Category: Books, Movies, TV & Web

Office

 

Office Space     For anyone who works — or worked — in the soul-sucking confines of a corporate cubicle, this Mike Judge comedy is a must.  Its deadly accurate depiction of the white-collar workplace has the makings for one depressing movie, but thanks to its ensemble of instantly recognizable office drones (standouts are Gary Cole as an unctuous, passive-aggressive boss, and Stephen Root as a mumbling milquetoast), it’s much more likely to make you laugh than cry.  Release:  1999  Grade:  B+

 

*****

 

Bay

 

The Bay     What’s great about the movies is that the good ones suck you in and make you forget that everything you see is make-believe.  The problem with most “found footage” movies is that the jerky camera, grainy film, and improbable edits are jarring reminders that everything you see is make-believe.  So it is with The Bay, which is unfortunate because its premise — pollution-generated, flesh-eating parasites invade a seaside Maryland town — is timely and believable.  Director Barry Levinson, who knows a thing or two about making movies the old-fashioned way, should have done so with this one.  Release:  2012  Grade:  C

 

*****

 

Kids

 

Kids     An “after school special” from hell, Kids depicts one day in the life of some NYC teens who drink, drug, and screw their way through life, spreading AIDS and respecting only peer pressure.  The lone role model on display is a grizzled taxi driver; other adults are either apathetic or missing in action.  Kids was heralded as a wake-up call to society back in 1995; I have no idea whether anyone actually woke up.  Release: 1995  Grade:  B+

 

*****


Gut

 

Gut     This low-budget horror film poses a provocative question:  Can television viewing habits lead to actual violence?  Nicholas Wilder, playing a disturbed loner who introduces his only friend to the lurid attraction of snuff movies, gets my vote for Creepy Friend of the Year.  But there is a fine line between building suspense and moving at a snail’s pace, and Gut, with too many lingering close-ups and a plodding story, is undermined by its sluggish momentum.  Release:  2012  Grade:  C-

 

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 by Sarah Caudwell

Adonis

 

Caudwell’s characters inhabit an odd-but-arresting literary universe.  Time-warp a clique of Edwardian aristocrats to 1980s London, engage them with casual sex and lots of snarky-yet-sophisticated banter, and you have a good picture of Caudwell’s protagonists, a quartet of young barristers who decipher a murder mystery under the tutelage of “Hilary,” their middle-aged mentor.  In real life, you’d likely want to deliver a swift kick in the pants to these self-satisfied twentysomethings, whose every comment is cloaked in irony, sarcasm, or snobbery.  But in Caudwell’s clever hands, they’re amusing, rather than annoying.

 

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by Hanna Rosin

EndofMen

 

Barring some sort of nuclear catastrophe, in which case all of those post-apocalyptic movies will come true and Denzel Washington will rule the Earth, it looks as though Rosin is correct:  The end of male dominance as an economic and social force is nearly here.  Rosin makes a convincing argument that the future belongs to the gender more able to adapt to a health and service-oriented economy – and that ain’t Denzel.  But if she thinks men will cede all that power with a whimper and not a bang, I think she’s mistaken.  Here are a few of this lowly dinosaur’s gripes about her (well-written) book:


1)  While cheering the advances women have made over the past 40 years, Rosin tells us, numerous times, that she is “mystified” by men’s reluctance or resistance to conform to the new, estrogen-fueled world order.  But I’m mystified why she is mystified.  Is it really so hard to grasp that any human being, regardless of sex, will be unhappy to relinquish money and power in exchange for … well, not much?  If a man is passed over for promotion, subject to stagnant wages, and required to attend touchy-feely seminars in the workplace, should he really consider it an upside that he is also expected to go home and do more housework and change more diapers?  That might sound like feminist nirvana, but it’s not exactly a brave new world for most men.

2)  The title of the book is misleading.  Rosin does address the “demise” of men, but she seems more interested in adding to the canon of literature about our new “you go girl” society and the hurdles that remain – for women.  One chapter is devoted to women’s struggle to crash through the glass ceiling, a topic we’ve all heard about once or twice:  “I’m sick of hearing how far we’ve come.  I’m sick of hearing how much better situated we are now than before …. The fact is that so far as leadership is concerned, women in nearly every realm are nearly nowhere.”  This is the lament of a female Harvard professor.  I, for one, am “sick of hearing” people who are quite privileged whine about their world not being perfect.

3)  Rosin is generally fair but doesn’t always contain her female bias.  A passage about highly paid professional women dropping out of the workforce is described as a “tragedy,” and the blame for this tragedy is laid squarely on evil, equally high-paid husbands.  Apparently, even at the top of the economic ladder, women reserve the right to play the victim card.

