Category: Books, Movies, TV & Web

by Margaret Atwood

Handmaid

Its tempting to downplay, as feminist propaganda, Atwood’s parable about a future America where men use religion to subjugate women (aided and abetted by other women).  But then again … I can drive a few miles from where I live and watch Somali women, clad in “modesty” robes and Muslim hijabs, strolling past Victoria’s Secret at the mall.  And I can turn on the TV and watch some southern Congressman calling for bans on birth control …. 

Let’s face it:  If any political alliance is handed the means for imposing its will on the rest of us, it probably will.  Atwood’s superb novel depicts this societal nightmare from the female perspective, but the dangers of her “Gilead” are universal.

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Gravity1

 

With movies that rely heavily on special effects, I like to employ the “late-show test”:  Thirty years from now, when the film plays at 2 a.m. on some cable channel (or on a movie-chip implanted by Netflix into my brain), will it still seem good?

I believe that, for example, in 30 years Kubrick’s 2001: A Space Odyssey will still be considered a classic – a perplexing classic, sure, but nevertheless a classic.  I also think Apollo 13 will still entertain.  Ditto for Marooned, a mostly forgotten 1969 thriller about astronauts stuck in space.  On the other hand, there are plenty of old science-fiction movies which, although impressive at the time of their release, now seem laughably dated.  Which brings me to …

Gravity, Alfonso Cuaron’s nail-biter about two astronauts (Sandra Bullock and George Clooney) who are quite literally lost in space after satellite debris pummels their mother ship.  The astronauts, in the middle of repairs to the Hubble Space Telescope when disaster strikes, must somehow save themselves.  That’s the plot.  The story goes from plausible to silly to utterly ridiculous in 90 minutes.

 

Gravity2

 

Gravity is all about movie-star power and special effects.  Clooney, as you might expect, cracks wise.  Bullock, as you might expect, does a lot of heavy breathing and talking to herself.  Cuaron’s script makes the leanest of attempts at character development – there is some gratuitous chatter about Bullock’s dead daughter, and jokes about Clooney’s playboy past – but Cuaron’s not really interested; it’s just filler between the more visual scenes. The 3-D special effects are impressive, but without a compelling story (as in Marooned) or themes (as in 2001), I’m guessing that Gravity will one day strike viewers of the late-late show as a quaint piece of fluff.      Grade:  B

 

Gravity3

 

Director:  Alfonso Cuaron   Cast:  Sandra Bullock, George Clooney   Release:  2013

 

GRAVITY  GRAVITY                                   

 

                                         Watch Trailers and Clips  (click here)

 

GRAVITY

 

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by Marisha Pessl

NightFilm

 

Is it possible that someone at the Random House editorial department has a vendetta against Pessl?  That’s the only explanation I can think of for the bizarre proliferation of italics in her book.  You eventually get used to it, but the infestation of italicized words in every other paragraph is, initially, a major distraction.

In other respects, Pessl’s thriller is a mixed bag.  Her plot is imaginative:  An investigative reporter hunts a mysterious cult-filmmaker named Cordova, whose young daughter kills herself by leaping down an elevator shaft.  But there are stretches of Night Film that are so poorly written – so illogical or overwrought – that at times it resembles an earnest high-school student’s essay for English class.  A typical simile from page 205:  “The woman’s small black eyes swarmed it like flies over a turd.”  I’m not sure why they failed to italicize “turd.”

 

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I Spit on Your Grave 2

.       Spit8  Spit9

 

This is why Web sites like “Mr. Skin” exist.  If you have no desire to suffer through the ridiculous plot and unpleasant gore of a film like this, but you do think star Jemma Dallender is a hottie, “Mr. Skin” has screen grabs for you.  Dallender spends much of Spit 2 in the nude, playing a model who is raped, whisked to Bulgaria (don’t ask), and assaulted again before she escapes to exact revenge.  The most shocking thing here is the presence of actor Joe Absolom, who plays such a sweet guy on the British series Doc Martin.  His agent must have put his balls in a vise.  Release:   2013   Grade:   D-

 

*****

 

