. Sydney White was a little better than I thought, Across the Universe made me think about redacting my prereview about every time I thought about not updating the site, Sweeney Todd went above and beyond my anticipations and at the back of my mind I'm wondering if it's still playing anywhere nearby.
As for the nominated films, I'll give as brief as possible. I saw Atonement in a theatre filled with people laughing - I was one of them. Juno underwhelmed me, and how it got Best Original Screenplay continues to elude me. (Nothing against Ms. Cody, I enjoyed the film, enjoyed her speech and her article in EW, but really? That was the best thing all year? Really?) Both There Will Be Blood and No Country left me speechless and took me hours to get them out of my system. And I think someone may have to explain Michael Clayton to me. Yes, I understand the story, but, for whatever reason, I never connected. I understand these reviews are unsatisfying. The next film I see I am resolved to take notes because...
THE QUARTHOUSE IS OPEN AGAIN.
I will be updating on Sunday evenings. Every Sunday. If I miss a trip to the pictures that week, I'll review one of my favorites, so hold onto your hats.
Or I'll bitch about one of my projects. Anyway, prepare ye the way of the Quarthouse, I'm back. Brace yourselves.
Tuesday, September 11, 2007
So I hope you see that I -- would love to love you: A PreReview
I have a confession to make.
I want to see "Across the Universe."
Possibly on mute. Almost definitely with liquor.
I've been under Julie Taymor's thumb since I saw "The Lion King" on Broadway and by the time I saw "Frida" I was hooked. While in college, I finally got around to seeing "Titus" and all in all, her work combined with Baz Lurhmann is what I occasionally want movies to be, what I think they are all about: the spectacle. And they realize that for our modern appetites they have to up the ante. And they do so without bringing out the gore, or freaking us out, or hell, I don't know. But they dazzle us. And I can't come up with a better word to describe my reactions to them than that one.
I remember hearing about the movie and feeling more than a little miffed. The first shot of Jim Sturgess imploring "Is there anybody going to listen to my story, all about the girl who came to stay?" kind of reminded me a bit much of John Leguizamo telling me "There was a boy..." and in fact merited the same response from two of my friends.
I agreed and decided to do all I could to hate this movie.
Then it got to that wonderful buildup so many of us have engrained in our heads that makes us scream "Day in the Life!" And I caught a glimpse of Eddie Izzard, and the Salma Hayek (sorry "Bang Bang Shoot Shoot") nurses, and by the time Sturgess affirmed that Nothing was going to change his world, I had mumbled that I should probably go back to film school. I have since mumbled this about anytime I see anything involving this movie.
And, after clicking on imdb, I see someone in the "comments" has also spouted my theory: "Let's say Hair and Moulin Rouge had a baby". (Sadly, by the time I was editing this to link, the comment was deleted.)
I haven't read any more of it, but you can feel free to look. And the more I think about it, the more I wonder if such a union would lead to disaster. Being a huge fan of both (provided we are discussing the musical and not the abomination of an adaptation claimed by Milos Forman), and being a child (like, I'm sure, anyone else of my generation) raised on the Beatles; singing along before I knew what I was singing about, of course I want this to be good.
But given all of these influences and understandings, please stop calling the movie "Original." Only a handful of lines are not Beatles lyrics. The Popsical genre has been in use since "Mama Mia," and fitting existing songs to a film is much older than that (see: "Singin in the Rain"). And finally, loathe as I am to admit it, the story feels tired. The story (as far as I can understand from what little people have said and can be gleaned from the trailer) it's extremely similar to "Hair," or, so many other films/made for teevee movies regarding this time period.
All these bad vibes I carry around about this film? They dissolve about everytime I see a new clip, and I've been watching every single one I can find. I admit: the "I Want You" sequence, well, I don't know how I feel about it. The crashing waves with "Helter Skelter"? Maybe it'll hit me another way on the big screen. And "I am the Walrus" underwhelms.
But my God. Listening to what they do slowing down "I Wanna Hold Your Hand," or even the singularity of "If I Fell" (God! I hope they put in that harmony, and even without it still hits), and the strange angry laid-backness of "Revolution," it's enough to make me wish I could grab the soundtrack a little earlier.*
For everything I hope and fear about this movie. I want to see something new. I want the spectacle. I want to be dazzled again by Ms. Taymor's work. And based on what I've seen, I feel confident in that respect, I'll get just what I asked for.
NOTE: I am not linking to the videos as they seem so abundant, but I recommend consulting youtube or the website.
