Sunday, October 21, 2007

Bergman: Smiles of a Summer Night


Ingmar Bergman’s Smiles of a Summer Night (Sommarnatten leende) first hit American cinemas in 1957. The film is a little like Bergman for people who don’t like Bergman. Coming in a decade or so after the heyday of screwball comedies in Hollywood, Summer Night plays like one just back from its first year of college – the same little film bursting with grandiose ideas but never quite offering any substantial answers.

Like all screwball comedies, Summer Night has a guy, lawyer Frederik Egerman, and a girl, the actress and lost love, Desiree. The guy and the girl can’t be together despite mutual affection. Wackiness ensues. Adding to the films mismatched couples are Egerman’s young, wife, who is in love with his just back from seminary son. Desiree is having an affair with a married man, whose wife wants him back. A lesser film would lose track of all these story lines, but Bergman weaves these storylines plus that of a sultry maid together in a seamless mix.

Bergman will probably forever be associated with his darker fare, but Summer Night’s success provided the weight for his iconic and often imitated glance into the existential condition – The Seventh Seal. In his review in The New York Times, Bosley Crowther wrote of the film: “Who would have thought august Sweden would be sending us a film comedy as witty and cheerfully candid about the complexities of love as any recent French essay on l’amour?” Fifty years later, the shock of such a film coming out a Sweden may have worn off, but the film’s appeal hasn’t.

Monday, September 17, 2007

2007 Emmy Superlatives


Best Presenter, who should have hosted: Wayne Brady

This may simply be in reaction to the sheer mediocrity that was Ryan Seacrest, who was more forgettable than bad as host. I couldn't help thinking that the former talk show host would have been a great pick. It's not as if Fox has a stable of go-to hosts on its shows, and it's not as if they were going to draft someone from a different network. It was probably either down to Seacrest, Brady, or Jeff Foxworthy. I'll admit that I prefer Chappelle's Show Wayne Brady more than Don't Forget the Lyrics Wayne Brady. But his one-liner to Kanye West - "You picked the wrong time to start speaking properly" - was hilarious.

Most Inappropriate Joke - Let's all Sleep with Hayden Panettiere

That's right. Everyone's favorite indestructible teenager has finally hit the big 18, and The Emmy's writing team wanted you to know it. Now everyone who wouldn't know what to say if they actually met her can talk about how they don't have to worry about going to jail. Hopefully, someone will find some indiscreet photos so everyone can chastise her for being a poor role model to all the young girls not hot enough for 30-year-old men to want to have sex with them.

Best Acceptance Speech - Katherine Heigel

I think everyone agreed that there was any way she was going to win this category. Her character had little to do that was actually interesting or characteristic for her to do all year. And the season's big plot twist - she secretly has feelings for her best friend - came out of left field. The announcer mispronounced her name. (It's hard.) But all that served to make her acceptance speech possibly the most genuine since Three 6 Mafia won their Academy Award.

Most Pointless Tribute - The Sopranos

Yes. The show was outstanding. Yes. The show was groundbreaking. But a musical number, dragging the entire cast up onstage, and and the award for Best Drama good. Maybe I'm cynical, but somehow I doubt the show would have gotten so much love last night if it had been on one of the major networks.

Best Presenter, who should not have hosted - Elaine Strich

Even if she wasn't faking being unable to read tiny text very far away. Her bewilderment was endearing and not tiring. First Runner-up: Rainn Wilson. He’s always awesome.

Worst Let's Update The Emmy's Idea - The Theater in the Round Idea

Maybe not a horrible idea in theory, but totally falls apart in practice. I think James Spader summed it up best: "I've been to many concerts in my life, and these are the worst seats I've ever had." It might have worked had everyone on stage not always been facing the same direction, or they had done that 360 degree camera movement one fewer time.

Best Upset Victory – Ricky Gervais

Tony Shalhoub has taken done bigger competitors with his endearing and quietly hilarious Adrian Monk. As the only abrasively sane man in the television world, Gervais took a Larry David-esque exasperation into the second season of Extras. A writing award might have been more deserved, but we could see the exasperation in Andy’s face. Gervais already took home the BAFTA for his season two performance. Plus, we got to see Jon Stewart, Stephen Colbert, and Steve Carrell jumping around on-stage.

