In this episode, we look at a pair of Simon Pegg comedies from across the pond.
http://www.culdesacflix.com/Episodes/Episode0016.mp4
Saturday, November 13, 2010
Thursday, August 12, 2010
The Man From Earth
This is one of those movies that you have to be in the mood for. It's not an action movie, but it is science fiction. It has no car chases, no special effects, no movement (did I mention no action). It is essentially a thought exercise and conversation between a group of old friends - one of whom claims to be (no spoiler here as this is what the movie is about) a caveman who has lived to the present day.
Written by Jerome Bixby (of Star Trek the Original Series and Twilight Zone writing fame), this neat little picture follows an evening of revelation when Professor John Oldman (played by David Lee Smith) reveals at a going away party for himself that he is not, in fact, Professor John Oldman but rather a many thousands of years old caveman who has somehow survived into the present day. The group is unbelieving at first, but as there are fellow professors there, they run with the idea and explore the possibility that John is speaking the truth.
There's not much more to write about this, without getting into the particulars that are wonderfully developed in the movie itself. The cast is wonderful - John Billingsley, William Katt, Tony Todd, Ellen Crawford, Annika Peterson, Richard Riehle and little known Alexis Thorpe. The discourse through the movie is interesting and a bit heretical at times, but ultimately is thought provoking and extremely interesting.
This is one of those movies that is probably destined to gather dust in the annals of the Internet, occasionally viewed by accident on Netflix or some other movie service. But those that discover it that have a mind for the original and in depth style of movie that requires a certain level of intellectual involvement on the viewer's part should enjoy this and pass it along to others of the same bent. When you consider Jerome Bixby's other writing credits include Mirror, Mirror of Star Trek, and It's a Good Life of the Twilight Zone (and also character writing for the remake, It's Still a Good Life in the updated 2002 version of the TZ show) - it's easy to see why this story is so interesting and thought provoking.
Definitely check this one out if you get a chance.
There's not much more to write about this, without getting into the particulars that are wonderfully developed in the movie itself. The cast is wonderful - John Billingsley, William Katt, Tony Todd, Ellen Crawford, Annika Peterson, Richard Riehle and little known Alexis Thorpe. The discourse through the movie is interesting and a bit heretical at times, but ultimately is thought provoking and extremely interesting.
This is one of those movies that is probably destined to gather dust in the annals of the Internet, occasionally viewed by accident on Netflix or some other movie service. But those that discover it that have a mind for the original and in depth style of movie that requires a certain level of intellectual involvement on the viewer's part should enjoy this and pass it along to others of the same bent. When you consider Jerome Bixby's other writing credits include Mirror, Mirror of Star Trek, and It's a Good Life of the Twilight Zone (and also character writing for the remake, It's Still a Good Life in the updated 2002 version of the TZ show) - it's easy to see why this story is so interesting and thought provoking.
Definitely check this one out if you get a chance.
Tuesday, July 13, 2010
Crazy on the Outside
Rating: Ignore
Just saw "Crazy on the Outside". Don't bother. Tim Allen, Sigourney Weaver, Jeanne Tripplehorn, Julie "Hot" Bowen.
Tries to be a crazy, off the cuff comedy about a guy who just got out of jail (Allen) and is trying to adjust to the world outside. He is beset upon by his former parter (Ray Liotta) who wants him back in the crime business, his parole officer (Tripplehorn) who he finds himself infatuated with, and a lying sister (Weaver) who is doing her best to protect him by...lying to everyone about where he was.
It loses it's focus early on. At first you think he is going to go crazy (plastic animals start winking at him, he sees brief flashes of himself taking his anger out on people around him, etc) but then it devolves into a plotless, tension free ride through nowhere. There are shades of a smart comedy a la Get Smarty or Big Trouble, but these shades never manifest in any substantial way. The craziness drops off, the relationships are bland and ultimately lacking in any sort of movement, and frankly Tim Allen doesn't come across as anything but a dope of a guy charming his shallow way through life. Not an ex-con who is slightly mad.
