Category: Books, Movies, TV & Web

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21 Jump Street     Jonah Hill and Channing Tatum play cops who go undercover at a high school to bust drug dealers.  Hill, who co-wrote the story, apparently drew inspiration from preschool memories for this immature, offensive, painfully unfunny garbage.  Release:  2012  Grade:  F

 

*****

 

Games

 

The Hunger Games     Jennifer Lawrence brings the same rural charm she rode to an Oscar nomination (for Winter’s Bone) to this entertaining, if overlong, spring blockbuster.  The story — in the future, society’s upper class keeps the underclass in line by staging a televised battle to the death among selected young people — isn’t all that original, but Gary Ross’ stylish direction and Lawrence’s appeal produce riveting spectacle.  Release:  2012  Grade:  B+

 

*****

 

Descendant

 

The Descendants     George Clooney plays a Hawaiian lawyer who, after his wife is left comatose by a boating accident, must grapple with two rebellious daughters, greedy relatives, and one life-altering revelation.  Nobody does Middle-Aged-Man-Under-Stress stories better than writer-director Alexander Payne (Sideways), whose movies click because their characters, although often behaving foolishly, worm their way into your heart.  Release:  2011  Grade:  A-

 

*****


Separation

 

A Separation     A tense, intimate look at honor and justice, Iranian-style, as a man separating from his wife faces prison for accidentally causing — or not — a miscarriage suffered by a family caretaker.  The clinical, faux-documentary style (shaky camera, no music) employed here adds to the story’s realism but also leaves what should be an emotional drama feeling a bit cold.  Release:  2011  Grade:  B+

 

*****

 

Joe

 

Killer Joe     A black comedy that aims for twisted humor but mostly misses the mark.  Members of a Texas trailer-trash clan hire a hit-man (Matthew McConaughey) to bump off a family member for the life insurance — but double-crosses are afoot.  The acting is good, and the direction by old pro William Friedkin is slick, but any grins and giggles are drowned out by an off-putting abundance of sadistic sex and graphic violence.  Release:  2012  Grade:  B-

 

*****

 

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Magic Mike     The cable channel Cinemax used to specialize in movies like this (and maybe still does):  Innocent youth takes job at strip club; older stripper takes kid under wing; bad things happen, anyway.  Swap out the usual no-name cast for some Hollywood stars, add a slumming director (Steven Soderbergh) with a decent budget, trade all that girlish flesh for beefcake in thongs, and you have Magic Mike, voyeuristic claptrap that’s no better — or worse — than those late-night Cinemax flicks.  Release:  2012  Grade:  C-

 

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Versailles1

 

In these contentious times, during which the “99 percent” seem to have no use for the “1 percent” — and vice versa — it’s tempting to prepare for The Queen of Versailles by polishing a bayonet and rehearsing the line, “Off with their heads!”  The stars of this documentary are, after all, a filthy-rich husband and wife in the process of building the world’s largest vanity project, a 90,000-square-foot private home in Orlando, Florida.  This monument to excess is rising up within shouting distance of that mecca of the common people, Disney World.  Billionaire businessman David Siegel and his trophy wife, Jaqueline, liked what they saw in France and decided to recreate the famed French palace as their very own American dream home.

During the course of the film, we learn how David got rich in the timeshare business, which often involves selling pricey apartments to regular folks who don’t have much cash.  We also listen to David boast that it was his influence that got George Bush elected in 2000.  So the irony was heavy when Bush policies later contributed to the financial crisis that now threatens Siegel’s two Xanadus — his unfinished mansion in Florida, and Westgate Resorts, a timeshare high-rise in Las Vegas — because Siegel cannot raise enough cash.

 

Jackie and her children

 

So yes, it’s tempting to snicker when things go sour for the Siegels.  Except … it’s not that simple.  Director Lauren Greenfield dampens our glee by demonstrating that the Siegels, tacky as they might be, are not all that different from the rest of us.  They both come from modest backgrounds, and David is nothing if not hard-working.  When his (admittedly grandiose) dreams begin to fade, he is philosophical and maintains a sense of humor.  He wants his kids, all eight of them, to turn off the damned lights when they leave a room.

Meanwhile, wife Jackie is a compulsive shopper who, according to her husband, is in reality the ninth child in his household.  Former model Jackie means well, but seems clueless about her effect on others.