Worst Cutaway - The Five-second Delay

I can accept the need for a broadcast delay in this day when a mildly offensive comment can lead to boycotts and heavy fines from the FCC, but maybe have a better cut away in mind than the ceiling in the event it becomes necessary to use it. A crowd reaction shot would be better than cutting to the ceiling. When they cut away during Ray Romano's stand-up, it looked more like bad direction.

Monday, August 20, 2007

Screwball Comedies: The Thin Man

Long before The Dude set out in The Big Lebowski to solve a kidnapping with white Russian in hand, former detective Nick Charles (William Powell) was stumbling into cases with whichever drink happened to be nearby. Charles first shook Manhattan’s to fox trot time in 1934’s The Thin Man, which would later rank at 32 on AFI’s list of the greatest American comedies. Charles is less bumbling than his latter-day counterpart is, but he’d probably not like us to know it.

Based on the book of the same name from Dashiell Hammett (The Maltese Falcon), The Thin Man is a screwball comedy masquerading as a detective story. A local inventor disappears, and the police pin three murders on him – including his secretary and squeeze, Julia Wolf – in his absence. The jilted ex-wife and other red herrings crop up as Charles deftly navigates the landscape of New York City drawing rooms. But Charles never seems particularly concerned about the case, except that it’s cutting into his drinking time. Charles would rather banter with his beloved wife Nora (Myra Loy).

All the good Powell and Loy go line for line and highball for highball in The Thin Man with charm oozing off the screen. (Powell earned an Academy Award nomination for the role.) While most screwball couples continually try to one up the other, Nick and Nora try to amuse each other. The evening after her husband is grazed by a gunshot, Nora says, “I read where you were shot five times in the tabloids.” “It’s not true. He didn’t come anywhere near my tabloids,” Nick replies. Loy might have a comparable presence in personality, but The Thin Man is Powell’s vehicle.

The Charles’s and their beloved dog, Asta, solved five more cases over the next 13 years. It’s easy to see why the films have had such lasting permanence. There’s an ease to the film, which overcomes a stiff, stagy direction. Drawing rooms, dinner parties, and a two-week shooting schedule for what was expected to be a B-movie don’t provide much opportunity for cinematic flourish though.

The Thin Man is currently available as a standalone DVD or as part of the Thin Man collection.

Monday, April 23, 2007

One Night, One Movie, Two Scores

In the days before sound, musicians would play scores live in the theater. The 2007 Syracuse Film Festival attempted to take that concept one step further. Sherlock, Jr. got double treatment Friday night at the Palace Theatre when Combo Nuvo and The James Emery Trio played to the 1924 Buster Keaton film. On the surface, organizers wanted to showcase how a score can affect a movie. In reality, audience members heard two jazz trios playing some music while watching a film.

Sherlock, Jr., for those unfamiliar, tells the story of a young movie projectionist, who doesn't have enough money to buy chocolate for his girlfriend. He imagines himself into a detective movie that has a conveniently similar story. A madcap romp ensues with Keaton's incredible physicality and seemingly insane stunt work. Sherlock, Jr. works, at least the first time. The second time through guffaws turn into chuckles, and stunts seem tamer. But no film could really be funny enough that a back-to-back viewing would hold up exactly the same.

On the other hand, the jazz scores felt uninspired the first time through. Neither trio put in the time (why should they without a commission for their effort) to compose a score for the film. A combination of improvisation and cobbled together existing works substituted for what could amount to months of work on a typical film. Jazz's art might lie in improv, but it's hard to evoke a mood on the fly.

Jazz can work brilliantly when thought goes into the pieces. John Williams made use of it to great effect in both Catch me if You Can and Harry Potter and the Prisoner of Azkaban. Combo Nuvo and The James Emery Trio turned in fine jazz performances, but don’t expect to see their work on the next DVD.