There are some really good scenes and acting (with a cast like that, how could you not have some good acting? JK Simmons plays Sigourney Weaver's lecherous husband, which is good for a couple of laughs) - but nothing ties the scenes together, and you see the relationship developments from a mile away. Not even the couple of scenes with Julie "Hot" Bowen can rescue this from being anything but a mediocre attempt at sophisticated comedic storytelling.
I give it a "meh" and would only recommend watching if it's a Sunday afternoon and you're still half asleep with a hangover. Because if you did pass out again, it wouldn't be a big loss.
Just saw "Crazy on the Outside". Don't bother. Tim Allen, Sigourney Weaver, Jeanne Tripplehorn, Julie "Hot" Bowen.
Tries to be a crazy, off the cuff comedy about a guy who just got out of jail (Allen) and is trying to adjust to the world outside. He is beset upon by his former parter (Ray Liotta) who wants him back in the crime business, his parole officer (Tripplehorn) who he finds himself infatuated with, and a lying sister (Weaver) who is doing her best to protect him by...lying to everyone about where he was.
It loses it's focus early on. At first you think he is going to go crazy (plastic animals start winking at him, he sees brief flashes of himself taking his anger out on people around him, etc) but then it devolves into a plotless, tension free ride through nowhere. There are shades of a smart comedy a la Get Smarty or Big Trouble, but these shades never manifest in any substantial way. The craziness drops off, the relationships are bland and ultimately lacking in any sort of movement, and frankly Tim Allen doesn't come across as anything but a dope of a guy charming his shallow way through life. Not an ex-con who is slightly mad.
There are some really good scenes and acting (with a cast like that, how could you not have some good acting? JK Simmons plays Sigourney Weaver's lecherous husband, which is good for a couple of laughs) - but nothing ties the scenes together, and you see the relationship developments from a mile away. Not even the couple of scenes with Julie "Hot" Bowen can rescue this from being anything but a mediocre attempt at sophisticated comedic storytelling.
I give it a "meh" and would only recommend watching if it's a Sunday afternoon and you're still half asleep with a hangover. Because if you did pass out again, it wouldn't be a big loss.
Wednesday, March 11, 2009
Friday, December 5, 2008
Into the West by Annie Lennox
Possibly the saddest ending song to any movie. The Lord of the Rings trilogy in movie form was a master work, bringing an epic novel to the screen as has not been done in decades, if ever. With few exceptions, the trilogy was executed brilliant and gave to both fans of the books and newcomers a taste of high fantasy that captivates even the most jaded of watchers.
One of the elements that made these movies so amazing was the again, masterwork soundtrack of Howard Shore. Known for low-key dramas for the most part, Shore was a daring choice for scoring the medieval feeling adventure.
However, there are 3 songs performed by pop artists that end each film, attempting to capture the overall feeling of the movie it proceeds. In each case, the song choice is outstanding. Both perhaps none of the three was as perfect a choice as "Into the West" by Annie Lennox. Full of haunting strains and wonderful imagery, this song is a must listen for the pure capture of the sadness and joy that fills the last scenes of Return of the King.
With a simple and unintrusive beginning, Annie Lennox starts the song with a wispy and mournful admonition to begin the rest, so sorely needed, after the most difficult journey one has had to take. Why do you weep? She asks.
The song continues with reminisces of the journey past, and what lies ahead - home. But not the home remembered, and so oft yearned for. But rather a home beyond this world. Eternal peace, across the sea, and sleep will embrace the weary wanderer.
Throughout the song, the instruments support the strains as they swell, bringing the song to a height of emotion that is not often captured well, or with any seriousness and lack of self-conciousness in this genre of film.
This is a great youtube video posted up. It is a little choppy in parts and the editing isn't perfect, but it really captures the mood of the song with images from each of the three movies.
And a link to another still image video.
http://www.youtube.com/watch?v=24fGmWG6kpg
If you enjoy sad songs, or melancholy, then you should give this song a listen.
Buy the MP3 here.
One of the elements that made these movies so amazing was the again, masterwork soundtrack of Howard Shore. Known for low-key dramas for the most part, Shore was a daring choice for scoring the medieval feeling adventure.
However, there are 3 songs performed by pop artists that end each film, attempting to capture the overall feeling of the movie it proceeds. In each case, the song choice is outstanding. Both perhaps none of the three was as perfect a choice as "Into the West" by Annie Lennox. Full of haunting strains and wonderful imagery, this song is a must listen for the pure capture of the sadness and joy that fills the last scenes of Return of the King.