4)  Rosin’s prescription for men is depressing.  She is not pleased with the current state of gender relations, in which many couples have a sort of Ma and Pa Kettle arrangement, with Ma running everything and Pa playing video games.  Can’t blame a girl for resenting that.  But, dear lord, I can’t help but feel for boys in the future, because Rosin, a mother of two boys herself, draws inspiration from this Korean woman’s child-rearing example:  “Stephanie Lee is doing her part to make sure the next generation of men will make a clean break.  She has taught her son to speak softly, and she buys him pink stuffed animals and enrolls him in cooking and ballet instead of tae kwan do, even if he’s the only boy in the class, even if the teachers object.”  Says Lee, “He needs a more feminine side.”  And I need a drink.

 

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Hound1

 

         Watson:  “That’s a fine way to treat me, I must say!”

         Holmes:  “Sit down, Watson, do sit down.  Perhaps a little supper will help you

                            to get over your huff.”

         Watson (roaring):  “Huff?  I’m in no huff!”

 

— Basil Rathbone and Nigel Bruce in The Hound of the Baskervilles, their first pairing as Sherlock Holmes and Dr. Watson

 

Sherlock Holmes is everywhere in 2012:  a BBC series, a CBS series and, with Robert Downey, Jr. as the celebrated sleuth, once again on the silver screen.  And wherever Holmes goes, so goes Watson (although in the CBS version, Watson goes there in high heels).

Arthur Conan Doyle purists tend to get huffy about Nigel Bruce’s rendition of Watson, which is often as a blithering, dithering oaf, but after re-watching 1939’s The Hound of the Baskervilles, I have to disagree with them.  True, Bruce’s interpretation of the good doctor is not faithful to Doyle’s creation, but there’s good reason that his teaming with Rathbone was movie magic.  Holmes, brilliant and intense though he is, is also a pompous know-it-all; with comic foil Watson at his side, Holmes’s genius is a lot easier to take.  And in Hollywood, no one did genial companions better than Bruce.

 

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This Hound also strays from Doyle in some of its plot elements, and there’s no escaping the fact that it’s a stretch to describe it (or any 73-year-old thriller) as “scary,” but the 20th Century Fox production is still a treat.  The sets, constructed in a gigantic Fox sound studio, are beyond cool.  Surreal, murky, rocky and in black-and-white, the outdoor scenes do look artificial — but in a gothic fantasyland manner, teeming with ominous shadows and phantom-like mists.

The story, for any eight-year-olds reading this, finds Holmes and Watson investigating the curse of Baskerville Hall, in which Baskerville descendants are said to fall prey to a devilish hound roaming the moors of Devon.  The Hound of the Baskervilles is atypical Doyle because Holmes himself is absent for nearly a third of the story, leaving Watson to document and puzzle over spooky goings-on at the hall.  But I love to watch Bruce’s Watson, so I have no problem with that.      Grade:  B+

 

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Director:  Sidney Lanfield  Cast:  Richard Greene, Basil Rathbone, Wendy Barrie, Nigel Bruce, Lionel Atwill, John Carradine, Barlowe Borland, Beryl Mercer, Morton Lowry  Release:  1939

 

Hound4

 

                                             Watch the Full Movie  (click here)

 

Hound5

Hound6

 

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by Dorothy Cannell

ThinWoman

 

What a bloody mess.  Cannell adopts a 1930s, Agatha Christie-like style for her debut novel, which is a pleasant enough mystery for about two-thirds of its length.  But then the author loses all sense of reality.

The heroine-narrator, an interior decorator obsessed with food, utters howler after howler (“I desired a roast beef sandwich with horse-radish and pickled onions with a wanton savagery that I had never felt for any man”), and her romance with an oddball male escort almost – but not quite – plunges the book into “so bad it’s good” territory:

Ben:  “This is how it could have been if only I had confessed my love before you went and got so skinny.”

Ellie:  “Part of me will always hunger for the wrong foods but I have to tell you that I am not prepared to eat myself back to my old proportions so you can prove the integrity of your love.”

The biggest head-scratcher of all is that, somehow, this amateurish junk food was included by the Independent Mystery Booksellers Association as one of its “100 Favorite Mysteries of the 20th Century.”

 

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Frozen

 

Frozen River     Hollywood was delinquent when it finally gave an Oscar to Melissa Leo for 2010’s The Fighter; she should have won two years earlier for her role in this dramatic thriller, in which she plays a hard-bitten mother of two boys who gets involved in human smuggling on the New York-Canadian border.  The movie, from first-time writer-director Courtney Hunt, has atmosphere up the wazoo, with a near-perfect mixture of blue-collar pathos and nail-biting suspense.  The connection is Leo, who manages to garner empathy for a “trailer trash” mom who’s alternately heartless and heartbreaking.  Release:  2008  Grade:  B+

 

*****

 

Snow

 

The Snowtown Murders     Snowtown is a two-hour journey into hell that — assuming you don’t leave the room — grabs you and doesn’t let go.  It’s the story of Australia’s most notorious serial killer, John Bunting (Daniel Henshall), whose sinister charisma sucked in disciples and ultimately led to a rented building filled with bodies soaking in acid.  Everything and everyone in this film is depressing — not just the killings, but also the joyless, blue-collar lifestyle of suburban Adelaide.  Unpleasant stuff, to be sure, but also powerful, and Henshall is unforgettable.  Release:  2011  Grade:  B+