Sherlock, Jr. is currently available on DVD. For more information about Combo Nuvo, check out combonuvo.com .

Thursday, April 12, 2007

Lost and Found

This piece initially ran in the Syracuse New Times on April 11, and can be accessed here.

John Bul Dau never wanted to be famous. If his name is unfamiliar, it won’t be for long: He’s one of the three stars of God Grew Tired of Us, a documentary about his years as a Sudanese Lost Boy. After numerous public speaking engagements across the country and a published memoir, Dau has earned fame in his own right. “What I want to be is a star of helping people, not a star of making money. "If I can use all of my life to help people, that’s what I want,” Dau said from his home in Eastwood.

Dau, 34, has been translating his nascent celebrity into tangible action. On Friday, April 13, after a showing of the film at Syracuse University’s College of Law, he will answer questions and sign copies of God Grew Tired of Us (National Geographic Society, Washington, D.C.; 352 pages; $26/hardcover). The evening’s proceeds will support the Duk County Lost Boys Clinic, the first medical clinic to serve the people of Duk County, Sudan. (The movie also continues its engagement at the Westcott Cinema, 524 Westcott St. See Times Table for showtimes.)

Beyond this philanthropic goal, the night allows those unfamiliar with the Lost Boys’ story to experience it. The book and movie follow Dau as he adjusts to life in Syracuse, as well as two other Sudanese refugees who were relocated to Pittsburgh. “I hope people will come and see it firsthand. I think that is a huge contribution to resolving the problem in Africa,” Dau said referring to the continued persecution of Southern Sudanese citizens by the North. “If you can’t go and shoot there, as the military, this is your chance to shoot here. This is your chance to participate.”

Through strong monetary and physical participation, the medical facility should be finished by the end of April. According to the project’s Web site, www.directchange.org/sudan, $78,600 toward the first year’s operating costs of $417,000 had been raised as of April 9. One doctor has already been hired, and four other medical personnel are moving from Kenya to Duk County. “I was told that when the electricity went on for the first time—we have two generators—people came from far, far, far away to see it. That has made me really happy because the clinic is going to help our people,” Dau said.

He has traveled all over this country for public speaking engagements, but few places can match Syracuse. “I feel like I’m talking to my kin, I’m feeling like I’m talking to my clan,” he said. “Here, I will be answering questions from people in my home. I will feel really good because I will feel like I’m talking to the people at the dining table.”

Although Dau is speaking of how welcoming and generous he has found Central New Yorkers, his statement has an element of truth behind it. The area has taken in at least 700 Sudanese refugees since 2001, and they all share a similar story.

The second Sudanese Civil War, waged from 1983 to 2005, separated families and forced the boys, most who were at least temporarily orphaned, from their homes. Children between ages 3 and 13 bound together for the 1,000-mile journey. They walked through horrendous conditions from southern Sudan to Ethiopia, but conflict again turned them into refugees. The boys ultimately made it to a refugee camp in Kenya where many became stuck without anywhere else to go. Dau lived there 10 years before he immigrated.

Catholic Charities, a national organization with a branch in Syracuse, has given more than 300 refugees homes in Syracuse. Its workers provide a friendly ear for the new arrivals. “People don’t talk about {their time in Kakukma} enough. The guys don’t talk about it,” said Pinyoun, volunteer coordinator for Catholic Charities. “I think it was kind of like being in jail. You don’t want to think about it that much. You’re glad you got through it and maybe it made you stronger. But not that many pleasant things happened.”

The documentary, which won the Audience Award and the Grand Jury Prize at the 2006 Sundance Film Festival, doesn’t spend much time talking about the refugees’ time in Africa either. It begins with the conflict’s history and the boys’ time in camp before moving on to America.

Dau, on the other hand, goes into detail in his memoir about the journey and his time spent in the camp from 1991 to 2001. By contrast, while the film rushes to get its main characters to America, Dau’s time here comprises the final third of the book. Taken as a whole, the combination of the memoir and movie provide a complete account of Dau’s story.