With a simple and unintrusive beginning, Annie Lennox starts the song with a wispy and mournful admonition to begin the rest, so sorely needed, after the most difficult journey one has had to take. Why do you weep? She asks.
The song continues with reminisces of the journey past, and what lies ahead - home. But not the home remembered, and so oft yearned for. But rather a home beyond this world. Eternal peace, across the sea, and sleep will embrace the weary wanderer.
Throughout the song, the instruments support the strains as they swell, bringing the song to a height of emotion that is not often captured well, or with any seriousness and lack of self-conciousness in this genre of film.
This is a great youtube video posted up. It is a little choppy in parts and the editing isn't perfect, but it really captures the mood of the song with images from each of the three movies.
And a link to another still image video.
http://www.youtube.com/watch?v=24fGmWG6kpg
If you enjoy sad songs, or melancholy, then you should give this song a listen.
Buy the MP3 here.
Thursday, November 20, 2008
War Inc.
Cynical isn't the word for this movie.
In fact, I am hard pressed to come up with the best word. Despondent? Realistic? Overly pessimistic? I just don't know. It's been a while since a movie affected me in a meaningful way, and I'm not sure I like how War, Inc. treated me.
Having become cynical myself over the years, I was looking forward to watching this unofficial sequel to Grosse Point Blank, one of the best movies looking back at the romantic 80s flicks and both paying homage and poking fun at them. Expecting something of the same vein, I went into this movie with a light heart and waited to be wowed like the first time around.
The premise: Assassin trying to quit the job takes on a cover in the war-torn country of Turaqistan, and along the way discovers that he isn't wanting to do the job he has been paid to do. Sound familiar? The general plot of the movie follows that of it's predecessor Grosse Point Blank, but there is where the movies part company.
War, Inc. takes place in the near future, when corporations have taken over the world and fight their wars for profit. Tamerlane, a mega-corp, has invaded Turaqistan in the first fully private army venture in history. The other corporations such as McDonalds and Popeyes Chicken have followed Tamerlane and are in the process of democratizing the middle eastern nation. John Cusack, playing Brand Hauser, is supposed to kill the leader of the small nation, Omar Sharif (no relation), for having the temerity of building a pipeline across his own country.
The plot consists of the Turaqi pop star Yonica Babyyeah (played to the hilt, and with extreme conviction, by Hillary Duff, who I had to look up to figure out who was playing the part) being set to wed Ooq-Mi-Fay Taqnufmini, whose role is somewhat obscure but seems to be the son of a prominent Turaqi bad guy. A western reporter, Natalie Hegalhuzen (played by Marisa Tomei) is trying to expose all the corruption and evil of what Tamerlane is doing to the hapless country.
The main problem, if problem you want to call it, that I have with this movie is the fine line between satire and just plain depressing reality that it skirts. It is supposed to be poking fun at the situation currently going on in Iraq, but it seems to cross the line more often than not and strays into a very realistic view of the occupation as it stands in the real world. Distorted and perhaps stretched, but the concepts are very real and very sad.
The characters have all given up in some way, giving in to the roles they play in the tragedy that is Turaqistan, forgoing the inner voices that tell them to be good and becoming the parts instead of becoming themselves. They begin to find some small comfort in each other as the occupation continues, and the trade expo to convince the Turaqis that Tamerlane is their friend draws them further into the despair.
Throw in some flashbacks showing how Cusack got to be so cynical, and a lot of really good personal interaction between the main stars, and you have a movie that strays too often into grim reality and away from what could never have been a true heir to the Grosse Point Legacy. After all, when you are satirizing something that can be held to be so terrible, it is hard to find the comedy in it.
A fantastic and very candid view of the rape of nations by the mega corporations of the world, this is definitely not a comedy. There are some brief moments of 80s style Cusack that come through, but don't come looking for a feel good movie. Come for an eye opening view and a different take on current world events than you will see in the typical media broadcasts that pervade our airwaves these days. A definite recommend for a thoughtful movie, a definite thumbs down for a comedy.
