I don't get Judd Apatow films. Intellectually, I can appreciate how people would find his films funny. I can accept the argument that he has elevated comedy to a new level of intelligence. Freaks and Geeks was a favorite of mine during it's brief run on NBC. But his films--from The 40 Year Old Virgin to Anchorman--elicit barely a single laugh from me. The best I can say is that his films have touching resolutions that almost justify the blandness of the previous two hours.
Of course, none of that would stop me from seeing yet another Judd Apatow produced film. Superbad...strong reviews, appealing cast...This might be the one, right? Wrong. It kept me disinterested until the last moments. The thing is, I like a penis joke as much as the next guy. And the dozens of them in Superbad were clearly landing with the audience. But to what end?
The concept behind Superbad is the tried and true we're-going-off-to-college-we're-going-to-miss-each-other-terribly-and-oh-yes-we-need-to-get-laid teen-oriented, heartfelt comedy. Seth and Evan promise the objects of their affection--well, lust--that they will bring the booze to the super-awesome party that evening. Along with the wacky adventures of two teens trying to by alcohol, they get to process all of the feelings of two friends since childhood going to separate colleges. Throw in the equally wacky, though largely gratuitous, adventures of their pseudo-friend McLovin, and you get a typical teen comedy plus.
I must admit, I may have missed some of the dialog as "Guy Love" from Scrubs: the Musical kept playing louder and louder in my head. The "we're not gay, we're close" moments we're thankfully short, and the awkwardness of two straight guys who love each other trying to demonstrate affection for each other was only slightly forced.
What works is more a product of the sensitivity and finess of the three actors. Michael Cera has great subtlety and a sweet range of emotion; Jonah Hill is over the top, but mostly appropriately so--but he never made me laugh; Christopher Mintz-Plasse did. It's only seconds before CM-P is the new Jon Heder.
In the end, though I never quite got it, the last scenes make the film worth it. Though the plot is forced, the emotion feels real, and that makes the film's conclusion satisfying.
Wednesday, August 22, 2007
Monday, August 20, 2007
Mel on Mile High and Damages
Can a show that has not a single likable character be good television? That's the question I've been asking myself since I finished the entire British series Mile High (39 episodes) and the first four episodes of the new Glenn Close legal drama, Damages. In both shows every character--from star to dayplayer--remains unlikable. Certainly, I prefer my drama to have characters that are troubled or morally flawed. But there's a difference between those types of characters and those where you say, "I'd never be friends with this lot. Not a one of them."
Mile High is a British series about...wait for it...flight attendants and pilots. The descriptions and many of the reviews would have you believe its Ab Fab in the sky, or something close to that. In actuality, the madcap adventures of the eight or so regular flight attendants and two pilots have dire consequences. Each character is judgmental and morally righteous, except when it comes to himself or herself.
Only four characters make it from the first episode to the last. At the end of Series 1, about half the cast is replaced with no explanation. At the end of Series 2, Part 1 there's another huge turnover, also with no closure. And the "shocking" finale--which is actually quite interesting in design--only gives us a satisfying end for two of the major characters.
The big problem with Mile High is that it takes a certain glee in how pathetic its major characters are. Will is almost every gay cliche thrown into a mix. He's a bitter, self-centered, manipulative, vindictive, sexually compulsive partyboy. Janis is a pathetic loaner who is a total bitch to cover her loneliness. Le Hann destroys every relationship she's involved in, because she is always suspecting and distrusting her partners. The show relies on tons of cliches, but never with irony or camp.
The thing is, the show held my attention for most of 39 episodes, even as I was actively hating it. Maybe it was because I constantly held out hope that someone would do something decent for honorable reasons. Maybe it was for the liberal display of naughty bits that British television does so well.
Damages also populates with a roster of unlikeable characters. Here, though, the promotional materials explain that they're complex characters. Therefore, it's okay that each is basically morally flawed (which, by the way, I generally like in a character), lying, cheating, mean, manipulative and potentially violent. Or at least willing to have others do violence on their behalf.
Damages is well written and the production values are top notch. The casting is superb, and Glennie's performance is complex and riveting. I continue to watch, but at the end of every episode I have to wonder what I see in the show.
In the end, I remain ambivalent about both shows. I'm glad to see them, but troubled and largely disengaged from them.
Mile High is a British series about...wait for it...flight attendants and pilots. The descriptions and many of the reviews would have you believe its Ab Fab in the sky, or something close to that. In actuality, the madcap adventures of the eight or so regular flight attendants and two pilots have dire consequences. Each character is judgmental and morally righteous, except when it comes to himself or herself.
Only four characters make it from the first episode to the last. At the end of Series 1, about half the cast is replaced with no explanation. At the end of Series 2, Part 1 there's another huge turnover, also with no closure. And the "shocking" finale--which is actually quite interesting in design--only gives us a satisfying end for two of the major characters.