The film and the book are not the whole story, however. Dau also hopes to inspire action, understanding or both. He has been raising money to help the people of Southern Sudan since August 2003, when he co-founded the Sudanese Lost Boy Foundation of New York. Through that organization, he raised more than $90,000 before the film came out. “If word will go from one person to another, it will explode later. Maybe it will explode to taking action. They way I look at it is that it’s getting into the brain, into the veins, into the roots,” Dau said.

Although the war officially ended in January 2005 conflict remains. “The next step is to have the United States of America and some other countries push the government of Sudan to implement peace,” he said. “To have southerners vote for whether or not they want one country or whether it will be a divided country.”

Friday’s event takes place in Grant Auditorium inside the SU College of Law; the film is at 7 p.m., Dau’s talk at 8:30 p.m. Admission is $10. Tickets are available at the Schine Student Center box office, 303 University Ave., with limited availability at the door. For more information about the event, call 443-3759.

Puff, Puff, Passable

This piece initially ran in the Syracuse New Times on April 11, and can be accessed here.

A couple of drinks and smoke breaks into the evening, the crowd at Mezzanotte Cafe came alive as Afroman strode to the stage with two Colt .45 malt liquors in hand and a giant grin on his face. He was more than happy to have a little fun with the hip-hoppers during his March 24 show, but on his terms.

New songs made up the bulk of the set, which was the second of two New York stops on his current national tour, although fans showed up for the hits.
The rapper is out promoting his second holiday album, A Colt .45 Christmas (Hungry Hustler), and Waiting to Inhale, which is currently available for download at his Web site, www.afromanmusic.com, and at his shows. The rap star has found even more ways to talk about getting high and having sex after his viral hit, “Because I Got High,” swept the Web in 2001.

Bleating for Afroman’s trophy tune started halfway through the show, but he didn’t launch into it until the end of the night. When the turntable beats commenced, the singer’s presence felt little more than incidental to the white 20-somethings, who could and did sing along to the entire song. The singer gave in to the mood, let the audience have their fun and picked up his guitar. Surprisingly, he managed to play a solo instead of merely supporting the beat.

“High” peaked at No. 18 on Billboard’s Top 40 list in 2001, and is currently ranked seventh on the magazine’s ringtone downloads list. However, the ode to plans left undone undercut the night’s party vibe. The song moves from the innocuous (“I was going to clean my room/ but then I got high.”) to the tragic (“I messed up my entire life/ because I got high.”). As Afroman began staggering around the stage—the result of two now mostly empty beer bottles —it seemed clear his hit made for a pointless performance. However, nobody seemed too concerned with deeper meanings at the end of the hour-long set.

It’s hard to see why anyone should have been when “Let’s All Get Drunk Tonight” started off the show. Lines like “Drink that beer ’til your belly can’t hold it” don’t rely on much subtext, but the catchy up-tempo beat got the crowd dancing and shook off memories of the poor sound mixing that plagued the night’s two opening acts, The Forum and The Higher Connection.

Afroman’s parodies of holiday carols ooze a middle-school sensibility but have lyrics for adult ears only. Frosty the Snowman becomes a frozen lothario, and Afroman subs himself in for the jolly old elf in “Afroman is Coming to Town.” Even with a sexually explicit song directed at Beyonce, however, Afroman’s lewd catalog of tunes left something to be desired, as funny lyrics only go so far.

Still, it’s hard not to get absorbed in Afroman’s chill-out-and-have-a-good-time aesthetic. His lyrics might be cheesy and the rhymes may be obvious, but if they were better, they wouldn’t be nearly as much fun.

Monday, April 2, 2007

Fergie Wishes She Could Be This Ironic



I'm not sure why "My Humps" is getting a new second of 15 minutes of fame. First, Will Ferrell does an a capella version of it in Blades of Glory. Now, Alanis "covers" it. As Chazz Michael Michael (Will Ferrell) points out - "No one knows what it means, but it's provocative." Now, it's awesome too.

[via Best Week Ever]

Wednesday, March 28, 2007

A more complete review may be in the works, but here's a one minute review of Blades of Glory:

A 90-minute gay joke, where Will Ferrell again tries to get frat guys to love a sport they supposedly hate. But, a funny one.