Movie 43

.      Movie2  Movie3

 

I’m not convinced it was entirely a coincidence that, just two months after the release of Movie 43, esteemed film critic Roger Ebert was in his grave.  A lot of Hollywood A-List talent appears in this comic disaster, which relies almost exclusively on scatological “humor.”  There might be some 10-year-olds who enjoy this but, if so, I weep for America’s future.  Release:   2013   Grade:   F

 

*****

 

The Call

.      Call1  Call2

 

Teen girl is abducted at the mall and stuffed into the trunk of a car, where her only link to the outside world is a cell-phone connection with 911 operator Halle Berry.  It’s realistic, pulse-pounding stuff – until the final half hour when, for reasons known only to the filmmakers, the plot goes all Silence of the Lambs on us.  Release:   2013    Grade:   B-

 

*****

 

Oblivion

.      Oblivion1  Oblivion2

 

The problem with Oblivion, essentially a video game for the big screen, is that in between its glitzy CGI and action scenes we must endure:  a) flat characters, and b) a pretentious story that steals ideas from much better sci-fi films.  That’s the bad news.  The good news?  If you’ve just purchased a new high-def TV, it sure does look pretty.  Release:   2013   Grade:   B

 

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Shift1

 

Thirty years ago, Warner Bros. released a low-budget comedy called Night Shift and, if you’d asked me at the time, I would have predicted big things for the movie’s youthful director and stars.  Ron Howard, better known as “Richie Cunningham” back then, displayed a light directorial touch with his second theatrical film.  Howard cast his Happy Days co-star, Henry Winkler, against type as Night Shift’s milquetoast hero.  Rounding out the cast were Shelley Long, who seemed ready to assume Goldie Hawn’s crown as cinema’s queen of quirk – and a new kid named Michael Keaton.

My prediction would have been spot-on for Howard, now one of Hollywood’s power directors.  But Keaton’s star has faded, Winkler is now making commercials for reverse mortgages, and Long appears in obscure TV movies.  Fickle place, Hollywood.

  Shift2

 

But Night Shift was first and foremost a coming out party for Keaton, who shines as Billy “Blaze,” a gangly, energetic hustler with a cockamamie, irresistibly infectious act.

Howard and his actors took what could have been unsavory material (prostitution) and whipped up a warmhearted romp.  The story, in which Winkler, Keaton, and Long team up to run an escort service out of a city morgue, captures early ‘80s New York City in all its sleaze (a Plato’s Retreat-inspired sequence) and glory (a series of hilarious running gags featuring eccentric Gothamites).  It also boasts catchy ‘80s music courtesy of Burt Bacharach, Carole Bayer Sager, and Rod Stewart.

I still think this is Howard’s best movie – but Keaton steals the show.  Is this a great country, or what?      Grade:  A-

 

Shift3 Shift4

Shift5 Shift6

 

Director:  Ron Howard   Cast:  Henry Winkler, Michael Keaton, Shelley Long, Gina Hecht, Pat Corley, Nita Talbot, Bobby Di Cicco, K.C. Winkler, Monique Gabrielle  Release: 1982

 

                                                Shift7   Shift8                                

 

      Watch the Trailer  (click here)

 

Shift9

 

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                           The Collection

 Collect1 Collect2

 

I’m tempted to slap The Collection with an “F” for its bare-bones plot and ridiculously excessive gore.  However … if you are into splatter flicks — I generally am not — this sequel to The Collector is better than most of its gore-horror brethren thanks to a decent budget and some slick, fast-paced direction.  Release:  2012  Grade:  B-

 

                                         *****

 

               All the Boys Love Mandy Lane

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The camera certainly loves Amber Heard, who plays one of six teens who (yawn) encounter trouble at an isolated ranch.  Director Jonathan Levine also seems to love stilted dialogue, “scares” that don’t scare, and a twist that any horror-film fan can see coming from a mile away.  This mediocrity was filmed in 2006 but sat on a shelf for seven years, awaiting distribution.  Too bad it’s not still sitting there.  Release:  2013  Grade:  D+

 

                                         *****

 