The big problem with Mile High is that it takes a certain glee in how pathetic its major characters are. Will is almost every gay cliche thrown into a mix. He's a bitter, self-centered, manipulative, vindictive, sexually compulsive partyboy. Janis is a pathetic loaner who is a total bitch to cover her loneliness. Le Hann destroys every relationship she's involved in, because she is always suspecting and distrusting her partners. The show relies on tons of cliches, but never with irony or camp.
The thing is, the show held my attention for most of 39 episodes, even as I was actively hating it. Maybe it was because I constantly held out hope that someone would do something decent for honorable reasons. Maybe it was for the liberal display of naughty bits that British television does so well.
Damages also populates with a roster of unlikeable characters. Here, though, the promotional materials explain that they're complex characters. Therefore, it's okay that each is basically morally flawed (which, by the way, I generally like in a character), lying, cheating, mean, manipulative and potentially violent. Or at least willing to have others do violence on their behalf.
Damages is well written and the production values are top notch. The casting is superb, and Glennie's performance is complex and riveting. I continue to watch, but at the end of every episode I have to wonder what I see in the show.
In the end, I remain ambivalent about both shows. I'm glad to see them, but troubled and largely disengaged from them.
Thursday, August 16, 2007
Bourne Ultimatum
Ok, I know I saw Bourne Ultimatum two weeks ago now. I'm kind of sorry it's taken me awhile to write about it, because I do think it's one of the best summer movies. By that I mean that it is one of the best films released this summer and that it is an excellent example of the summer genre--action packed with a little something to chew on.
It's not big deal that Bourne Ultimatum shares nothing with the Ludlam series except a concept and a title. That has been true of the trilogy, although it's even more true in the third film. Here, Jason Bourne, played with appropriate demeanor and physicality by Matt Damon, is determined to find out his identity. It's a quest that takes him to a range of locations, culminating in New York. The cast, both the good guys and the bad guys, get rich characters. Joan Allen is given more to do than in previous films, and that's a treat. Matt Damon nails the character.
The films in the Bourne trilogy are as much about the direction as they are about the story and acting. In Number 3, Paul Greengrass continues the practice of quick shots, fast pace and close up action. The violence is intense--you feel the pain of every blow--but avoids the blood and gore so prevalent in other summer action films.
It's not big deal that Bourne Ultimatum shares nothing with the Ludlam series except a concept and a title. That has been true of the trilogy, although it's even more true in the third film. Here, Jason Bourne, played with appropriate demeanor and physicality by Matt Damon, is determined to find out his identity. It's a quest that takes him to a range of locations, culminating in New York. The cast, both the good guys and the bad guys, get rich characters. Joan Allen is given more to do than in previous films, and that's a treat. Matt Damon nails the character.
The films in the Bourne trilogy are as much about the direction as they are about the story and acting. In Number 3, Paul Greengrass continues the practice of quick shots, fast pace and close up action. The violence is intense--you feel the pain of every blow--but avoids the blood and gore so prevalent in other summer action films.
Monday, August 13, 2007
Stardust
A quick word on Stardust. The film charms. Michelle Pfeiffer is wonderful. Charlie Cox is quite engaging. Claire Danes is woefully miscast. Robert DeNiro chews up the scenery. It's a sweet fairy tale that has a lot to offer adults. It's worth a look, and it stays with me. I need to give more thought to DeNiro's work as Captain Shakespeare. It's a big fey turn, but one that ultimately works. If the film falls short of magical, it's still a fun ride.
Annie Lennox on Modern Fabulousity
Another quick post. Modern Fabulousity has a stream of the new Annie Lennox single, "Dark Road." I can't wait for the disk to drop, and thanks to ModFab, I don't have to. The song is powerful and etherial...Annie at her best. I had a friend in college who wanted to be Annie Lennox. I wonder if he is.
Saturday, August 11, 2007
Dresden Dolls--Live at the Roundhouse
A quick post to recommend the new Dresden Dolls DVD release Live at the Roundhouse. It captures the fun and intensity of a Dresden Dolls concert. It includes their best music and some very interesting covers. The special guests also make for a fun couple of hours. Check out the special features, too.
Music Update
It takes me a little while longer to feel like I'm in a position to respond to an album. My guess is that I don't often sit down and listen to a full album undistracted. Instead, I keep it with me--on my iPod, in the car, on the stereo at home--and digest it over a period of days. Then, it usually takes multiple listenings for me to want to write about it.
Today, I'm writing about three albums I've acquired in the last month. Each has its merits, but I start with the lesser of them, the Hairspray soundtrack.
The best thing I can say is that the soundtrack to Hairspray makes me yearn to play the original cast recording. The soundtrack reinforces what I felt about the film. The new orchestrations reduce the power, poignancy and fun of the orginal. The new songs aren't of the same caliber as the ones they replace, and Edna continues to feel like less of a presence.
It's not bad. If it were my only copy of the score, I'd be playing it nonstop. But its not my only copy of the score, and this week I'll be replacing it on my iPod with the original cast.
My interest in Interpol goes back to 2004. Lee asked a friend of ours (a shout-out to Vince) to recommend music that I might like. Lee put Antics in my stocking. Contrary to what I said above, I was so taken with the first track that I listened to the album start to finish, several times. It affected me immediately.