Blades of Glory opens this Friday, March 30 in movie theaters across the country.

Sunday, March 4, 2007

Good Idea ... Wrong Commercial

ABC recently announced that it is planning on making a television series based upon the GEICO cavemen. People have commented elsewhere about how stupid this idea would seem to be. I'll hold judgment on that till I hear the actual concept, but what is really distressing is why this set of commercials had to be used when there was a much better one two years ago.



Slate picked up on the brilliance of the commercial way back when it first aired in 2005.

Plus, the concept is already right there in the commercial - no thinking outside the box required. Okay, one year might be excessive, but in today's fame-obsessed culture there has to be somebody willing to live in a house too small for six months. GEICO even provided you with a potential challenge - having to make an omlette - if you want to do a contest based show. If the contestants can make it through, they could get some nominal prize - their own house redone, cash. Come on ABC.

Saturday, February 24, 2007

Oscar Picks

Lead Actor: Forrest Whittaker (Last King of Scotland)

I'm not the first person to make this comment, but his role was not really the lead role in the film. If only the Academy could have set things straight and put him into the supporting actor category. Then, Peter O'Toole could have gotten his career Oscar - despite already having a lifetime achievement award - and we could probably be saved from ever hearing the phrase "from Acadamy Award winning actor Eddie Murphy."


Supporting Actor: Alan Arkin (Little Miss Sunshine)

Murphy's probably going to win this for Dreamgirls since he's won everything else running up to this. But I'm pulling for the upset. My Oscar pool be damned. I just refuse to pick someone who follows up a nominated performance with Norbit.

Lead Actress: Helen Mirren (The Queen)

I'll quote Entertainment Weekly on why she might not win: "[Crickets] Um, maybe voters might want someone else to win for a change? Oh, who are we kidding?"

Supporting Actress: Jennifer Hudson (Dreamgirls)

I never caught Dreamgirls, so I'll just go with the gold she's already picked up for the performance.

Animated Feature: Cars

Is this category still around? Really?

Documentary Feature: An Inconvenient Truth

Global warming is bad for the Earth, but good for Oscar gold.

Adapted Screenplay: The Departed

The Departed
isn't perfect, but neither are any of the other nominees really. It fills out its predecessor (Infernal Affairs) in all the right places.

Original Screenplay: Little Miss Sunshine

The category is really a toss-up. Sunshine is great, but the story gets a little too outlandish. Babel has to shoehorn in the only good section of its four-part narrative. Letters from Iwo Jima was written by Paul Haggis. Pan's Labyrinth is foreign. The Queen is based on actual events, so how "original" is it. Sunshine won the writer's guild award, so I'll go with that by a nose.

Director: Martin Scorsese (The Departed)

He said he didn't do it for the Oscar. According to Cinematical, Spielberg, Coppola, and Lucas are presenting the category, so it might finally be time for Marty to clear off some pace on the mantel.

Feature Film: The Departed

If the Oscars took place a month ago, I'd definitely be bemoaning the fact that Babel picked up the statuette. The category has turned into a bit of a race at the end, and yet my favorite movie of the five - Letters from Iwo Jima - still doesn't have a real chance. I think Scorsese's win should be enough. By the way, is it too late for a write-in vote for Children of Men?

Thursday, February 15, 2007

All the news that's fit to mock (badly)



Explanation via Variety. I might chime in later with some thoughts on my own, but I mostly agree with Slate's assessment.

Feb 18 Edit: Having now seen the show, I feel like - probably ironically - the New York Times's review is the more accurate assessment. But, I'll add that the show probably would have been bearable 15 years ago back when Marion Berry, Suzanne Somers, electric cars, and prison rape were funny.

Feb 19 Edit: The 1/2 Hour News Hour airs Sundays at 10 p.m. on Fox News Channel.