*I also cannot express my relief, or thrill at the scratchyness of Joe Anderson's voice in "Hey Jude."
And finally, when I post again, it will more than likely be to review this film. I have, since my last post, seen "Superbad," but it seems so late now and that every rave review of it has said what I would, I'm going to lay low for a bit. I'll catch you after I am either rocked to my core, or devastated beyond repair.
I want to see "Across the Universe."
Possibly on mute. Almost definitely with liquor.
I've been under Julie Taymor's thumb since I saw "The Lion King" on Broadway and by the time I saw "Frida" I was hooked. While in college, I finally got around to seeing "Titus" and all in all, her work combined with Baz Lurhmann is what I occasionally want movies to be, what I think they are all about: the spectacle. And they realize that for our modern appetites they have to up the ante. And they do so without bringing out the gore, or freaking us out, or hell, I don't know. But they dazzle us. And I can't come up with a better word to describe my reactions to them than that one.
I remember hearing about the movie and feeling more than a little miffed. The first shot of Jim Sturgess imploring "Is there anybody going to listen to my story, all about the girl who came to stay?" kind of reminded me a bit much of John Leguizamo telling me "There was a boy..." and in fact merited the same response from two of my friends.
I liked the first one, when they called it "Moulin Rouge."
I agreed and decided to do all I could to hate this movie.
Then it got to that wonderful buildup so many of us have engrained in our heads that makes us scream "Day in the Life!" And I caught a glimpse of Eddie Izzard, and the Salma Hayek (sorry "Bang Bang Shoot Shoot") nurses, and by the time Sturgess affirmed that Nothing was going to change his world, I had mumbled that I should probably go back to film school. I have since mumbled this about anytime I see anything involving this movie.
And, after clicking on imdb, I see someone in the "comments" has also spouted my theory: "Let's say Hair and Moulin Rouge had a baby". (Sadly, by the time I was editing this to link, the comment was deleted.)
I haven't read any more of it, but you can feel free to look. And the more I think about it, the more I wonder if such a union would lead to disaster. Being a huge fan of both (provided we are discussing the musical and not the abomination of an adaptation claimed by Milos Forman), and being a child (like, I'm sure, anyone else of my generation) raised on the Beatles; singing along before I knew what I was singing about, of course I want this to be good.
But given all of these influences and understandings, please stop calling the movie "Original." Only a handful of lines are not Beatles lyrics. The Popsical genre has been in use since "Mama Mia," and fitting existing songs to a film is much older than that (see: "Singin in the Rain"). And finally, loathe as I am to admit it, the story feels tired. The story (as far as I can understand from what little people have said and can be gleaned from the trailer) it's extremely similar to "Hair," or, so many other films/made for teevee movies regarding this time period.
All these bad vibes I carry around about this film? They dissolve about everytime I see a new clip, and I've been watching every single one I can find. I admit: the "I Want You" sequence, well, I don't know how I feel about it. The crashing waves with "Helter Skelter"? Maybe it'll hit me another way on the big screen. And "I am the Walrus" underwhelms.
But my God. Listening to what they do slowing down "I Wanna Hold Your Hand," or even the singularity of "If I Fell" (God! I hope they put in that harmony, and even without it still hits), and the strange angry laid-backness of "Revolution," it's enough to make me wish I could grab the soundtrack a little earlier.*
For everything I hope and fear about this movie. I want to see something new. I want the spectacle. I want to be dazzled again by Ms. Taymor's work. And based on what I've seen, I feel confident in that respect, I'll get just what I asked for.
NOTE: I am not linking to the videos as they seem so abundant, but I recommend consulting youtube or the website.
*I also cannot express my relief, or thrill at the scratchyness of Joe Anderson's voice in "Hey Jude."
And finally, when I post again, it will more than likely be to review this film. I have, since my last post, seen "Superbad," but it seems so late now and that every rave review of it has said what I would, I'm going to lay low for a bit. I'll catch you after I am either rocked to my core, or devastated beyond repair.
Sunday, August 19, 2007
Catching You Up, 7/7: Tom Jones
The last of these, and one of my favorite films.
Tom Jones.
Okay, I know this movie came out in 1963, but it won Best Picture. It's a wonderful film. And I got to see it at the Lincoln Center last month. Also, I have seen Tom Jones before (three times), but I must recommend it most heartily.
I have read the book, and been taught to love the book, and its main character, which is really not that difficult if he looks like Albert Finney. I've picked up the book since watching it, and I can't understand how I ever thought Tom could have been anyone else. It's a perfectly cast film.