 

*****


Cortex

 

Cortex     This nifty little French thriller is notable for its unusual hero (old) and setting (a home for people with Alzheimer’s).  Andre Dussollier plays a retired detective who doesn’t remember his own son, but whose cop instincts tell him that fellow patients are dying under suspicious circumstances.  Dussollier is magnetic, but Cortex’s pedestrian plot has a few too many holes.  Release:  2008  Grade:  B-

 

*****

 

Carnage

 

Carnage     Near the beginning of Carnage, after meeting the liberal Longstreets (John C. Reilly and Jodie Foster) and the conservative Cowans (Christoph Waltz and Kate Winslet), Brooklyn parents meeting to discuss a playground scuffle between their sons, my feeling was, “I don’t want to spend an entire movie with these people.  They are all smug and annoying.”  I changed my mind thanks to some terrific actors and a bottle of Scotch that loosened their tongues and stripped away their social armor.  Director Roman Polanski simply sets up shots and lets his actors roll.  The result is Who’s Afraid of Virginia Woolf? with a wicked sense of humor.  Release: 2011  Grade:  B+

 

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by Suetonius

Twelve

 

Complain all you want about our current leaders, but their flaws are chicken feed compared to those of the power-crazed, toga-clad rulers of ancient Rome.  For proof, we have this series of short biographies of the Roman emperors, written by someone who was actually there, the Roman scholar Suetonius.

As I read, I would sometimes begin to cut a given ruler some slack, deciding that – at least compared to the others – he wasn’t so bad.  And then I’d learn that he tortured and executed some unfortunate peasant for a trivial offense.  And that he helped himself to a senator’s comely wife.  And that he did worse.  Much, much worse.

But I’ll give the emperors this:  They didn’t discriminate with their atrocities.  Most of them were apparently bisexual, using men, women, relatives, and children as sex toys, and they were just as likely to decapitate a general as a fruit seller.

 

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by Janet Evanovich

Explosive

 

I’m not sure who’s more foolish, Stephanie Plum or me, because I continue to read this silly series.  Eighteen is more of the same-old slapstick, but what’s new is that, for some inexplicable reason, Evanovich has made her plot ridiculously complex.

 

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Arbit1

 

These are tough times for the “1 percent.”  The economy still sucks, their presidential candidate keeps putting his foot in his mouth, and even Richard Gere, with his movie-star looks and charm, can’t portray one of them and garner much sympathy.

In Arbitrage, Gere is Robert Miller, a Wall Street hedge-fund magnate whose world begins to crumble when a bad investment — in a Russian copper mine, of all things — leads him to commit fraud during negotiations for his trading empire.  Miller’s personal life is even messier:  A car accident ends badly for his mistress, and when he attempts to cover it up, Miller draws the attention of a New York cop (Tim Roth) who has no love for “masters of the universe.”

 

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What follows is The Bonfire of the Vanities meeting a 1970s episode of Columbo, but without much suspense.  Arbitrage is slick, smart … and unsatisfying.  It’s a curiously flat movie, always interesting but lacking tension.  Susan Sarandon and Brit Marling, as Miller’s wife and daughter, are on hand, I suppose, to engender sympathy for Miller’s embattled family life.  But it’s difficult to care much about the fate of people who rely so heavily on wealth for their self-esteem:

Says one character whom Miller enlists to help fool the cops:  “You think money’s gonna fix this?”

Miller:  “What else is there?”

As a viewer, I wanted some sort of resolution to this game of cat-and-mouse between Miller and the police.  Either the bad guy should win or the good guys should win.  That might not reflect reality, but it would make for a better movie.      Grade:  B-



Arbit3  Arbit4

 

Director:  Nicholas Jarecki   Cast:  Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta, Nate Parker, Stuart Margolin, Chris Eigeman, Graydon Carter  Release:  2012

 

Arbit5

 

                                                     Watch Trailer or Clip   (click here)

 

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by Dan Ariely

Honest

 

In all honesty, this book was a letdown.  The human propensity for lying and cheating should be a juicy topic, but Ariely manages to squash reader interest by (mostly) confining his experiments to sterile classrooms, where one group of student volunteers after another pencil in answers to one dull test after another, usually involving dotted matrixes, one-dollar bills, and paper shredders.  When Ariely and colleagues do leave the artificial environment of the classroom – sending a blind girl into a farmers’ market to buy tomatoes, for example – their research yields some interesting results.

But back to that classroom … our intrepid social scientist’s big discovery is this:  We all cheat, but only a little bit.  And if we can just get a few reminders that cheating is bad, maybe we won’t do it so much.

That’s not exactly a scientific breakthrough; it’s simple common sense.  And that’s the brutal truth.

 

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