Monday, February 12, 2007

Commercial Break

For some reason, this ( http://woodenporchrailings.blogspot.com/ ) made me laugh. It's a one post blog about the wonders of wooden porch railings. I would normally dismiss it as some SPAM marketing attempt, which it probably is. But there doesn't seem to be a particularly company endorsing the blog. There's no links to a website, where one could buy a wooden porch railing. There's just the myriad of reasons why everyone should. So, I'm choosing to believe that there's someone out there who REALLY loves wooden porch railings and could not go another day without letting the world know it. But just the one time.

In other more overt ad news, I over heard a commercial for an insomnia treatment last night as I was reading the newspaper. The commercial was standard television drug commercial fare, but something struck me as odd. One of the possible side effects was drowsiness. I'm not a doctor - I didn't even take the MCATs - but shouldn't drowsiness be an intended effect?

Sunday, February 11, 2007

Toe-tappingly familiar


Despite the fact that they’ve never been paired together on screen before, there’s something familiar about Drew Barrymore and Hugh Grant together in Music and Lyrics. Maybe it’s the ‘80s nostalgia, which Barrymore first successfully tapped into in The Wedding Singer, or Grant’s stock romantic persona that feels like that oldie you forgot you liked until you heard it again.

In Music and Lyrics, Grant’s stuttering charmer is Alex Fletcher, a has-been from the fictional ‘80s’ pop band called, conveniently enough, Pop!. He gets the opportunity to break free from playing high school reunions and on small amusement park stages, when the new teenaged bubble gum popstress, Cora Corman (Haley Bennett), taps him to write a new song for her, if he can do it in a week. Enter Barrymore’s endearingly eccentric Sophie Fisher to serve as muse and love interest.

The team of Fletcher and Fisher – a name not quite as smooth as Lenon and McCartney – meet their deadline with her lyrics and his melody. A melody that has shades of “Killing me Softly,” which was featured in Grant’s earlier film, About a Boy. Lyrics works best when looking backward. Most of the songs evoke the feeling of the decade of excess rather than mock it outright. On the other hand, Fletcher’s final solo sounds like a bad take-off of “Trapped in the Closet.” He’s not in a musical though, and singing your feelings directly doesn’t work in real life.

Barrymore and Grant slip into old roles with ease. Both know their way around the genre, and make the most out of writer-director Marc Lawrence’s script, which focuses so much on the comedy element of romantic comedy that it ignores the other side. Fletcher and Fisher will get together as they, or people like them, always do. When free from the binds of the plot, Lyrics makes tight pants, bad rhymes, and the Jeopardy theme sing.

Music and Lyrics feels a lot like 80s music. It’s not too serious, it’s not quite good, but so wonderful that you start humming along despite yourself.

Music and Lyrics opens Valentine's Day in theaters across the country.

Sunday, February 4, 2007

Not Your Older Brother's 'Road Rules'

Fourteen years ago, MTV set out to find out what would happen if you took seven strangers and made them live and work together all while taped. Twelve years and fourteen seasons ago, MTV tried to find out what would happen if you did that with five people in an RV. Road Rules was born. Road Rules 2007: Viewer’s Revenge – the first season since 2004 – brings MTV’s classic reality show back from the dead. Or, it tries to at least.

This season’s “Roadies” still band together in a tiny RV while driving through exotic locales in order to attempt elaborate and “extreme” challenges – car bungee jumping, wrestle alligators, be a human mannequin in a store window wearing only body paint. But, that’s about all that’s left of the initial premise.
Six strangers has morphed into six Road Rules alumni. The RV is still around, but it has a new name. Gone are the mission mayors – replaced with a bland but overly enthusiastic host. The biggest, and must obnoxious change, is an over-elaborate elimination system, which involves viewer participation and takes forever to explain in the premiere episode. The cast nominates one guy and one girl, the viewers then decide which one they would rather see leave, that person has to compete against a member of ‘The Pit Crew’ for their spot on the RV. And that’s the short version.

Road Rules is not the only reality show that eliminates its characters, and it’s not even a new concept to Road Rules (the show’s producers first added the elimination angle in season 11.) However, those other shows managed to keep some sort of continuity in the larger group by starting with a large number that gets dwindled down as the season progresses. Now a rotating cast of characters is virtually assured with the potential for elimination every week.