Watching this film, I was reminded of F. Scott Fitzgerald’s line in The Great Gatsby, in which he describes Tom and Daisy, a privileged pair who are not intentionally destructive:

“They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made.”        Grade:  B+

 

Queen of Versailles, Jackie Siegel

 

Director:  Lauren Greenfield  Featuring:  David Siegel, Jackie Siegel, Virginia Nebab  Release:  2012

 

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                                                Watch the Trailer (click here)

 

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 by Joe Queenan

Queenan

 

Humorist Queenan, now in his 60s, says he occasionally visits the suburban Philadelphia library that he patronized in his youth, and where a librarian from that era, one Edith Prout, still toils among the shelves.  One of Queenan’s books is stocked on those shelves.  “Edith herself isn’t all that taken with my work,” Queenan tells us.  “Too cynical, she says.  Too snarky.”

I think Edith might have a point.  Although Queenan’s homage to the book, in which he writes lovingly not just of his collection’s content but also of each title’s importance as a symbol of treasured moments in his life, is often funny, sometimes poignant, and frequently biting,  I think One for the Books is probably best read in bits and pieces, rather than all at once – too much snarkiness can be hazardous to your health.

 

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Cheeky1

 

It’s not easy being a “butt man” in a boobies world.  When it comes to flesh and the female form in movies, the breast has always reigned supreme and, as a result, the butt man is often left behind.

So it was with a combination of cautious optimism and scholarly interest that I watched Cheeky!, Italian director Tinto Brass’s homage to the perky posterior.  The movie was okay, but Brass’s comments in a DVD behind-the-scenes interview were heartening to all devotees of the derriere.

“I would like to propose myself to television with a  program,” said the 67-year-old auteur.  “There are some who read your palm.  I’d like to go there [television] and read your ass.  I would like to call it Not Just Vagina.  Can you just imagine the success?”

 

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Like any connoisseur of the caboose, Brass gave a great deal of thought to the subject of his movie before the cameras rolled for Cheeky!  The director cast Ukrainian actress Yuliya Mayarchuk in the pivotal role of Carla, a young Venetian who learns that cheating on her boyfriend adds spice to their previously lackluster love life.  In Mayarchuk, Brass found a willing accomplice toward his goal of shedding light on the psychology of modern women.

“Each woman is the ass that she has,” Brass says.  “Actually, in addition, the ass is the mirror of the soul; in this specific case, it’s the mirror of that gorgeous Slavic soul, Yuliya Mayarchuk, who’s the lead actress of the movie.”

 

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Although Mayarchuk was an acting unknown when the film was released in 2000, Brass had a hunch that her moon was about to rise.  “She’s very good-natured, she has a great temperament, and she has a very cute little ass,” said the aesthetically minded filmmaker.  Brass’s intent with Cheeky! was, first and foremost, to advance the cause of feminism through the character of Carla:  “She’s a modern woman who is fully aware of her sexuality and sensuality, and of her right to enjoy it without subduing herself to a chauvinist mentality,” he said.

Just as that other cinematic giant, Alfred Hitchcock, inserted himself into his own films via cameo appearances, Brass inserted himself, and his finger, into both the movie and his young starlet.  This occurs during a scene crucial to the plot in which … well, all right, perhaps the scene isn’t crucial to the plot.  But Brass was intent on exploring bigger issues:

 

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“It’s an old habit, a fixation of mine, a belief that in order to discover women’s lies, all you just have to do is look at their ass.  Because, as opposed to the face, which is a hypocrite mask capable of faking and lies, the ass doesn’t lie.”

Or, to paraphrase the Eagles, you can’t hide your lying ass.        Grade:  B

 

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Director:  Tinto Brass  Cast:  Yuliya Mayarchuk, Jarno Berardi, Francesca Nunzi, Max Parodi, Mauro Lorenz, Leila Carli, Chiara Gobbato  Release:  2000

 

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Above, director Brass gives star Yuliya Mayarchuk a pointer on method acting.

 

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    Watch Trailer One  (click here)  or Trailer Two  (click here)

 

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                                                          by Cyril Hare                                                                         

English

 

A gathering of hoity-toity Brits is cut off from the outside world by a snowstorm, trapped in a decrepit manor house as a clever killer picks them off, one by one. Thank goodness an eccentric little “foreigner” is on hand to save the day.  If that sounds a lot like Agatha Christie, well, that’s because it is.  But if you find this kind of piffle irresistible – and I confess that I do – you can do much worse than An English Murder.

 

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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

 

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                                             Watch the Full Movie  (click here)

 

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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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