War, Inc. at IMDB
Rating: 5 stars
In fact, I am hard pressed to come up with the best word. Despondent? Realistic? Overly pessimistic? I just don't know. It's been a while since a movie affected me in a meaningful way, and I'm not sure I like how War, Inc. treated me.
Having become cynical myself over the years, I was looking forward to watching this unofficial sequel to Grosse Point Blank, one of the best movies looking back at the romantic 80s flicks and both paying homage and poking fun at them. Expecting something of the same vein, I went into this movie with a light heart and waited to be wowed like the first time around.
The premise: Assassin trying to quit the job takes on a cover in the war-torn country of Turaqistan, and along the way discovers that he isn't wanting to do the job he has been paid to do. Sound familiar? The general plot of the movie follows that of it's predecessor Grosse Point Blank, but there is where the movies part company.
War, Inc. takes place in the near future, when corporations have taken over the world and fight their wars for profit. Tamerlane, a mega-corp, has invaded Turaqistan in the first fully private army venture in history. The other corporations such as McDonalds and Popeyes Chicken have followed Tamerlane and are in the process of democratizing the middle eastern nation. John Cusack, playing Brand Hauser, is supposed to kill the leader of the small nation, Omar Sharif (no relation), for having the temerity of building a pipeline across his own country.
The plot consists of the Turaqi pop star Yonica Babyyeah (played to the hilt, and with extreme conviction, by Hillary Duff, who I had to look up to figure out who was playing the part) being set to wed Ooq-Mi-Fay Taqnufmini, whose role is somewhat obscure but seems to be the son of a prominent Turaqi bad guy. A western reporter, Natalie Hegalhuzen (played by Marisa Tomei) is trying to expose all the corruption and evil of what Tamerlane is doing to the hapless country.
The main problem, if problem you want to call it, that I have with this movie is the fine line between satire and just plain depressing reality that it skirts. It is supposed to be poking fun at the situation currently going on in Iraq, but it seems to cross the line more often than not and strays into a very realistic view of the occupation as it stands in the real world. Distorted and perhaps stretched, but the concepts are very real and very sad.
The characters have all given up in some way, giving in to the roles they play in the tragedy that is Turaqistan, forgoing the inner voices that tell them to be good and becoming the parts instead of becoming themselves. They begin to find some small comfort in each other as the occupation continues, and the trade expo to convince the Turaqis that Tamerlane is their friend draws them further into the despair.
Throw in some flashbacks showing how Cusack got to be so cynical, and a lot of really good personal interaction between the main stars, and you have a movie that strays too often into grim reality and away from what could never have been a true heir to the Grosse Point Legacy. After all, when you are satirizing something that can be held to be so terrible, it is hard to find the comedy in it.
A fantastic and very candid view of the rape of nations by the mega corporations of the world, this is definitely not a comedy. There are some brief moments of 80s style Cusack that come through, but don't come looking for a feel good movie. Come for an eye opening view and a different take on current world events than you will see in the typical media broadcasts that pervade our airwaves these days. A definite recommend for a thoughtful movie, a definite thumbs down for a comedy.
War, Inc. at IMDB
Rating: 5 stars
Wednesday, October 29, 2008
Juno
Juno is a light hearted, quirky romance (sans much romance) that deals with a very serious topic. It is most like an update of "Say Anything" for today's teen generation - popular music, common themes, and a generally spot on view of the paradigm of today's youth.
Juno dives right into the subject matter, and in some ways one must suspend one's disbelief from the get go. The setup is very sympathetic to Juno and her family, and sheds some cynical views on the supposedly "perfect" couples.
Ultimately a good, fresh look at a subject that isn't treated very often, Juno is a good recommendation for anyone looking for a movie about today's high school generation, or a nice take on the "broken" family that seems to pervade our society in general.
Juno dives right into the subject matter, and in some ways one must suspend one's disbelief from the get go. The setup is very sympathetic to Juno and her family, and sheds some cynical views on the supposedly "perfect" couples.
Ultimately a good, fresh look at a subject that isn't treated very often, Juno is a good recommendation for anyone looking for a movie about today's high school generation, or a nice take on the "broken" family that seems to pervade our society in general.
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