With the success of other MTV reality shows, which don’t kick people off every week – Laguna Beach – it seems an opportunity to go back to the basics was missed. Instead the setup is more complicated and unnecessary than ever. As enthusiastic as the alumni were to have Road Rules back, you’d think someone involved might have glanced at another season.

Road Rules 2007: Viewer’s Revenge airs Tuesday nights at 9 ET on MTV. The show reruns various times throughout the week. Photo courtesy of mtv.com

Sunday, January 28, 2007

The 13th Annual Screen Actors Guild Awards Results


THEATRICAL MOTION PICTURES

Outstanding Performance by a Male Actor in a Leading Role
Forest Whitaker – The Last King of Scotland

Outstanding Performance by a Female Actor in a Leading Role
Helen Mirren – The Queen

Outstanding Performance by a Male Actor in a Supporting Role
Eddie Murphy – Dreamgirls

Outstanding Performance by a Female Actor in a Supporting Role
Jennifer Hudson – Dreamgirls

Outstanding Performance by a Cast in a Motion Picture
The cast of Little Miss Sunshine

PRIMETIME TELEVISION

Outstanding Performance by a Male Actor in a Television Movie or Miniseries
Jeremy Irons – Elizabeth I

Outstanding Performance by a Female Actor in a Television Movie or Miniseries
Helen Mirren – Elizabeth I

Outstanding Performance by a Male Actor in a Drama Series
Hugh Laurie – House

Outstanding Performance by a Female Actor in a Drama Series
Chandra Wilson – Grey’s Anatomy

Outstanding Performance by a Male Actor in a Comedy Series
Alec Baldwin – 30 Rock

Outstanding Performance by a Female Actor in a Comedy Series
America Ferrera – Ugly Betty

Outstanding Performance by an Ensemble in a Drama Series
The cast of Grey’s Anatomy

Outstanding Performance by an Ensemble in a Comedy Series
The cast of The Office

Screen Actors Guild Awards 43rd Annual Life Achievement Award
Julie Andrews

Friday, January 26, 2007

'Texas Chainsaw' Fails to Carve a New Niche

The name might say “Texas Chainsaw,” but Johnathan Liebesman’s new film bears little other resemblance to the horror classic. Instead, it falls more in line with contemporary gross-out horror films like “Hostel” and the “Saw” series where nausea is favored over fright.

“The Texas Chainsaw Massacre: The Beginning” attempts to fill in the back-story of both Tobe Hooper’s original movie and its 2004 remake. In the film, four friends start a road trip to California but wind up stuck in a small Texas town and having to fight their way out of certain death after being captured by the murderous family that produces Leatherface (Andrew Bryniarski), the Freddy Krueger of the “Massacre” series.

Unfortunately, “The Beginning” ignores elements like story and establishing character in favor of escalating gruesomeness. Leatherface beats someone to death with a sledgehammer within the first ten minutes of the film and then moves on to more brutal implements.

Even “Hostel” took the time to make its characters sympathetic enough for the viewer to want them to get out of peril before fingers start coming off hands. Screenwriter Sheldon Turner (2005’s “The Longest Yard”), however, places our heroes in danger so early that we know little more about them than how they scream and plead.

Despite the minimal attention seemingly paid to everything else, “The Beginning” succeeds in providing maximum gore. Chrissy (Jordana Brewster), the film’s female lead, spends the majority of the film with cuts all over her body. Leatherface cuts off someone’s face and then wears it like a mask.

The newest addition to the “Texas Chainsaw Massacre” line wears the ‘more is more’ approach to horror proudly on its blood-soaked sleeve. But when all you have is a bloody sleeve, it’s time to throw away the shirt.

The unrated edition of The Texas Chainsaw Massacre: The Beginning came out on DVD January 16, 2007. This review refers to the theatrical version.


Blogs Require Content?

After nearly three years of having an account, one actual website on hiatus, and two small monkeys, I have finally decided to start a blog. Apparently all the cool kids are doing it. So if writing to a blog is cool, then consider me Miles Davis - at least from here on out.