Much is taken out for the purposes of making the movie a reasonable length. The first 200 pages are summed up in a short silent section preceding the film's title credits. Characters are cut out (although it was not until my fourth viewing that I mused, "I miss Nightengale"), but the characters that remain are rendered even truer than the reader could have hoped. The dining scene between Tom and Mrs. Waters is the stuff of cinema legend, the hunt is a wonderful sequence to stand on its own, Sophia is even more beautiful than you hoped, and you know Mr. Fielding would have approved of characters breaking the fourth wall whenever they could.
But none of this compares to Squire Western. He amused me in the book, but my inner feminist was really ticked at the way he treated his daughter. But when he's right in front of you, completely drunk and doing the most ludicrous things, you find yourself laughing. And here are the reasons to love him:
I really do recommend this movie, whether you want to be a film buff, a filmmaker, or you need to waste time and you can't get out to the movies. And if you dig it, get the book. It's a bit of work, (982 pages with strange Capitalization and Seemingly Random Italics) but ultimately worth it.
The only thing missing is Peter O'Toole.
GRADE: A+
Tom Jones.
Okay, I know this movie came out in 1963, but it won Best Picture. It's a wonderful film. And I got to see it at the Lincoln Center last month. Also, I have seen Tom Jones before (three times), but I must recommend it most heartily.
I have read the book, and been taught to love the book, and its main character, which is really not that difficult if he looks like Albert Finney. I've picked up the book since watching it, and I can't understand how I ever thought Tom could have been anyone else. It's a perfectly cast film.
Much is taken out for the purposes of making the movie a reasonable length. The first 200 pages are summed up in a short silent section preceding the film's title credits. Characters are cut out (although it was not until my fourth viewing that I mused, "I miss Nightengale"), but the characters that remain are rendered even truer than the reader could have hoped. The dining scene between Tom and Mrs. Waters is the stuff of cinema legend, the hunt is a wonderful sequence to stand on its own, Sophia is even more beautiful than you hoped, and you know Mr. Fielding would have approved of characters breaking the fourth wall whenever they could.
But none of this compares to Squire Western. He amused me in the book, but my inner feminist was really ticked at the way he treated his daughter. But when he's right in front of you, completely drunk and doing the most ludicrous things, you find yourself laughing. And here are the reasons to love him:
- He sleeps on his dogs.
- He throws his beer at his dogs.
- He shoves one of his dogs off the table to get to his food.
- He falls on a woman and begins to hump her.
- He saves his daughter from rape by throwing her over his shoulder and slapping her ass.
- Did we mention the sleeping on his dogs?
- He fights for Tom, even when Tom should be beaten.
- He does all of these things three sheets to the wind.
I really do recommend this movie, whether you want to be a film buff, a filmmaker, or you need to waste time and you can't get out to the movies. And if you dig it, get the book. It's a bit of work, (982 pages with strange Capitalization and Seemingly Random Italics) but ultimately worth it.
The only thing missing is Peter O'Toole.
GRADE: A+
Catching You Up, 6/7: Stardust
Almost... there...
Stardust.
Another adaptation in which I am familiar with the source. I think I enjoyed the film more, and after seeing the trailer for Beowulf, I can understand why.
It differs from the book, but it's a good adaptation, and everything is in place that I was hoping for. It's a good popcorn movie. It's a great movie to see with your bff or significant other or whatever at 11 AM on a Sunday, which is exactly how I experienced it. I did have this question:
Not enough Pete.
That out of the way, oh my God, DeNiro made me giggle. My avoidance of all reviews of the film (not out of choice, just because I've hardly had a chance to look around in a week or two) made me completely surprised at his appearance. (Not that he was in the film, I've seen the FLYING PIRATES ads all over, just his character.) I'll keep my mouth shut so you can be afforded the same pleasant surprise.
Michelle Pfieffer showed up again. I really like to think that the running gag of her looks is some sort of self-depricating jab at all the work she's gotten done but I know that's totally wrong. So instead, nice to see you again, Michelle!
It's good, it's light, it's fluffy. WARNING TO GAIMAN FANS: Very different ending. I mean, ultimately the same, but they get there a little differently, and I kind of like it. It lacked the weird unsettling deus-ex-machina vibe I found in the book.
Also, if you're wondering why the narrator sounds so soothing, it's because it's none other than Gand-- Magne-- Ian McKellen.