                             World War Z

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Here’s proof that you can have an astronomical budget and Brad Pitt for a leading man … and still produce just another silly zombie movie.  Brad plays a perfect family man (of course) who saves the world (naturally) while fighting off hordes of the undead.  The zombies are not particularly original, but they do look cool in some overhead CGI shots.  Release:  2013  Grade:  C-

 

                                         *****

 

                              End of Watch

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If you’re not a big fan of police, End of Watch could change your mind — at least for a couple of hours, thanks to the chemistry between Jake Gyllenhaal and Michael Pena as two patrolmen in South Central L.A.  There isn’t a great deal of story, but it’s refreshing to watch a crime drama in which the cops are neither bad to the bone nor avenging super studs.  Release:  2012  Grade:  B+

 

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by Charles Todd

Wills

 

A test of patience for whodunit fans, as a Scotland Yard inspector conducts a monotonous series of interrogations with small-town murder suspects.  “Charles Todd” (the nom de plume for a mother and son writing team) has also invested the inspector’s conscience with an annoying presence the voice of “Hamish,” a Scottish soldier whom our hero sentenced to death during World War I.  I will say this for the authors:  Their “big reveal” at novel’s end is not a bore; rushed, overwrought, and utterly ridiculous, certainly, but not a bore.

 

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                                                  by Randy Wayne White                                                              

Sanibel

 

Stop me if any of this sounds familiar:  A rugged loner with a mysterious past lives on the Florida coast, interrupting his sojourn with nature (and beer) just long enough to seduce every woman in sight and to do battle with megalomaniacal bad guys, in this case a militaristic pedophile from Central America.  White’s plot and characters don’t carry a gram of originality, but I suppose that when you buy one of his books, just as when you buy anything by Lee Child, you know what you want and you want what you know.

 

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by Scotty Bowers

Service2

                                                                       

I suppose that when you buy a book written by a Hollywood male prostitute, you really shouldn’t be surprised when it turns out to be about a male prostitute in Hollywood.  Bowers drops famous names and spares no ugly detail in this chronicle of his sexual exploits with everyone from Cary Grant to, possibly, your mother, during a “career” that spanned from World War II to the 1980s.  It’s titillating stuff, certainly, but it’s also a great way to ruin your enjoyment of Turner Classic Movies.  When I put down Full Service, I empathized with movie legend James Dean, whom Bowers quotes from a long-ago Hollywood party:  “Ugh!  Don’t like it,” he sneered.  “Bring me something else.”

 

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                                    Evil Dead

Evil2 Evil3

 

Fede Alvarez’s remake of the 1981 classic lacks the black humor of the original, yet it’s never boring.  Alvarez knows how to stage a scary (and gory) scene, but his film is undermined by the usual bane of young-people-in-peril movies:  a script that has our heroes constantly doing and saying unbelievably stupid things.  Release:  2013  Grade:  B-

 

*****

 

                                       Session 9

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At a creepy, abandoned mental hospital in Massachusetts, the asbestos-laden walls are slowly being peeled away — but so is the sanity of one of five workmen hired to do the job.  Session 9 is a rarity, an intelligent chiller for viewers who believe that the real horrors in life aren’t found in cabins in the woods, but in the human brain.  Release:  2001  Grade:  B+

 

*****

 

                                           Thor

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It’s a bit empty-headed and relies on glitzy special effects, but Thor is also armed with good old-fashioned storytelling and plenty of charm.  And yet … by thunder, am I the only one wondering why the esteemed Kenneth Branagh is now directing comic-book movies?  Release:  2011  Grade:  B

 

*****

 

                                          Starlet

Starlet1 Starlet2

 

A young porn actress befriends a grumpy old lady (85-year-old Besedka Johnson, in her first and only film before her death earlier this year), and a sweet and funny relationship ensues.  I must be getting old, because at the midpoint of this surprisingly good twist on Harold and Maude, there is a brief but explicit sex scene — and I thought it destroyed the mood.  You heard that right:  I am complaining about a sex scene.  But not enough to turn me off to this unpredictable, touching little drama.  Release:  2012  Grade:  B+

 

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