There is something about an artist or band that can create a wall of sound that gets me in my core and connects me to the music immediately, instantaneously. Think Sigur Ros or Ulrich Schnauss. Interpol falls into this category and, as a result, Antics and Turn on the Bright Lights remain in heavy rotation on my iPod.
Our Love to Admire the latest drop from Interpol (a three-year wait) reinforces the bands place among my favorite and important artists. The music is not a great departure from the Interpol sound, but it is fresh and always engaging. Track for track it is as good or better than its predecessors. The lyrics are as obscure and challenging as one would expect and want. Our Love to Admire is definitely on track to be my favorite album of the year.
I first saw Suzanne Vega in the mid-1980s, when she was traveling in support of her first, eponymous album. To this day, Marlene on the Wall and The Queen and the Soldier remain among my favorites. Though I've never had an opportunity to see her in concert again, I've remained loyal.
I was thrilled to get Beauty and Crime, Vega's first album of new material since 2001. The album is a love letter to New York City and a beautiful one at that. The dude at the record store said, "It's great, but it's so different than her earlier work." It is great, but, like Our Love to Admire, it never becomes derivative or less than what makes Suzanne Vega important and inspiring.
Today, I'm writing about three albums I've acquired in the last month. Each has its merits, but I start with the lesser of them, the Hairspray soundtrack.
The best thing I can say is that the soundtrack to Hairspray makes me yearn to play the original cast recording. The soundtrack reinforces what I felt about the film. The new orchestrations reduce the power, poignancy and fun of the orginal. The new songs aren't of the same caliber as the ones they replace, and Edna continues to feel like less of a presence.
It's not bad. If it were my only copy of the score, I'd be playing it nonstop. But its not my only copy of the score, and this week I'll be replacing it on my iPod with the original cast.
My interest in Interpol goes back to 2004. Lee asked a friend of ours (a shout-out to Vince) to recommend music that I might like. Lee put Antics in my stocking. Contrary to what I said above, I was so taken with the first track that I listened to the album start to finish, several times. It affected me immediately.
There is something about an artist or band that can create a wall of sound that gets me in my core and connects me to the music immediately, instantaneously. Think Sigur Ros or Ulrich Schnauss. Interpol falls into this category and, as a result, Antics and Turn on the Bright Lights remain in heavy rotation on my iPod.
Our Love to Admire the latest drop from Interpol (a three-year wait) reinforces the bands place among my favorite and important artists. The music is not a great departure from the Interpol sound, but it is fresh and always engaging. Track for track it is as good or better than its predecessors. The lyrics are as obscure and challenging as one would expect and want. Our Love to Admire is definitely on track to be my favorite album of the year.
I first saw Suzanne Vega in the mid-1980s, when she was traveling in support of her first, eponymous album. To this day, Marlene on the Wall and The Queen and the Soldier remain among my favorites. Though I've never had an opportunity to see her in concert again, I've remained loyal.
I was thrilled to get Beauty and Crime, Vega's first album of new material since 2001. The album is a love letter to New York City and a beautiful one at that. The dude at the record store said, "It's great, but it's so different than her earlier work." It is great, but, like Our Love to Admire, it never becomes derivative or less than what makes Suzanne Vega important and inspiring.
Doh!
Time to catch up after a couple of weeks out of town (yes, that's no excuse) and one hellacious week back at work. And what has been happening on the cultural front? The Simpsons is making its way toward worldwide domination. When NPR does a story on how you have to queue for hours in Argentina to get a ticket to see the flick...well, this is an international phenomenon.
And my thoughts? The Simpsons is a very good movie. A great movie? Not exactly. But a couple week later I still smile at a joke or moment I remember from the film. They keep you laughing out loud from the first frame to the last. And laughing hard.
The plot, you ask? Homer screws up (environmental catastrophe), the Simpsons make haste to Alaska only to return and save Springfield. Of course, The Simpsons is not about the plot and all about the situations, relationships, and most importantly the wise and hilarious observations about the human and our current condition.
Does the move to big screen give the creative team license to take risks? Maybe a little. But there's nothing here that would risk the brand. A brief, inspired flash of nudity is about it. But the film is also much more than four episodes strung together or one episode stretched out to 90 minutes. It's a rich, full, cohesive experience that is, quite simply, a blast!
And my thoughts? The Simpsons is a very good movie. A great movie? Not exactly. But a couple week later I still smile at a joke or moment I remember from the film. They keep you laughing out loud from the first frame to the last. And laughing hard.
The plot, you ask? Homer screws up (environmental catastrophe), the Simpsons make haste to Alaska only to return and save Springfield. Of course, The Simpsons is not about the plot and all about the situations, relationships, and most importantly the wise and hilarious observations about the human and our current condition.
Does the move to big screen give the creative team license to take risks? Maybe a little. But there's nothing here that would risk the brand. A brief, inspired flash of nudity is about it. But the film is also much more than four episodes strung together or one episode stretched out to 90 minutes. It's a rich, full, cohesive experience that is, quite simply, a blast!
Subscribe to:
Posts (Atom)