GRADE: B-
Stardust.
Another adaptation in which I am familiar with the source. I think I enjoyed the film more, and after seeing the trailer for Beowulf, I can understand why.
It differs from the book, but it's a good adaptation, and everything is in place that I was hoping for. It's a good popcorn movie. It's a great movie to see with your bff or significant other or whatever at 11 AM on a Sunday, which is exactly how I experienced it. I did have this question:
Not enough Pete.
That out of the way, oh my God, DeNiro made me giggle. My avoidance of all reviews of the film (not out of choice, just because I've hardly had a chance to look around in a week or two) made me completely surprised at his appearance. (Not that he was in the film, I've seen the FLYING PIRATES ads all over, just his character.) I'll keep my mouth shut so you can be afforded the same pleasant surprise.
Michelle Pfieffer showed up again. I really like to think that the running gag of her looks is some sort of self-depricating jab at all the work she's gotten done but I know that's totally wrong. So instead, nice to see you again, Michelle!
It's good, it's light, it's fluffy. WARNING TO GAIMAN FANS: Very different ending. I mean, ultimately the same, but they get there a little differently, and I kind of like it. It lacked the weird unsettling deus-ex-machina vibe I found in the book.
Also, if you're wondering why the narrator sounds so soothing, it's because it's none other than Gand-- Magne-- Ian McKellen.
GRADE: B-
Catching You Up, 4/7 & 5/7: The Simpsons Movie, The Ten
Very short reviews, so we'll put them together. Two after this one, ladies & gents!
The Simpsons Movie.
I read more reviews for this movie than I think I should have. I agree with many of them so completely (and have lost the articles so long ago) that I almost fear whatever I say will be plagiarism.
However, like about everyone else of my generation, I dedicated my Thursdays, then my Sundays at 8 to the television show, until I got to college and Sundays were then spent cramming, reading, or calling fellow ARTH nerds to see what they new about the moral significance of Gothic Tympana.
So I'll do my best to keep this short and sweet so I do little stealing and spoiling (I know very few people who have managed to see it, sadly). Here we go:
GRADE: A-
The Ten.
Another tough one to review. I know people who worked on this film, and I don't want to be biased. This one will also be as short as possible.
It's a limited release, so if it's not near you, please rent the DVD. If it is, spring for it, go.
If you haven't heard about it, here it is, real quick:
1. 10 Commandments, 10 Stories.
2. Written by Ken Marino & David Wain, this can only mean good things.
3. Ensemble cast: you'll be amazed at who you see.
4. Liev shines in his role and has (I believe) the greatest moment in the film (in the trailer, you'll know it when you see it).
5. Great cameos from other members of The State.
6. Perfectly trippy animation sequence for Commandment 8.
7. Winona Ryder starring in "Thou Shalt Not Steal."
8. Did you hear about her and the puppet?
9. You really do learn the commandments.
10. If you enjoyed Wet Hot American Summer, you'll totally dig The Ten.
GRADE: B
The Simpsons Movie.
I read more reviews for this movie than I think I should have. I agree with many of them so completely (and have lost the articles so long ago) that I almost fear whatever I say will be plagiarism.
However, like about everyone else of my generation, I dedicated my Thursdays, then my Sundays at 8 to the television show, until I got to college and Sundays were then spent cramming, reading, or calling fellow ARTH nerds to see what they new about the moral significance of Gothic Tympana.
So I'll do my best to keep this short and sweet so I do little stealing and spoiling (I know very few people who have managed to see it, sadly). Here we go:
- Spider Pig. It will eat your brain. You'll sing it for a week. You've been warned.
- If you liked that episode with the Guatemalan Hallucination Peppers, you'll be happy for at least five minutes.
- They go to a freak state.
- Really great guest spots.
- You don't need to stay thru the credits.
GRADE: A-
The Ten.
Another tough one to review. I know people who worked on this film, and I don't want to be biased. This one will also be as short as possible.
It's a limited release, so if it's not near you, please rent the DVD. If it is, spring for it, go.
If you haven't heard about it, here it is, real quick:
1. 10 Commandments, 10 Stories.
2. Written by Ken Marino & David Wain, this can only mean good things.
3. Ensemble cast: you'll be amazed at who you see.
4. Liev shines in his role and has (I believe) the greatest moment in the film (in the trailer, you'll know it when you see it).
5. Great cameos from other members of The State.
6. Perfectly trippy animation sequence for Commandment 8.
7. Winona Ryder starring in "Thou Shalt Not Steal."
8. Did you hear about her and the puppet?
9. You really do learn the commandments.
10. If you enjoyed Wet Hot American Summer, you'll totally dig The Ten.
GRADE: B
Catching You Up, 3/7: Hairspray
3/7 of the great posting update. Trust me this should not happen again.
Hairspray.
With the exception of the last film (7/7) in this bulk review, this is the only movie I've seen twice. And as such, if you are familiar with the musical or just the soundtrack, I recommend hitting the singalong and a nice light chardonnay.
I was not familiar with either the musical or the 1988 John Waters film. I was familiar with the basic story, and John Waters, so I kind of could brace myself for what was coming, and thought I'd walk out amused and go on with my day. By the end of the week I had the soundtrack and (I'm sad to say) going through a bit of a backlash right now because those songs are so damn catchy. As a result, not gonna talk about those too much.
While making my notes, I was surprised how much I was just writing down the names of people in the film. For example, I hope we see Nikki Blonsky some more... but not as a "Tracy type" or onstage. I'm intrigued.
Coming out on top of this whole thing, however, is the ultimate power couple: Walken/Travolta. I've become a little irked. I feel like Christopher Walken is appearing in films where he's the joke: like a gag: "Hey look, we got Christopher Walken for this! Isn't that a riot?" I honestly haven't seen him really act since Catch Me If You Can, and was relieved to see him here, having a hell of a time. I'm always happy to see actors really enjoying themselves onscreen, and he does a great job.
I have a confession: I love John Travolta. I know he's a crazy scientologist and all the rumours, I could care less. I've never heard a story about him being a total prick (I'm sure those exist, too) and if you didn't hear the "Come to Mama!" story, you can probably figure it out from that, and my God does he do a great job. If they're hard up for Supporting Nominees this year (see: Jack Sparrow), I can see Travolta very much at home in that category.
Coming in a close second for "What the hell are you doing having such a great time?" would be James Marsden, who I was so happy to see not playing 'the jilted guy' (Cyclops, looking in your general direction). Sorry that it looks like you'll be doing more of the same in Enchanted, but I'll root for you against McDreamy with all my might.
Also, Michelle Pfieffer? Great to see you back. Haven't see you since Muppets Tonight in, what? 199...6? You got some work done. Wow.
In short, good time, and you'll spend a lot of time going "Hey look it's--"
GRADE: B+
Hairspray.
With the exception of the last film (7/7) in this bulk review, this is the only movie I've seen twice. And as such, if you are familiar with the musical or just the soundtrack, I recommend hitting the singalong and a nice light chardonnay.
I was not familiar with either the musical or the 1988 John Waters film. I was familiar with the basic story, and John Waters, so I kind of could brace myself for what was coming, and thought I'd walk out amused and go on with my day. By the end of the week I had the soundtrack and (I'm sad to say) going through a bit of a backlash right now because those songs are so damn catchy. As a result, not gonna talk about those too much.
While making my notes, I was surprised how much I was just writing down the names of people in the film. For example, I hope we see Nikki Blonsky some more... but not as a "Tracy type" or onstage. I'm intrigued.
Coming out on top of this whole thing, however, is the ultimate power couple: Walken/Travolta. I've become a little irked. I feel like Christopher Walken is appearing in films where he's the joke: like a gag: "Hey look, we got Christopher Walken for this! Isn't that a riot?" I honestly haven't seen him really act since Catch Me If You Can, and was relieved to see him here, having a hell of a time. I'm always happy to see actors really enjoying themselves onscreen, and he does a great job.
I have a confession: I love John Travolta. I know he's a crazy scientologist and all the rumours, I could care less. I've never heard a story about him being a total prick (I'm sure those exist, too) and if you didn't hear the "Come to Mama!" story, you can probably figure it out from that, and my God does he do a great job. If they're hard up for Supporting Nominees this year (see: Jack Sparrow), I can see Travolta very much at home in that category.
Coming in a close second for "What the hell are you doing having such a great time?" would be James Marsden, who I was so happy to see not playing 'the jilted guy' (Cyclops, looking in your general direction). Sorry that it looks like you'll be doing more of the same in Enchanted, but I'll root for you against McDreamy with all my might.
Also, Michelle Pfieffer? Great to see you back. Haven't see you since Muppets Tonight in, what? 199...6? You got some work done. Wow.
In short, good time, and you'll spend a lot of time going "Hey look it's--"
GRADE: B+
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